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Home , Bad (tour), Beat It, Billie Jean, Classic Hits, James Ingram, Manu Dibango

MICHAEL JACKSON 101 JACKSON 101 THRILLER

&E

Andy Healy 101 THRILLER

. Andy Healy 2017 Dedicated to Michael for proving that dreams can come true and that music can unite people of different races, creeds and ideologies the world over. Under the Creative Commons licence you are free to share, copy, distribute and transmit this work with the proviso that the work not be altered in any way, shape or form and that all written works are credited to Andy Healy as author. This Creative Commons licence does not This special THRILLER Supplement is also dedicated to the producers, engineers, extend to the copyrights held by the photographers and their respective works. and who helped bring Michael’s vision and music to life. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. By a fan for the fans. I do not claim any ownership of the photographs featured and all rights reside with the original copyright holders. Images are used under the Fair Use Act and do not intend to infringe on the copyright holders.

&E THRILLER

hriller. Before the awards and the accolades. There Just the mere35 mention of the was simply Thriller, the follow up to Michael’s T throws up a string of iconic images and landmark 1979 album Off . record shattering statistics. Michael, no longer just considered the twirling Yes, it is the biggest selling album of all time. Wunderkind of , had proven himself as a viable solo artist with his - Yes, it spent a record-breaking thirty-seven weeks defying breakout. at number one (including a 13 consecutive week run.) Now with Thriller, Michael wanted to continue to push his creativity and he was intent on Yes, it was the highest selling album of the creating an album that wouldn’t be restricted year for back-to-back years in 1983 and 1984. to the racially drawn classification of genre or radio play. Yes, it was the first album to spawn seven Top Ten singles. So, as Michael reconvened with producer and engineer Yes, it helped Michael Jackson set a record in Westlake Studios on April 14, 1982 they set Grammy haul for one night with eight trophies. about recording Thriller guided by Michael’s vision to create an album so powerful in its Yes, its videos (or short films as Michael called content it could not, would not, be ignored. them) reshaped what promo clips could be and broke down the racial lines of the then- Recording sessions would last until November burgeoning MTV. 8th of that year and would see the team whittle down a collection of thirty Yes, it brings to mind images of light up (since inflated to numbers in the hundreds by pavements, zipper jackets, dancing zombies, Jones) to the final nine that would make up glittering socks, sequined single gloves, and the album. moonwalks. But when they came to review the labors Yes, it became for every album of their hard work Michael felt they had that followed. missed the sonic mark. With too much music crammed into the grooves of each side of Yes, it outsold the collective sales of the the album, the result was a muddy mix. And remainder of the Top 10 . this wouldn’t stand.

Yes, as Quincy Jones infamously said, it So Michael, Quincy and Bruce set about “saved the record industry.” sonically saving Thriller, editing and remixing each track until it was ready. This strive Yes, it catapulted a superstar into the rarefied for perfection paid off as Thriller not only air of the stratosphere. changed the trajectory of Michael’s career, it changed the world of music forever. But before all that. THRILLER35 01 Wanna Be Startin’ Somethin’

ike a sonic knocking on the door of the this line, a source of nourishment for those world, the triple hit intro of ‘Wanna Be feasting on rumormongering. He ‘s lashing LStartin’ Somethin’” is set to blow the out at being used, taken advantage of and doors wide open. With its driving beat people constantly “eating off” of him and his and infectious groove ‘Wanna Be Startin’ success. It’s a brilliant metaphor that hides its Somethin’’ bridges the gap between where meaning just below the surface. we left off with and what Thriller promised. No surprise then that this track Just when you think the may get had its first incarnation during the Off The weighed down in its own struggle, Michael Wall sessions but was left to percolate until it breaks the chains of gossip that surrounds fit with where Michael wanted it to go him and flips the track to one of positivity. musically. With an empowering declaration on the Charged with energy, the relentless bass strength of self-belief and knowing your line grounds the track throughout with the own truth, Michael matches the infectious same hypnotic notes playing over and over. rhythms with an equally infectious sense of But rather than wear out its welcome, the optimism. Here the track shifts gear and uplifts bass line pulses like a heartbeat through the the listener as it builds towards its apex. With track with a growing sense of urgency. With the, now often sampled chant, inspired by each passing verse we are introduced to Manu Dibango’s “Soul MaKoosa” the song more instrumental embellishment as horns elevates to a new place as it encourages puncture lines, synths swirl, and percussive you to join in. claps hit. They combine in a way that elevates the track to a higher plane as each At just over 6 minutes in length ‘Wanna Be new chorus approaches. Startin’ Somethin’’ remains fresh and vital throughout and never overstays its welcome. Michael’s most personal take on the world To this day it remains a track that is just as around him at the time, the lyrics convey his moving and catchy as it was the first time it helplessness as those surrounding him feed blasted through the world’s stereos back in and thrive off idle gossip and rumour. He 1982. tackles our collective ruthless desire to gossip, and the pain it inflicts. He takes aim squarely As an album opener it is set the scene for at hypocritical behaviour and even spares a Thriller. There were subtle callbacks to the verse to square off with teen pregnancy. of Off The Wall but Michael here was expanding his musical vocabulary with We are also introduced to the antagonist of influences of tribal and piercing . For those of us who got to listen to the track. At a time when music sales were Thriller prior to the release of ‘Billie Jean’ as a in decline and the recording industry was single it was quite a kick to have this lyrical struggling, for Michael to even dream of cameo appear here and then discover a topping Off The Wall was seen as audacious. further reappearance in the title track. But as Michael bellows, “Yes, I believe in me” The backing vocals offer jubilance and you get a sense of his faith in his talent to carry richness as the co-sign the main vocal with him beyond his wild ambitions. ‘Wanna Be emphatic “Yeah, Yeah” then turn dark with Startin’ Somethin’” is the soundtrack to that the taunting delivery of “You’re a vegetable” ambition, the launchpad for Thriller as an where Michael lays down a mocking take album. And by the time the song ends, you buried in the mix. Michael decries the have a sense that the musical landscape sense of being seen solely as an object in has changed forever. And it had.

Baby Be Mine 02 s he had done with Off the Wall, second verse onwards where the backing Michael chose to supplement vocals become another part in the Ahis self-penned creations with narrative outlining Michael’s longing and songs sourced from external writers enthusiastic desire as they offer, “I can’t sit including the late, great . still, you thrill me, baby be mine.” Temperton ended up contributing three songs to the album including this, the With the song fixed on its swaggering funk-soul groove of “Baby Be Mine.” groove, it takes a leap in the bridge as Michael pleads his case with optimism Starting with a drum fill that calls back to the and conviction. Here Michael is in full iconic intro of “”, “Baby Be control of his power as a vocalist, using his Mine” is perhaps the most straightforward instrument to both ground his voice in one track on the album and has all the moment and then take flight in the next. hallmarks of a Temperton penned track. He rings every drop of emotion from the There’s a cool swaying beat, a heavenly lines with enticing promises of the future. brass section and a playful countenance Just listen to the blissful delivery of “Lady between lead and backing vocals. can’t you see that heaven’s just begun” - it’s filled with hope and conviction. It’s Carried by the groove, the song finds then followed by with surety that “It’s Michael in a more carefree space living here inside our hearts.” vocally than elsewhere on the album. The production, and specifically Michael’s There’s something about the key change at vocals, elevate the song from being the 3:30 mark that feels sloppy and almost purely filler as one expects it would be on rushed. It’s the only unsettling moment a lesser artist’s album. in this otherwise flawless production. Thankfully as soon as Michael begins the The lyrics themselves provide space in the ad-libs with soon to be trademark “Come melody for Michael to sing with an airy on Girl” call outs that slight slip fades from quality as he declares “I don’t need no memory as you relish the abandon with dreams when I’m by your side.” Michael which Michael teases out the words. elongates words, and dips and bends notes with ease as he sings, “Darling let And those horns. me hold you” sweeping the end of one line into the start of the next. They add just the right amount of funk, buzzing around the closing moments like There is an inherent sweetness in “Baby bees savoring the nectar of the sweet Be Mine” that thankfully stays this side honey. of schmaltzy and is carried with the confidence of Michael’s delivery. “Baby Be Mine” is a playful, effortless song that glances back at Off The Wall The chorus in particular is a prime example and bathes in its afterglow. Hardly the of how Michael layers his backing vocals standout track on the album, it does play to add a lush, soothing quality to them. its role in satisfying the desire of the listener Just listen to how effortless they are. who wants some of that familiar Jackson They aren’t forced either in delivery or sound. It also offers a transition point in their place in the mix but instead are from the power of the album opener and allowed to float above the lead vocal the more Middle Of The Road vibe of “The and provide an accent when needed. Girl Is Mine.” This is true in both the chorus and in the

03

s pick for the lead single for Thriller, ‘The The final verse continues this trading line Girl Is Mine’ wasn’t quite what people format as Paul and Michael take turns Awere expecting. A strategic choice to to prove their rightful place as the sole get the star-studded duet out of the way, it occupant of her heart. did give some pause for what the follow up to Off The Wall was going to offer. A lot has been made over the years over Michael’s choice of “Doggone” in the lyrics. If you can get past the borderline schmaltzy Whilst it may not be the most eloquent or popfest and the hokey spoken back flattering way to describe one’s love, it and forth between Paul McCartney and does demonstrate Michael’s approach to Michael, ‘The Girl Is Mine’ offers insight into song writing. Here Michael is going for feel, Michael’s growing ability as a for meter, rather than going for an overly and composer. descriptive word. After all he could have chosen any two syllable descriptor such as Perhaps spurred on by the sweet pop gorgeous or lovely. But Michael went for sensibility of the McCartney penned “Doggone” (as he would later on ‘Leave Me ‘Girlfriend’ which was featured on Off The Alone’) and on closer inspection it may not Wall, Michael proves his own prowess in be such a throwaway phrase as first thought. writing a simple, yet catchy tune. “Doggone” as a word is a descriptor of He also exemplifies a skilled hand as a lyricist irritation or frustration, and when viewed in building a narrative of two competing through the prism of the narrative, the idea voices. that Michael (and in turn Paul) are frustrated by the toying and indecisiveness of the The opening verse finds Michael as a woman at the center of the song confident (but fooled) lover and sets up the then suddenly doggone seems quite apt. conceit of the song simply with the line “I’m There’s a sense of frustration mixed with allure so proud I am the only one who is special in at play here for Michael - a characterization her heart”. he has given to women previously in songs like ‘’ and ‘Heartbreak With the introduction of McCartney’s own Hotel’. An insight into how Michael viewed narrative in Verse 2, the lyrics spell out the the dynamics of relationships. competing efforts for the mutual object of affection. Here McCartney seems to Musically the song is pretty much standard be taking on the role of antagonist with a Middle Of The Road fare with a pure pop heightened knowing of the classic love focus. It’s pleasant enough and catchy triangle. He is well aware of Michael and his enough to keep you entertained but not “roses” and “silly dreams” and confidently as ground breaking a composition as other teases that these efforts are “really just a songs on the album penned by Michael. waste of time.” Curiously, the original demo version has a Taking turns to state their case through their more laid back jazzy feel to it, something own verse and chorus the two rivals meet worked out of it on the final album version at the bridge as they trade barbs. Here, (even more surprising considering producer Michael as songwriter, has them trading line Quincy Jones’ pedigree) With more of for line not only trying to convince the other a soulful feel to it the demo comes out miles of their prowess but also to try and woo the ahead and for fans who haven’t heard it, it’s girl at the same time. likely to takeover their appreciation for the final album cut.

04 Thriller

t’s difficult not to conjure up the visuals lines aids in building a level of excitement, of the landmark short film as soon as you anticipation and drama in the chorus. It’s Ihear the opening of ’Thriller’ but before a trick utilized with each chorus where the the iconic imagery was burned into our support lines offer up a new threat from the collective consciousness there was just this terrifying (a beast about to strike) to the a catchy-but kooky track in the middle of an callback of the fanciful horror of yesterday otherwise mature album. (the thing with forty eyes).

Removed from the short film, the song is at As the song progresses the lyrics go from once a novelty and a serious contender being innately threatening to more an for your dancing shoes. Its shuffling groove menagerie of the tropes of classic horror grabs you like one of the song’s ghouls films. By the third verse Michael reveals and doesn’t let go while Michael’s vocals that the horror being witnessed is on late contain a sense of dread before exploding night tv. An early take on “Netflix and with excitement in the killer chorus. Thrill” perhaps, Michael and his date are watching scary movies for the thrill of it and Originally written as an optimistic tune also as a way of connecting with Michael called ‘Starlight’ the lyrical content was assuming the role of protector, “Now is changed at the behest of Jackson and the time / For you and I to cuddle close Jones who felt the song should have a together / All through the night / I’ll save darker edge to it. you from the terror on the screen” and that if it’s real thrills the girl is looking for they are Charged with the task songwriter Rod waiting in Michael’s arms. Temperton came back with this ode to the joys of schlock horror and Michael knocked The coupling of Michael’s edgy vocals and it out of the park. the songs groove that dances between menacing to euphoric to a tribute to the Employing a production trick he had used horror and thriller movie trailers of years earlier on ‘’ sound effects gone by especially in the way the vamping are used to give the track an cinematic feel horns are arranged. including Michael howling in the opening. The song’s killer groove and Michael’s The song pulses around a funk driven bass textured and multilayered vocals always line and multilayered percussive groove. keep the song anchored this side of being It’s repetitive structure builds tension and kitschy. Whereas other artists might have a sense of dread through the choruses as not taken the risk with ‘Thriller’, this was a Michael details the unfolding drama. perfect song choice for Michael. It allowed him to be simultaneously playful, sexy, dark, “It’s close to midnight / And something and mysterious. evil’s lurking in the dark” are not your typical opening lyrics for a pop hit. As the lyrics The addition of horror king, Vincent progress the sense of threat and doom Price’s rap at the end of the song was a continues to amp up with each passing masterstroke in production and execution, verse. taking the epic quality of the track up another level. There’s aplomb a plenty in the choruses as Michael belts out, “Thriller / Thriller night” As the closer to side one, ‘Thriller’ reignites before running a maddening number of the excitement that the kicked off the words together in the follow up. This trick album and had you eagerly awaiting what of extending and contracting successive will come next.

05

pening Side II with ‘Beat It’ turns a position of letting things be and was a bold move on Michael’s not escalating shift from being seen as O behalf. As his first bona fide cowardice to being one of enlightenment rock track, it was a gamble that would and strength. either galvanize or have them scratching their heads. So far the album Drawing from the urban world around had pushed Michael down an evolving him, Michael relays the pressures of a Pop and R&B trajectory, taking what young man needing to prove himself listeners knew and expected of him in a street tough environment. He and elevating it. ‘Beat It’ was a left turn explores the push and conflict that exists that would be shocking in its audacity, between being a man, and manning up. and rewarding in its enjoyment. Fleshing out this bold expedition into the From its opening electro-chimes ‘Beat It’ world of rock came the masterstroke of sounded unlike anything else you had pairing Michael’s harder vocals with the heard from Michael throughout his career. rock trickery of Eddie .

It was harder. Grittier. Rawer. Eddie’s instantly recognizable licks explode as he works the fret board like a magician It was rock. and his solo now feels like a natural inclusion.

From its sparse driven intro For its time however, this was a huge risk. replete with off beat accents, first time The pairing of a “white” rock god with a listeners were still guessing where this song “black” artist was unheard of and in some will go (especially considering the cabasa camps considered shocking. At the time shifting back and forth accents in the mix.) music segregation was rampant on radio. White stations played white rock. Black Then the drums pound in with heavy hits and stations played black artists. And never the that riff begins to climb in repeating twain should meet. That was until ‘Beat It’ patterns before being accompanied by blew up the speakers (quite literally, setting heavier rapid fire shredding. a set of speakers aflame in Westlake Studio B.) And then Michael’s vocal’s punch through, “They told him don’t you ever come ‘Beat it’ was so powerful and popular it around here / Don’t wanna see your face obliterated the colour lines of radio airplay you better disappear.” and placed music, not race, at the centre of playlists. For that alone, ‘Beat It’ should Gone is the softness and sweetness of always be celebrated. Michael’s vocals that had been displayed in abundance on the songs proceeding it. Couple that with the timelessness of the That has now been replaced by a more track and you have a song that truly defiant and challenging delivery that is packs a punch and will forever be one of razor sharp and laser focused. Michael’s most surprising and rewarding musical moments. And created the R&B/ Michael is almost threatening in the way Rock blueprint that freed other artists to he delivers “Beat It! / Just Beat It!” at the follow, and opened up the ears and eyes tail of the first and second verse. of record buyers.

And then that chorus hits and Michael takes Once again Michael pulled it out when it was flight with piercing high notes. Michael’s needed writing the track when Quincy felt the skill as a lyricist is often under appreciated album needed a song in the ilk of ’s due to the success of his compositions, but ‘’. Thankfully, rather than just deliver just look at how he structures the chorus a generic rock-pop track like the former, ‘Beat with compound rhymes linking “Beat It/ It’ delivers something new and comes packed Beat It” with “Be-De/fea-ted.” He also with killer hooks and a strong musical sensibility.

Billie Jean 06

f ever there was a quintessential Michael he also plays with the definition of being Jackson song it would have to be the “.” It’s presented here as being I sonic masterpiece that is ‘Billie Jean’. an enviable position, to be chosen by someone so beautiful, so captivating. The Before the 25 Anniversary Special, way he counterplays the definition and before the unveiling of the , intent of “the one” keeps the listener on before the captivating split screen video, their toes. there was an irresistible beat and bass line. The way Michael structures the “People It’s perhaps hard now to disassociate the always told me / be careful what you do” song from the mental images it conjures. pre-chorus is a masterstroke in narrative. Whilst there is no denying this was Michael’s He presents the unfolding story as being of iconic live performance piece, there is also his making, the price for breaking a “young no denying the mastery and craftsmanship girl’s heart”. It now shifts from being a story that went into the writing and delivery of of love gong wrong to being a story of a this song. woman scorned. As the next line details, her plan for revenge will center around a The crispness on that opening beat alone tantalising lie, and as Michael sings “the lie is something to marvel at. Just a simple becomes the truth.” one step beat, but the way it hits has such energy and propulsion it is almost irresistible. The unlikely content of a hit chorus, Michael’s denials are bold and straightforward as he And then the bass line kicks in. A mix of strut sings passionately, “The kid is not my son.” and stalk, the bass walks its way through the track and is so fat in its sonic value it From the percussive lyrical delivery, to the literally hums through the speakers. rich harmonies, to the countering backing vocals, to the myriad of tantalising musical For most songs those two elements alone flourishes, ‘Billie Jean’ is as close to musical would be enough to make it an instant perfection as you are ever likely to hear. classic, but musically Michael brings so many little hooks to the track that would From the verse with its bass line and transcend it from being one the best songs ascending/descending chords, to the flurry he ever recorded to being one of the best of synth horns and trademark “heeeees” songs ever recorded, period. in the pre-chorus, to the chorus with its guitar hook and stabbing strings, to the Michael hooks you in with the opening bridge with its twanged , there line, “She was more like a beauty queen is something in every phrase, every note to / from a movie scene” as he outlines the catch the ear and keep it entertained. allure of the titular antagonist. But he quickly shifts this from being another love Add to the mix Michael’s flawless vocal song to a tale of being caught in paternity delivery and surprisingly personal lyrics that trap nightmare. “I said, ‘Don’t mind, but are at once filled with intrigue, concern and what do you mean / I am the one?’” The then flat out denial and you would think its shift here is so sudden and unexpected it place in music history was predestined. It’s almost fails to register. as if all of Michael’s musical ambitions are embedded in each bar. And successfully As he continues to outline the desire for so. the lead character in the second verse

07 Human Nature

aunting. The airy, dreamy quality of the melody Seductive. cushions Michael’s vocal as they float HIntimate. and swirl around the listener before taking flight with those oh-so-perfect extended All words that perfectly encapsulate the exclamations of “Why?” Michael pierces melodic beauty of ‘Human Nature’ yet the sky with those notes and showcases they only give a glimpse into the depth of what a powerhouse he is being able to its appeal. convey melancholy and self-questioning in that one note. With a dreamlike introduction of trickling synths and seductive guitar, the heart of It seems counter-intuitive that a song so ‘Human Nature’ lays in the mystery of the heavily based in electronic instrumentation lyrics and the sweet floating vocal delivery with bubbling synth runs and sweeping Michael brings. synth pads resonates such a rich, organic warmth. This feat is thanks mostly to As if waking from a dream, the vocals paint Michael’s vocal delivery (especially in the a narrative of restless isolation and longing often missed backing vocals) that keeps amidst a bustling cityscape. With a strong the track still feeling fresh and current, and desire to get out “into the night time” that the intoxicating melody that feels as though “four walls won’t hold me tonight,” Michael it has been plucked from the future. embraces the adventure that the twinkling city lights of New York promise; a chance Penned by Toto alum and for excitement, discovery and perhaps lyricist John Bettis, its development from one night of love. sparse writers demo to a completed track is evidence of taking a beautiful hook and Maybe it is this desire to connect, this packing it with authentic heart and soul. curiosity of what else must lay beyond the small confines of our individual worlds, that is Add the impeccable production and at the heart of our collective human nature silky smooth vocal delivery, and it’s easy and holds the answer to the questioning to see why ‘Human Nature’ is one of why. And it is this exploration, this curiosity, Michael’s most covered songs, and why that is rewarded with a soothing love that live performances generated an intimate is greeted in the morning light. feeling in stadiums of 60,000 plus.

There’s a sense of curiosity, of daring, ‘Human Nature’ is undeniably one of present in the lyrics. The intrigue and pull Michael’s greatest moments on record. His of mystery. The promise of what might be if vocals are peerless, the wistful emotion he you can just step out of your comfort zone. conveys elevates the song to a timeless status and it demonstrates once again Detailing a one night stand wasn’t new in that Michael didn’t have to write the song , but here it is presented as to make it his own. something sensual with an almost romantic quality to it. That need to connect may As soon as the song faded after be primal, but here it is also sexy and that first needle drop it became captivating rather than bawdy and explicit. an instant classic. It also became And it may also be fleeting as hinted to in the blueprint for what a soothing the final verse as Michael is at once present R&B ballad should sound like, “reaching out I touch her shoulder” and and how it should make you the next already moving on, “dreaming of feel. the street.”

08 P.Y.T. (Pretty Young Thing) 08

uring the recording of Thriller, not vocally challenging, it has the ability to challenges would often be thrown improve moods and place a smile on the Dout to the in-house team of writers. face of any listener. ‘P.Y.T. (Pretty Young Thing)’ was the result of one such challenge. In particular, play close attention to the music beneath the playful “Na na na na” Married to Peggy Lipton at the time, Quincy breakdowns that feature sisters, Janet and Jones noticed the label on one of her sets La Toya. Focus in and you’ll be treated to of lingerie and the brand name read, some amazing bass playing courtesy of the Pretty Young Thing. Thinking this would be legendary and extra funky a great name for a song, Quincy put the guitar licks by way of Paul Jackson Jnr. challenge out to the team to come up with a song with this title. For the sheer musicianship it’s worth hunting down the instrumental version of this track. Michael and keyboardist Hearing it without Michael’s vocals front set about writing a smooth, intoxicating and center you’ll be treated to some slo-jam, while Quincy Jones teamed up amazing playing and may discover some with to pen an all out dance wonderful vocoder work at play too. party favourite. Needless to say Quincy and James won out. And who can resits the helium pitched chants of “I want to love you / P.Y.T. / I want With a spring in its step, ‘P.Y.T.’ is an infectious to give you / T.L.C.” in the final minute or party jam. With spoken intro structure Michael’s spoken come ons in the fade. similar to Michael’s ‘Don’t Stop Til You Get Enough’ the song equally explodes into a ‘P.Y.T. (Pretty Young Thing)’ is an unexpected solid dance-funk groove. crowd pleasure in an album packed to the brim with classic hits. There’s something so The comparison to Off The Wall era tracks simple in its playful, sweet, and charming isn’t unwarranted as following on from the way that hits at the heart of everyone who darker, more adult themes of the preceding hears it. songs, ‘P.Y.T.’ is pure joy. Michael’s vocals are light and effortless. There’s a smile in It’s the album’s moment of fun dance-pop his seduction. When he sings “Where did that isn’t meant to , but is you come from lady / and ooh won’t you designed to get the feet moving. For a track take me there” you are drawn in by his that some critics derided as “throwaway” playfulness. And besides, with lyrics like and “forgettable” ‘P.Y.T.’ has stuck around “Tendoroni you’ve got to be” you know as a moment of pure-pop jubilance. this isn’t going to be overly serious fare. It will continue to be a shining example of Michael at his Nor does it need to be. Some songs are most joyous best. written to stir the heart, others the mind, and then there are those to shuffle the feet. ‘P.Y.T.’ is definitely in the feet shuffler category.

There is a sweetness embedded in the track that has kept it from aging, and while not overly complex musically, it does allow the musicians the chance to play there hearts out with little flourishes and runs. And whilst

The Lady In My Life 09

ripping with old school soul ‘The outro was a gutsy decision but one that Lady in My Life’ is another slice of more than paid off. Dperfect production. Asked my producer, Quincy Jones, to go The third track on the album penned back into the vocal booth and plead by Rod Temperton, ‘Lady In My Life’ is his case for the outro, Michael stepped seductive and as smooth as silk as it slowly behind the mic, with light dimmed to builds with it’s sparse . near blackout and he tore it up.

Michael’s sublimely pure vocals and that Never before had we heard such emotion, sweet enticing melody pulls you into the such diverse textures in his voice, such song as Michael sings, “Just put your trust desire. Michael lays it on the line and is in my heart / And meet me in paradise.” at his most sensual. He twist and bends notes. He dips and soars. Just listen to how With an extended call out, “Girl”, leading he dives under then touches heaven with into the second verse (not unlike the “I need you one more time.” Forget it. similarly teasing call in ‘Rock With You’) Game over. But then he backs it up with Michael’s voice drifts over the melody that impassioned, forceful “Don’t you like ripples on a lake, creating a swell go nowhere.” He coos then bursts with that builds to the chorus. emotion. Winding his way through the final minutes with jaw-dropping finesse. Dialing up the seduction, Michael hits the chorus with a promise of a love It’s worth listening to the song over that will last all time. Michael’s choices to really appreciate the vocals here. about which words to push, draw out, Listen once to Michael’s main vocal as and accent heightens the tension of the he dips, swirls and soars. Then listen to melody and adds to the allure. the backing vocal harmonies. Listen to their rich, deep texture as they sing, “Lay Originally recorded with extra verses, back in my tenderness”. They are flawless timing constraints on vinyl forced the and the icing on a track that showcases song to be trimmed back, so we shift from the brilliance of Michael as vocalist. the first verse and chorus straight to the bridge as the song finds its groove. The And as the song fades you get the feeling drums kick in with a pumping heartbeat that you’d be more than happy to listen as the synths bubble away. to this outro for another 2 minutes, and then another 2 on top of that. After another blissful sweep through the chorus we hit the midpoint of the song. Closing out Thriller, ‘Lady In My Life’ had a Popular convention would argue that a more mature, sexier Michael on display. song built of 1 verse, chorus, bridge and Not only do you sit back a the conclusion chorus needs more fleshing out lyrically. of the song floored by what you just heard, That verse 2 or verse 3 should be included. but also the other 8 tracks that preceded it.

Thankfully, more verses were sacrificed ‘Lady In My Life’ was the perfect way to to create space for perhaps the finest close out the album as it shows Michael at 2 and half minutes of Michael’s vocals his peak and has you wanting to listen to captured on record. The decision to the whole journey Thriller has taken you on recut the song to give more than half of once more. it to Michael’s ad-libs in the extended the short films Billie Jean Directed by

ichael had danced before in Michael down a path. He highlighted his short films. But he had never which pavers would light up and readied M danced so freely up to that point the camera for rehearsal. But Michael as he does in ‘Billie Jean’. Directed by wanted to capture the spontaneity of Steve Barron the concept for ‘Billie Jean’ the moment so they shot rather than was to just tell the narrative of the story, rehearsed. And Michael, dancing his way to visually illustrate the blurring of the line along the path hit every spot all the while between fact and fiction. mesmerising with his moves.

It was a simple concept. Michael would be Using split screen and freezes to trailed by a press reporter looking to prove accentuate the dance and draw out the the ‘Billie Jean Scandal’ (as a featured lyrical content this small section of the newspaper headline screamed). But short film became its most iconic. Michael is always one (illuminated) step ahead of the paparazzo illuding him at The story’s resolution of Michael getting every turn. In a precursor to the Midas like into, then disappearing in, the bed leaves effect Michael would have in his career, the question of fact vs fiction up to the everything he comes into contact with is viewer. Was there truth to this tale, or was transformed into light; a positive energy it all just unfounded rumour? Doing so that transforms a homeless man into a ensured the magic and mystique of ‘Billie dapper dan, and springs a tiger from Jean’ lived on. a tiger-print handkerchief. It’s Michael magic, plain and simple. What was captured in the short film was so powerful it couldn’t be ignored by a fledgling And the true magic happens in the middle MTV who to that point had relegated the section of the short film. When Michael few black artists they aired to non-prime asked for a segment to dance in, Barron time viewing. With its intriguing narrative, carved out a bit of narrative and set up effects and captivating performance MTV a long tracking shot that would follow had no choice. Soon ‘Billie Jean’ was placed in high rotation and in doing so Michael broke the cultural divide of MTV and broadened its appeal. It can’t be underestimated how influential this move was. As the first artist to be played in high rotation in prime time and prompting endless requests Michael and ‘Billie Jean’ opened the door for other artists to stroll, strut and dance through.

It was without doubt a major turning point for Michael. A moment when his vision began to come sharply into focus. Each illuminated step was his launching pad for the next chapter of his career. And somewhere, amidst all the split screens, glowing sidewalks and frames, there dancing in the moment you get the feeling that he knew precisely that.

Beat It Directed by

s a modern day ‘’, that ‘Beat It’ had. ‘Beat It’ introduced an era of mass A choreography into the world of Using actual members of the rival street music videos. With its gritty urban setting, gangs the Crips and Bloods, Michael street gang storyline and real sense of brought in a level of authenticity that was dread it brought a degree of cinematic key to the palpable tension exhibited in tension to the soft pop landscape of most the short film. And this move didn’t go performance piece clips. as smoothly as hoped with minor brawls breaking out on the first night of shooting. Directed by Bob Giraldi, Michael created a But just like in the short film, when Michael honest look at the pressure of street gangs arrived on set everything calmed right as two rival tribes square off. Over what, down and the gang members were we are unsure but this in itself is also a key converted into admiring fans. piece of the narrative. We automatically assume there is rivalry, there is beef. All As the song itself crossed the segregated we know is that it has been leading to this. programming of radio, ‘Beat It’ followed the path that ‘Billie Jean’ had blazed and As word of the fight spreads through both further smashed the segregation of MTV gangs’ turf we are introduced to Michael and ensured Michael’s position in high as lead character and narrator (through rotation generating request after request his lyrics). He is in his urban apartment for it to be replayed. becoming aware of the impending battle. Searching through their haunts in a bid to It also launched many a frenzied hunt for quell the brewing storm, Michael always the iconic red zipper jacket and within seems a step behind as if the fight and days authentic and knock off versions the impending bloodshed is a foregone would find their way to the streets further conclusion that can’t be stopped. cementing Michael’s role as influencer of style and fashion. Gathering in a warehouse the gangs prepare to fight with both leaders bound ‘Beat It’ would become a watershed to each other in what will be a battle to the moment not just for MTV and death. But just as the tension rises Michael but for Michael himself as it became the arrives and breaks up the fight with an cross-over hit that exposed him to a wider unrivalled dance break down. Using the audience and drew in fans from all genres unity of dance as a means of finding of music. common ground, the routine has a strong, machismo to it. Expertly choreographed Just as the narrative in the short film does, by the routine was cool the ‘Beat It’ short film managed to unite enough to appeal to hardened hoods as the segregated fans of rock with fans of well as the average home viewer. R&B and turn the whole world into fans of music. Suddenly it was OK for rock fans By diffusing the situation through dance to want to break out a few moves, or for Michael not only played out his belief dance fans to want to rock out to some of the power of music and movement, heavy guitar work. but also created the blueprint for which all dance orientated clips would be set And with life imitating art, at the very centre against. To this day the formation dancing of it all it was Michael. Unifying. Inspiring, is still seen and replicated by new artists and leading the way for generations of striving to have the same kind of impact artists to follow.

Thriller Directed by John Landis

hen it comes to lists of the Contacting director John Landis who Greatest Music Videos of All was fresh off his hit movie “American W Time ‘Thriller’ has built up a bit of Werewolf in ”, Michael set about default position as number one since it fleshing out a mini-movie that would first debuted 30 years ago. Part of it has see him transform into both a Werewolf to do with the nostalgia of the “golden and Zombie. Written by both Landis and age” of MTV and the emergence of music Jackson, the script would play with the videos as entertainment. But there is more conventions of both music videos and to it than just a fond look back. ‘Thriller’ horror films. The opening scene pays didn’t just raise the bar it changed the homage to the B-movie horror films from whole game. It became the first music the 1950s by placing Michael on a date video that was required viewing if you when his car runs out of gas in a deserted wanted to be connected to pop culture. wooded area. Playing with his innocent It was the first to have a “debut” and the public persona (and giving a nod to what first to illustrate what was truly possible drew Michael to Landis in the first place) with this new medium. Michael transforming from innocent into a Werewolf (more Werecat) under the Whilst the notion of a short film music glow of a full moon. video was a relatively new concept to most, Michael had already shown his In a meta moment, the opening is intention to create visual art with the revealed to be movie being watched by release of ‘The Triumph’ the short film that Jackson and his girlfriend, played by Ola featured The Jacksons’ ‘Can You Feel It’ Ray, in a crowded cinema establishing a few years earlier in 1980. With ‘Can You the set piece that will be Thriller. Feel It’ Michael bought a filmic approach to the way music was represented. This Part of what made Thriller feel so fresh was classic Jacksons clip was Michael’s first the way the story played out. The movie step into telling a larger story. And to in a movie wrapped up in a dream that anyone who was paying attention to the maybe wasn’t a dream added excitement visuals he had already created for ‘Billie and twists, while the rearrangement of Jean’ and ‘Beat It’ (and by now the whole the song itself provided a fresh take on world was) Michael’s intentions to keep the familiar drawing you in further. But pushing and revolutionise the medium without a doubt the crowning moment of was evident. ‘Thriller’ is the dance routine conceived by Michael Peters and Michael. Creating At a time when the whole concept of a routine that further played to the another short film for a single off Thriller narrative the dancing reflects what was being dismissed by CBS records (who Michael called “zombie moves without thought the album had peaked in terms being comical”. The routine has become of sales) Michael held steadfast to his as iconic as the shaped red leather vision of creating a short film event for jacket Michael wears. It is a dance of the title track initially proposing to fund the undead. A dance that would take on the $500,000 budget himself. The budget a life of its own. alone was unheard of at the time when by comparison most other videos were Perhaps the routine performed more by being made for $25,000. lay people than any other in history, the ‘Thriller’ dance has been recreated in For ‘Thriller’ Michael knew he wanted movies, tv shows, computer games, by to create something that elevated the flash mobs, lego blocks and even Filipino song beyond being a gimmicky track. prisoners.

But the influence of ‘Thriller’ extends beyond Oh, and it reportedly helped sell another 14 just an often mimicked dance routine million copies of the album. Not for a project CBS couldn’t see selling any more ‘Thriller’ changed the way audiences albums for. consumed music and forever changed the way music would be presented. It was For all the accolades and success it Michael leading the way in what could brought it’s hard to believe that ‘Thriller‘ be achieved, and everyone else was left almost never saw the light of day. With an playing catch up. It made music videos edit finalised Michael, under considerable exciting, inspiring a slew of artists to look pressure from leaders in the Jehovah’s beyond the standard band performing on Witness church, demanded that the master stage set up and invest in storytelling. reel be destroyed. Thankfully Michael’s quick thinking lawyer at the time, John It also made it palatable for movie directors Branca, shelved it rather than destroy it and to start exploring music videos as a way of proposed instead a disclaimer that would expression, something that prior to ‘Thriller’ appease the church by denouncing any they wouldn’t go near. belief in the occult. With that ‘Thriller’ was approved by Michael to air, and the rest is It has gone on to inspire generations of history. recording artists, been ranked The Greatest Ever in every conceivable music video Michael had always been a visionary but countdown and holds the distinction of now he was also a pioneer. With ‘Thriller’ he being the only music video ever to be set a new standard not only for himself but archived in the US National Film Registry by for the whole industry. Something he would the Library of Congress. find to be both a blessing and a curse.

Afterthoughts

hriller was the blessing and curse for It was a sharp ascension and one that Michael Jackson. It was the culmination looked like it would never let up. For 2 years Tof all his creative ambitions and the Michael dominated the airwaves with his realization of his wildest dreams. It launched music, dominated pop culture with his him into the stratosphere of icons. Placed style, and dominated TV screens with his him in the same breath as Elvis and The short films and rare public appearances. Beatles. Made him a household name the world over. Thriller gave Michael the level of success he wanted but it came at a personal and But in achieving all the success that creative cost. was due, Thriller also became Michael’s albatross. Thriller’s sales have never been matched. Even 35 years later no-one has even come If it had been equally successful as Off close. And so by making the album by which The Wall or even mildly more successful, all others would be measured Michael built things might have been different. Michael a creative target that couldn’t be reached might have been forgiven by a press for again. No matter how brilliant and ground surpassing his previous achievements. breaking all works that came later were, After all the press love to build stars up just they wouldn’t match Thriller. But then, no- to tear them down. There are stories to sell one could. in the rise and even more in the fall. And for Michael, the global record breaking Despite creating a new record with 5 unprecedented success of Thriller meant consecutive number 1 hits Bad was no he was now everywhere. Magazine’s Thriller. Despite showcasing an artist fully that previously had thought black artists in charge of his own creative destiny, don’t sell clamoured to place him on their Dangerous was no Thriller. HIStory with its covers. There was an insatiable appetite unprecedented debuting Number 1 hit by the media and the public for more single was no Thriller. Invincible with an . artist still a creative powerhouse 20 years on, was still no Thriller.

Thriller would be the album every review would name check. It’s mammoth success meant everything else would pale in comparison and so 20 million sellers would be quickly labelled (unfairly) flops.

Thriller is a landmark album. It changed everything. It became the go-to blueprint for blockbuster albums. It became the beacon of what was possible. Michael relished being the artist with that status. So it would be unfair to suggest he would have wanted it any other way. But sometimes the success of Thriller was also a creative constraint for Michael and an undue pressure. Sometimes, you have to be careful what you wish for. I hope this exploration into THRILLER has made you want to revisit and dig deeper into the album and give it another listen. Send comments, feedback and thoughts to [email protected]

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