harbars said:

AlexdeParis said:

I remember this too. I'm not sure if I know it from the original airing of Bad (which I did see), or another random montage.

Cinnie said:

it was played during "The Magic Returns" TV special on CBS

THRILLER

It’s hard to write about Thriller and not talk about how many records it broke, how many awards it garnered or how it truly revolutionised how music was produced, packaged and visualised. For the record industry, and for Michael himself, there will always be a pre-Thriller and post Thriller period. A time when he went from star, to superstar to supernova. Some even listen to the music now and might question why it is touted as being such a genre-breaking album when these days mixing rock with funk with pop with soul with middle of the road seems run of the norm, but 25 years ago this album truly was unlike anything else on the market. And 25 years later, it continues to influence. But for a brief period of time in 1982 it was just a new release from an artist who had a huge hit with Off The Wall, and many at the time were doubting if this album would match that in terms of artistic endeavours and sales.

Like many people at the time our first introduction to Thriller was the Paul McCartney duet “The Girl Is Mine”. Based on this being the lead single things didn’t bode so well for what was to follow – after all Michael kicked off Off The Wall with the superfunk jam of Don’t Stop To You Get Enough as lead single. So did this mean that Michael at the ripe old age of 24, and having been a professional recording artist for 13 years already, was mellowing? What did it mean for this new release?

All fears were set aside when you put the needle on the record and heard the opening triple strike snare of Wanna Be Startin’ Somethin’. With it’s driving beat and infectious groove Wanna Be Startin’ Somethin’ bridges the gap between where we left off with Off The Wall and what Thriller promised. Filled with energy the relentless bass line grounds the track through the verses and choruses as Michael delivers a vocal that ascends and descends with each line, a delivery that is pure and raw. With each passing verse we get more instrumental embellishment, horns puncture lines, synths swirl, percussive claps hit. They combine in a way that elevates the track to a higher plain with each new chorus. Even the backing vocals offer richness, especially in the “you’re a vegetable” line when Michael even taunts through the section. Perhaps his most personal take on the world the lyrics convey his helplessness as those around him feed off gossip and rumour. At 6.02 the song never overstays it’s welcome and as it builds to its apex with the now often sampled chant the song elevates to a new place and makes you just want to join in the chant. Still to this day this track is just as moving and catchy as it was way back in 82.

Baby Be Mine with its syncopated beat and r&b feel it lets Michael twist and turn lyrics, extending some words and contracting others, allowing him his vocals to come to the fore. Whilst beautifully produced it does suffer from being a bit too cutesy and pop-perfect, and while catchy it does feel suffer from a dated synth sound that would become increasing prevalent as the decade continued. The only track on here that feels more filler than thriller.

The Girl Is Mine drifts over to the syrupy pop side of things, with Michael and Paul trading lyrical takes against a lush arrangement. Again there is no faulting the vocal delivery and harmonies this two make, but the song boarders on being cringe worthy. Part of me wishes Michael had stuck to his guns and kept it more in the jazzy feel of the original demo.

Thriller is a track that just goes for broke. Laden with sound effects, horroresque imagery, funk groove, and vocal hooks, it carries the load and comes out on top. An instant party jam of the most unlikely kind, Thriller benefits from being reworked from the weaker Starlight chorus, and adds a bit more punch. It’s a track with big ambitions and epic production and while not an all time favourite, it is a song that is undeniably catchy and paints such a vivid picture that it seems almost made for the music video treatment. A nod is due to Vincent Prince, the king of ghoul, who delivers a perfect read in just two takes. And how iconic is that laugh? Packed full of funk and fun, Thriller works it out.

From the opening electro-chimes Beat It sounded unlike anything you had heard. It’s harder edge was evident from the opening and the guitar work throughout is on point. Michael delivers his voice with a bit of anger and at points spits out the words, laying down the lyrical challenge. Once again Michael pulled it out when it was needed writing the track when Quincy felt the album needed a rock track of the My Sharona kind. Thankfully rather than just deliver a generic rock-pop track like the latter, Beat It still comes packed with killer hooks and a musical sensibility. Eddie Van Halen’s contribution cannot be understated, it’s a soaring guitar solo that is all trademark Eddie working the fret board like a magician – and for it’s time such a pairing of a “white” rock god on a “black” track was unheard of, and in some camps, shocking.

As you listen through the album, you have tracks like Startin’ Somethin’, Thriller and Beat It that just seem to take the album further and further into new territories and you kind of prepare yourself for lesser tracks following the knockout punch of Beat It but then…

The opening beat to Billie Jean kicks in. The crispness on that opening beat is something to marvel at. Just a simple one step beat, but the way it hits it has energy and it’s so tight. And then the bass line kicks in. A mix of strut and stalk the bass just walks its way through the track and is so fat it hums through the speakers. Now for most songs that would be enough to make it an instant classic, but musically Michael brings so many little hooks to the track that its truly surprising that Quincy Jones didn’t think the track was strong enough to include on Thriller. Thankfully Michael held to his belief. This is the quintessential Michael track, from the percussive lyrical delivery, the rich harmonies, the countering backing vocals, the hook filled touches the song is as close to perfection as you are likely to come. From the verse with its baseline and ascending, descending keys, to the build to the chorus with its flury of synth horns and trademark “heeeees”, to the chorus with its guitar hook and stabbing strings, to the bridge with its twanged guitar solo, there is something in every phrase to catch the ear and keep it entertained. And of course then there is Michael’s flawless vocal delivery, filled with intrigue and concern and then flat out denial. This track rightfully rocket Michael into the stratosphere.

Human Nature with its haunting arrangement and trickling synth melody lays the perfect bed for Michael’s vocals to bring this ballad home. Without trying too hard, the song just cruises along almost dreamily before taking off with those amazing extended “whyyyyy”. Although predominately synth based, there is an organic warmth to the track thanks mostly to Michael’s vocal delivery (especially in the often missed backing vocals) that makes it still feel fresh and current.

P.Y.T. is a song that when I first heard it felt was too poppy. Overtime I have come to appreciate it and accept it for what it is, a happy joyous love song that I occasionally catch myself enjoying too much. All that said, it is probably the underestimated carefree party jam of the album.

Packed full of old school soul Lady in My Life is another slice of perfect production. Seductive and smooth the song just builds with pure vocals, and enticing melodies delivering dual peaks of the amazing bridge and the extended break down just past the mid point of the song. Hear Michael’s vocals just swirl and dip and soar. Totally ad-libbed Michael did what Quincy asked of him and just lays it all on the line. The texture of the vocals are rich and deep and impassioned. It’s the perfect icing on the cake that is Thriller and leaves you wanting more, the perfect way to end an album.

In the 27 years since Thriller there hasn’t been an album that has come close to mixing so many different styles so effortlessly that it feels like a given. Nor has there been an album that influenced so many different artists that followed. It’s perhaps easy now to wonder what made it so amazing, when a lot of albums since have used it as a blueprint to try and replicate that kind of success, but to really appreciate it you have to listen to it like you did back in the day when radio was segregated, when genres were well defined and not often crossed.

Thriller was everything Michael had hoped for. It cemented him as a global star, and while it rocketed him into the stratosphere of musical icon, it would also be the benchmark to which everything that came after had to surpass or measure up to. A feat no one, not even Michael would be able to pull off, and one that perhaps distracted him at times from moving forwards as an artist and taking risks.

But there are few albums that decades after their release still manage to sound relevant and fresh, and for the most part Thriller does this.

Swa

errant said:

Apart from unbreakable and heartbreaker, I think every other track is just brilliant.

Bohemian67 said:

I think "PRIVACY" was the only weak link, LOVE the rest.

So many songs I love... he was an amazing vocalist, amazing composer.

"I Can't Help It" is a personal favorite... rich bass and a super-smooth beat.

"Who Is It" is one of his most underrated tracks. Great lyrics, AMAZING ad-libs.

"Smile" is a very solid vocal track.

"Baby Be Mine" is a great Temperton track. Upbeat, fun, funky.

"They Don't Care About Us".. I listen to that track and love the urgency in his voice when he says "But if Martin Luther was living.. he wouldn't let this be!"

With the J5, I love how he interpreted the songs he sang. He really was a genius and I wish that at some point in the recent past he would have done a fully live, acoustic show. The Bad tour was great, but very synth-heavy. I wanted just one show with a full live band. Horns, keys, drums, bass, guitar, percussion, strings... and his live singing. It would have been amazing and wowed a lot of people who may either be just casual fans, or non-fans who doubted his vocal ability.

Superstition said:

You should check out the remixes - I think "Walk In the Park Mix" has this line in a breakdown and it's just his vocals - rich and pure.

Swa

Swa said:

I've heard most of the remixes. My favorite is the Charle's Dirty Remix

Someone finally improved the quality of the September 14th show of the Bad Tour




[youtube]http://www.youtube.com/watch?v=aXW0ecFb46M[youtube]

I have been listening to this for the past few days. There are alot of songs on here that I hadn't heard before. I am loving the whole thing!

thanks for posting!

EmeraldSkies said:

I love the original mixes of the 'Farwell My Summer Love' tracks. And his version of Twenty-Five miles. Good lord, that boy had some pipes on him.

Marrk said:

Yes he did! I was listening to When I Come of Age,and when he hit those high notes "when I become a man!" I had to turn down my headphones.

I love Farewell My Summer Love,Take Me Back,I Wanna Be Where You Are,Just A Little Bit of You,Melodie,Up Again...

the whole thing is fantastic.
[Edited 8/22/09 15:28pm]

Superstition said:

I love "they don't care about us", FOR ME its the strongest political song I have ever heard, A Rare melody that only Mj can come up with,powerful vocals .....a brillaint video too.



Amazing song.....

EmeraldSkies said:

Been meaning to order this, just never got around to it.

LittleBLUECorvette said:

I haven't actually got a physical copy of it yet,cash is kind of low right now,so I have been listening to it on imeem,but I will get it.

EmeraldSkies said:

I feel you, the same reason I ain't order it yet.

LittleBLUECorvette said:

Me too

bboy87 said:

I got an idea, our broke asses combine our money and order this set and send it to my house!

LittleBLUECorvette said:

why it gotta be yo house?!

bboy87 said:

my idea.

LittleBLUECorvette said:

bboy87 said:

So you down or what? Say man, you gotta put yourself before others ...

Timmy84 said:

i.e.

[Edited 8/22/09 23:00pm]

LittleBLUECorvette said:

I already got the '73 mixes


I just want the full release

tangerine7 said:

Michael always said he was greatly influenced by Jackie Wilson and James Brown.

It's natural that a kid of 9+ would look to imitate others initially and then slowly over time find his own voice, and this happened with Michael. He took everything he learnt and was influenced by and molded it into his own. Even those who he was influenced by later called him an inspiration also. That is artistry in full circle.

Swa

Swa said:

One of the reasons he (and his brothers) were so great. These young'n's were opening for the likes of not only JB and Jackie, but the Tempts, Delfonics, Joe Tex, Etta James, Joe Simon, Jerry Butler, The ChiiLites, O'Jays, Sam and Dave and other greats. They just watched and soaked everything in.

Am I the only one that thinks it's a little creepy hearing Michael sing "Who's Looking For A Lover". I think he was only 12 when he recorded this.

Who's looking for a lover?
Who'll pick me out from all the crowd?
What thrills will I discover?
Will I be scared or do myself proud?

I love the song. I don't know maybe it's just me.