Michael Jackson Bad album set for re-release (Snippets S. 59)

    Zitat von Duff-Man

    Yokohama hab ich auch schon tausendmal gesehen, daher ist Wembley definitiv die bessere Lösung gewesen, kein Thema. Ich kaufe denen aber nicht ab, dass sie die ganzen Filmbänder von allen MJ Konzerten einfach verloren gegangen sind. Das ist doch kein Hausschlüssel, den man einfach neumachen kann! Ich denke eher, dass man an langfristige Gewinne denkt und Michaels Vermächtnis Stück für Stück an die Fans bringt. Irgendwann kommt schon eine Blu-ray mit hochqualitativem Material. Wenn man jetzt alles raushaut, was man hat, kann der Estate gleich die Türen schließen. ;D


    Ich denke, so einfach ist das nicht.
    Um wirklich Profit zu machen - und das ist es, warum die Marke Michael Jackson am Leben gehalten wird - reicht es nicht, Produkte nur an die Fanbase zu verkaufen. Sie kauft i.d.R. sowieso alles, was veröffentlicht wird. Wichtig ist es, die breite Masse zu erreichen. Und eine doppelte Veröffentlichung des selben Konzerts (jetzt als DVD - irgendwann ggf. als Blu-ray) macht hier keinen Sinn. Zwar mag der Fan beides Mal zuschlagen - der Otto-Normal-Käufer jedoch nicht. Daher glaube ich der Pressemitteilung, dass, zumindest aktuell, die Master nicht aufzutreiben sind.


    Selbst wenn ich deiner Theorie folge (der Estate besitzt HQ-Aufnahmen, behält sie aber vor) - wieso nicht jetzt HD Wembley 1988 und später irgendwann HD New York 1988 oder HD L.A. 1989 oder irgendein anderes BAD-Konzert? Zwei verschiedene Konzerte sind doch sowieso reizvoller, als zweimal dasselbe Konzert zu releasen - und bei 123 Konzerten gäbe es eine große Auswahl.

    Zitat von MichaelD


    Selbst wenn ich deiner Theorie folge (der Estate besitzt HQ-Aufnahmen, behält sie aber vor) - wieso nicht jetzt HD Wembley 1988 und später irgendwann HD New York 1988 oder HD L.A. 1989 oder irgendein anderes BAD-Konzert? Zwei verschiedene Konzerte sind doch sowieso reizvoller, als zweimal dasselbe Konzert zu releasen - und bei 123 Konzerten gäbe es eine große Auswahl.


    So meine ich das auch. Ein anderes Konzert wird irgendwann in besserer Qualität veröffentlicht werden. New York wäre sowieso am geilsten, weil dort jedes Lied (bis auf Man in the Mirror) komplett live war. :cool
    Und ich denke durchaus, dass nicht nur Fans bei einem Qualitätsupdate des selben Konzerts zuschlagen würden. Ältere Filme, die es früher nur auf DVD gab werden doch auch auf Blu-ray veröffentlicht und verkaufen sich prächtig. Ich, als Estate CEO würde zumindest so handeln, wenn ich langfristig meine Position sichern möchte. "Och, guck mal, da ist ja ein Masterband im Keller! Hatten wir gestern ja gar nicht; eine sensationelle Entdeckung, die sofort veröffentlicht werden muss" ;D "Sofort" ist natürlich passend zu einem Jahrestag/Großereignis gemeint.

    my favorites (heut im Auto beschlossen)............Song Groove......Price Of Fame........Al Capone.......:ehre....genial....:ehre


    Ich will noch mehr davon.....:top.... sowas darf man doch nicht unter Verschluss halten.....:nee

    [CENTER]Some people like to sleep well and give.
    Some people like to eat well and take.
    I guess, I like to sleep well!
    Michael Jackson[/CENTER]

    Nochwas zu meiner kleinen Theorie oben:



    Ich kauf's dem Estate nicht ab. Es kann einfach nicht sein, dass es keine solche Aufnahmen von MJs Konzerten gibt! Irgendwann erleben wir das mit Sicherheit. Bei Freddie hat's 20 Jahre gedauert; auch wenn's bei MJ 30 Jahre nach dem Tod ist, irgendwann bekommen wir schon ein Konzert in hoher Qualität.

    Zitat von Duff-Man

    Nochwas zu meiner kleinen Theorie oben:




    Ich kauf's dem Estate nicht ab. Es kann einfach nicht sein, dass es keine solche Aufnahmen von MJs Konzerten gibt! Irgendwann erleben wir das mit Sicherheit. Bei Freddie hat's 20 Jahre gedauert; auch wenn's bei MJ 30 Jahre nach dem Tod ist, irgendwann bekommen wir schon ein Konzert in hoher Qualität.


    Nur weil sie nicht wissen, dass es sie gibt, heißt es nicht, dass es sie nicht gibt. :D
    Die haben halt niemanden, der einen Überblick über alles hat. Sony Music ebenso wenig. Da kann noch jede Menge ans Licht kommen. Und das wird es auch.

    ...neuerdings werden hier keine Infokarten (zwecks Abholung bzw. nachbar) mehr in den Briefkasten gesteckt.
    hatte ich jetzt schon 2x ... als ich heute bei der Postfiliale nachgefragt habe war allerdings noch nüscht da (wird doch per DHL verschickt oder?)


    Edit: habe gerade meine Versandbestätigung bekommen :schwitz

    Pepsi Celebrates Today's Release Of BAD25 With New Commercial


    To commemorate the release of Michael Jackson's BAD25, Pepsi will unveil a 15-second commercial tonight during the premiere of the television special "BAD25 - The Short Films Of Michael Jackson" on BET at 8 p.m. EDT.


    The commercial features a kaleidoscope of images of Michael dancing, paired with the BAD remix by Afrojack. And to get your copy of BAD25.


    [video=youtube;BD8uEKCOzAs]

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    [/video]


    Oder in guter Qualität im Link: http://www.michaeljackson.com/…ease-bad25-new-commercial

    BAD 25 SHINES LIGHT ON MICHAEL JACKSON’S MOST UNDERRATED ALBUM, ERA, AND COMPETITIVE OBSESSIONS
    Keith Murphy Posted September 18, 2012


    In the summer of 1986, Thriller hung around Michael Jackson’s neck like a mammoth, neon albatross; a 25-million-copies-sold albatross to be exact. Indeed, it is now well documented that the biggest pop star to ever moonwalk across the planet wanted to bury music’s most commercially/culturally successful album of all time (now 42 million and climbing in America alone). To achieve this ridiculous coup, Jackson envisioned a follow-up work that was bolder, more musically groundbreaking, and grander in epic songwriting scale.


    When the dust settled months after its much-anticipated August 31, 1987 release, Jackson’s Bad album did not meet the late Gloved-One’s over-the-top ambitions of quadrupling his previous landmark 1982 statement in sales. But it did something much more impressive. The no. 1 Billboard album displayed a genius talent who grew exponentially as a songsmith, producer, and vocalist. Unlike previous releases, 1979’s glorious Off The Wall and the monster that is Thriller, this time Jackson ran the show, leaving all-world producer Quincy Jones to settle on backseat driver duties.


    Which is why Tuesday’s release of BAD 25—a deluxe package featuring three discs that includes a remastered version of the original album; remixes by electronic music visionaries Afrojack and Nero; unreleased songs; and the first ever commercial DVD of the 1988 Wembley Stadium concert from Jackson’s record-breaking Bad tour—is an intriguing set. Let the music historians and insiders dwell on how Bad “failed” to meet the record industries’ (and MJ’s) grandiose sales expectations. Brush aside Bad’s impressive U.S. numbers of more than 20 million copies off the shelves. And set aside its movie-quality barrage of award-winning music videos. It’s all about the songs, which includes five no. 1 singles. “The Way You Make Me Feel,” “Smooth Criminal,” “Man In The Mirror,” “Liberian Girl”…this is greatness, y’all.


    To discuss BAD 25, VIBE caught up with members of Jackson’s Bad-era band including acclaimed keyboardist Greg Phillinganes, guitarist Jon Clark, and choreographer Vince Patterson. From what it was like to work with a hungry Jackson in the recording studio during the making of Bad and their time on the record-breaking madness of the Bad tour to the one person Jackson viewed as his true competition, this is a Q&A that shows why MJ remains a transcendent figure nearly three years after his death. Bad, indeed.—Keith Murphy (@Murphdogg29)


    VIBE: For Michael, there was a lot to live up to with the release of Bad. By now we’ve all heard the stories about how he was intent on destroying the record sales of Thriller. But Michael was also intent on raising the bar artistically with Bad from the album to the tour. Can you talk about his mindset going into that era, album and tour?
    Greg Phillinganes: He simply wanted to top Thriller.


    He was aiming for 100 million copies, so says the legend, correct?
    Greg: Yes, but there’s a fine line between having a goal and being unrealistic [laughs]. Thriller broke all the records. It became this massive iconic success that it is today. But Michael was driven [during those Bad album sessions]. By this time he had way more songwriting and production input in the music. It was still up to Quincy [Jones] to keep everything solid and make sure we didn’t lose touch with reality.


    Was there any moment during those Bad studio sessions that you thought, this is surreal…I’m playing for Michael Jackson!
    Greg: All the time. I remember making “The Way You Make Me Feel” in the studio. Michael would stand right next to me when I would do my [keyboard] part. He would just groove and bob his head and snap his fingers.


    That had to be intimidating, right?
    Greg: Well, the thing is Michael was very much into the character of not only each song, but each part of the song. Sometimes you don’t realize how brilliant he was. I know it’s now funny for me to say that, but you actually forget Michael’s sheer brilliance in not only dancing, but in his songwriting and singing. My God, he was great! You could to see the extent of his influences: Fred Astaire, James Brown, Sammy Davis Jr…everybody.


    Patterson: From a dancing aspect, Michael always wanted to raise the bar. He was never a choreographer except for his own movements. But he still knew what he wanted from the [other dancers]. I was involved in videos for “Beat It,” “Thriller,” and all of the ones off the Bad CD, including “Smooth Criminal” and “The Way You Make Me Feel.” And you know Michael did really evolve.


    He was also a serial perfectionist, right?
    Vince: [Laughs] Yes! I’ll give you an example from the “Smooth Criminal” [video shoot]. There’s this one dance phrase that repeats itself in the video. I gave it to Michael and he stood in front of the mirror for four hours doing just the same count again and again and again! I kept coming over and saying, “Michael come on…you can take a break.” And Michael told me, “No, Vincent…I want to do this ‘til it’s perfect.” Michael was a taskmaster on himself.


    And that inhuman drive carried over to the actual Bad concerts?
    Jon Clark: True. My job on the tour was to play the guitar parts that you heard on the Bad album. I knew all the guys that played on his albums like Paul Jackson and David Williams. I can tell you what Michael gave me as a guy coming in as support for my role as the guitar player on that tour. It was life changing for me. Michael told me one thing when we first met…he said, “You know, guitars make me dance.” What do you say to that [laughs]?


    You just play your ass off…
    Jon: [Laughs] Yes…that’s exactly what you do! We were all watching the Bad concert movie the other day. You notice that the speed and pace of the show was just amazing. I looked back at Greg, who was Michael’s music director, and I said, “I can’t believe we were doing that show at this fast of a tempo.” But at the same time, not one note or one groove or one space in the music changed. The spirit of the songs never changed because Michael set the tempo.


    There are many readers who may be too young to remember. But could you describe just how mammoth the Bad tour was during that time?
    Jon: It’s important to note that at the time the Bad tour was the biggest production ever. We were in London and someone said that this was the biggest tour they had ever seen…bigger than U2, bigger than everyone. And I just remember during the “Billie Jean” section there was a special light that was developed just for Michael’s tour. It was made just for him to do his thing on “Billie Jean”.


    Vince: That was spectacular. But you know what was even more spectacular? Watching Michael dance from behind! But this is what also blew me away, Keith. In terms of that time we thought the Bad tour was huge. And it was. We thought what we were actually constructing on the stage was huge, but looking back at it in comparison to what happens today this was basically a very simple, simple show.


    How so?
    Vince: There were no set changes or costume changes. The only time Michael left the stage is when he graciously left the stage and gave those amazing musicians the chance to really show the world what they could do. But this was a very simple tour. It was about the musicians, the music, the dancing and Michael’s performance. That’s what blew me away.


    Greg: The true bigness of the Bad tour was the size of the actual set. We were building sets in the stadium as opposed to the arenas. We had several bags of airplane regulation landing lights [laughs]. They would blind the hell out of you when they first turned on. But Michael’s favorite toy was the cherry picker. It was the extended ladder with an arm that moved out, so he was able to dangle off of it over the crowd.


    Jon: Dangerously dangle off it [laughs].


    Greg: Right…the fans loved it, but it scared the hell out of the insurance guy [laughs].


    As groundbreaking as the Bad tour was musically the instruments that were being used on the Bad album were groundbreaking as well. The keyboard work was state-of-the-art from the Synclavier to the Synth Axxe. How cutting edge was the actual work on the Bad album?


    Greg: It was very cutting edge. The Synclavier had just become the major player in synthesizers. We carried two full-blown units. And they were not cheap.


    How much of a task was it to transfer the sounds on Bad to an actual live format? I could imagine how daunting it would be to bring songs like “Bad” or “Smooth Criminal” to a live setting given the technical work it took to record those tracks.
    Greg: I had already made those sounds on the Bad album. I created them in the studio, so I totally had an advantage. But the new technology really helped everyone on the Bad tour when it came to creating the support tracks…the things we couldn’t actually play from the album. The Synth Axxe was part of that [arsenal]. We were able to maximize the strengths of everyone in the band. One of our band members, Chris [Currell], was really brought on as a programmer. He wasn’t really into performing, but man, we dressed him up. Chris ended up looking like one of the members of KISS [laughs]. He ended up making a solo out of playing samples!


    Jon: That freaked me out, Greg. It was actually brilliant.


    Greg: Yeah…the guys was playing a freaking solo with nothing but samples on the Synclavier. And he was doing it in time. He wore it out every night.


    Jon: I was subbing for people like Ray Parker Jr. and Paul Jackson Jr. That was my gig. So I learned a lot from these guys. When the Bad tour came around I kind of had an idea of what I needed to do. It wasn’t a George Michael gig, it wasn’t a James Brown gig…it was a Michael Jackson gig.


    And a Michael Jackson gig is a whole different ballgame, right?
    Jon: It really was. But here’s the thing. David Williams was Michael’s favorite guitar player. And it’s impossible to play like this guy, but I knew what he was doing. For me, as a musician, I knew what I needed to do programming wise. I spent many, many, many hours getting it right; all the hours spent programming guitar sounds for me and Jennifer [Batten] for that tour. So I got it right away.


    But as with most Michael Jackson productions, choreography was just as important as the music. Vince, did you have a tougher road recreating some of Michael’s music videos, especially from the Bad album?
    Vince: A lot went into that. The tour started in Japan, and once they decided they were going to go around the world I was pulled in. I sat with Mike and Greg and talked about changing the order of some of the songs around and what pieces would go in it. But because it was Michael and everything was movement related, everybody was dancing. I don’t care if they were standing behind keyboards or playing drums. I wanted to make sure that everybody had something to do movement wise. It was more than just re-creating the videos.


    You guys were playing stadiums that held 70,000 plus people. Did you ever look out onto that massive crush of people, shit your pants and say, “This is insane”?
    Jon: Kind of…I did…yes [laughs].


    Vince: I forgot how it looked when Michael threw his hat out in the audience and when there was that quick shot of these people I thought, “Oh, my God…they are gonna rip each other’s arms off!”


    Jon: I never shit my pants when I looked out into the crowd [laughs]. But I will tell you that you will never know what it feels like to see 70,000 people swaying while you are playing “Man In The Mirror.”


    Greg: It’s like watching the movie Saving Private Ryan. When they are storming the beach and there’s not a word spoken, you just hear bullets and screams. My first experience on the Bad tour in Tokyo when those airplane lights opened, it was like Saving Private Ryan. You didn’t hear anything…you just saw. I saw Michael’s eyes looking at me and he came over. It was just a surreal moment. I can’t express it to you. It was all in slow motion.


    Michael was really known as the ultimate competitor. He looked at other artists in terms of what they did musically and performance wise and wanted to top them. During the Bad era who was the one person that Mike looked at and said, “Oh, I have to raise my game to another level”?
    Jon: That had to be Prince [laughs]. During the Thriller and Bad eras, it what just those two guys—Michael and Prince. And they both knew it. Everyone has read about that infamous summit that Quincy put together. Only Quincy could bring Michael and Prince together in one house and try to convince them to do “Bad.” But Prince [decided not to be a part] of the song. You could see the friendly rivalry between those two, even on their tours and in their videos. Michael would tend to hone in on some of things Prince was doing. They were both amazing and brilliant.


    Imagine those conversations…
    Greg: Crazy. But the craziest thing is at the Wembley shows I personally set out to make a statement. During the band solos I would play tunes from artists that I would find out were in the audience. So I had heard Prince was at the show. So I did a whole separate section of “It’s Gonna Be A Beautiful Night” by Prince. I’m talking about the groove, the breakdown and everything! We stepped down to the front of the stage and got the audience to clap on the four. We wore that shit out [laughs]. And I still don’t know if Prince was really in the audience. But the bad news is that session will not be included in this DVD because Prince decided not to give us the rights. And I wish he would change his mind.


    Jon: And you know what, it was just an homage to him.


    Greg: And that’s the irony…


    Vince: There was a mantra that Michael had always said for as long as I’ve ever known him. He would pull you aside and say, “We gotta do something that the world has never seen before. I want to give something to the people out there that loves us that they’ve never seen before.” That was Michael’s goal…to constantly break the boundaries. And that goes for anything he was doing whether it was an album, a live tour or a short film. That’s why Michael was so competitive. That was his drive.


    Looking back at Michael Jackson’s Bad album, what is the overall legacy of that work?>
    Greg: Bad showed off his solo artistry because Michael was more involved production wise and songwriting wise. Yes, he worked with Quincy…but it was not quite as much as Off The Wall and Thriller. You saw the transition of Michael becoming more of a solo force behind the scenes and away from the Jacksons. By the time he went into Dangerous, Quincy was no longer there. Michael started bringing in different producers to express his musical ideas. I think Bad is the most definitive expression of Michael’s craft.


    http://www.vibe.com/article/ba…-competitive-obsessions-2

    Michael Jackson's 'Bad 25' box: Is it worth your time and money?
    By Randall RobertsLos Angeles Times Pop Music CriticSeptember 18, 2012, 9:41 a.m.


    A quarter of a century ago, Michael Jackson released “Bad,” his follow-up to the blockbuster album "Thriller." It sold over 30 million copies, contained many hits that you can probably sing by heart -- “Dirty Diana,” “Smooth Criminal,” “Man in the Mirror,” “The Way You Make Me Feel,” and others -- and has become one of the touchstone pop recordings of the era.


    Since his death, Jackson’s record label Sony Music has understandably started capitalizing on his legacy, doling out a handful of tracks for last year’s “Michael” album and adding remixes to his Cirque du Soleil performance. Now, on "Bad 25," the label has dug into the archives for a disc’s worth of unreleased rehearsal recordings and a complete 1988 live performance at London’s Wembley Stadium.


    The result is the three-CD, one-DVD box set released Tuesday. The set’s list price is 34.99. Is it worth it?


    The sturdy box, which is kept shut with a nifty magnet, includes two double-disc collections with glossy cardboard gatefold sleeves. The first features a remastered version of 10-song album (with the bonus track "Leave Me Alone") and a selection of demos on the second disc that illustrate the musician at work.
    The best of these is also the most revealing: a track tentatively titled "Song Groove" but also known as "Abortion Papers." Somewhat understandably, Jackson struggled with the lyrics to this story about a teen pregnancy, and ultimately decided not to tackle the hot-button issue on "Bad."


    Also featured on that disc are new remixes by current EDM hitmakers Afrojack and Nero intended, one would assume, to appeal to a young generation that wasn’t yet born when Jackson was a commercial force. These are terrible commercial house tracks -- especially Afrojack's "Bad" remix featuring Pitbull -- and are an insult to MJ's memory not because they rework his music, but because they do it so ungracefully.


    Two different glossy booklets focus on, respectively, the recording of “Bad” and a rundown of the outakes, and the Wembley Stadium performance of July 16, 1988. They’re detailed accounts, filled with dozens of striking photos of Jackson in performance, and behind-the-scenes glimpses of him with his many admirers.


    That Wembley gig is documented in its entirety on DVD, and shows Jackson in peak form, moving through then-new songs and dipping into his back catalog to highlight both earlier solo work and a hot medley of Jackson 5 hits. It's a solid, if thinly recorded, document that lacks sonic heft. The rhythm section sounds a mile away, and lacks the pop of a well-recorded concert.


    And, for the 8-year-old kid in you, the package also includes a fold-out poster and a “Bad 25” sticker you can put on your locker door.


    Worth noting are other versions of this collection that are also available. A two-CD set features only the remastered "Bad" and disc of outtakes and is available for $12.99, and you can get just the Wembley show and DVD for the same price. A "Deluxe Collector's Edition" features all of the above plus a fancier box and an MJ T-shirt, and is available for $199.99.


    Price, though, isn't the issue for a product designed for diehard MJ fanatics who covet posters and stickers as much as they do the music. At $35, the full box isn't a bad deal if you're a completist. The asking price of the $200 version is more than a little ridiculous, but this is Michael Jackson we're talking about.


    Alas, regardless of which version you take, consumers will have no choice but to receive the aforementioned new remixes. Which is a shame because not only do they tarnish a legacy, but signal a future in which Jackson's music is officially deconstructed to unfortunate ends with full sanction of the singer's estate.
    Here's hoping that Paris Jackson has better taste in dance music than estate co-executors John Branca and John McClain.


    http://www.latimes.com/enterta…-20120918,0,2000283.story

    Kanns sein, dass das bei uns ziemlich am Floppen ist? Die Amazon- und iTunes-Charts sind ja erbärmlich bei uns:



    Default Re: BAD25 | Charts & Sales History


    Amazon (Italy): #1
    Amazon (France): #1
    Amazon (Canada): #2
    Amazon (UK): #10
    Amazon (Japan): #10 + #76 (import)
    Amazon (USA): #13
    Amazon (Germany): #29


    ***


    ITUNES:
    #4 Hungary
    #10 Belgium
    #16 France
    #19 Poland
    #20 Spain
    #22 Hong Kong
    #26 Mexico
    #27 Italy
    #38 Japan
    #40 Norway
    #47 Brazil
    #61 United States
    #64 Thailand
    #68 United Kingdom
    #70 Austria
    #74 Netherlands
    #110 Switzerland
    #114 Brazil
    #122 Singapore
    #126 Canada
    #128 Denmark
    #215 Taiwan
    #245 Luxembourg
    #265 Portugal
    #291 Germany

    ^ mich wundert es nicht. Nur MJ Fans haben mit bekommen dass es diese Box gibt.


    Also in meinem Umfeld der nicht-MJ Fans gibts es niemanden der überhaupt wusste dass was von MJ kommt.. nicht mal das mit den Dosen hat jemand mitbekommen. Nur ein paar weil ICH ihnen sagte, sie sollen mal ausschau halten :D

    Ich hab bisher noch nichts gesehen. Und selbst wenn das JETZT so ist. Vorher kam garnichts, also vor der veröffentlichung. Es sei denn man ist viel in MJ Foren und Faceboob unterwegst gewesen, dann sah man vorher shcon was.. .

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