FEATURE:
Another Part of Me
Following The Mighty Thriller: Michael Jackson’s Bad at Thirty-Five
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IT might be controversial…
IN THIS PHOTO: Michael Jackson performs during his Bad world tour at Madison Square Garden in New York in March 1988/PHOTO CREDIT: Kevin Mazur/WireImage
covering Michael Jackson’s albums now but, as one classic (Thriller) is forty later in the year, many people will. On 31st August, 1987, Jackson released his seventh studio album, Bad. I wanted to mark its upcoming thirty-fifth anniversary. If you do not own this classic on vinyl, go and get a copy. Released almost five years after the historic and peerless Thriller (1982), there was this sense of expectation. Many hoping for an album just as good. Maybe an impossible task, Bad is an album that comes mighty close. Written and recorded between January 1985 and July 1987, Bad was the third and final collaboration between Jackson and producer Quincy Jones. Bad is an edgier and harder album than Thriller. Jackson wanted to evolve and change things up. Although there aren’t the Disco and R&B touches that defined some of the best songs from Thriller and 1979’s Off the Wall, I think the sound of Bad is incredible. Tackling the media, paranoia, racial profiling, self-improvement, and the state of the world, Bad is an important album where the personal mix with the bigger issues in society. The album featured fantastic appearances from Siedah Garrett and Stevie Wonder. I can only imagine how much excitement there was in the air in 1987. After releasing Thriller, the expectation and anticipation would have been beyond compare! Bad reached number one on the Billboard Top Pop Albums chart. It sold ion excess of 2.25 million copies in its first week alone in the United States! A huge chart monster around the world, Bad also spawned five number one singles :I Just Can't Stop Loving You, Bad, The Way You Make Me Feel, Man in the Mirror and Dirty Diana.
There is a fascinating feature and a couple of reviews that I want to bring in to contextualise and celebrate one of the biggest albums of Michael Jackson’s career. Michael Jackson’s official website provides some background to the amazing Bad:
“‘Bad’ is Michael Jackson’s third solo album on Epic Records, released on August 31st, 1987. Nominated for six Grammy Awards (winner of two), and selling an estimated 45 million copies worldwide, it is cited as one of the best-selling albums of all time, and was hailed by Time Magazine as “A state-of-the-art dance record”.
‘Bad’ is the first album in the history of recorded music to have five of its singles consecutively peak at #1 on the Billboard Hot 100 chart: “I Just Can’t Stop Loving You”, “Bad”, “The Way You Make Me Feel”, “Man in the Mirror” and “Dirty Diana” – all charted at #1.
The final 11-song tracklist contained 9 compositions written solely by Michael, and Michael served as co-producer for the album with Quincy Jones, who served as producer. This was the last of Michael’s albums which Quincy worked on.
In all, ‘Bad’ took more than a year to record. The album earned Michael the first-ever Video Vanguard Award at the MTV VMA awards.
Michael Jackson: “For two and a half years, I devoted most of my time to recording the follow-up to ‘Thriller’, the album that came to be titled Bad. Why did it take so long to make Bad? The answer is that Quincy and I decided that this album should be as close to perfect as humanly possible. A perfectionist has to take his time; he shapes and he molds and he sculpts that thing until it’s perfect. He can’t let it go before he’s satisfied; he can’t. We worked on ‘Bad’ for a long time. Years. In the end, it was worth it because we were satisfied with what we had achieved, but it was difficult too. There was a lot of tension because we felt we were competing with ourselves. It’s very hard to create something when you feel like you’re in competition with yourself because no matter how you look at it, people are always going to compare ‘Bad’ to ‘Thriller’….I think I have a slight advantage in all of this because I always do my best work under pressure.” – Michael Jackson, 1988.
Michael Jackson Estate Co-Executor John Branca: “Michael was very involved creatively with ‘Off The Wall’ and ‘Thriller’, but he was even more involved on ‘Bad’. He did write nine of the 11 songs. Michael would create demos in his studio at Hayvenurst. That would be the model for what was on the album. He was the architect of the album in every sense of the word.”.
Keyboardist Greg Phillinganes: “[‘Bad’] was arguably the most transitional point in establishing his musical independence. And the songs speak for themselves. It was just a well-rounded collection of great songs”.
There is so much to explore when it comes to the recording and legacy of Bad. In 2012, to mark the twenty-fifth anniversary of the album and a new release, TIME spoke to some people who worked on Bad. It makes me enlightening and insightful reading
“On Aug. 31, 1987, almost exactly 25 years ago, Michael Jackson released the album Bad. It had been five years since Thriller, the album that had arguably established the well-known pop star as a visionary—and that would go on to set the record for the most copies sold of a single album.
The quest to match Thriller would be a hard one. But despite (or perhaps because of) that burden, Jackson was more involved than ever in Bad‘s artistic process. “When you would work with him you could just see the way his mind worked,” says Matt Forger, who engineered the record. “He knew exactly what he was looking for.” Under the shadow of Thriller, and despite the backlash against his personal eccentricities that came to light around that time, Bad set records of its own. It was the first album to ever send five consecutive singles to the top of the Billboard charts, and it held that record until 2011.
Bad’s quarter-century milestone will be marked with due pomp. Jackson’s estate and Epic/Legacy Recordings are collaborating on a three-CD release (BAD25, out Sept. 18), which includes the remastered original album, plus an album of additional tracks, including demos and remixes, and a live album. The package also includes a DVD of never-before-seen concert footage—Jackson’s own review copy of a July 16, 1988 concert at Wembley Stadium. In addition, a Spike-Lee-helmed documentary about the album, the similarly-titled Bad25, will debut Aug. 31 at the Venice Film Festival. And starting this spring, Jackson has even found his way onto 1 billion Bad-themed Pepsi cans.
“In honor of the seminal album’s anniversary, TIME spoke (in separate interviews, with the exception of Phillinganes and Forger) to people who were there and people living out the album’s legacy:
Greg Phillinganes, a musician who worked on the record and music-directed the Bad tour
Matt Forger, a music engineer and producer who worked on Bad
Spike Lee, who directed Bad25 as well as Jackson’s short film for the song “They Don’t Care About Us”
John Branca, Jackson’s lawyer and co-executor of his estate
Nick van der Wall, a.k.a Afrojack , the DJ who remixed a new version of “Bad” for the anniversary release.
Bad was crafted at Westlake Studio in Los Angeles and at Michael Jackson’s personal studio, Hayvenhurst. The formal recording process began at Westlake on Jan. 5, 1987.
Forger: After the experience of Thriller, I think that was something that really reinforced Michael’s confidence. He had written four of the songs off the Thriller album, and those songs turned into hit songs. Michael knew he was on the right track. By the time Bad came around it was just ready for him to step up and take a much larger role because it was his time. He was ready.
Branca: I remember having a conversation with him, we were in Hong Kong, and I was kind of kidding, and I said, “Michael, maybe for the next album, instead of trying to top yourself and compete with yourself, maybe you should go a little left of center and think about something a little different, like making an album of the songs that inspired you to become an artist. Songs by James Brown, Sly and the Family Stone, and others.” He looked at me like I was from Mars. He was intent on topping himself and he put a lot of pressure on himself to do that.
Lee: The greatest people, the greatest artists, whatever you want to call that category, they work at their craft for years and years and years. So often we think it comes, we don’t see the hard work that goes into all that. We see the creation, we see the beauty of the hard work but we don’t see the hard work, the blood, sweat and tears.
Phillinganes: There was the pressure mostly on Michael. We just were happy to know that we’d be in the studio all together again to have more fun. It’s not like we sat around like “We’ve got to do better!” It wasn’t that cinematic, “we’ve got to do one more for the Gipper” kind of thing. Just like with Thriller it was all predicated on getting the best songs possible.
Forger: We knew we were in the studio and we were going to have fun because that was the vibe, especially working with Michael and working with Quincy [Jones, who produced the album], too. You’ve got to realize that when you devote your life to making records you do it because you love being there. You love the experience. It’s one of those things where you get in the studio and [you think], “Oh my gosh, where did the last eight hours go?”
Phillinganes: We had family pet day, where he brought down Muscles the Boa and Bubbles the Chimp and we took pictures. There’s a group picture I have a couple shots of, it’s Studio D of Westlake and we’re all standing in a long row to accommodate Muscles. How long was he?
Forger: Well, he grew. I first met Muscles on Thriller and he was probably about 10 or 12 feet long, so he must have been at least 16 feet by the time Bad rolled around. He was a very nice snake.
Phillinganes: And during some downtime in the studio—there was a technical problem so we couldn’t go on until that was sorted out—Mike was getting restless and he asked me if I felt like going across the street to do a little shopping. What was across the street was a major, major, huge shopping mall called the Beverly Center. He puts on this wig and dark sunglasses and crooked teeth and we come out of the studio, just the two of us, no security no cops nobody, on La Cienega Boulevard and I remember thinking that time as we were crossing, “I’m crossing La Cienega with Michael Jackson and nobody knows.” We went all over the place and did a bit of shopping and he had slightly puzzled looks from cashiers. He looked like Sly Stone on crack and then he gets out the credit card and they go, “No!”
Forger: When you were with Michael you always had this sense of enjoyment, of energy and whatever it is Michael wanted to do he wanted to enjoy himself when he was doing it.
Branca: Michael was very involved creatively with Off the Wall and Thriller but he was even more involved on Bad. He did write nine of the 11 songs. Michael would create demos in his studio at Hayvenhurst. That would be the model for what was on the album. He was the architect of the album in every sense of the word.
Forger: Michael said “We’re going to start some new songs.” I never knew when we were going to do a song what the song was for, but the first song I started on with Michael was Dirty Diana. We started on Dirty Diana at Westlake Studios and then his home studio was completed, which was the Hayvenhurst studio, then we went into Al Capone, which transitioned later into Smooth Criminal and the next song after that I think was Hot Fever, which became The Way You Make Me Feel.
Phillinganes: By the time we were working on Bad, Mike’s ideas became stronger and clearer. Songs like Al Capone, titles like that, even as working titles, show that Mike had a tremendous cinematic approach to the making of his music.
Forger: Michael always wanted to be a storyteller. He wanted a beginning, a middle and an end, and he wanted it to be a story and it could be translated not only into a song but a terrific—what Michael always called “film shorts,” as opposed to “music videos.”
Afrojack: The sonic professionalism on the original Bad album was just next level. Nowadays they do it a lot but back then this was the newest of the newest, like crazy stereo effects, on a technical level of engineering and music production.
Lee: When it came to work, he was a perfectionist. He had a tremendous work ethic. He’s not going to say, “I’m tired,” he’s not going to say anything. Until it’s done, he’s like, “Let’s go, let’s get it done, let’s do the best we can, let’s not cut any corners.” Whether it’s creatively or financially, he was not cutting any corners.
Afrojack: You have a lot of music coming out and if you want to be the best everything has to be the best, including the technical production and the technical aspects of music production.
Forger: It wouldn’t be uncommon that a track would be recorded several times, either the tempo or the key or the arrangement, until you absolutely got the exact right thing. When you’re working with people of this caliber and you’re adjusting these parameters and when you get the right one it just feels like that’s it. Everyone understands right away when you’ve got the right formula”.
Nine months and two weeks after the album’s release, five songs from Bad—”I Just Can’t Stop Loving You” (with Siedah Garrett), “Bad,” “The Way You Make Me Feel,” Man in the Mirror” and “Dirty Diana”— had reached the top of the Billboard Hot 100, for a collective seven weeks at the top, setting a new world record.
Lee: The legacy of the album is you have two legacies. It has something that Thriller doesn’t have: five No. 1 consecutive singles. But, number two is that it was the album that followed up Thriller, the biggest-selling album of all time.
Branca: Bad was an enormously influential album. It had an enormous impact on many of today’s biggest artists, stars, who point to that album and those videos as being influential in their careers.
Afrojack: All music has always been inspired by the next level of producing. This is a long time later. It’s fun to see how it’s still inspiring.
PHOTO CREDIT: Hulton Archive/Getty Images
Branca: Like I said, I remember that conversation with Michael where I tried to take the pressure off of him and he said no, he put the pressure right back on his shoulders. I just remember how driven he was. I think he had a great time on the Bad tour. When you see that footage you can see that he’s having a really good time. He stepped out on his own; he was completely in control. I think it was a great time in Michael’s life.
Phillinganes: It was a wild ride. I do remember [the concerts at] Wembley. Princess Di showed up and Michael, that lucky dog, got to be in the receiving line. We could see her pretty well in her bright yellow dress, sitting in her box. Tons of people showed up. Naomi Campbell. Buddies of mine that I had toured with showed up. Eric Clapton. Phil Collins. Barry Gibb. They were all there. We did three at Wembley, and it’s Wembley Stadium, not arena, so that’s like at least 70,000 people. You can never imagine the feeling of watching 70,000 people light torches during “Man in the Mirror.”
Branca: [The concert footage on the BAD25 DVD is] one concert start to finish. There are no edits and piecing together of different concerts. It’s one concert, Michael Jackson at Wembley Stadium in the presence of Prince Charles and Lady Diana. He actually refers to them at the beginning and at the end of the show. We had high-quality footage of other concerts, but the audio wasn’t very good. For Wembley we had great audio but all we had visually was Michael’s VHS copy of the monitor feed.
Phillinganes: I wasn’t with him when he [watched the VHS tapes of his shows], but it was always to improve. He was very meticulous about every aspect of the show, particularly choreography, lighting. He just always strived to maintain that basis that he set for himself.
Forger: For me, it really was that point in time when Michael took the reins of his solo career and you could understand Michael’s personality musically. It’s not that you couldn’t before that, it’s just that in his solo career now he had taken all the encouragement that Quincy [Jones] had given him, and it was just that extension. This was it happening.
Phillinganes: It was arguably the most transitional point in establishing his musical independence. And the songs speak for themselves. It was just a well-rounded collection of great songs.
Forger: To me what I come away with from the Bad album is, ironically, one of the songs that Michael did not write, and that’s Man in the Mirror. Man in the Mirror to me totally represents that place that Michael started directing his energy to. You start to really see where Michael’s heart is, where his soul is, what his intent was for what he would like to accomplish with his music, and that’s a thing that in much later material is clearly evident, and this is the time when you see that coming to the forefront I think, so strongly.
Branca: Clearly Michael is an artist whose popularity will live on for generations. It’s funny, I was talking to Spike Lee about this, some artists are great singers but they don’t write their songs, and some artists are great songwriters but they’re not excellent vocalists or they can’t dance. You look at Michael, and he could write the songs, he could produce them, he could sing them, he could get out and perform and dance them, and then his sense of style sort of changed fashion trends. He’s a unique artist in that respect.
Lee: To be honest, over the years, Bad has grown in stature… Sometimes you don’t get s–t when it comes out right away. We cannot overemphasize: Bad was a follow-up to the greatest single selling album in the history of human civilization. You cannot overemphasize that”.
I am going to end with a couple of reviews. The first, from Roiling Stone is from 1987. I think that there was an expectation that we’d get a second Thriller. Although some might have been disappointed that Bad is a different beast, there was a lot of respect and praise for an artist who was doing what was true to him. Blossoming and growing as a songwriter and artist, Bad is a stunning album:
“Bad is the work of a gifted singer-songwriter with his own skewed aesthetic agenda and the technical prowess to pursue it. Let the paid Encinologists comb through the small print for clues to understanding Jackson’s complicated world. Does “God, I need you” in the carnal duet “I Just Can’t Stop Loving You” constitute blasphemy in the wake of his departure from the Witnesses? Is the liner note to “Mother & Joseph Jackson” a tea leaf of familial discord or a casual term of address? Does anyone really care?
Nor should it matter to anyone but the beneficiaries of its anticipated sales whether Bad moves 4 or 12 or 50 million units. Comparisons with Thriller are unimportant, except this one: even without a milestone recording like “Billie Jean,” Bad is a better record. The filler — “Speed Demon,” “Dirty Diana,” arguably “Liberian Girl” — is Michael’s filler, which makes it richer, sexier, better than Thriller‘s forgettables: “Baby Be Mine,” “P.Y.T. (Pretty Young Thing),” “Lady in My Life.”
Leaving the muddy banks of conjecture — as to sales, as to facial surgery, as to religion, as to, Is he getting it, and if so, from whom or what? — we can soar into the heart of a nifty piece of work. Bad offers two songs, its title cut and “Man in the Mirror,” that stand among the half dozen best things Jackson has done. A third, “The Way You Make Me Feel,” is nearly as good. The only mediocrity is “Just Good Friends” (one of two songs not written by M.J.), a Stevie Wonder pairing that starts well but devolves into a chin-bobbing cheerfulness that is unforced but also, sadly, unearned.
Churls may bemoan “I Just Can’t Stop Loving You,” Jackson’s duet with the often indistinguishable Siedah Garrett, as a second unworthy entry. Without descending to musical McCarthyism and questioning the honor of anyone who can fault a record with both finger snaps and timpani, it need only be asked, Who, having heard the song at least twice, can fail to remember that chorus?
Bad is not only product but also a cohesive anthology of its maker’s perceptions. Where “Lady in My Life” was as believable as Abba’s phonetic re-recording of its hits in Spanish, “I Just Can’t Stop Loving You” quivers with the kind of desire that makes men walk bent at the waist. “Liberian Girl” glistens with gratitude for the existence of a loved one.
Once again, Jackson has written songs as dreams, and once again he has the unselfconsciousness to present them without interpretation. “Speed Demon,” the car song, is a fun little power tale, in which Jackson’s superego gives his id a ticket; “Smooth Criminal” may be the result of retiring too soon after a Brian de Palma picture. It’s gory, but almost in the popcorn-chomping manner of “Thriller.” As in his best songs, Jackson’s free-form language keeps us aware that we are on the edge of several realities: the film, the dream it inspires, the waking world it illuminates.
If these songs — even “Smooth Criminal,” with its incessant “Annie, are you okay?” — seem less threatening than previous dream songs, like “Heartbreak Hotel” and “Wanna Be Startin’ Somethin’,” it’s because Jackson’s perspective has changed. He is no longer the victim, the vegetable they want to eat up, but a concerned observer or a participant with power. For example, “Dirty Diana,” the wisp of a song about a sexual predator, does not aim for the darkness of “Billie Jean”; instead, Jackson sounds equally intrigued by and apprehensive of a sexual challenge, but he feels free to accept or resist it. As on many of the sketchier songs, producer Quincy Jones marshals his most flamboyant strokes — crowd noise, Steve Stevens guitar and John Barnes string arrangement — to make a substantial recording out of an insubstantial melody.
“Bad” needs no defense. Jackson revives the “Hit the Road, Jack” progression and proves (with a lyric beginning with “Your butt is mine” and ending with the answered question “Who’s bad?”) that he can outfunk anybody any time. When Jackson declares that “the whole world has to answer right now,” he is not boasting but making a statement of fact regarding his extraordinary stardom. If anything, he is scorning the self-coronation of lesser funk royals and inviting his fickle public to spurn him if it dare. Not since the “Is it good, ya?” of Godfather Brown has a more rhetorical question been posed in funk.
Michael Jackson deserves the rewards due to those who tell their truth, who admit complexity when simplifications are at hand and who can funk in the valley of the gods. On “Man in the Mirror,” a song he did not write, Jackson goes a step further and offers a straightforward homily of personal commitment: “I’m starting with the man in the mirror/I’m asking him to change his ways/And no message could have been clearer/If you wanna make the world a better place/Take a look at yourself and then make a change.”
Snipers have dismissed this as a solipsistic, Eighties view of political engagement, but no one since Dylan has written an anthem of community action that has moved so many as Michael’s (and Lionel’s) “We Are the World.” And no such grandiose plans can succeed without the first, private steps that Jackson describes here.
The best way to view Bad is not as the sequel to Thriller. Rather, imagine an album made up of “Style of Life,” “Blues Away,” “Bless His Soul,” “Shake Your Body (Down to the Ground),” “That’s What You Get (for Being Polite),” “Heartbreak Hotel” and “Can You Feel It,” from the Jacksons’ LPs, and “Don’t Stop ‘Til You Get Enough,” “Working Day and Night,” “Billie Jean,” “Beat It” and “Wanna Be Startin’ Somethin’,” from Michael’s solo records. View that phenomenal album’s worth of music as the opening statement of Michael Jackson the autonomous”.
The final thing I want to reference is AllMusic’s review. More current than Rolling Stone’s review, it is interesting to see how perception of Bad and Michael Jackson has altered through the years:
“The downside to a success like Thriller is that it's nearly impossible to follow, but Michael Jackson approached Bad much the same way he approached Thriller -- take the basic formula of the predecessor, expand it slightly, and move it outward. This meant that he moved deeper into hard rock, deeper into schmaltzy adult contemporary, deeper into hard dance -- essentially taking each portion of Thriller to an extreme, while increasing the quotient of immaculate studiocraft. He wound up with a sleeker, slicker Thriller, which isn't a bad thing, but it's not a rousing success, either. For one thing, the material just isn't as good. Look at the singles: only three can stand alongside album tracks from its predecessor ("Bad," "The Way You Make Me Feel," "I Just Can't Stop Loving You"), another is simply OK ("Smooth Criminal"), with the other two showcasing Jackson at his worst (the saccharine "Man in the Mirror," the misogynistic "Dirty Diana"). Then, there are the album tracks themselves, something that virtually didn't exist on Thriller but bog down Bad not just because they're bad, but because they reveal that Jackson's state of the art is not hip. And they constitute a near-fatal dead spot on the record -- songs three through six, from "Speed Demon" to "Another Part of Me," a sequence that's utterly faceless, lacking memorable hooks and melodies, even when Stevie Wonder steps in for "Just Good Friends," relying on nothing but studiocraft. Part of the joy of Off the Wall and Thriller was that craft was enhanced with tremendous songs, performances, and fresh, vivacious beats. For this dreadful stretch, everything is mechanical, and while the album rebounds with songs that prove mechanical can be tolerable if delivered with hooks and panache, it still makes Bad feel like an artifact of its time instead a piece of music that transcends it”.
On 31st August, we mark thirty-five years of Bad. I know Jackson has a more complex legacy and reputation today. In light of allegations of abuse, many are conflicted as to how they approach his music – and whether they listen at all. Many have blacklisted and banished his name. Radio stations still play his songs. It is a complex ethical issue. I wanted to cover Bad because it was the album that introduced me to Michael Jackson. I was born in 1983, and I must have heard Bad for the first time at the end of the 1980s. It instantly hit me! The songs are catchy and memorable, but there is so much variety. The production by Quincey Jones (and Jackson) is reliably brilliant, whilst Michael Jackson’s songwriting and vocals are more varied and nuanced than on Thriller I think (though songs her wrote for that album, including Billie Jean and Beat It, are among his very best). I can understand people who want to steer clear of Michael Jackson, but he is an artist who has inspired so many people. Albums like Bad, Thriller and Off the Wall are classics from an iconic Pop superstar. From the urgent and thrilling title track to the accusatory and angered Leave Me Alone, Bad is a masterpiece. I think that the album is…
AMONG the very best ever released.