I was never a fan of MJ, but after I've heard this pressing.. Just no words, it is perfectly recorded. Sounds out of this world superb ! Brilliant mastering, Everything: his vocals, bass, detalization TOP level. MUST HAVE, the sound literally explodes !!!
"Thriller" was the album by which the emerging MTV generation first discovered Michael Jackson, beyond hearing his litany of radio staples as part of the Motown roster. Now moving in a new direction whilst wisely retaining certain remnants of what had brought him solo success so as not to alienate his dedicated fanbase, Jackson progressed into the transcendent artist he had always desired to become. In light of the recent "Disco Sucks!" campaign, he and long-time producer Quincy Jones opted to readjust his established framework and refine his current formula of soulful ballads and slinky floorfillers. Jackson quickly settled into his new role as a credible solo performer, seeking accolades and acclaim as well as global fame. Despite the substantial commercial success of "Off The Wall", Jackson had been dismayed by what he perceived to be unconscious bias against him by the media. As he saw it, if a white artist accomplished a feat akin to "Off The Wall", they would have been more widely promoted and celebrated. Understandably disillusioned by the music industry, Jackson responded by contriving an album that could not possibly be overlooked by the masses.
Adding greater variety to the signature vocal, musical and performance implementations that had come to define Jackson’s repertoire and aesthetic, "Thriller" was a game-changer in more ways than one. In 1983 and 1984, the album was the biggest in not only the U.S., but also the world, selling 32 million copies in its initial chart run. In order to capitalize on the success of “Off the Wall”, marketing strategies - and a series of fortuitous events – aided its breakthrough. A nod to the past glories of his idols as well as establishing himself as the foremost performance artist of his generation, Jackson’s iconic demonstration of the “moonwalk” during the Motown TV special was an intentional promotional exercise that had the desired effect of upgrading both his credibility and profitability. Upon establishing his intention to appeal to all demographics, he had to capture the attention of the public on a wider scale, firstly by way of some seriously virtuoso shredding courtesy of Eddie Van Halen on the Top Ten crossover hit “Beat It”, and secondly by fully manifesting the supernatural imagery and themes of the highly profitable house-of-horrors title track. Suitably creepy and boasting extraordinary production values, the John Landis-directed promo clip refuted the collective opinion that any short-form content aimed at MTV viewers was not a serious art form and capacitated not only those generally struggling to advance in the medium of music, film and television, but also broke barriers for black entertainers who, until that point, barely featured on the network due to its preference for corporate rock.
Between the gang warfare of "Beat It” and unnerving neuroticism of "Billie Jean", it was clear that Jackson's songwriting reflected his more adult outlook. Now seemingly independent having freed himself of Motown and family obligations, Jackson experienced loneliness and paranoia for the first time. It was a lamentable period in Jackson's life that would greatly inform the sombre tone and supernatural motifs on the album. "Billie Jean", was particularly significant in its discernible relation to Jackson’s real-life, being directly inspired by obsessive fandom and personal matters. "Thriller" may have earned Jackson the credence he so craved and paved the way for widespread mainstream acceptance of black artistry, but its greater pop sensibility, incredibly broad appeal and merchandization naturally led to Jackson’s successive solo material proving inadequate in comparison. In other words, despite mostly following a now well-established model, all subsequential output was bound to disappoint commercially. Unrealistic as the prospect was in the case of any artist, never mind the most prodigiously gifted and media-savvy architect, matching the sales of the biggest-selling album of all-time was entirely unfeasible. Nevertheless, as pointless as it seemed to those still reeling from his stratospheric rise to superstardom, an utterly tenacious Jackson continued with his endeavours, producing one final classic album in the process, 1987’s “Bad”.
“Thriller” would have been far less auspicious had it not accentuated the strengths of Jackson, drawing attention to his performance artistry and lyrical detail, of which was balanced with more sophisticated arrangements, as evidenced on the hypnotic “Human Nature” and exhilarating “Wanna Be Startin’ Somethin’”. Giving no undue weight to specific musical territories, each composition unquestionably has the listener in mind. Accounting for all tastes, including unabashedly soft numbers "Baby Be Mine" and "The Girl Is Mine", and the strong R&B – “P.Y.T.” and “The Lady in My Life” – that would come to embody his later output, there is a surfeit of converse range of moods and themes on offer. The sheer level of musical diversity on display is subtle yet perceptible, improving the momentum of the set so that it is consistently interesting and affecting in all manner of ways.
One of several releases that built Jackson’s reputation as “The King of Pop”, whose dazzling voice and astonishing dance moves were serendipitously plugged at the appropriate moment in pop culture history - when MTV was in its state of dominance and music became more widely available in various formats to suit the consumer’s needs. At once sweet, tough and scary, there are few ‘80s artefacts as playful, menacing and dramatic as this one. As easy as it is to extricate the album’s rich tapestry, the real pleasure lies in being swept up in each song’s singular pervading tone, from introspection and paranoia to exuberance and sensuality, rendering it effectively impossible to disengage emotionally at any point. “Thriller” most certainly lives up to its reputation as a milestone; bringing out the best in all involved, settling scores and pushing boundaries, tackling a wider range of lyrical subjects and musical styles and perfecting the shape-shifting Michael Jackson aesthetic with aplomb, it is a remarkable accomplishment as well as a genuinely copacetic experience that rewards with repeat listens, revealing something new each time as all classic albums do.
Just found out that the bassline of "wanna be startin' somethin' was taken from "Cerrone - Supernature (1977)" It's from the 10 minutes long album version, starting in a break at around 7 minutes and 50 seconds.