Thriller [Remaster] - Jackson, Michael (CD 2001)

If there s an album that can claim to be the proverbial Daddy of them all, chances are it s Michael Jackson s Thriller (at least in terms of units shifted!) Proudly standing as the best-selling record of all time, it s a fun experience to go back and listen to twenty-five years later, now that the dust has cleared and the epoch-defining combination of music, performance and video has settled comfortably in memory. While it s hard not to discuss Michael without mentioning his eventual decline into walking joke status, it s preferable to remember him as he is on this record an undeniably talented entertainer who could walk over anyone when it came to his hits and electric live appeal. Most importantly, while Thriller s vaunted status is not always reflected in the quality of the songs contained within, there s a respectable consistency that helps underscore Michael's legacy as one of the few eighties-and-beyond superstars whose success can be described in terms of successful albums instead of singles.

Besides its clear demonstrations of vocal talent and personal presence, the record s main ace is producer Quincy Jones, whose tight arrangements give everything a slick, professional sheen. Fully incorporating the technological advances of the early eighties, burbling synthesisers percolate over thumping bass and smart drum sequencing sections; the sonic combination frequently proving intoxicating. Crucially, the album doesn t exploit these factors in lieu of good writing, instead using the glossy production to emphasise the respectable hooks already present. As a result, Thriller still sounds fresh, and has aged far better than the majority of its contemporaries.

As for individual songs, everyone knows the hits here, and the big three are sandwiched together in the record's centre making for a fantastic fifteen-minute suite. First up is the inimitable title track, a self-consciously cheesy excursion into mock-horror with werewolf howls and creaking doors woven into its irresistible slab of post-disco funk. The central five-note baseline is a simple but effective floor-filler, and tasteful synth horns are used sparingly to add extra touches of melody. Michael s on great form with a powerful main delivery, tight harmonies and some of his most notable ow! interjections, and even the corny Vincent Price monologue that closes things works well especially when accompanied by the song s still-superb music video.

Next up is the compelling dark atmosphere of Beat It , a more minimalist drum pattern showcasing a forceful, serious performance and appealing guitar portions from Eddie Van Halen that spice things up considerably. In addition, the song boasts one of Michael s best self-penned melodies, and has appreciable innovative value in its use of a rock solo on a dance-oriented track. However, Billie Jean still edges it out, being a sure-fire classic that features a highly memorable tune and a passionate vocal sung with genuine sincerity (after all, potential paternity suits would have been a significant issue for Michael at the time). It s a fantastic song, and certainly ranks among the best of the eighties if not pop music in general.

Away from the obvious highlights, two other tracks are smash successes, with opener Wanna Be Starting Something donating steady drum machine rhythms, intriguing masked vocal asides and enough melodic and instrumental variation to make it a fulfilling six-minute ride. P.Y.T (Pretty Young Thing) closes the winners off, continuing the constant catchiness with a solid refrain and some fun vocal effects; its robotic overtones helping contribute to the pulsating groove.

Dance numbers down, the four ballads remain, which are all predictably weaker in context. Still, they re all infinitely preferable to the saccharine egomania of Michael s later slowies, and offer a little respite if the thumping beats prove wearing. The biggest problem with these songs is probably their rather rote melodies, as well as the technically satisfying but unemotional singing (well, perhaps Michael meant every word with all his heart but by the time the vocals have been produced and mixed, I don t hear it). Both Baby Be Mine and The Lady In My Life are inoffensive R&B filler, while Human Nature s undulating synth centrepiece is relaxing if not terribly interesting. The most memorable of the bunch is probably the Paul McCartney duet The Girl Is Mine , although Michael s writing is less inspired than on Beat It or Billie Jean , so the song lacks quality hooks. I suppose that there s a bit of novelty to be had in the spoken conversation that appears towards the end, and it s kind of cute to observe the deliberate naivety in the determined The doggone girl is mine refrain a charming attempt at being forceful without incurring any raised parental eyebrows.

Taken as a whole, I think it s fairly safe to say that Thriller is a good album, albeit one that doesn t quite live up to the level that its best-seller crown would imply (although it s very likely that nothing could). However, instead of dwelling on that, it s best to look at the positives and what you get is an enjoyable dance-pop record with some incredibly memorable songs, a good level of attention paid to melody, production and performance, and no big lapses in judgement. Flaws aside, those strengths are definitely worth appreciating, and the record remains a great reminder that the often-criticised eighties did manage to produce its share of pop classics. 4 stars.