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Michael Jackson – Thriller (Album Review)

Michael Jackson – Thriller (Album Review)

Iconic best describes Thriller, but is it Michael Jackson’s greatest album? 

From a sales perspective and the ability to capture the zeitgeist; absolutely! However, the more I reflect on the album, the more I find that it isn’t as cohesive as the masterpiece that is Off The Wall. It also isn’t as energetic as Bad and while Dangerous rounds out his most successful solo era releases, and is a little too lengthy, it too is a stronger album. 

Don’t get me wrong, dear reader, Thriller is an exceptional release, but once you get past the fanfare and key singles that came from the album, the album-only songs don’t necessarily ensure that Thriller is a fluid album experience from start to finish. Nevertheless, one thing is indisputable and that is that Thriller forever changed the world of music upon its release in 1982. 

As a game-changing cultural phenomenon, Thriller continues to captivate audiences, transcending generations, to this day and remains one of the greatest releases from 1982. Of course, it wasn’t just the music that made Thriller so successful, for it arrived hot on the heels of the MTV era and Jackson took thorough advantage of this new platform ensuring that his music videos were every bit the visual spectacle counterpart to his audible wonders.

In many respects, had it not been for the emerging music video revolution and the Motown 25: Yesterday, Today, Forever television special, where Jackson performed Billie Jean and debuted the moonwalk, one must question if Thriller, Jackson’s sixth solo studio album, would have been the cultural landmark it turned out to be.

Album artwork, certainly in the 80s, played a key role in attracting an audience and while Thriller was successful for a multitude of reasons, the iconic cover art would have been stunning when seen on the shelves of your local record store. It isn’t far-fetched to suggest that the artwork alone could have sold the album for it has a unique quality that allows it to stand out from the crowd. With a level of visual sophistication, you immediately get a sense that what you’re about to hear is something very special. While we shouldn’t judge a book, or a record, by its cover, it is often true that compelling artwork mimics intriguing music and in this case, Thriller doesn’t disappoint. 

However, with over 700 different versions of Thriller, modern collectors face an incredible challenge in finding an edition that best suits their tastes. The good news is that due to its high production, most fans will be content to listen to any version of the album. There are, of course, reasons why one may wish to own multiple copies of Thriller but I find myself content with not only the Hi-Res Lossless Apple Music stream, an Apple Digital Master, but with my 2009 Music On Vinyl (MOV) reissue edition that I’m fortunate to own. Yes, I could track down the various versions, many of which are highly regarded, but I increasingly find myself tiring of such endeavours as it becomes more about finding perfection than simply appreciating the music I love. 

As to which edition I prefer, both have their unique qualities. The Apple Music stream is exquisite and if you haven’t got a physical copy, the stream is likely all you will ever need; it’s that good! However, the vinyl reissue is musically fluid with exceptional dynamics and plenty of bass punch. It’s a lovely all-rounder. The only flaw that I can speak of is that there is a little too much sibilance throughout Side 2 of the record. The sibilance becomes less apparent when playing on my smaller, less revealing system, but it’s something that some of you may find distracting. That said, Jackson does have a small lisp in his vocals anyway, but it’s an issue here as it is amplified a little. Additionally, there are some minor musical elements that sound too distant in the mix on the vinyl reissue, whereas they are much clearer on the streaming counterpart. Again, these issues are not major, and most music lovers won’t even notice them, but if you choose to pick up the vinyl reissue from 2009 as I have, knowledge of this may help you make an informed decision. 

Before taking a look at the songs that make up Thriller, I wanted to take a moment to acknowledge the 2008 reissue and its series of remixes with various artists. Yes, it was officially sanctioned, but I don’t classify it as being true to the Thriller album experience. Subsequently, this review will focus on the core nine tracks that make up the original release of the album. The subsequent bonus material that was on the 2008 reissue remains readily available for those of you who are interested. The 2001 Special Edition is a little more uncommon and truthfully, I never appreciated the bonus songs, and interviews, tacked onto the backend of the album. It really should have been released as a separate disc, but alas, that is one edition that I’ll never experience the Fear Of Missing Out (FOMO) over. Finally, the Dolby Atmos mix on Apple Music is adequate. At this stage, I’ve been listening to Thriller in stereo for over four decades and the surround mix offers me nothing new. In my mind, Thriller should always be a stereo-only release.

Wanna Be Startin' Somethin’ is a superb funk-styled opening track that is a fantastic complementary counterpart, in Jackson’s catalogue, to Don’t Stop Till You Get Enough. With a dynamic rhythm and mix to match, Jackson’s vocal delivery is as catchy as the infectious melody. If you’re sitting still while listening to this song, you’re listening wrong as your body wants to move involuntarily to one of the greatest album openers of all time. 

Baby Be Mine offers a smooth disco-styled flow that slows the tempo somewhat. It should by all metrics be a jolt to the senses, especially following the album’s energetic opener, but the sequenced flow ensures that Baby Be Mine is not distracting in its chosen position.

The Girl Is Mine (with Paul McCartney) is playful and a little gimmicky, yet that is similar to the style these two master musicians had utilised previously with Say Say Say. Still, the interplay between these two legends is simply wonderful and while The Girl Is Mine is far from my favourite Thriller era tune; Thriller simply wouldn’t be the same without this light-hearted pop song. 

Thriller is a synthetic disco-funk masterpiece that is eerie, captivating, and a true musical marvel. The spooky atmosphere, incorporating Vincent Price’s unique voice-over, ensures that Thriller is not only the perfect title track but a song that remains part of the social consciousness to this day. In fact, Thriller doesn’t sound dated at all; thanks to the exceptional production. That aspect alone is surprising, especially considering 80s-era sound effects were applied to the mix, but good music will always stand the test of time and Thriller is timeless. 

Beat It is arguably the heaviest rock and roll song the King Of Pop ever recorded and is so good that I also consider it to be one of the greatest rock and roll songs of the 80s; an unlikely candidate, yes, but it’s right up there with the best of the best. Of course, it doesn’t hurt having the one and only Eddie Van Halen performing one of the greatest guitar solos ever recorded. Add Jackson’s dynamic vocal presentation, and the song’s anti-violence message, and you’re left with a song that can only be described as an anthemic rocker.

Billie Jean is dance meets funk with a touch of soul and R&B. Much like the other landmark songs on this release, as soon as you hear the first note, you know it's a Michael Jackson song. The captivating bassline and infectious rhythm further ensure Billie Jean will remain an earworm long after the album has concluded.

Human Nature is a soothing ballad that shifts the tone for the rest of the album. While it’s a lovely tune in its own right, and a perfect song for the album, I find that it’s one that I rarely seek out on its own. It isn’t that I dislike it, anything but, it just isn’t a standout when a record, such as Thriller, has so many other exceptional songs.

P.Y.T. (Pretty Young Thing) is so bad it’s good. It really is the embodiment of 80s pop with a touch of disco that our senses thoroughly enjoy, for it’s impossible not to dance along to this classic tune. 

The Lady In My Life is a simply gorgeous song to close the album on as Jackson’s tender vocal reaches right into your soul, encouraging you to spin the record again.

Thriller is ultimately a testament to Michael Jackson's versatility and ability to create music that resonates with a broad audience. While I don't rank it as his greatest release, and feel it is overrated, it is successful because it’s extraordinarily good. From energetic dance tracks to soulful ballads, Thriller offers a diverse range of musical experiences that will stay with you well after the album has ended, thereby making it an exceptional release in the world of music and one of the best albums released in the 80s.

Michael Jackson – Off The Wall (Album Review)

Michael Jackson – Off The Wall (Album Review)

For many, Michael Jackson’s greatest release will always be Thriller, yet I consider that album to be his weakest, from a musical perspective, instead suggesting that Off The Wall is far superior, closely followed by Bad and Dangerous. Off The Wall is tight, purposefully fluid, and lacks filler. With disco vibes, funk, and soft rock influences, merged with some sensational pop styling, Off The Wall is not only one of Jackson’s greatest albums but is one of the best albums released in the 70s; particularly in 1979. 

Jackson’s first album with Quincy Jones in the production chair showcased just how far he could go as a solo artist with the right team behind him. Yes, his earlier solo Motown releases were thoroughly enjoyable, but they lacked Jackson’s opinions, for he was positioned to be the singer of other people’s songs rather than his own. No more is this relevant than on his 1975 album, Forever, Michael; a solid release of catalogue tunes but one that failed to capture the attention of the music-loving public. While Jackson and his brothers would move to Sony Music in 1976, and subsequently begin to write their own music, The Jacksons showed promise and released some of my favourite Jackson-family material, but going solo with Jones provided the singular focus and creative freedom that allowed Jackson to achieve superstardom, ultimately transforming himself into the King of Pop. 

Of course, it wasn’t merely these two men who should be congratulated for the results heard on Off The Wall. The musicians and entire production team should be praised for recording an album that is a textbook example of how music should be recorded and mixed; thank you, Bruce Swedien! There isn’t a singular misstep in the entire 42-minute runtime and while Jackson would only pen three songs from this 1979 masterpiece, when you have the likes of Rod Temperton, Paul McCartney, Stevie Wonder, and David Foster writing some of their very best music, there leaves little doubt as to why Jackson and Jones would record these songs, ultimately making them Jackson’s own. Even though Paul McCartney recorded Girlfriend with Wings in 1978, it isn’t good and is likely the worst song McCartney ever recorded. Yet, while not the most notable song featured on Off The Wall, Jackson performed it exquisitely. 

As it pertains to the mastering, Off The Wall hasn’t always been as uniform as the recording demands. While I’ve been fortunate to own the 2009 Music On Vinyl (MOV) reissue, the noise floor of this particular release is a little higher than I’d ideally like, thereby creating a distraction when playing at higher volume levels. While this could be overlooked, given the fact that a diamond-tipped needle is being dragged through the vinyl groove, and it’s still remarkable that records can even reproduce sound, there’s a little too much shrillness and focus on the treble range as well as a little cymbal crunching that’s grating on songs such as Rock With You. Given MOV releases are digitally sourced, this one reportedly being from the 2001 remastering sessions that reduced the overall dynamic range of the recording in preference for loudness, I shouldn’t be surprised with the less-than-perfect sonic reproduction. Jackson’s vocal also suffers a little and while he has always had a minor level of sibilance, you notice it more on this vinyl reissue as the mastering causes it to be more pronounced; particularly on I Can’t Help It and Off The Wall. Still, these quibbles aside, the mid to low-end aspects of this pressing are quite nice with a solid and speedy bass response and enough oomph to get you on the dance floor.  

Turning our attention to the (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, the aforementioned issues from the vinyl reissue are gone. What we’re left with is a thoroughly enjoyable reproduction that has me feeling somewhat ambivalent towards the vinyl counterpart. Put simply, the stream undeniably sounds right. Yes, there’s a little less bass but at the same time it’s taut and well-defined while not being overbearing, thereby allowing the stream to present the album in greater detail with amazing separation between instruments and all musical elements. There’s so much clarity that you’ll swear Jackson is in the room with you, particularly on the classic vocal-focused piece, She’s Out Of My Life. 

While Off The Wall is one album that most certainly should be owned on vinyl, for the fold-out gatefold is exceptional, it’s strongly recommended that you listen to the Apple Music stream before picking up a physical release as you may find that it is more than enough to adequately suit your needs. 

Don’t Stop Til You Get Enough is self-affirming, in much the same way as Queen’s We Are The Champions is, in that Jackson’s lyrical intent need not be literal with regard to how the listener will interpret the song. While the spoken word introduction has always felt strange to me, I couldn’t imagine Off The Wall opening any other way. Despite that, I do question if it was needed. Besides the addictive upbeat dance floor rhythm, Jackson’s falsetto-styled vocal is simply magnificent and challenges Barry Gibb’s for superiority. One element Jackson had over the Bee Gees, however, was his renowned use of scat vocal techniques. While not the first to use such non-verbal vocal cues, Jackson perfected the technique ensuring that it was subtle, yet purposeful in adding to the overall presentation of the song. 

The live recording from The Jacksons’ 1981 release, Live, is a little more rock and roll with a touch of funk when compared to the album version and while there’s nothing wrong with that, and it’s a fun uptempo live performance, it’s unlikely that you’ll seek this rendition out, as it simply isn’t on par with the album version. Yes, I acknowledge the differences between studio and live recordings but even after considering that, I stand by the previous statement.

The music video, however, is still fun after all these years and while the filming techniques have transitioned well beyond what was capable in 1979, it still impresses and is a window into the disco era for those of us that couldn’t experience it for ourselves.  

Rock With You, a mid-tempo ballad, is the perfect song to follow Don’t Stop Til You Get Enough and is just one example of why Off The Wall is a perfect example of a cohesive album experience that is full of killer tunes with absolutely no filler. Rock With You will not only get you on your feet, but it’s a great tune to sing along to with its catchy lyrics and all-encompassing rhythm. 

The live recording from The Jacksons’ 1981 release, Live, has a synth-styled presentation with jazz cues mixed into the overall tempo. As with Don’t Stop Til You Get Enough, this isn’t the strongest performance and I’d go so far as to say the Jackson brothers added no value to the song. Nevertheless, for an early live recording, it will appeal to fans who wish to hear all available versions of this timeless tune.

The music video, in this instance, isn’t as impressive as the one for Don’t Stop Til You Get Enough. While closer in style to other mainstream music videos of the era, the biggest failing is that Jackson is presented alone throughout the entire video, and given the context of the song, one would have assumed that there would have, at the very least, been a love interest present throughout the video or a dance club full of people rocking out with Jackson. That said, it’s not fundamentally bad, but in retrospect, it could have been so much better.

Workin’ Day And Night is funky and is one of the greatest tunes from Off The Wall. The Immortal version is, however, terrible. Understandably, it was created with a different intent than the original album recording but I increasingly grow weary of alterations made to the music we all know and love. It’s as if the estates of deceased artists can’t help but cash in on an artist’s legacy. If I had my way, I’d leave the catalogue untouched and simply make sure it is continuously available, in every possible format. 

The live recording from The Jacksons’ 1981 release, Live, isn’t as bad as the other songs featured on that particular recording, although the ending is atrocious. The Jacksons certainly didn’t work Day and Night to perfect this performance as it’s a little too loose in every aspect; although Michael’s vocal presentation was spot on.

Get On The Floor is disco 101. It may be blatantly obvious, but this is one song that will get you on the dance floor; exceptional!

Off The Wall, in retrospect, appears to be a musical influence for Thriller, particularly with regard to the introduction. In truth, however, it’s just a solid rhythmically disco-charged tune with plenty of rhythm and blues elements. While worthy of the title track position, its upbeat tempo and lyrics, looking positively beyond the mundane and troubling aspects of life, are compelling from both lyrical and musical perspectives. 

Girlfriend is corny and cliché but it’s so good. The original Wings’ version, as alluded to earlier, isn’t!

She’s Out Of My Life is a magnificent ballad that highlights Jackson’s vocal prowess like no other song in his catalogue of music. The delicate resonance in his vocal humanises the song as you can feel the emotion in Jackson’s voice, despite the song not being written, and therefore not personalised, by the King of Pop himself. 

The demo version from This Is It is understandably raw but this bare-bones recording is simply exquisite for Jackson has an incredible vocal that, in its natural state, is stunning! While it won’t supplant the final album version from Off The Wall, it’s well worth checking out if you’re a fan of the song. 

The live recording from The Jacksons’ 1981 release, Live, is similar to the studio recording but is one of the better performances of Jackson’s solo material from this particular release. As lovely as it is, however, I dare suggest that it would have been even better had it been performed with only an acoustic guitar; akin to the demo. Regardless, it’s a solid performance and another value-added proposition for fans of the song.  

Further to that, you really need to hear Willie Nelson's magnificent interpretation. It is honestly a toss up as to who performed it better. 

The music video is about as good as you’re going to get. She’s Out Of My Life really isn’t music video material, yet, when watching it, you’ll become even more captivated by Jackson’s performance than the song itself. It’s an interesting dichotomy but one that I can’t take my eyes off. 

I Can’t Help It has a glorious sonic soundscape with a soft fluid jazz feel to it. Stevie Wonder and Susaye Greene penned this tune and while it isn’t, and was likely never intended to be, a chart-topper, the culmination of these incredible musicians ensures that I Can’t Help It is memorable and will keep you coming back for more.  

It’s The Falling In Love picks up the pace perfectly without jolting the senses. As with I Can’t Help It, It’s The Falling In Love is somewhat unassuming and is the quintessential B-side. That said, I dare you to sit still and not sing along to this wonderful upbeat tune; I can’t do it! Patti Austin’s intermingling vocals on this song are similarly exceptional and complementary to Jackson’s incredible performance. Interestingly, Jackson wasn’t the first to record this catchy song for Carole Bayer Sager (co-writer of the song with David Foster) recorded it for her 1978 release, …Too; a solid recording in a similar style, but make no mistake about it, Jackson and Co. took it to another level entirely. Dee Dee Bridgewater also recorded the tune with sultry vocals for her 1979 release, Bad for Me while Dionne Warwick’s rendition from 1980 attempted to modernise it with an 80s vibe. As good as these other interpretations are, however, none come close to Jackson’s recording. 

Burn This Disco Out is the perfect bookend for the album for it leaves you wanting more. I don’t know about you, but I’ve never been able to play Off The Wall only once; a true testament to its production qualities and conciseness. Exceptional!  

There are landmark albums and then there is Off The Wall. Yes, Thriller and the subsequent 1983 Motown 25: Yesterday, Today, Forever performance made him a superstar, but Off The Wall is Jackson’s most musical release. It’s fun, with serious elements, but at its core, it’s an addictive musical experience that is not only heard but also felt. We are, indeed, fortunate that there are a plethora of exceptional Michael Jackson albums for us to enjoy, but there is only one Off The Wall; a timeless masterpiece!

Michael Jackson – Invincible (Album Review On Vinyl, CD, & Apple Music)

Michael Jackson – Invincible (Album Review On Vinyl, CD, & Apple Music)

Released in 2001, Invincible wouldn’t set the world on fire as his prior solo releases had. Certainly, the controversies surrounding Jackson didn’t help with sales but that’s an easy assumption for I feel the conciseness of his greatest albums is what was missing in all his post-90s releases. I’d even go as far as saying that his pre-Off The Wall solo albums are superior to Invincible. It isn’t that the songs are bad, per se, but the album is simply too long and the styles shift too much throughout. In reality, you’ve got an album that could have been split across two independent releases. One with the more upbeat tempo tracks, the other with the smoother soul-based ones. Jackson, however, was one artist that embraced the full CD length post-Dangerous and while that album was a double done well, Invincible is akin to listening to Jackson on shuffle; some may like that but I’d prefer a more focused and fluid presentation.

While I may not agree with the tracking, I do enjoy the album when listening to Jackson’s greater catalogue of music, but other than the questionable posthumous releases, Invincible is most certainly his weakest body of work. 

Sonically, I prefer the CD reproduction followed by the Apple Music stream. In perhaps a shock revelation, the vinyl record doesn’t sound superior to the digital counterpart and is proof that all vinyl is not created equal and that music-lovers must be format neutral if they are to get the very best musical experience. 

The CD, while most certainly brickwalled, sounds like a Michael Jackson album should. It remains dynamic even if it isn’t as dynamic as the vinyl release. However, that is where one of the problems with the vinyl release exists for the dynamics are impressive, but you lose some of the emotive energy in Jackson’s vocal and the musical accompaniment. For instance, songs like 2000 Watts and Threatened sound flat via vinyl whereas the CD punches you in the chest with a full-bodied audio experience. This flatter response may appeal to some music lovers, especially those with bass-heavy stereo systems, but I simply find that I become distracted when listening to the vinyl release, yet I find myself captivated when listening to the CD. Longtime readers will note that this isn’t generally the case and that more often than not I prefer the analogue release, but if it were flatness of sound alone perhaps I could learn to appreciate this pressing but on Break Of Dawn, the sibilance on the vinyl record is simply too much to tolerate. Admittedly, there is natural sibilance in the original recording, as can be heard on the digital counterparts, but it is amplified on the vinyl pressing.

The Apple Music edition, an Apple Digital Master, is very close to the mastering heard on the CD, but it isn’t as detailed as it pertains to the soundstage and elemental and instrumental separation. Basically, the CD just sounds right and the Apple Music stream is an adequate facsimile.

Sound quality aside, for a moment, the 2009 Music On Vinyl reissue is beautifully presented with a somewhat embossed silver texture that will most certainly appeal to collectors. No, it isn’t a gatefold design, but rather an expanded sleeve containing both records in full liner note sleeves. In-fact, the amount of detail in the liner notes is impressive to say the least as both the vinyl and CD releases don’t miss a thing. The record labels are simple, yet elegant, and it is truly a shame that I don’t enjoy the sonic aspects for both records are magnificent pieces of vinyl, from not only a visual standpoint but also a noise floor perspective whereby the vinyl between tracks, and in less involved musical aspects, is incredibly quiet. 

Unbreakable is an interesting opener for this album and one that simply doesn’t have the same oomph as the lead songs on Jackson’s prior albums. The vocal processing, and tinniness of sound, is a real deterrent. It isn’t necessarily bad, but it isn’t worthy of opening the album.

Heartbreaker continues the upbeat styling and again, I feel, as good as the song is, that it isn’t exceptional. It is as if too much experimentation with sound, layering, and the overall mix, created a shallow sound that sounds more like a demo than a fully realised recording. 

Invincible is a little more rhythmically charged than the previous songs. It gets the body moving to a somewhat predictable beat and there is far less vocal processing here to contend with, thereby making for a far more enjoyable listening experience. 

Break Of Dawn is a beautiful song and in a way is very similar to Earth Song. It’s atmospheric, immersive, and one of the best songs on Invincible. That is until the sibilant vocal aspect comes in  via the chorus. It isn’t nearly as present on the Apple Music stream, as it is on the CD and vinyl counterparts, but it is still naggingly present. 

Heaven Can Wait is a solid song. It isn’t one that I’d seek out, but it is thoroughly enjoyable when listening in the album format. 

You Rock My World is a great tune and as much as I enjoy Chris Rock’s involvement here, there are times when I wish the song would just start without the spoken word aspects. It helps when one chooses, as I often do, to play the song on repeat. 

Butterflies has a great tempo but I wonder if you also feel that this song is akin to a click track? It works, but it also sounds a little grating after a while. 

Speechless is lovely. 

2000 Watts is a fantastic tune. The tempo is spot on and this is one song that deserves to be turned up to 11. 

You Are My Life is simply beautiful; even if it is a sonic jolt following 2000 Watts. 

Privacy is brilliant! The anger in Jackson’s vocal is perfect for the song and his feelings towards the media. The only criticism I have is that the ending is a little more abrupt than I would like. 

Don’t Walk Away is another beautiful vocal-based tune but I really do wish a different tracking was presented as the shift between the more upbeat songs and the mellower ones can be a jolt to the system which results in a less-than-ideal listening experience. 

Cry is a lovely song and proves just how well these more ballad-focused songs can work well together, rather than being interspersed throughout the album. 

The Lost Children has a perfect tonality and pace, but the decision to include the backing Choir, while logical, is somewhat distracting. 

Whatever Happens is magical! Carlos Santana is a legend and his influence is most certainly heard here and in many ways, he is the reason why I love this song so much.  

Threatened is a great closer and while I feel encouraged to listen to the album again, the album’s length is most certainly a deterrent. 

Overall, Invincible fails in my mind only due to its length and stylistic shifts throughout. There are a number of solid songs here, a couple of hidden gems, and a little too much filler. What is good, however, is worth your time but I’d recommend you seriously consider the vinyl release before picking it up as it may not be to your tastes. If you like to feel your music, the vinyl release won’t do it for you. In that instance, don’t look past the CD or streaming counterparts.