the feeling and excitement and buildup to this album could NOT be described if you were on age on dec 2 1982.

it was simply THE events of ALL events---

"can this beat "off the wall"?" is what most asked.

hahahahaha...


back then was an innocent time. sheeeeeit i remember begging my uncle to buy me the 8track!!!!! (last one i ever owned)---but he said no (i got one via columbia house back when all formats were a must have for an event like this).

big up to the event that changed all our lives

I just DIDN'T get it. (plus my Detroit ass was not hearing no damn M.J. on Mojo)

P.Y.T., yes. Human Nature,yes.

But Billie Jean, Beat It & Thriller wasn't my Mike.

I felt like a lot of these cats around here mad at Kanye.

Off The Wall? Awesome album

Thriller? To glossy, to big.

s.blak
Vincent Price

>
>I just DIDN'T get it. (plus my Detroit ass was not hearing no
>damn M.J. on Mojo)
>
>P.Y.T., yes. Human Nature,yes.
>
>But Billie Jean, Beat It & Thriller wasn't my Mike.
>
>I felt like a lot of these cats around here mad at Kanye.
>
>Off The Wall? Awesome album
>
>Thriller? To glossy, to big.
>

I liked some stuff from Thriller but it wasn't even in the same league as 1999

__________________________________
Reunion Radio December Artist of the Month: Slave

http://reunionradio.blogspot.com/

i think it's an age/taste thing with Thriller.

I think, it's the fact that when that record dropped, I was already changing the station in the car with the folks at will, buying albums, going to concerts, moving around the dial to see what was up on the rest of the radio.

Now my younger sister by eight years, BREATHED THAT ALBUM. hahahahahah

I was sincerely turned off, man. LOL.

That schitt is/was a huge spectacle with a couple of really good songs that ruined the Pop music game forever in my opinion.

almost every genre was competing to capture the Thriller formula, I made it a point to search for schitt that wasn't trying to be the penultimate gangbuster/blockbuster thing on the radio from then on, cause the schitt got SO insincere.

I mean, Whitney Fucking Houston is the first child of Thriller.
Her music is specifically made for dentist offices.

I mean look at Mike, that nigga damn near stopped singing words after that event/spectacle.

but honestly it's the sterilized sound of the production that's just so clusterfucky to me.

Those bright ass Quincy horns. The drum programming & sequencing. The synths. That distinct MJ rhythm guitar tone...ugghhh.

It was in the moment, but the schitt was TRYING to hard to be cutting edge & accessible AND lowest common denominator.

It sounded good right along side Men At Work on the radio, and changed the game.
But I don't listen to Men At Work's Business As Usual either, and don't miss it.
End of story.

But to have such reverence for exactly how Rome burned, and who struck the match?
Considering the dude was an undeniable force of nature up until that point anyways.

Thriller was Mike Jackson's crossroads. And I've maintained everyday of these 26 years that he got a raw deal.

Pop culture has to have a mania every so often to keep the business working.

M.J. got what he wanted. Right?

and hey, if you LOVE it. I understand.

Love needs no explanation

s.blak
Gotta Be Startin' Something © M.J.J.

...and one I've never heard before. I may just hear Thriller with a different ear next time...

-------------------------
Black Milk.
TRONIC
10.28.08
http://www.fatbeats.com/tronic

If it tried too hard, it succeeded even harder... and ain't no mafucka alive who can deny that... proof is in the results. Love it or hate it, he tapped into the soul of his generation. Mike ain't underground, he's a pop artist. He did exactly what he was trying to do... and exactly what nobody else did before or has been able to do since.

Please pick up.

All of this gospel/co-sign stannery is indicative of the link missing in the minds of rabid fans.

>If it tried too hard, it succeeded even harder...

are you agreeing that they succeded at trying to hard?
Good because I really see this is M.J.'s sell out moment. He wanted to be number one so badly he watered down Off The Wall with overthought crossover formulas.

>and ain't
>no mafucka alive who can deny that... proof is in the results.

So what?
Thriller could still be selling a million copies a day and I'd STILL think that aside from
P.Y.T., Wanna Be Starting Something & Human Nature, Thriller is a lame ass album.

For all the HOLY GHOSTS in this post, ain't schitt on Thriller harder than "Don't Stop Til You Get Enough" or "Working Day And Night" or smoother than "I Can't Help It".

And about those results you seem to be foaming at the mouth over...
The nigga made a song about zombies & ghouls,dawg. LOL.
...and you could dance to it.
LOL!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

In retrospect it is a fitting "soul of a generation" record. "The evil lurking" at the door was the stampede of record labels and Mtv racing to ZOMBIFYING your generation with "What's Next!?!?!?!?!-itis" (seen here on OKP daily).

From this point on there was NO NATURAL PROGRESSION IN POP MUSIC DUE TO THRILLER'S SUCCESS.

The fact that you cannot digest the reality of this record aside from the success story is indicative of my overall point about the record.

Mike cashed in on Mike with Thriller,he made his point to the industry, it's too bad that his career peaked at Thriller because he's got better material on either side of "Thriller" (more good stuff before that's for sure).

What I've learned from this post and about OKP:

Thriller-stans are THEE most simplified thinkers ever (Parrott voice : *brrrrOOOOcccckkk* 40 MILLION SOLD!!! 40 MILLION SOLD!!! *whistles)

M.J. stans are wounded psychos that love synchronized choreography & lots of zippers

An A.D.D./fast food generation if ever there was one.

>Mike ain't underground, he's a pop artist. He
>did exactly what he was trying to do... and exactly what
>nobody else did before or has been able to do since.

Cash In & Go Crazy?

s.blak
You Try To Screeeeeeeeeeeaaaaaaaammmm

Damn homie, u missin' the whole point of my post.

Mike is a Pop n*gga.

The point of being a pop artist is to outsell others.... be the biggest. He aimed for that.

He hit his target.

^I big him up for hitting his target... whether I agree or disagree with the target. In that era though, mad other n*ggas were trying do EXACTLY what he did. They just couldn't. Even afterwards, mad n*ggas were trying to emulate Mike... hell a few still are.

I'm leaving my personal tastes outta the discussion. It ain't even about that. It's about calculated impact he made with the album whether I like Off The Wall better or if I even like Mike at all is irrelevant. I see that's pretty difficult for you tho... lol. No one said Thriller had to be your favorite album of all time... hell it ain't mine, but I gotta give the n*gga props for whipin' the floor the way he did. Nevermind tho, you like Off The Wall better, so obviously that's the better, more impactful album. Understood.

Your "point" has nothing to do with the conversation going on (that I was involved in in this post).

I'm talking about the music.

Your talking about sales.

Pour a lil' liquor out and jump on the couch Scientology style for me, cousin...


You niggas would never shut up if Innervisions sold 41 million albums.

I see how this works now.



s.blak
Look Mommy, A Black Man

The point is that he hit his mark
aka calculated impact.
You arguing music quality in pop music?
Kill yaself.
What you think a pop artist is about?
Stickin' to the "pop code" as if there is such a thing
outside of being popular aka selling records?
My point is that he didn't do that sh*t on accident.
He meant to sell records.
You thought I was arguing music quality?
Nah son, I'm not stupid enough to do that concering pop.
Mike ain't never claimed to be the realest musician.
N*gga is the SELF proclaimed King of Pop.
Fuck u smokin?
That's like judging 50 on some music quality sh*t.
N*gga already told you his aim is to get rich.
Why even bother?
That ain't even the aim.
You judgin' n*ggas on the basis of marks they ain't even
tryna hit.
Then you try to clown me?
lol
stop.

and your worldview and outlook on music is sad and very toilet-esque.

stick to wrestling & American Idol, music (pop or otherwise) doesn't need deadweight "fans" like you. Neither do message boards about in-depth music discussion.

s.blak
Starlight

Try seeing sh*t for what it is rather than
what you want it to be.

****************************
*********
http://i154.photobucket.com/albums/s278/jay8wonder/prince-4.jpg

and you feel strength in numbers.

Okayplayer.

Keep trying to catch the beat.

s.blak
Greg Phillinganes Red Keytar Upside Yr Empty Head

no further comments.
Study the previous comments and figure out
where, why, and how u sound ridiculous... lol
This was fun.
Thanks for the entertainment tho... we'll have
to do this again sometime.

As much as you want to talk about "hitting the mark", M.J. SOLD OUT on Thriller to avenge the better Off The Wall.

You don't think he wanted to "hit the mark" with OTW?

Use your whole brain, not just the parts that make you feel clever.

Especially when you're talking to me.

Aiight?

s.blak
Sunset Driver

and "thriller" clearly was.

good stuff on there, though. i ain't gonna front. i brought it as soon as it came out.

was it better than "off the wall"? um...it depends on whom you ask, i guess.

my take: "off the wall" was a better r&b album, "thriller" was a better pop album.

both were good.

but "thriller" was when mike clearly conquered the music world, and it has its place.

the title track alone took the chord progression from the Mama's and popa's "Monday,Monday" let's pretend were married had that UK synth thing going on, little red corvette without the re-mix was very pop and delirious.

thriller was pop but it was also so much more with it's depth and personality.

1999 had strong grooves and what have you but it was a pop album at the end of the day no matter how you cut it and no shame in that.

but i didn't see it as a pop record then, and i don't now. when i think of a pop album for prince, for me it starts with "purple rain".

"1999" to me was just another progression of prince in him using new wave, a little punk and rock in his funk like the previous two albums, but with a different twist.

i would say some of the hits became pop, but not the album overall.

"thriller" was a pop album. i knew that then. but it was a great album just the same.

and he did the same exact blueprint formula of mixing styles as MJ did and 1999 is a Pop album. it has funk on there but alot of the songs are pop based.

1999 just ain't & I love 1999.




http://cockygold.blogspot.com/ (updated daily)

Get 25% off www.karmaloop.com w/ rep code JR9103 at checkout!

In 1975, Michael Jackson meant more to me than Superman Spider-Man & Batman combined.

"Biggest" & "Ever" explain your experience and 50 million other people.

UNDERSTAND, out of the however many billions of people on earth, 50 million peoples collective euphoric experience doesn't negate the euphoria of the other scrillions.

That's how "hype" works. Sort of like religion, or racism or classism.
You put your blinders on and believe your schitt is the best and heaven is yours.

I enjoyed what I could and changed the station, minus the hype. I had options.

Do I feel left out because it was never the center of my musical universe?
No.

Do I think less of people who feel like that recording deserves a birthday cake every year?
No. But that doesn't mean that any/all dialogue automatically turn into a battle of good,better,best. Sanity or Insane?

remember I said, "meant/means more to me"? That's the part your missing.

All that matters is the dancefloor remains active. And the listeners are happy.

s.blak
KRS-ONE

Like Supa I was a huge MJ fan (still am really) I mean I worshiped at the alter of OTW, Triump and Destiny. But when I first heard Thriller all the way through I was disappointed. Not so much in that the songs were bad but more that they sounded like too much thought was given to how they would sound on the radio. Of course almost every album is made with that in mind but with Thriller it was just too blatantly obvious. Mike was determained to become of the king of pop and Thriller's sound reflected that mission.

1999 on the other hands just sounded like a more honest representation of where Prince was and where he was going. It really wasn't a huge leap from his previous albums.... it was more of a natural growth. Outside of 1999 and Little Red Corvette there wasn't anything that went out of it's way sound like something that would get radio play. And even with those two songs they weren't following a sound that was pervasive on pop radio in 1982. I know Mike put his heart into Thriller but aside from a few tracks it sounds like he forgot his soul.
__________________________________
Reunion Radio December Artist of the Month: Slave

http://reunionradio.blogspot.com/

Admittedly, I was into Mötley Crue and Saxon at the time so my opinion is moot but I REALLY like "Off the wall" nowadays, I think "Thriller", on the other hand, sounds too "MTV-80's" though, i could never get into that sound and I'm old enough to remember it (I was there...), maybe it's different for people who are younger OR older and didn't have that sound shoved down their throats...

On the other hand, I think it really captures the 80's crossover sound better than almost every other album so I have a hard time dissing it for that reason alone and it's WAY better than the stuff that followed in that vein to my ears...

"1999" feels fresher and better to me too

ahh, the album that changed the course of music as we know it. every artist whether openly admiting it or not, wants to have his or her own thriller. there's so many words you can use to describe that album, i'll just say...... classic

michael jackson was in full affect and in his element during this time and no one could touch or stop him. no one still can, if you ask me.

I remember listening to Thriller with my dads big ass headphones on when i was real little and how the Thriller video was the coolest thing i had ever seen on tv. Thriller is timeless.

Power to the People

I was shook.






Didn't hear Thriller all the way thru until around 8, when Bad conquered my fears (although looking back, I probably should have been more afraid of Mike on BAD).



Wanna laugh?


The mere thought of the Thriller video had me so piss-pants shook thatI refused to isten to the album on CASSETTE, because I had somehow convinced myself that I'd see the video.When I finally did hear it, it was my mom duke's vinyl copy, because I could "see" the album play.




Yes, I was a tiny coward. Or come to think of it, maybe just very astute for my age, thanks to my healthy, but inexplicable fear of Mike.


I was a Prince fan, then.

http://board.okayplayer.com/okp.php?az=show_topic&forum=5&topic_id=1919039&mesg_id=1919039&listing_type=search#1922678

>you said he achieved all his Artistic goals. I asked you to
>point 'em out.

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/watch?v=pCWJfzH6FDY

Working Day and Night demo:
http://www.youtube.com/watch?v=t51jUmABMlc

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

The Girl Is Mine demo 1:
http://www.youtube.com/watch?v=ztXxORezhpg

Girl Is Mine studio demo 2:
http://www.youtube.com/watch?v=GWUgNAAfcfU

Billie Jean demo:
http://www.youtube.com/watch?v=9E_1eYWx4fM

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....



*******
The Travels of Windimoto
iTunes, Napster, eMusic, Amazon, & 7digital

www.myspace.com/windimotomusic

www.windimoto.com - soon come

i actually saved that impromptu essay to my personal archives since not enough good posts get archived for real

*******
The Travels of Windimoto
iTunes, Napster, eMusic, Amazon, & 7digital

www.myspace.com/windimotomusic

www.windimoto.com - soon come

great read scorp.

that one important ingredient i posess is called SOUL..,

-Grouch & Eligh
SoulMan

On the strength of this post alone, I'm going to listen to this album again later tonight. Incredible post

everyne has it and the crazy thing is i was having these thoughts about mj about the bad album listening as i type this

My brother needs to read this.

Great post.

Respect...



©www.cristianrios.com

"The Return Of The Dirty Cymbals"
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NEXT: The Waldorf & Statler Experience | The Conversation | The Funky Fragment Junction

( i say in my l.a. chicano accent)
that one important ingredient i posess is called SOUL..,

-Grouch & Eligh
SoulMan

excellent job man.

Check out my flicks...http://www.flickr.com/photos/sirapexthegreatest/sets/
http://nohayrosasinespina.bitacoras.com/imagenes/peter_griffin.jpg
http://s3.amazonaws.com/static.onmylist.com/list_item_images/39053/lets-shit_list_view.jpg

posts like this should be encouraged here

D*mn! You broke it down!

.

redeemed the Lesson for me

....i've never heard/read a review of that album in context in which you put it fam......you might need to go back and post some more reviews on albums we might not consider as monumental but after reviews like this you could make Akon look like a all time great..lol....thanks fam!

..the best summation i've ever read regardin' this album

good show, ol' chap. good show...


-----------------------------------------
*2007 okayblowhards champion*
-----------------------------------------
clap, mufukahs!.. (c) p.s.
-----------------------------------------

..and miles to go before i sleep...

****************************
*********


http://i34.tinypic.com/2cpduvq.jpg


http://searchwithkanyewest.prodege.com/?cmd=sb-register&rb=236854

thriller will be going into my new ipod 2dizzay.

this made coming to the lesson for real

props awarded


ive changed

This is silly... MJ wrote and continues to attempt to write middle of the road pop songs. He doesn't have a sound - he has a vision. He isn't artistic... there's nothing that intriguing about his music. His musical palette is limited and his visions are pretty basic.

Beat It is not a rock song - There Will Be Rock by AC/DC is. The latter is sincere while the former aims to try to please and while it does for many, it doesn't sound real and soulful.


>http://board.okayplayer.com/okp.php?az=show_topic&forum=5&topic_id=1919039&mesg_id=1919039&listing_type=search#1922678
>
>>you said he achieved all his Artistic goals. I asked you to
>>point 'em out.
>
>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/watch?v=pCWJfzH6FDY
>
>Working Day and Night demo:
>http://www.youtube.com/watch?v=t51jUmABMlc
>
>let's go to the Thriller demos....
>
>The Girl Is Mine demo 1:
>http://www.youtube.com/watch?v=ztXxORezhpg
>
>Girl Is Mine studio demo 2:
>http://www.youtube.com/watch?v=GWUgNAAfcfU
>
>Billie Jean demo:
>http://www.youtube.com/watch?v=9E_1eYWx4fM
>
>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....
>
>
>
>*******
>The Travels of Windimoto
>iTunes, Napster, eMusic, Amazon, & 7digital
>
>www.myspace.com/windimotomusic
>
>www.windimoto.com - soon come

how do you define artistic?

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that one important ingredient i posess is called SOUL..,

-Grouch & Eligh
SoulMan

it was with Michael Jackson! that shlunk.
(in my l.a. chicano accent)
that one important ingredient i posess is called SOUL..,

-Grouch & Eligh
SoulMan

I feel in the 80s, he's one of the few artists who's albums that still sounds fresh to an extent (I don't like to use "dated" because if it's good music, it really shouldn't matter when it was made. From The Jacksons album in '76 to even 2001's Invincible, he experimented with different sounds. He has an album of classical compositions that he did in 1979 that remains unreleased.

In terms of artistry, he may not be a "musician's musician", but the man is capable and there's no denying his talent. He may not be as "deep" as Stevie or Prince, but those 3 are on diffent planes and levels of "genius" IMO

I gained more appreciation for the production of Destiny, Off The Wall, Thriller, and Triumph when I was helping out on a book about Michael's work about a year or two ago

Good music is good music

****************************
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http://i154.photobucket.com/albums/s278/jay8wonder/prince-4.jpg

MJ did it all and prince never made a better album than thriller or off the wall.

thanks for this read. Substantial post with no filler, time for me to break out the albumn.

...

>The Girl Is Mine demo 1:
>http://www.youtube.com/watch?v=ztXxORezhpg

in the weeks since you posted this, the user removed it :( i liked that version a lot. it was interesting to hear him work out the melody. the other one's still up.

http://www.youtube.com/watch?v=9BjwGPvwZNU

that second "demo" is a fake.
****************************
*********
http://i154.photobucket.com/albums/s278/jay8wonder/prince-4.jpg

>http://www.youtube.com/watch?v=9BjwGPvwZNU

not that one...


>that second "demo" is a fake.

what? the really lo-fi one with him talking and writing the melody? it sounded so real. so an impersonator went through all that trouble of talking and singing like MJ to create a fake recording of him writing "the girl is mine"? o_O

"underrated" & "Thriller" don't belong in the same sentence but this track is my Side 1 favorite. It was put to the side once I heard Carousel for the first time 3 lifetimes ago but I "always came home. I always came home" (c) Martin

...and it blew my socks off. I was a strict church kid till I was 18, and all I knew from "Thriller" were the big singles ("Thriller," "Wanna Be Starting Something," "Beat It," etc.) When I finally bought the full CD in 1998, I was floored by the beautiful simplicity of this song. Truly amazing!

I don't know if I would put "Thriller" in the same standing as "Songs in the Key" (I'm a DIE HARD Steve fan, so I am naturally biased) or "What's Going On?," but it is an amazing collection of music.

I honestly think "Thriller" was a blessing and a curse for Mike. He made the best selling album of all time, but he was never able to repeat it.

that song sucks.

I was 8, living in Philly

I remember being at USA-skates up on the boulevard. I was at someones pizza skate party. Saw the debut for thriller there and was in aw. I remember it being a big event and everyone watching it on the TV that was hanging above the video game Zaxon.

Months later moms finally bought me the bootleg beat-it jacket from clover.


lurkin since 1999.

me and my brother couldn't stop playin "Off The Wall" (side 2)

...and I wasn't all that impressed upon hearing the first single (Billie Jean) initially

_________________________________________________________

www.myspace.com/bigsoulmusic1

www.facebook.com/profile.php?id=706647412

.....me kind of tired of hearing about this album now, I still like all the songs from "Thriller" but now I probably had my fill with talking & discussion (or in OKP, arguments) about it all over again.

And Scorpion's excellent post seals it. He broke it down like it needed to be broke down.

I'll never get tired of listening to, or reading about, this album. Never.
________________________________________________________________________
<------ The GOAT.

So I had to order it from Columbia House

ahhhhhh

Most of us had a love/hate relationship with FNV
__________________________________
Reunion Radio December Artist of the Month: Slave

http://reunionradio.blogspot.com/

>Most of us had a love/hate relationship with FNV
>__________________________________
>Reunion Radio December Artist of the Month: Slave
>
>http://reunionradio.blogspot.com/

can't even celebrate without being critical...i'm taking my piece of cake and leaving...and my noise maker...and my party hat...and this thermos...

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but "Billie Jean" has been my favorite song since I was like 3.

The older I've gotten, the more I appreciate the album from the technical aspect. The mixing on this joint is outstanding. The music surrounds you. Bruce Swedien is a muthafucker.

I remember we went on a trip to Oklahoma for a family reunion in like 92 and I had my Dad pop in my cassette of Thriller and it started to drag as we pulled into a rest area. He ejected it and the tape player had ate it and the tape was all fucked up. I still remember throwing the off white cassette into the red, circular garbage can. It was devastating, but I had the cd at home.

I have some more thoughts, but I'm late for class...

www.smokingsection.net

ninjas would stop what they was doing outside and go in and just be in awe....


www.smokingsection.net

Here's a post Bruce Swedien posted on gearslutz about Billie Jean. Its an interesting read if you're into this kinda stuff.



Recording and Mixing "Billie Jean"....

The year is 1982. The song is "Billie Jean". The sonic image of Michael Jacksons' "Billie Jean" is a perfect example of what happened, when I sat around dreaming awhile, about combining different recording techniques to produce a unique musical canvas with a tremendous 'sonic personality'.

Of course I was comfortably ensconsed in Westlake Audio’s beautiful new Studio ‘A’ on Beverly Boulevard, with my good friends Quincy Jones, Micheal Jackson and Rod Temperton. We were doing our favorite thing... We were making music!!! We had just started recording Michael Jackson’s album “Thriller”...

We were recording Michael’s song “Billie Jean”.....

I recorded the drums,(played by the fantastic drummer, N'Dugu) with as tight, and powerful a drum sound as I could come up with. Of course I put N'Dugus' drum set on my plywood drum platform. Also at this time, I had a special kick drum cover made that covers the whole front of the kick drum. There's a slot with a zipper in it that the mike fits through. When the kick drum mike is in place, in the slot in my drum cover, I zip the opening tightly shut around the mike.

I brought in my old pal George Massenburgs' spectacular sounding, portable, 12 channel recording console and used it to record the rhythm section. With it I recorded the bass, drums and guitars on my analogue 16 track, with no noise reduction equipment in the way of that fantastic sound!

In my estimation, the the result of the song “Billie Jean”, is a perfect example of what I call “Sonic Personality”. I don’t think there are many recordings, where all you need to hear is the first few drums beats, and you instantly know what song it is.

Great albums always start with great songs....

"Billie Jean" is just such a superb song! Of course, Michael wrote "Billie Jean"..

Quincy says that the lyric that Michael wrote is highly personal. I’m sure that’s true. Michael told us... it was about a girl, that climbed over the wall at Michael’s house, and was lounging out there, by the swimming pool.... she was laying out there, near the pool , lounging... hangin’ out... with shades on, her bathing suit on. One morning she just showed up! Kind of like a stalker, almost. She had accused Michael of being the father of ONE of her twins... Is that possible? I don’t think so....

When it came time for me to mix "Billie Jean", it was business as usual... When I am working with Michael, Quincy, Rod, Jennifer, Sergio and so on..... I am allowed total ceative freedom with the sonics of the music... In other words, I am always left to myself when it is time to mix. My mixes can take hours, days or even weeks.... I firmly believe that a mix is not finished, until it is on a Record for sale at Tower....

So I had been mixing "Billie Jean" for a day or two. I’d do a mix. ..... Say I was up to mix number 2.... (At that time I was mixing onto 1/2” analogue.) I thought it was killer!!!

I called MJ, Quincy and Rod into the control room and played mix 2 for them. They loved it!!! They were all dancing and carrying on like crazy!!! Smiles all around! Then Michael slipped out of the control room, turned around and motioned to me to follow him... Then he whispered to me, “Please Bruce, it’s perfect, but turn the Bass up just a tiny bit, and do one more mix, please....” I said to him...”OK Smelly, no problem”...

(When we were recording “Off The Wall”, Quincy gave Michael the nickname of “Smelly” because when Michael liked a groove, he’d call it “Smelly Jelly.” Also Michael doesn’t curse, and when MJ wants to say a bad word he’ll simply call it “Smelly”... The name has stuck...)

Then I went back into the control room to add Michael’s tiny bit of bass to my mix... Quincy pulled me over into the corner and said “Please Svensk... “(Svensk is Quincy’s nickname for me. It means “Swedish Man” in Swedish... When you have a genuine Quincy Jones nickname like ‘Svensk” - You are truly honored....) Q said to me.... “Add a little garlic salt to the snare and the kick. Just a squirt!!!”) so I went back into the control room and added a little garlic salt to the snare and the kick. Just a squirt!!! Now I was up to mix 20 on "Billie Jean".

Well, this went on for about a week. Soon I was up to mix 91!!! I had a stack of 1/2 inch tapes almost to the ceiling!!! I would do a few mixes, we’d listen... Then do a few more. We had it PERFECT!!! We thought we had a really ‘HOT’ mix on “Billie Jean”. I played Mix 91 for the boys... Everybody smiled... but Quincy had one of his funny looks on his face...

I thought.... Hmmmm.... Oh, Oh....

Quincy said “You know Svensk, just for the fun of it, can we listen to one of your earlier mixes???” My heart jumped because I knew that my earlier mixes were dynamite!!! Then Quincy said, “Let’s hear mix number 2!!!” Oh WOW!!!! Hallelujah!!! I love mix 2!!!!

We listened to mix 2... IT WAS SLAMMIN’!!! EVERYONE IN THE STUDIO WAS GROOVIN’ AND DANCIN’ and HAPPY, and actin’ IGNORANT!!!!

Well, here’s the deal. When “Thriller” was released to the Whole World by Epic Records, on Tuesday, November 30, 1982, it went to Tower Records with MIX 2 OF "Billie Jean" on it!!! AND, when the single of "Billie Jean" came out it was MIX 2!!!

The REAL Story of "Billie Jean"...

Bruce Swedien

*******
The Travels of Windimoto
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I'm glad someone else appreciates the "nerd shit" like me

extra lol @ mixing a record for days and days for your second mix to be the one chosen

___

http://newgoldenera.com - good music for good people

http://liberatorscomic.com - cops get shot. random hip-hop references. fun for the whole family.

http://en.wikipedia.org/wiki/Late_Friday#The_first_year

I might be decades(?) since I listened to the whole thing back to front, and I'm not even sure if I'd even like the whole thing anymore. But I wouldn't be a music head at all if I hadn't heard that album.

i was just listening to this yesterday

but I think it was 84 or 86 that I started to recognize this masterpiece.

I recall being shook by the video ... those damn Yellow(y) eyes lol

still waiting to hear about a video better than Thriller... I won't hold my breathe
______________________________


"...http://www.myspace.com/junyar .."

I love the album... even though it's 7 years older than me. I'm gonna have it playing when I go out tonight.

Scorp nailed it and stated the truth in post #6. not another album since or before touched on all levels and struck such a powerful chord from 8-88. once in a lifetime and once in a generation,etc... Michael Jackson did the American dream times two.

he did what every artist dreams and envisions that ultimate album being. without MJ other doors would still have been closed. He is the King of Music IMO and He made the Ultimate Album period.

You don't think R. Kelly's albums are "great"? I disagree with you on it being the last important album, and while many looked to THRILLER as a goal to reach, a lot didn't.


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but for my money ain't nobody has touched Thriller since. MJ got it all right for my money. how can you argue against a Album that touched on every corner of the universe, crossed racial and social lines? impacted and influenced a whose who and still does.

MJ made the album that every artist wants to have made IMO.

was getting my viewfinder with mike jack thriller card set
better than 1080 Hd! Use to be mesmerize lookin at that joint! lol

http://ianbashaw.com/blog/wp-content/uploads/2007/04/viewmaster.jpg

back then buying the vhs wasn't an option...you had to put two of the jvc's together and dub it. and who had the $$$ to buy two vcr's???

so that viewfinder was all i had to hold onto the experience of that video. i used to play the LP and then flip through the slides!

I think the bass on Billie Jean can't be beat on SACD, and PYT sound pretty darn sweet too.

Just wish they would have done a surround mix too.

The Album

In April 1982, work began on Michael Jackson's sixth solo LP originally titled "Starlight", the follow up to 1979's classic "Off The Wall".
From April to October 1982, The album's dream team, Jackson, Quincy Jones, and Rod Temperton, had to pick from close to 200 songs, with 9 making the
final list, and retitling the LP and title track(sound and name) to "Thriller", but it was almost shelved.........

The album dealt with several setbacks. The album wasn't on schedule and getting pressure from CBS/Epic and when the album was
finally finished, the final mix sounded according to Michael "crappy". Another problem was the deal with the E.T. Storybook album.
Quincy and Michael took some time to recollect and then went back into the studio and remix and re-arrange the album. Along with
remixing the set, they also replaced the four weakest songs with the rock oriented "Beat It", the soothing groove "Human Nature", a new uptempo
version to "P.Y.T.(Pretty Young Thing), penned by Quincy and James Ingrham(the song was originally written by Michael and Greg Philliganes in 1981 or 82)
, and the slow jam, "The Lady In My Life"
THRILLER was released on December 1, 1982, debuting at #11 on the Billboard 200 and #29 in the UK. The album with success of singles, "The Girl Is Mine" and "
"Billie Jean" would reach #1 10 weeks after it's debut in the US and 12 (in the UK). In the US, it would go on to spend 37 non consecutive weeks at #1 and in the
Top 10 for 79. In the UK, it would spend 8 non consecutive weeks at the top and in the Top 10 for 78.
In 1983 Michael became the first artist to simultaneously hold the number one spots on Billboard's rock albums and rock singles charts, as well as the R&B albums and singles charts
With 7 Top 10 singles, Thriller won
7 American Music Awards, 8 Grammy Awards(7 in 1984 and 1 in 1985), 3 MTV Video Music Awards, 19 Billboard Awards(Music and Video),
4 NARM awards, 2 People's Choice Awards, 4 Canadian Black Music Awards, and a Crystal Globe Awards, and became the best sellling album
of all time, selling 104 million copies to date


Billboard Awards
Pop Album of the Year - Thriller
Pop Artist of the Year
Black Album - Thriller
Black Artist of the Year
Pop Album Artist
Pop Male Album Artist
Pop Male Singles Artist
Black Album Artist
Black Singles Artist
Pop Singles Artist
Dance/Disco Artist
Dance/Disco 12" LP - Billie Jean
Dance/Disco 12" LP - Beat It

Rolling Stone
Readers Poll - #1 Artist of the Year
Readers Poll - #1 Soul Artist
Readers Poll - #1 Video - Beat It
Readers Poll - #1 Producer (with Quincy Jones)
Critics Poll - #1 Artist of the Year
Critics Poll - #1 Video - Beat It
Critics Poll - #1 Male Vocalist
Critics Poll - #1 Soul Artist

Black Gold Awards
Top Male Vocalist
Best Album - Thriller
Best Single of the Year - Billie Jean
Best Video Performance - Beat It

Billboard Video Awards
Best Performance by a Male Artist
Best Overall Video - Beat It
Best Performance by a Male Artist Best Choreography - Beat It
Best Use Of Video To Enhance Artist's Song - Beat It
Best Use Of Video To Enhance Artist's Image - Beat It

Cashbox
Number One Male Artist
Top Black Male Artist
Top Pop Album
Top Black Album
Top Male - Singles Artist
Top Black Male - Singles Artist
Top Pop Single - Billie Jean
Top Black Single - Billie Jean

Album Of The Year - U.K, Japan, Australia, Holland

Artist Of The Year - U.K, Italy, Japan

International Artist Of The Year - Brazil

Record Of The Year - Greece

Best Male Vocalist - Japan

Most Important Foreign Album - Spain

Single Of The Year - Australia

Guinness Book Of Records
Best Selling Album Of All Time - Thriller

Star on the Hollywood Walk of Fame

Grammy Awards
Michael recieves a record breaking 12 nominations and a record breaking 8 Grammy awards - the most won by an artist in one year.
Album Of The Year - Thriller
Record Of The Year - Beat It
Best Male Pop Performance
Producer Of The Year (with Quincy Jones) - Thriller
Best Male Rock Vocal Performance - Beat It
Best Male R&B Vocal Performance - Billie Jean
Best New R&B Song - Billie Jean
Best Recording For Children - E.T. The Extra Terrestrial Album (narration by Michael Jackson)

Canadian Black Music Awards
Top Male Vocalist
Entertainer of the Year
Top International Album - Thriller
Top International Single - Billie Jean

American Music Awards
Special Award Of Merit
Favorite Album-Pop/Rock - Thriller
Favorite Album-Soul/R&B - Thriller
Favorite Male Vocalist - Soul/R&B
Favorite Male Vocalist - Pop/Rock
Favorite Single-Pop/Rock - Billie Jean
Favorite Video-Pop/Rock - Beat It
Favorite Video-Soul/R&B - Beat It

MTV Awards
Viewers Choice Award - Thriller
Best Overall Video - Thriller
Best Choreography - Thriller

People's Choice Awards
Best All Around Entertainer Of The Year
Favorite Video of the Year - Thriller

Hotel Royal Plaza
Presentation Casement - 37 Gold & Platinum Discs

Presidential Special Achievement Award (U.S)
Presented at the White House by President Ronald Regan to Michael Jackson in recognition of his contribution to the nation's campaign against drunk driving - Michael's song "Beat It" was run in the ads

Presentation Casement Of Platinum Disc 1985
Presented in the U.K for the "Thriller" album

NARM
Gift Of Music Award
Best Selling Album - Thriller
Best selling Single - Billie Jean
Best Home Video - The Making Of Thriller

NAACP Image Awards
H. Claude Hodson Medal Of Freedom

Ebony Magazine Award

Billboard Awards
Top Album

American Video Awards
Best Long Form Video
Best Home Video

Crystal Globe Awards
Exceeding Sales Past 5 Million

poll - World Almanac and Book of Facts 1985
Voted "Hero of Young America"

Grammy Awards
Best Home Video - The Making Of Thriller

Rolling Stone Magazine(1989)
Video Of The Decade - Thriller

MTV Awards(1989)
The Greatest Video In The History Of The World - Thriller

Music Video Producers' Hall of Fame(1991)
Thriller Video


Billboard Music Award(1992)
Commemoration of 10th anniversary of Thriller (Biggest selling album of all time).

VH1 poll(1998)
# 1 greatest video of all time - Thriller

CNN Internet Poll(1999)
Best Music Video Of All Time - Thriller

80 Classics of the 80's Poll - Dutch Music Channel (TMF)(1999)
#1 Song - Thriller

Entertainment Weekly Poll(1999)
Best Solo Artist (Modern) - #1. Michael Jackson (with 25.90% of the votes)
Best Group (Classic) - #2. The Jackson 5 (with 13.57% of the votes)
Most Underrated Artist or Group - #2. Michael Jackson (with 17.125 of the votes)
Best Modern Album - #1. "Thriller" - Michael Jackson (with 23.43% of the votes)
Best Song (Modern) - #2. "Billie Jean" - Michael Jackson (with 16.11% of the votes)
Best Music Video - #1. "Thriller" - Michael Jackson (with 25.11% of the votes)



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>a new uptempo version to "P.Y.T.(Pretty Young Thing),
>penned by Quincy and James Ingram(the song was originally written
>by Michael and Greg Philliganes in 1981 or 82)

So, that "demo" that Will used in his remix seemed like a whole 'nother song - is it technically regarded as the first draft of what was to appear on Thriller?



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it had completely different lyrics. It was done in either 1981 or early 1982. Michael and Greg Philliganes wrote it.
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MJ and Greg cut it then. after james ingram cut "she's a bad mama jama" on Carl Carlton and Ingram played all the instruments on it and you hear the same groove on pyt. quincy just added the elephant synth and took a co -credit or ingram wouldn't have made the cut, that is a whole different story, they went with the fast version. MJ over the years hinted at the slowed down version.

-Behind The Mask
*written by Chris Mosdell and Ryuichi Sakamoto with additional lyrics by Michael
The original instrumental with choral background was recorded by the Yellow Magic Orchestra for the 1979 album "Solid State
Survivor"
Quincy Jones heard it, brought it to Michael's attention, who recorded it, added an extra melody line, and extra lyrics
Issues with royalties prevented the song from making the cut

-Carousel
*written by Michael Sembello
The song was originally included on the album until "Human Nature" replaced it.
Was later released on the 2001 Special Edition of Thriller, but was edited to nearly 2 minutes. Michael's original version
can be easily found online. Michael Sembello's version(including extra lyrics) can be heard on his official site.

-Fantasy
*written by Michael Jackson

-Got The Hots
*written by Michael with Quincy Jones
was to be included on the 2001 Special Edition of Thriller. Finally was released on the Japanese edition of Thriller 25

-Hot Street
*written by Rod Temperton
Quincy and Rod felt it wasn't strong enough although Michael liked the song.

-Slapstick
*the original version of Hot Street

-Learned My Lesson
*written by Michael in 1981. Two versions exist

-Love Never Felt So Good
*written by Michael with Paul Anka and Kathy Wakefield. Later recorded by Johnny Mathis in 1984

-Much Too Soon
*written by Michael in 1981

-Nightline
*written by Glen Ballard
Even though the song didn't make the album, Ballard would go on to co-write "Man In The Mirror" for 1987's Bad and "Keep
The Faith" for 1991's "Dangerous".
Nightline would later be recorded by the Pointer Sisters for the ORIGINAL pressing for their 1983 LP "Breakout"(replaced by
I'm So Excited"
also recorded by Randy Crawford

-Nymphette Lover
*written by Michael in 1981

-Rolling The Dice
*written by Michael in 1982

-Saved By The Bell
written by Michael and Jermaine Jackson for either Thriller, Dynamite, or the Victory album.

-She's Not A Girl
*written by Michael in 1982

-She's Trouble
*written by Terry Britten, Bill Livsey and Sue Shifrin
later recorded by Scott Baio for his 1983 LP "The Boys Are Out Tonight" and by Musical Youth for their 1983 LP
"Different Style". The single peaked at #65 on the Hot 100 and #25 on the R&B chart.

-The Sky Is The Limit
*written by Michael and Jermaine

-Starlight
*the original version of "Thriller"

Michael Boddicker was in the studio when Michael, Rod, and Quincy played the song back and began throwing ideas at each other
like changing certain chords to make the song sound darker. A day or so later, it song became what we know as "Thriller"

-What Do You Know
*written by Michael in 1981


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This mutha fucker here just stinks of 80s cheese
__________________________________
Reunion Radio December Artist of the Month: Slave

http://reunionradio.blogspot.com/

Shit like this is why I'm mad they wasted the public's time with remixes by new artists - Thriller had enough unreleased material for a Miles Davis type of boxset...sheesh...



©www.cristianrios.com

"The Return Of The Dirty Cymbals"
Amazon mp3: www.tinyurl.com/5juc8s
iTunes: www.tinyurl.com/6f2yug
CDs: www.createspace.com/1722448

NEXT: The Waldorf & Statler Experience | The Conversation | The Funky Fragment Junction

it's #1 with 544 votes right now. If those cats look at it and consider it, we may get to hear more
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This is one of the reasons why I didn't even touch those 25th Anniversary editions cause I wanted new unreleased material not a bunch of remixes from kats who going to make terrible versions of a classic.

>-Behind The Mask
> *written by Chris Mosdell and Ryuichi Sakamoto with
>additional lyrics by Michael
>The original instrumental with choral background was recorded
>by the Yellow Magic Orchestra for the 1979 album "Solid State
>Survivor"
>Quincy Jones heard it, brought it to Michael's attention, who
>recorded it, added an extra melody line, and extra lyrics
>Issues with royalties prevented the song from making the cut

I had no idea he tried to cover that song. *Great* song from YMO.
http://www.youtube.com/watch?v=wh5gG_NUWTg

YMO first three albums were pretty fun actually. They're like Kraftwerk meets The Three Stooges, but in a very good Japanese way.

Behind the mask from YMO:
http://www.youtube.com/watch?v=wh5gG_NUWTg (Live in 1979)

http://www.youtube.com/watch?v=qxx2Sf679xM


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n/m

but the verse parts don't seem to fit right...

It's interesting to see where "Thriller" came from...



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NEXT: The Waldorf & Statler Experience | The Conversation | The Funky Fragment Junction

http://www.zshare.net/audio/52249817157c35ee/

It sounds like a new tune or a house/boogie type joint that came out recently.

If Epic/Sony/Legacy was smart they would take all those "Thriller" songs that didn't make the cut and get about 10 to 15 good ones and package them as "Starlight".

.

__________________________________
Reunion Radio December Artist of the Month: Slave

http://reunionradio.blogspot.com/

Count me in as well...I played that shit so much the tape was fading....



murph71

My brother used to watch that ish EVERY DAY back in 1990. Drove me nuts!

Imagine being a 5 year old kid in 1982 in Philadelphia and not knowing music was about to take you into it's conscience.

Man...

I remember being over my aunt's girlfriend's house and her daughter told me to come up the stairs and listen to her records on her turntable.

She was just throwing random stuff on just playing it...

One song she threw on at random was 'Wanna Be Startin' Something'.

I took to that song like a puppy takes to Puppy Chow.

Her: Brian, don't you wanna listen to the rest of the album first?

Me: Play that 'Somethin' Somethin'' song again!!!(I didn't know the title of it at 5. Sue me!)

I must have listened to it at least 6 times before I heard the rest of the album!

The very next day, I asked Mom to buy it for me. Begged and pleaded for it, I say! Sure enough that weekend, 'Thriller' was in my hands.

I don't even remember how many times I played it that whole day. But man...it was a listening experience I'll never forget.

Song after song was just getting absorbed....wow.

It was a reason why so many people ages 5 to 99 took to it. It was simply a universal album.

If my 70 year old Great Aunt in VA. is tapping her feet to the rhythm section of Billie Jean all the way through, then his job is done.

I get pissed at those of you who believe MJ 'lost his soul' musically speaking when that album came out(Y'all's opinion). If anything, he was making his soul at ease. This was an album he was comfortable making and he pretty much knew this album was gonna change the world...and his life.

Sure, he never made 'Off The Wall Pt. 2.' Did you REALLY expect him to? LOL That's hustling backwards IMO.

But Bro. Scorp broke it down the bone, so I really don't even need to go into anymore detail.

A game-changer for sure.

:(

Still easily my favorite album of all time...even though its nearly 8 years old than i am i still remember in 95 sittin in my bunk bed, with the thriller cassette in my walkman...

I've been raised around music since birth (prince, stevie, michael franks, jamiroquai...the works) But there was something magical about Thriller that really got me into music. As far as my listening habits go Thriller was the most important album to me, hell it really brought music full circle. After i wore the cassette out, i remember sneakin off with my dads songs in the key of life cassette.

I haven't been the same since.

CLASSIC SHIT

Billie Jean

written by Michael Jackson in 1980 or 1981

This songs was inspired by several periods in Michael's life such as female fans accusing Michael and his brothers of fathering
their children. Another was when a woman accused Michael of being the father of one of her twins. Another is well documented in
MJ bio "The Magic and The Madness" of a fan who would break into The Jacksons' Hayvenhurst estate. She was later arrested when
she sent Michael a suicide note complete with a gun to kill himself.

Quincy Jones wasn't impressed with the first demo(included on the 2001 Special Edition), as he didn't like the bass.
He also didn't like the title of the song and suggested that they rename it to "Not My Lover"
There is also another demo that is over six minutes, slightly faster in tempo, and has alternate vocals and adlibs.
Engineer Bruce Swedien, who usually did one mix of a song, did 91 mixes of Billie Jean until the second mix was finally chosen.

The single topped the R&B singles chart in just three weeks- the fastest rising #1 single since 1970 when The Jackson 5ive scored a
hat trick of equally quick #1 singles ABC, The Love You Save, and I'll Be There. It went to #1 just one week after The Gap Band's "Outstanding"
topped The Girl Is Mine for the top spot. Billie Jean stayed at #1 for 9 weeks.
Went to #1 on the Billboard Hot 100 for 7 weeks and in the UK for one.
Billie Jean and the album topped the singles and albums charts on both sides of the Atlantic in the same week.
The video was directed by British director Steve Barron and premiered on MTV on March 2, 1983, becoming the first
video by a black artist to be added on the MTV playlist.

Michael insisted to Berry Gordy that he perform the song on "Motown 25: Yesterday, Today, and Forever" instead of one of his solo Motown songs(like Got To Be There and Ben)
and would be the only non-Motown song on the show. The performance is considered one of the greatest ever and voted the second
greatest music on television by TV Guide, especially when he "moonwalked" in public for the first time, helping start
the Bboy/Breakdancing phemonenom in the mainstream of the 80s. The performance earned Michael a Emmy Award nomination, Best Individual Performance on
a Variety or Music Program.

The next day after Motown 25, Fred Astaire personally called Michael to praise him, starting a friendship between
the two.

US Hot 100:#1
US R&B:#1
US Single Sales:#1
US SIngle Airplay:#1
Canada:#1
UK:#1
Australia:#1
Austria:#2
Belgium:#1
France:#1
Holland:#4
Japan:#49
South Africa:#2
Germany:#2
Ireland:#1
Spain:#1
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even glosses over bc it wasn't a hit. it swings IMO...

i must have been like in 2nd grade or some shit. my mom's saw the disclaimer and she was like nah this aint for kids. i was mad as fuck!! i had to wait sometime in the late 80's til they actually replayed that shit. i'm still mad as hell.

was and always will be the shit

THE LADY IN MY LIFE

written by Rod Temperton


The Lady In My Life was recorded in late 1982, being one of the four last additions to the Thriller album.

Although doing dozens of takes, Quincy wasn't satisfied with Michael's work, so he took Michael aside and encouraged him to "beg", so Michael went back into the booth, had everyone turn off the studio lights, close the curtain between the studio and control room to make it feel more intimate.

Lyrics to an extra unreleased verse appeared on the lyric sleeve of the first pressings of Thriller but later removed:



So let me keep you warm
Through the shadows of the night
Let me touch you with my love
I can make you feel so right
Just come into my arms
While the world goes spinnin' by
And in the glow of candlelight
I will show you you're the lady in my life


Don't need no fortune or fame
I just want you close to me
No time for castles in space
Or livin' in make believe
I'd trade it all for just a rainy day
As long as I know you'll be there

The Lady In My Life was stated to be the EIGHT and last single for the album but was cancelled


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Throughout 1983 and 1984, Michael Jackson was the #1 man in the entertainment industry. From November
1982 to December 1984, Michael released 12 singles:

The Girl Is Mine (Pop #2, R&B #1, UK#8)
Billie Jean(Pop #1, R&B #1, UK# 1)
Beat It(Pop #1, R&B #1, UK #3)
Wanna Be Startin Somethin'(Pop #5, R&B #5, UK #8)
Happy(UK #52)
Human Nature(Pop #7, R&B #27)
P.Y.T.(Pop #10, R&B #46, UK #11)
Say Say Say(Pop #1, R&B #2, UK #2)
Thriller(Pop #4, R&B #3, UK #10)
Somebody's Watching Me(Pop #2, R&B #1, UK #6)
Farewell My Summer Love(Pop #38, UK#7)
Girl You're So Together(UK #33)

In 1983, Michael, under pressure from his family, decided to join in to work on the sixth Jacksons
LP titled "Victory" and the accompanying tour. To promote the tour, the group, now including Jermaine
again, signed with PepsiCo to a sponsorship deal. During the filming to the commercial "The Concert",
a pyrotechnics malfunction caused sparks to shoot upon Michael's hair, setting it on fire.
Michael's brother Tito and friend/bodyguard Miko Brando(son of Marlon) quickly came to his aid
(Miko tried to pat the fire out, causing his hands to have burns)
Michael was rushed to Cedars Sinar hospital and suffered second degree burns(He would get skin graf surgery
shortly therafter)
That same month, Michael was nominated for a record 12 Grammy Awards. In february, he won 8 of those awards
winning the most Grammys in one night. He also won 8 Grammy Awards.

To ride on the wave of Michael's success, Motown Records released "Farewell My Summer Love"
9 song compilation of songs Michael recorded from January to October 1973. Motown released
the album in May, 2 months before the Victory album was supposed to be released. The album
peaked at #46 on the Billboard 200 and #9 in the UK, spawning 2 singles, the title track, and
"Girl You're So Together"

Work on the Victory album was done by that time and was released on July 6, 1984,the same day as
the tour's opening night in Kansas City at Arrowhead Stadium. Recording sessions began a couple of months
after the release of "Thriller". One song missing from the album was the actual title track,
which was a duet with The Jacksons and Freddy Mercury of Queen.............

The Michael Jackson/Freddie Mercury Sessions
----------------------------------------------
(From Peter Freestone's bio"Freddie Mercury:An Intimate Memoir")


Michael invited Freddie to Hayvenhurst in the summer of 1983 and took Freddie and Peter on a tour of the estate. They visited Michael's bedroom, which shocked Freddie when he saw that Michael's bed was a mattress. Michael said that he preferred "to be closer to the earth", to which Freddie replied "But you're on the first floor!"

What impressed Freddie was that Michael had his triple platinum disc award for "Thriller" just leaning against the wall. Freddies thought it showed great style.
Freddie wasn't a showoff, as he also used hiis gold and platinum awards as wall coverings than trophies.

In the studio, Michael and Freddie were the only ones with Freddie onthe piano and Freestone palying "the toilet door".
They recorded 3 songs, "Victory", "State Of Shock", and "There Must Be More To Life Than This". On "Victory", there was no drummer or drums, and Michael wasn't fond of the sound the
drum machine gave so Freestone ended up slamming the bathroom door for 5 minutes in the rhythym. "On There Must Be More To Life Than This", Michael ended up composing his own lyrics as he went along. They worked for about 5 or 6 hours and ended at 6 pm.

In the car, Freddie said to Freestone he admired Michael's creativity, but question his style in decorating the house


The two split the songs, with Freddie recording "There Must Be More To Life Than This" for his
album "Mr. Bad Guy", and Michael re-recorded "State Of Shock" with Mick Jagger. Victory remains
unreleased. The two remained good friends until Freddie's unfortunate passing in 1991.


THE VICTORY TOUR
----------------------
In July 1984, Jackie, Tito, Jermaine, Marlon, Michael, and Randy went back on the road
for the "Victory" Tour to support the Victory album and commemorate the 20th anniversary of the
group's formation and the 15th anniversary of the release of "I Want You Back"
Originally named "The Final Curtain", it was renamed because they didn't want to put emphasis
on the issue.
One of the biggest controversies during the Tour, was the subject how to buy tickets. Those
wanting to see the concert had to buy the tickets in blocks of four, with a limit of one block of four per address.
Also, tickets must be paid for using a US Post Office money order, using the original application form found in participating newspapers;
copies of forms not allowed. Because of these requirements, some post offices had run out of money orders,
and some enterprising entepreneurs bought extra copies of newspapers with an application form,
for cities that don't have a participating newspaper.
It is unknown if these ticket restrictions were in place for the entire tour, or if they were loosened later on.
Much of the blame was in fact put on Michael(many saw the tour NOT as a Jacksons tour, but The Michael Jackson show)
Michael took matters into his own hands and made a press conference saying he was working with the promoters
to fix the problem and that he was donating his earnings to charity.


Victory tour set list:
Wanna Be Startin' Somethin'
Things I Do For You
Off The Wall*
Ben/Human Nature
This Place Hotel
She's Out Of My Life
Let's Get Serious
You Like Me Don't You*
Tell Me I'm Not Dreamin'
I Want You Back"/The Love You Save
I'll Be There
Rock With You
Lovely One
Working Day And Night
Beat It
Billie Jean
Shake Your Body (Down to the Ground)
(*Off The Wall was not performed during the last show in Los Angeles and instead of You Like Me Don't You, Jermaine performed Dynamite)

There was talk of a European tour but Michael was against it, so during the last date in
Los Angeles' Dodger Stadium, Michael made the announcement that it would the Jacksons' last concert.
One thing: He didn't tell his brothers!

The dates:
North America
July 6 - July 8, 1984 Kansas City United States -Arrowhead Stadium
July 13 - July 15, 1984 Dallas United States -Texas Stadium
July 21 - July 23, 1984 Jacksonville United States -Gator Bowl
July 29 - July 31, 1984 East Rutherford United States -Giants Stadium
August 4 - August 5, 1984 New York City United States -Madison Square Garden
August 7 - August 9, 1984 Knoxville United States -Neyland Stadium
August 17 - August 19, 1984 Detroit United States -Pontiac Silverdome
August 25 - August 26, 1984 Buffalo United States -Rich Stadium
September 1, September 2, September 28 and September 29, 1984 Philadelphia United States -JFK Stadium
September 7 - September 8, 1984 Denver United States -Mile High Stadium
September 17 - September 18, 1984 Montreal Canada -Olympic Stadium
September 21 - September 22, 1984 Washington, D.C. United States -RFK Stadium
October 5 - October 7, 1984 Toronto, Ontario Canada -Exhibition Stadium
October 12 - October 14, 1984 Chicago United States -Comiskey Park
October 19 - October 20, 1984 Cleveland United States -Municipal Stadium
October 19 - October 20, 1984 Atlanta United States -Fulton County Stadium
November 2 - November 3, 1984 Miami United States -Orange Bowl
November 9 - November 10, 1984 Houston United States -Astrodome
November 16 - November 18, 1984 Vancouver, British Columbia Canada BC -Place Stadium
November 30 - December 8, 1984 Los Angeles United States -Dodger Stadium

1984 was the end of the promotion for the Thriller album, especially since Michael had began
writing for his next LP
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>Michael invited Freddie to Hayvenhurst in the summer of 1983
>and took Freddie and Peter on a tour of the estate. They
>visited Michael's bedroom, which shocked Freddie when he saw
>that Michael's bed was a mattress. Michael said that he
>preferred "to be closer to the earth", to which Freddie
>replied "But you're on the first floor!"

haha!

>In the car, Freddie said to Freestone he admired Michael's
>creativity, but question his style in decorating the house

ok, that's gay, freddie.

http://www.youtube.com/watch?v=Ma1U1GtgYrI

written by Michael Sembello and Daniel Freeman. Replaced by Human Nature
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man I need a mp3 of this bad!

http://www.youtube.com/watch?v=H1R-UPvl1RU


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http://www.youtube.com/watch?v=C6ID_3mn9L4

written by Glen Ballard
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I got it for my 7th birthday. My older brothers tried to make me ask for the Quiet Riot album. 'Cum on Feel the Noise' was all over MTV.

lol.

I think we know which one has been more enduring.

http://www.youtube.com/watch?v=6mExMI0PclY

"Off the Wall" is hitting 30 years next year (Feb 2009 I think). I'm pretty sure that SonyBMG'll put out an anniversary release for that too.

.

do you know how good Thriller still sounds on a system?

Human Nature was and is still my shit.. gotdamn that falsetto..

The beginning just takes you to another place, then he comes in "Looking out across the night time"

and you know it's bad when you associate the scene from the movie with this song.. top 5 moment of the movie.

I'm not gonna break down the entire album but he dropped some shit in the very early part of the 80s that hasn't been touched in that era or now.

That record doesn't even sound like an 80s record(thank goodness) and let's not even divulge into the videos..

**walks out of post due to sheer excitement and turns on Thriller**

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>http://www.youtube.com/watch?v=6mExMI0PclY
>
>"Off the Wall" is hitting 30 years next year (Feb 2009 I
>think). I'm pretty sure that SonyBMG'll put out an
>anniversary release for that too.

I truly hope so.. I got the Special Edition of it and those demos are priceless..

They better come up with something special because that album gets equal love.

I've always believed that. He wanted this record to be HUGE and he didn't stop at nothing until he got it. Quincy was a little more reluctant because he was worried about the public. But being young, Mike wasn't trying to hear that. It's safe to say it paid off in more ways than one. Many of the songs come out like a blaster when you play it especially "Wanna Be Startin' Somethin'", that's the CUT!

...besides "Billie Jean" and "Human Nature" of course. :D

it's hilarious *and* insightful

A+ reading

-thebigfunk
http://thelisteningsessions.blogspot.com
http://www.last.fm/user/thebigfunk/

~ i could still snort you under the table ~

-----------------------------------------
*2007 okayblowhards champion*
-----------------------------------------
clap, mufukahs!.. (c) p.s.
-----------------------------------------

..and miles to go before i sleep...

didn't mention Prince, talked about Michael for like 5 minutes, showed 2 minutes of Billie Jean, then spent the rest of the lecture talkin about Madonna.

Dude said that she was the most successful star in the past 25 years.

I said "I'm pretty sure Michael Jackson..."

Teacher cuts me off and said Mike was a has been and Madonna is more known around the world and the only person who's on her level is Oprah


!!!

I need to direct that fool to this thread
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It's revisionist history....that's all...


murph71

That baseline is just bad....just bad


What was he on when that shit was being formulated....

I feel the same way everytime I hear billie jean....good.

No one can pull off mike ...no one. ...People can pull off prince...dangelo, bilal...they freak that sound

But Mike?

No one..only his voice can go on those records.

mj is the baddest ever to do it imo.

to some of the songs from the album.

Thriller seemed like a landmark album to me at the time, both personally and commercially. I remember the whole ambience/feel associated with that time, and it felt good.

It seemed like anyone and everyone had a copy of that album. I prefer the faster paced songs, though really I can't fault any of them for what they were.

But all said and done I honestly can't decide whether I prefer Thriller or Off The Wall.

http://www.youtube.com/watch?v=xcY1f9ja6NQ


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http://www.youtube.com/watch?v=lE5oGxY5SV4

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This album is the TEMPLATE for modern popular music!

An absolute MASTERPIECE.

Long Live the father of Prince Michael and Blanket!!!

So it is on vinyl just in case someone is looking for it.

Check out NEW Soul music at: www.myspace.com/starbeing

i love music!-THE MIGHTY O'JAYS

i saw maybe the first 7,or 8 songs (it was a long ass show)and than i fell out...when i woke up mike was walking off stage,and people were getting up to leave....i was so blowed,because i was wide awake,and ready to get into it...damn being young,and sleepy....incredible album,and show (what i saw of it)

with the audio to go with it, that reminds me of the old brown dodge dart my mom used to drive me around in....crazy for me to remember those days.. i must have been six!

Includes

Billie Jean (12 inch mix)
Carousel (Complete Version)
Got The Hots
Human Nature (Alternate Version)
Love Never Felt So Good (Demo)*
Nightline**
The Lady in My Life (with Extra Verse)
She's Trouble**


*One of the best MJ Joints to NOT be released

**Not very good quality, but so what


http://www.zshare.net/download/528799395cd0f9bb/

Thanks a lot.

man thanks a lot!

'Got the Hots' is the business.

thanks!

Post booster...

http://eil.com/shop/moreinfo.asp?catalogid=436403

MJ data bank: How and when did you meet Michael Jackson ? What was the first Michael Jackson related project you worked on ?

Matt Forger: I met Michael when the recording of the Thriller album began. I had been working with Quincy Jones, Bruce Swedien and Rod Temperton on a few album projects and his was the next project on Quincy's schedule.

MJ data bank: Can you tell us more about the technical aspect of the Thriller sessions: what was the equipment used by Bruce Swedien and the team? We heard there were some 16-track machines plugged to each other to get even more tracks available?

Matt Forger: The THRILLER project was typical of the day in that it was recorded on 24 track analog tape. That may have been the only thing ordinary about it.
I worked with Bruce to develop a system using many (up to 12) 24 track 2" analog tapes to provide the number of tracks required in creating the vision of Michael and Quincy. There were two 24 track machines in the control room and the tapes were 'multiplexed' in a fashion that allowed many tracks to be recorded while monitoring the elements already on tape. The system worked by recording the rhythm section of a song on a master 24 track Master tape and generating work tapes that would contain cue mixes and with many empty tracks allowing ample tracks for the layering of sounds.

MJ data bank: Bruce Swedien used the Acusonic Recording Process. He also used a Harrison recording console. This kind of equipment eventually became studio recording references. Can you tell us more about that ?

Matt Forger: Bruce's Acusonic Recording Process is as much about his philosophy of sound, as it was technology. As he explains it, he has always believed in maintaining the integrity of the stereo image of the sound source from the initial recording through the final mix. This is why the many tapes and number of tracks became an integral part of the Thriller production.
The Harrison console that was used at Westlake Studios was typical of the mixing boards of the era. It was however modified by the technical staff of the studio to provide the superior sonic character that has become the benchmark of modern album production. Bruce has always favored a certain type of sonic signature and it was the studios desire to ensure that he had the best quality of equipment to do the job.

MJ data bank: Thriller in the making: you witnessed how the album was created, and the songs selected: in your opinion, what kind of material could have make it on the album? What was the global approach of Quincy, Bruce and Michael that finally had them selecting some songs instead of other ones?


Matt Forger: The song selection was an evolution. It began with Quincy and Rod Temperton reviewing countless tapes and submissions. Quincy would go through a process called 'Polaroids' where he would 'snapshot' the best songs to get a feel for the key, tempo, how Michael's voice would react to the song, that type of thing. Then, we would come back work on the best and as the character of the album was being built, additional songs were considered and added. Quincy was looking to cover many sides of Michael's talent and wanted to make sure that his versatility was displayed.
The one thing that was of highest importance was the strength of the songs. Only the best made it on the album. After all, the entire process of recording an album is dependent on the strength of the material. If you don't have the best songs, you don't have the foundation to build great production on. We all were very aware of that.

MJ data bank: First final Master Recording: Quincy Jones said it was "awful". What is your comment on that first version that remains unreleased?

Matt Forger: It was the fact that the potential of the project was not fully realized. We all knew the songs were great. But the pressure of the deadline and the time crunch to finish put tremendous stress on the process. When you are fatigued by the long hours of work you may not be 100% on top of your game, and that's what was what was needed. So we took a break on the weekend came in fresh on Monday and finished mixing the album.

MJ data bank: How would you describe the sound of Thriller?
Matt Forger: The sound of the THRILLER album is one of layered richness, texture and depth. It has clarity and presence, and is filled with warmth and emotion.

J data bank: How is it working with Michael Jackson, as compared to other artists? What are his guidelines, how does the chemistry works when he wants something and work with you in the studio ?

Matt Forger: Working with Michael is always a pleasure and a challenge. He is a perfectionist and demands the best. But you would expect nothing less from him. His standard of professionalism has always been of the highest level. Michael always searches for the newest most exciting sounds and qualities in recording, and yet always has patience and understands the time consuming process of exploring developing new sounds. I have had the opportunity to work with Michael in a variety of situations and have worked hard to find or develop new technologies to address the creative ideas he wishes to pursue.

The rule of the studio has always been to make the technology follow the creative direction of the music.

After having so much experience working with him, it becomes second nature to intuitively go where the music leads, or follow Michael's ideas to where the music takes him.

MJ data bank: Do you remember any tough moment during the Thriller sessions: any song that was exceptionnaly difficult or anything else?

Matt Forger: Yes, Beat It was particularly tricky. It was a song that constantly challenged the entire team. Michael wanted a punchy sound to match the emotion of the track, so everyone was constantly being pushed to the limit. The studio equipment seemed to sense the struggle and fought back in its own way. At one time during a playback of the song the monitor speakers actually caught on fire and smoke came pouring out of the wall.
It's as if the studio was fighting back, but we prevailed and beat the song into form and the result speaks for itself.

MJ data bank: The E.T. Storybook : I consider this is one of the most fascinating recordings ever made by Michael Jackson: how hard was it to adapt the film and turn it to a 30 minutes plus LP?


Matt Forger: The effort both creatively and technically was an enormous undertaking that no one fully realized at the onset. The idea seemed simple, but the execution required developing new approaches to the studio process in order to accommodate the creative forces at work. To have Quincy, Steven Speilberg and Michael all working on the telling of the story in the most effective way meant we had to be able to change direction at a moment's notice. Extensive preproduction was in place when we started the studio recording of the album and I was trying new techniques to make the job of the producers as easy as possible.

That was like trying to walk a bull through a china shop. not because of the personalities involved, everyone was absolutely in sync on the work, but the challenge of making the story the star of the record.


MJ data bank: Do you think getting involved in the storybook got the team less focused on Thriller?

Matt Forger: In a way yes, it took a lot of time from the work on Thriller, but it also made us realize that we were involved with history in a big way, we didn't realize it but it was a glimpse of what was to come.



MJ data bank: I think E.T has this visual approach that the song Thriller also has. You happen to be the person who worked on many soundtracks used by Michael Jackson during his tours, performances or films (Kreeton Overture on Victory Tour, Captain Eo, special montages and concepts for performances like Superbowl 93): how is it to work with that visual approach? What elements do you bring to get that visual approach into the music?

Matt Forger: When you are working on a song that has such a strong visual component it amplifies the story telling aspect of a piece of music. It has to make sense from several perspectives, so you consider it from more than one angle. How is the story being told visually and how is the story being told from the song or lyric aspect. Working with Spielberg was an insight into the story telling aspect of things from several angles. The story, told by the narration, the music from the point of the score, the nature of the visual as a reflection of the film and the emotional thrill ride of the combined elements. You really feel the excitement of the story.

MJ data bank: What is the difference between working on a studio project and a live or staged one?

Matt Forger: When you are on a stage performing live nothing can be too big. The dynamics are huge, sound, lighting, props, and special effects all contribute to the experience. While in the studio, you are working with just the music and lyrics but trying to achieve the same results. Everything must fit into a smaller package, so the challenge is greater and the manipulation is a lot more delicate in the studio. You have to carefully control the emotional flow of energy.




MJ data bank: What do you think makes Thriller the album it is today?

Matt Forger: Simple, great songs, great performances, great production.





MJ data bank: You worked on the Thriller 2001 Special Edition set. Some original bonus tracks were taken off the final track listing and replaced with interviews. Do you now why?



Matt Forger: Actually no, while they are interesting to hear and offer insight to the process, they don’t stand up to repeated listening like a good song does.


MJ data bank: What was your input in these 2001 SE sets and the Ultimate Collection released in 2004?

Matt Forger: I worked researching the songs that the producers felt would best reflect the nature of each project. In each case there was a different goal. In the Special Edition sets we looked for songs that filled in the process of what was going on behind the scenes for a particular album. A little insight of how an album comes together.

In the Ultimate Collection there was a desire to show the evolution of the career and how the songs changed with the times and Michael grew as an artist and as a songwriter.

MJ data bank: Your final thoughts on Thriller...

Matt Forger: Thriller was released at a time when the music industry was in a slump, not unlike the times we're in now. The quality of the album inspired many people, in the music industry and individuals as well.
The energy and emotion of Michael’s performances were astounding. People were revitalized in believing that music could achieve great results. This was proven by the projects that followed, "We Are The World" as an example. There was a note of optimism in the world and people felt good about themselves and the world around them.


It was the music that accomplished this. What a powerful medium it is. If only now we could find the same energy, the same emotion, the same desire to make the world a better place. As Michael asks in "Man In The Mirror", you have to look at changing yourself, if you want to see a change in the world.
How true!


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http://i154.photobucket.com/albums/s278/jay8wonder/prince-4.jpg

Thanks for posting this!

get their hands on the master recordings and release the original album on SACD Ultradisc. But oh well............

I STILL absolutely love this thread.

(Rotation)
RAMP - Come N2 Knowledge
Above The Law - Legends
Rick James - Throwin Down
Harold Melvin & The Blue Notes Collection
Lalah Hathaway - Self Portrait
Sons Of Funk - The Game Of Funk
Leon Ware - Musical Massage

It includes all of the circulating outtakes and demos from the Thriller sessions


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http://i154.photobucket.com/albums/s278/jay8wonder/prince-4.jpg

http://i357.photobucket.com/albums/oo14/jaywonder/thrillerouttakescopy.jpg

1.Wanna Be Startin' Somethin' (Demo)
http://rapidshare.com/files/181395085/Wanna_Be_Startin__Somethin___Demo_.rar

2.Baby Be Mine (demo) (short snippet)
http://www.youtube.com/watch?v=BHxL2bpJnTU

3.The Girl Is Mine (demo)
http://www.youtube.com/watch?v=yi293IwW_kE

4.Starlight (demo of Thriller) (snippet)
http://www.youtube.com/watch?v=BlGPyqCdEdY


5.Billie Jean (second demo)
http://www.youtube.com/watch?v=9E_1eYWx4fM


6.Hot Street
http://www.youtube.com/watch?v=tplaycs9ewE

7.Nightline
http://www.mediafire.com/?2mgh5hm4mt4

8.Carousel(full version)
http://www.youtube.com/watch?v=Ma1U1GtgYrI


9.Trouble (in better quality)
http://www.mediafire.com/?bicmijzm4nn

10. P.Y.T(demo)

11.The Lady In My Life (original version)
http://www.youtube.com/watch?v=8xehAZnUcug

12. Got The Hots
http://www.youtube.com/watch?v=fOMjkMDwP-E


I'll be adding more download links soon


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http://i154.photobucket.com/albums/s278/jay8wonder/prince-4.jpg

Very nice.

Keep them links comin'.