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'Bad 25' Remembers The Mastery of Michael Jackson
Updated: Tuesday, September 18, 2012 1:06am
Michael Jackson's "Thriller" album was unleashed near the end of 1982, cementing his legacy as a superstar solo artist. It's a remarkable, unrivaled collection and has served as a blueprint for practically every pop album in its wake. You can hear, see and feel Jackson's influence in the work of Beyoncé and Chris Brown, Usher and Britney Spears, Madonna and Adam Lambert.
I was just 8 years old at the time, but "Thriller" made its mark on me, too. I sang along with the words. Tried to mimic the dance moves. Scooped up Jackson folders at Kmart and sold them to classmates (at retail price, of course).
"Bad" came around five years later and produced another string of hits. Its first five singles all shot to No. 1, but it only sold a fraction of the 30 or so million "Thriller," the best-selling album of all time, moved in the U.S. alone. (To be clear, 10 million copies is hardly a failure.)
But I was 13 by then, and music had become an intrinsic part of my life, an outlet for expression and a means of escape. The songs of "Bad" are embedded in my memory perhaps more vividly than "Beat It" or "Billie Jean." And that cover photo, all steely gaze, straps and belts, remains iconic.
"Bad 25," in stores today, repackages the original album with lush bonus features and artwork, including unreleased demos and a 1988 concert at Wembley Stadium in London. This is a layered, loving tribute whose power ultimately resides in the genius of the original album.
I remember waiting impatiently for the parade of MTV video premieres from the album: "Bad," "Man in the Mirror," "Leave Me Alone," "Dirty Diana." These weren't mere promotional clips. They were mini-movies. In its entirety, the "Bad" short film, directed by Martin Scorsese and written by Richard Price, ran 18 minutes and debuted in prime time on CBS in 1987.
A "Bad 25" documentary, produced and directed by Spike Lee, is set to debut on ABC in November. It screened at the Venice and Toronto film festivals and includes rare footage and interviews with Jackson's collaborators and friends, including Scorsese, Kanye West and Justin Bieber.
The entire album has been remastered, and the best songs still sound crisp and modern. Jackson co-wrote and co-produced the bulk of it with Quincy Jones, who knew how to balance commercial sheen with eccentric edges.
The title track still bristles with zeal and aggression, and "The Way You Make Me Feel" could be a hit on radio today - or any day. It's a perfect pop song - joyful and ominous, buoyed by a galloping beat and razor-sharp vocal work. The network video premiere, which featured Jackson smashing the windows of a car, was derided as overly violent.
"I Just Can't Stop Loving You" remains a highlight, an alternately hushed and sweeping ballad lifted high by Jackson's pleading, emotive vocal. "Dirty Diana" grooves harder than most anything on current rock radio, and the often-overlooked "Liberian Girl" is a smooth, soothing gem.
A second disc boasts unfinished demos recorded at Jackson's Hayvenhurst home in Encino, Calif. Among the filler are previously issued "Flyaway," "Streetwalker" and Spanish and French versions of "I Just Can't Stop Loving You." There's also a frenzied Afrojack remix of "Bad" featuring an unnecessary Pitbull rap.
To be sure, there are some true finds, including "Al Capone," which would eventually become "Smooth Criminal." Traces of the final song are evident, but the final result was a wholly different song. "Free" and "I'm So Blue" are lovely, lilting tunes that fall in line with Jackson's penchant for simple, effective balladry.
"Song Groove," also known as "Abortion Papers," rides a distinctly '80s rhythm for its tale of a young, religious girl who decides to have an abortion. Imagine the fuss that would have created. It dwindles into repetition, but Jackson's message is clear even in the early stage.
Jackson describes "Price of Fame" in the liner notes as an ode to "the girls who are over-obsessed with me, who follow me, who almost make me kill myself in my car, who just give their lives to do anything with me, to see me - they'll do anything and it's breaking my heart. It's running me crazy. It's breaking up my relationship with my girl, with my family."
The song's ominous strings and melody make it a ringer for "Billie Jean," which might be why Jackson never put it on an album.
The biggest draw of "Bad 25" is likely to be the July 16, 1988, concert at Wembley Stadium. It was one of seven sold-out shows, and Prince Charles and Princess Diana were in attendance. Jackson brought the same show to the Summit (now Lakewood Church) for three shows, April 8-10, 1988, and I was at one of them. When I close my eyes, I can still remember the electricity, the cheering, the pop magic.
Jackson had every show on the tour recorded for his review, but we're talking late-'80s. This is pre-HD, videotape quality, and the footage is often grainy. But the power is undeniable. He gives every inch of himself - quivering lips, hips and hands - to the songs, kicking off with the rocket-fueled blast of "Wanna Be Startin' Somethin.'" He pairs up with hilariously halter-topped, big-haired background singer Sheryl Crow for "I Just Can't Stop Loving You." And the one-two punch of "Smooth Criminal" and "Dirty Diana" is nothing short of fantastic. His dancing, of course, remains a remarkably controlled feat.
But despite the fanfare, the hysteria, the sheer hugeness of the songs, performances and persona, "Bad 25" manages to highlight the artistry and the inspiration that Jackson so desperately wanted to be remembered for. His gift to us is our gift to him.
joey.guerra@chron.com
The Source:
http://www.chron.com/entertainment/...mastery-of-Michael-Jackson-3872373.php#src=fb
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