Claire73 said:

*sigh* beautiful.....

[img:$uid]http://i27.tinypic.com/9jd2du.jpg[/img:$uid]

what is this from. Probably the making of speed demon

bboy87 said:

Claire73 said:

*sigh* beautiful.....

[img:$uid]http://i27.tinypic.com/9jd2du.jpg[/img:$uid]

what is this from. Probably the making of speed demon

Yeah I believe it is too...

[img:$uid]http://29.media.tumblr.com/tumblr_l5wvcypQhB1qbogo8o1_500.png[/img:$uid]

His eyes in this photo are spellbinding.

Continuing the album per week discussion of MJ's work. This week we embark on Thriller.

What are your memories? What are your feelings now? What tracks do you love or can do with without?

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.

tangerine7 said:

That is too funny!

LOL @ him blubbering during Butterflies and This Time Around, him not being able to sing during PYT 'cause it's so good (like delicious food, LOL), and his scream during Scream, ha ha. The timing of the transitions are hilarious too.

I was surprised he had This Time Around on his list (it's in my Top 5 too ), but greatly disappointed that Billie Jean is his #1 favorite. ....

Swa said:

Continuing the album per week discussion of MJ's work. This week we embark on Thriller.

What are your memories? What are your feelings now? What tracks do you love or can do with without?

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.

Scorpeze from Windimoto's essay about Thriller

while we all might be sick of hearing it and while it may not be as heavy as a What's Going On or Innervisions...the fact is many records we regard as "art" dont have the sociological or spiritual depth of those records...

it would be easy to say that the work of Leroy Burgess or even James Brown is fluff based on the subject matter and dismiss it as not being artistic..which is in fact what mainstream music press does to Black music as a whole...and I have a problem with that...

it would be easy to say that I Want You is just a record abt being horny just the same as a Jodeci record is....

now as far as Thriller is concerned, it is an artistic as well as a commercial landmark for these reasons:

A) you said in another post that you do not regard MJ as a songwriter or producer...which is unfair because he CLEARLY does both...as far as his first 2 albums w/Q.....people tend to overestimate Q's role...they tend to think that without a producer at the helm, Mike is helpless...it was Mike(w/the help of Randy Jackson) who created the the Jackson sound....it wasnt Jackie, Tito, or Marlon....and you see how well Jermaine faired on his own....

the the biggest issue that led J5 to leave Motown was lack of creative control....Mike was tired of being a singing puppet...he wanted his freedom in the studio...

CBS was unsure and made the group do two albums w/Philly Intl...after that it was time to put up or shut up...

so Mike and the boys got in the studio....CBS sent some studio pros in to make sure the shit didnt go wrong....the result was the Destiny album...the album that put them back on top....

with the exception of Blame It On The Boogie, ya boy wrote every song on that record...

he wanted to distance himself from his family and create a new sound for himself....since he'd already lent his sound to the family brand he brought in Q....

NOBODY else wanted Q...the word was that he was too old, that his track record in pop was unproven...look at the facts....before OTW and Thriller, Q was known as a bandleader and film composer, NOT a pop hitmaker....he'd had success w/the Brojays but that's it...the last pop hit that he was responsible for before that was It's My Party by Leslie Gore....

if you hit you tube and listen to the demos that Mike brought Q, you will see that very little is different from the album versions...

matter of fact, here ya go:
Dont Stop demo:
http://www.youtube.com/wa...xzf-TSvPec

Working Day and Night demo:
http://www.youtube.com/wa...2yHzXneIj8

let's go to the Thriller demos....

The Girl Is Mine demo 1:
http://www.youtube.com/wa...J0s4ArKpLA

Billie Jean demo:
http://www.youtube.com/wa...ZM4bmPM4qs

Beat It demo
http://www.youtube.com/wa...lfV69pJ9T8

Wanna Be Startin' Somethin' demo
http://www.youtube.com/wa...lOmxg85yDg

so...my point...is that Mike created these albums from his own vision....he hired Quincy for a)legitimacy and 2)to run the studio 3) for his connections 4)quality control

so what you hear is his vision not Quincy's...so from an artistic standpoint, he didnt just sit around and sing what Quincy put in front of him....he knew what he wanted and hired Q to translate....

after OTW, Mike went and cranked out another Jacksons album, Triumph...where he wrote every song except two...

so w.out Master Quincy, Mike was responsible for:
Shake Your Body
Heartbreak Hotel
Lovely One
Can You Feel It
Walk Right Now
Things I Do For You
...and the remaining songs on both Jacksons albums of that period...

but the music snobs like to think that Maestro Quincy sat Green Mike down and told him what to do....we can also add the folks that think Rod Temperton wrote every song on those two albums...and that's the reason why those records came out the way they did...

Mike created those albums from his own creative muse, so artistically for him, that's a W....

B) as far as Thriller specifically...Mike did something that no one else had done....he created the musical bridge for mainstream music from the 70's to the 80's...he was the cat who survived the 70's and led the way to he 80's, where most other 70's cats were tryna figure out what to do next...most of them were doing disco knock-offs and praying for their survival...

people glaze over it now...but what soul/R&B figure could create a hit rock record that was embraced across the board...AND considered authentic by the rock audience?(the snobs may have been pissed off, but they werent the ones buying the records)...what soul/R&B cat was collaborating with Van Halen....and have it WORK?

it wasnt Prince....w/out Beat It, could you have a Let's Go Crazy?

what other soul/R&B cat could get one of the Beatles on Black radio in the 80's?

what soul/R&B cat would get Vincent Price to drop spoken word in the middle a funk/R&B cut cum horror movie?

who was else at the time was incorporating African chants and percussion at a time when everyone was whitening it up sonically(including MJ)...and who would reference Soul Makossa in the 80's?

listen to the fact that a Black artist who was considered strictly soul/R&B decided to do a stylistic tour de force in one album when it hadnt been done before...

Thriller had:
Funk
straight R&B
Quiet Storm
MOR Pop
Rock

...all in one album by a Black aritst when such a thing was not only unheard of but frowned upon.....

futhermore, on Thriller he spoke abt teen preganancy, gang violence, challenging the social constructs of manhood, the culture of gossip, emotional blackmail, obsession, false accusations of paternity, and belief in one's self...

fluff?

these are ARTISTIC RISKS....they could have gone horribly awry, but they didnt....he did the record HIS way....and in a rare occurence that we will only see once in a lifetime, hit the bulls-eye and pleased EVERYBODY...the effects of that had both deep positive and negative effects on his work and the entire music industry after that....

let's remember...when Thriller was being conceived and recorded, MJ was still thought of as strictly an R&B act (Rolling Stone refused to do a cover story on him at the time), a boy band singer made good and the success or failure of the record was of little consequence to anyone BUT MJ...so pulling those strings wasnt as easy as we'd think it to be....

but WHY did he want to make a record like Thriller?....was it just to win the awards and make copious amounts of dough?

partially, yeah...but beyond that...why would MJ risk his entire career (which he'd done a few times before at that point) on a record that everybody, even QUINCY, thought would only be a mild follow up to OTW?

because he wanted out of the box...he wanted the limitations placed on Black musical artistry lifted...to end the segregation, so to speak...to send a message that you can follow your muse no matter what people say or think...you can do the kind of music you want to do and nobody should get in your way or try to stop you....

and he DID that...he achieved that goal of ARTISTIC freedom that reaps commercial success where it is unusual that the two paths EVER cross...

and whether you believe it or not is beside the point....MJ kicked down a huge barrier with Thriller...and many artists, regardless of culture or genre have reaped the benefits...

so at a superficial glance, it could appear that Thriller is nothing but the hottest chick in school for a couple years...but what happens when you talk to that chick and find out that there's more there than just eye candy...

so like I said....people can feel how they wanna feel abt the artist and the record, we're all entitled to our opinions...but give credit where credit is due is all Im saying....

WaterInYourBath said:

[img:$uid]http://29.media.tumblr.com/tumblr_l5wvcypQhB1qbogo8o1_500.png[/img:$uid]

His eyes in this photo are spellbinding.

Oh hell yes!

EmeraldSkies said:

WaterInYourBath said:

[img:$uid]http://29.media.tumblr.com/tumblr_l5wvcypQhB1qbogo8o1_500.png[/img:$uid]

His eyes in this photo are spellbinding.

Oh hell yes!

Oh my..

tangerine7 said:

well that was...umm..kinda scary.

I like the Speed Demon set pic, he looks like a baby getting food wiped off his mouth awwwww

Is some of this in the Offical "They Don't Care About Us - This Is It" video that was premeired on MTV & VH1? I can't find that video on Vevo or Youtube. I do know that some scenes are from the bonus features,but some I've not seen even on my bluray.

[Edited 7/25/10 20:47pm]

Tears just rolled down my eyes while I was watching my DVD copy of Nina Simone's 1976 Montreux Concert because of her cover of this Janis Ian classic. Her version just made me think of Michael's life...the lyrics really relate to his pain and talent too!

[Edited 7/25/10 20:35pm]

EmeraldSkies said:

WaterInYourBath said:

[img:$uid]http://29.media.tumblr.com/tumblr_l5wvcypQhB1qbogo8o1_500.png[/img:$uid]

His eyes in this photo are spellbinding.

Oh hell yes!

Wow, that's a nice one.

James' review of "Moonwalker", the video game. I love this guy. He's funny

I never did understand why APOM played instead of Thriller during the graveyard level. I'm sure it had to do with Copyrights, seeing that all the songs on the game are songs MJ wrote.

ViintageJunkiie said:

James' review of "Moonwalker", the video game. I love this guy. He's funny

I never did understand why APOM played instead of Thriller during the graveyard level. I'm sure it had to do with Copyrights, seeing that all the songs on the game are songs MJ wrote.

Maybe I'm not remembering clearly, but I think I remember Thriller being played when you did the dance function or did something.....I'm not sure but I remember a piece playing when you would do a dance with the zombies

btw, the arcade version slaps the shit out of the genesis version

ViintageJunkiie said:

James' review of "Moonwalker", the video game. I love this guy. He's funny

I never did understand why APOM played instead of Thriller during the graveyard level. I'm sure it had to do with Copyrights, seeing that all the songs on the game are songs MJ wrote.

This made me laugh so hard. Thank you for sharing ViintageJunkiie. I loved it.

bboy87 said:

ViintageJunkiie said:

James' review of "Moonwalker", the video game. I love this guy. He's funny

I never did understand why APOM played instead of Thriller during the graveyard level. I'm sure it had to do with Copyrights, seeing that all the songs on the game are songs MJ wrote.

Maybe I'm not remembering clearly, but I think I remember Thriller being played when you did the dance function or did something.....I'm not sure but I remember a piece playing when you would do a dance with the zombies

btw, the arcade version slaps the shit out of the genesis version

Let me check

*literally goes to play the graveyard level*

Nope. APOM plays during the dance squence

and HELL YEAH! The arcade version KILLS!

Vanilli said:

ViintageJunkiie said:

James' review of "Moonwalker", the video game. I love this guy. He's funny

I never did understand why APOM played instead of Thriller during the graveyard level. I'm sure it had to do with Copyrights, seeing that all the songs on the game are songs MJ wrote.

This made me laugh so hard. Thank you for sharing ViintageJunkiie. I loved it.

You are very welcomed! Check out his videos. He's really funny. He does a lot of reviews on retro video games

WaterInYourBath said:

[img:$uid]http://29.media.tumblr.com/tumblr_l5wvcypQhB1qbogo8o1_500.png[/img:$uid]

His eyes in this photo are spellbinding.

I don´t know why, but I am not that crazy about this picture. Maybe because I never like his eyebrow that thin.

Anyways, here´s another picture.

[img:$uid]http://img811.i.../img:$uid]

ViintageJunkiie said:

James' review of "Moonwalker", the video game. I love this guy. He's funny

I never did understand why APOM played instead of Thriller during the graveyard level. I'm sure it had to do with Copyrights, seeing that all the songs on the game are songs MJ wrote.

It's weird how they used that song, it didn't fit. It was obviously a "Thriller" theme lol

Timmy84 said:

ViintageJunkiie said:

James' review of "Moonwalker", the video game. I love this guy. He's funny

I never did understand why APOM played instead of Thriller during the graveyard level. I'm sure it had to do with Copyrights, seeing that all the songs on the game are songs MJ wrote.

It's weird how they used that song, it didn't fit. It was obviously a "Thriller" theme lol

This is what I saw via Wiki

(in bold) That's what I figured in my earlier post because all the songs on the game are songs MJ wrote himself.

Found a clip of Thriller playing

[Edited 7/26/10 10:39am]

ViintageJunkiie said:

Timmy84 said:

This is what I saw via Wiki

The ad suggests that the song "Thriller" was included in the game. The third stage — much of it set in a graveyard, with zombies as the main enemy — "Thriller" as the dance attack music is present in the early versions of the game known as REV00 which has all 3 parts of the Woods level and the third part of the Enemy Hideout level, while the later version known as REV01 has "Another Part of Me" used as the dance attack music for the first two parts of the Woods and in the third part of the Enemy Hideout while "Billie Jean" is used as the dance attack music in the third part of the Woods possibly due to copyright issues (since Jackson is not the songwriter of Thriller).

(in bold) That's what I figured in my earlier post because all the songs on the game are songs MJ wrote himself.

Found a clip of Thriller playing

[Edited 7/26/10 10:39am]

I see...

seeingvoices12 said:

all this rumors , i wish they would give some kind of securities . dates etc , nice vid though

bboy87 said:

Swa said:

Continuing the album per week discussion of MJ's work. This week we embark on Thriller.

What are your memories? What are your feelings now? What tracks do you love or can do with without?

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.

Scorpeze from Windimoto's essay about Thriller

while we all might be sick of hearing it and while it may not be as heavy as a What's Going On or Innervisions...the fact is many records we regard as "art" dont have the sociological or spiritual depth of those records...

it would be easy to say that the work of Leroy Burgess or even James Brown is fluff based on the subject matter and dismiss it as not being artistic..which is in fact what mainstream music press does to Black music as a whole...and I have a problem with that...

it would be easy to say that I Want You is just a record abt being horny just the same as a Jodeci record is....

now as far as Thriller is concerned, it is an artistic as well as a commercial landmark for these reasons:

A) you said in another post that you do not regard MJ as a songwriter or producer...which is unfair because he CLEARLY does both...as far as his first 2 albums w/Q.....people tend to overestimate Q's role...they tend to think that without a producer at the helm, Mike is helpless...it was Mike(w/the help of Randy Jackson) who created the the Jackson sound....it wasnt Jackie, Tito, or Marlon....and you see how well Jermaine faired on his own....

the the biggest issue that led J5 to leave Motown was lack of creative control....Mike was tired of being a singing puppet...he wanted his freedom in the studio...

CBS was unsure and made the group do two albums w/Philly Intl...after that it was time to put up or shut up...

so Mike and the boys got in the studio....CBS sent some studio pros in to make sure the shit didnt go wrong....the result was the Destiny album...the album that put them back on top....

with the exception of Blame It On The Boogie, ya boy wrote every song on that record...

he wanted to distance himself from his family and create a new sound for himself....since he'd already lent his sound to the family brand he brought in Q....

NOBODY else wanted Q...the word was that he was too old, that his track record in pop was unproven...look at the facts....before OTW and Thriller, Q was known as a bandleader and film composer, NOT a pop hitmaker....he'd had success w/the Brojays but that's it...the last pop hit that he was responsible for before that was It's My Party by Leslie Gore....

if you hit you tube and listen to the demos that Mike brought Q, you will see that very little is different from the album versions...

matter of fact, here ya go:
Dont Stop demo:
http://www.youtube.com/wa...xzf-TSvPec

Working Day and Night demo:
http://www.youtube.com/wa...2yHzXneIj8

let's go to the Thriller demos....

The Girl Is Mine demo 1:
http://www.youtube.com/wa...J0s4ArKpLA

Billie Jean demo:
http://www.youtube.com/wa...ZM4bmPM4qs

Beat It demo
http://www.youtube.com/wa...lfV69pJ9T8

Wanna Be Startin' Somethin' demo
http://www.youtube.com/wa...lOmxg85yDg

so...my point...is that Mike created these albums from his own vision....he hired Quincy for a)legitimacy and 2)to run the studio 3) for his connections 4)quality control

so what you hear is his vision not Quincy's...so from an artistic standpoint, he didnt just sit around and sing what Quincy put in front of him....he knew what he wanted and hired Q to translate....

after OTW, Mike went and cranked out another Jacksons album, Triumph...where he wrote every song except two...

so w.out Master Quincy, Mike was responsible for:
Shake Your Body
Heartbreak Hotel
Lovely One
Can You Feel It
Walk Right Now
Things I Do For You
...and the remaining songs on both Jacksons albums of that period...

but the music snobs like to think that Maestro Quincy sat Green Mike down and told him what to do....we can also add the folks that think Rod Temperton wrote every song on those two albums...and that's the reason why those records came out the way they did...

Mike created those albums from his own creative muse, so artistically for him, that's a W....

B) as far as Thriller specifically...Mike did something that no one else had done....he created the musical bridge for mainstream music from the 70's to the 80's...he was the cat who survived the 70's and led the way to he 80's, where most other 70's cats were tryna figure out what to do next...most of them were doing disco knock-offs and praying for their survival...

people glaze over it now...but what soul/R&B figure could create a hit rock record that was embraced across the board...AND considered authentic by the rock audience?(the snobs may have been pissed off, but they werent the ones buying the records)...what soul/R&B cat was collaborating with Van Halen....and have it WORK?

it wasnt Prince....w/out Beat It, could you have a Let's Go Crazy?

what other soul/R&B cat could get one of the Beatles on Black radio in the 80's?

what soul/R&B cat would get Vincent Price to drop spoken word in the middle a funk/R&B cut cum horror movie?

who was else at the time was incorporating African chants and percussion at a time when everyone was whitening it up sonically(including MJ)...and who would reference Soul Makossa in the 80's?

listen to the fact that a Black artist who was considered strictly soul/R&B decided to do a stylistic tour de force in one album when it hadnt been done before...

Thriller had:
Funk
straight R&B
Quiet Storm
MOR Pop
Rock

...all in one album by a Black aritst when such a thing was not only unheard of but frowned upon.....

futhermore, on Thriller he spoke abt teen preganancy, gang violence, challenging the social constructs of manhood, the culture of gossip, emotional blackmail, obsession, false accusations of paternity, and belief in one's self...

fluff?

these are ARTISTIC RISKS....they could have gone horribly awry, but they didnt....he did the record HIS way....and in a rare occurence that we will only see once in a lifetime, hit the bulls-eye and pleased EVERYBODY...the effects of that had both deep positive and negative effects on his work and the entire music industry after that....

let's remember...when Thriller was being conceived and recorded, MJ was still thought of as strictly an R&B act (Rolling Stone refused to do a cover story on him at the time), a boy band singer made good and the success or failure of the record was of little consequence to anyone BUT MJ...so pulling those strings wasnt as easy as we'd think it to be....

but WHY did he want to make a record like Thriller?....was it just to win the awards and make copious amounts of dough?

partially, yeah...but beyond that...why would MJ risk his entire career (which he'd done a few times before at that point) on a record that everybody, even QUINCY, thought would only be a mild follow up to OTW?

because he wanted out of the box...he wanted the limitations placed on Black musical artistry lifted...to end the segregation, so to speak...to send a message that you can follow your muse no matter what people say or think...you can do the kind of music you want to do and nobody should get in your way or try to stop you....

and he DID that...he achieved that goal of ARTISTIC freedom that reaps commercial success where it is unusual that the two paths EVER cross...

and whether you believe it or not is beside the point....MJ kicked down a huge barrier with Thriller...and many artists, regardless of culture or genre have reaped the benefits...

so at a superficial glance, it could appear that Thriller is nothing but the hottest chick in school for a couple years...but what happens when you talk to that chick and find out that there's more there than just eye candy...

so like I said....people can feel how they wanna feel abt the artist and the record, we're all entitled to our opinions...but give credit where credit is due is all Im saying....

All strong points...especially the underlining point of MJ taking musical risks with Thriller...Although the sound was overwhelmingly pop, that doesn't mean the studio tools and musical blueprint used to make the record was not at all groundbreaking...All you have to do is listen to "Billie Jean" and "Beat It" to hear the risk-taking on some of the tracks...

I just wish the true MJ fans would stop shitting on Quincy Jones..No need to diminish his contribution to Thriller.. Also, Scorp saying this: "what soul/R&B cat was collaborating with Van Halen....and have it WORK?it wasnt Prince....w/out Beat It, could you have a Let's Go Crazy?"..... is misleading...Prince was incorporating rock into his music as far back as 1978 on his debut album...Hell, it could be said "Little Red Corvette" was the song that showcased a new way to incorporate rock, pop and soul together...And of course, Prince didn't need Eddie V. because he could play his own guitar God solos...But that's a whole other topic... But all in all, this is some great, informative info about MJ...as great as he is, he doesn't get the props he deserves as an artist....

[Edited 7/26/10 14:55pm]

.

[Edited 7/26/10 16:38pm]

Timmy84 said:

ViintageJunkiie said:

I see...

Yep. Only the very early versions played Thriller if you held down an extra button while dancing...I played that game endlessly on Genesis. And yes they were supposed to add Thriller and I think it was OKed so they made the level then for some reason (like said probably copyright issues with Temperton) they didn't find an agreement, but it was too late to redo the level. They probably thought fuck it it's Michael, he's popular as hell, the target audience isn't gonna notice. lol.

The greatest thing you'll ever learn is just to love and be loved in return.

I thought this is something everyone should read. Be proud, MJ fans!

-------------------

Michael Jackson fans are a strange breed. One would be hard pressed to find another fan community whose object of admiration is the subject of so much unnecessary condemnation. Over time, Michael Jackson enthusiasts have watched their beloved's seemingly global idolization transform into apparent worldwide mischaracterization and mistreatment by the press and public alike.

Yet, through it all, true Michael Jackson fans have not abandoned him. If anything, the harder Michael's opponents try to shove him to the depths of despair, the harder his devotees love him, if only for summoning the courage to persist in the midst of it all. Michael's continued endurance is an exercise in strength and resilience in the face of adversity and uncertainty. Michael's fans have learned well the lesson, as they steadfastly brave the almost daily emotional roller coaster ride that is a requisite experience of every Jackson supporter. They marvel at his seemingly inexhaustible talents and applaud his victories. They laugh with him in his happiness; weep with him in his sorrow and pray for him in troubled times. Their hearts are warmed when he is embraced, and bleed when he is ill-treated.

Despite the stratospheric highs and seemingly cavernous lows that come with being a Michael Jackson fan, they remain loyal. They, like Michael, refuse to allow naysayers to steal their joy, obstruct their way or shape their opinions. They, like Michael, refuse to have their destiny defined or dictated by another. They also refuse to stand idly by as others attempt to deny Michael his rightfully earned legacy. Simply, Michael Jackson's fans are just like Michael in that they will not be deterred.

By nature of their calling, Michael's fans are constantly summoned to put on the full Armour, stand on the front lines and fight. Oftentimes with their pen as their sword, they fight alongside and for Michael's right of humanity. By so doing, they fight for tolerance over prejudice, unconditional love over criticism; wisdom over ignorance and justice over inequality - not only for Michael, but for themselves as well. The battles are never-ending, hard-fought and oftentimes mentally and physically exhausting. Still, rather than surrender or reconcile, Michael's fans resist. They resist the desire to abandon Michael when all seems lost. They forsake the notion that theirs is a lost cause. They refuse to throw in the towel and resign themselves to the path of least resistance, which so often involves renouncing their fan support of Michael.

When the going gets tough, with weary minds and heavy hearts, they press on. They press on through Michael's tribulations and the attacks to which he is subjected. They press on in spite of tire. They press on despite mockery and question as to why they bother fight at all for Michael Jackson, a man some deem undeserving of their adoration.

Hazrat Inayat Khan once said, "God breaks the heart again and again until it stays open". Michael's devotees can see him as living proof of this idea, as he seems to be the embodiment of the notion. His own heart has been broken much and his fans personally feel the sting of each break. By the grace of God, Michael's heart does not become hardened as a result of its frequent fractures. To the contrary, his shattered heart allows for its tenderness and openness. Since out of the abundance of the heart, the mouth speaks, Michael's fans are able to truly see the fullness of his heart when they listen to him articulate his desire for acceptance, understanding, positivism, love and peace through song and speech.

As their efforts to break Jackson himself have continually proven unsuccessful, some Michael Jackson opponents have turned their focus to attempting to disband the fan community by attacking his defenders. Time after time, the press uses condescending, defamatory terms to describe Michael's fans. Being referred to as "delusional" and "*****" is not foreign to Jackson's supporters. However, Michael's devotees choose to ignore the juvenile name-calling and taglines bestowed on them by the media. The fans refuse to allow the press to project its negative, inaccurate perception onto them. This is because Michael Jackson fans realize that such inflammatory terms do not depict their true nature as intelligent, grounded individuals with a healthy admiration for Michael's music, vision and humanitarianism among other things.

Interestingly enough, Michael Jackson's influence is global and thus, so is his fan base. His detractors are under the false impression that his fan base is minuscule as well as one-dimensional. To the contrary, Michael Jackson enthusiasts are nothing if not vast and multi-dimensional. They can be found on every continent, in every country worldwide. Michael's fans transcend racial, age and socioeconomic boundaries. The fact that Michael's fans are so diverse adds to their beauty.

Few entertainers, if any, can lay claim to having the type of dynamic and varied fan base of which Michael Jackson can boast. If it is true our lives are open books for others to read, then the fans' study of Michael Jackson has taught them more than they ever could have imagined they would learn about life, love and survival.

Michael Jackson is a living testament of the notion that whatever one dreams and desires for his or her life can be achieved. Michael lives by the mantra that love should have no limitations -no conditions. Michael has shown all who dare take notice that it is possible to not only stay alive, but to thrive, with grace and fortitude despite adversity. By merely existing, Michael Jackson has taught his fans what it is to dream without fear, to create without boundaries, to listen without prejudice and to love without judgment. Simply, Michael Jackson's fans are a hard act to outshine.

Their loyalty, enthusiasm, intelligence and genuine adoration of their musical idol is unparalleled by other artists' fan communities. However, for all their attributes, when it comes to one particular matter, Michael Jackson's admiring fans will always be bested. For try as they might, no matter to what infinite degree they say and believe they love Michael Jackson, the King of Pop in true regal fashion, will always say and prove he loves them more ...

- written by Fantam


--
In a world filled with hate, we must still dare to hope.
In a world filled with anger, we must still dare to comfort.
In a world filled with despair, we must still dare to dream.
And in a world filled with distrust, we must still dare to believe.

~ Michael Jackson ~

I remember that article

I'm wondering if I should take an mj break cause I've been too too stressed out for a long time over him. When is the new album coming out?