THRILLER的剪报

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THRILLER Christopher Connelly In the three years since Michael Jackson's first solo album, Off the Wall, sold 7 million copies and spawned four

hit singles, black music has veered away from the danceable but ultraslick style that Off the Wall epitomized. From

Prince to Marvin Gave, from rap to Rick James, black artists have incorporated increasingly mature and adventurous

themes朿ulture, sex, politics杋nto grittier, gutsier music. So when Jackson's first solo single since 1979 turned out to be

a wimpoid MOR ballad with the refrain "the doggone girl is mine," sung with a tame Paul McCartney, it looked like the

train had left the station without him. But the superficiality of that damnably catchy hit belies the surprising substance of Thriller. Rather than reheating

Off the Wall's agreeably mindless funk, Jackson has cooked up a zesty LP whose uptempo workouts don't obscure

its harrowing, dark messages. Particularly on Jackson's own compositions, Thriller's tense, nearly obsessive sound

complements lyrics that delineate a world that has put the twenty-four-year-old on the defensive. "They're out to

get you, better leave while you can Don't wanna be a boy, you wanna be a man." It's been a challenging time for

Jackson ?his parents may separate, he's been involved in a paternity claim ?and he's responded to those challenges

head-on. He's dropped the boyish falsetto that sparked his hits from "I Want You Back" to "Don't Stop 'Til You Get

Enough" and chosen to address his tormentors in a full, adult voice with a feisty determination that is tinged by sadness.

Jackson's new attitude gives Thriller a deeper, if less visceral, emotional urgency than any of his previous work, and

marks another watershed in the creative development of this prodigiously talented performer. Take "Billie Jean," a lean, insistent funk number whose message couldn't be more blunt: "She says I am the one/But

the kid is not my son." The party spirit that suffused Off the Wall has landed him in trouble, and he tempers that

exuberance with suspicion. "What do you mean I am the one," he quizzically asks his femme fatale, "who will dance

on the floor?" It's a sad, almost mournful song, but a thumping resolve underlies his feelings: "Billie Jean is

not my lover" is incessantly repeated as the song fades out. Billie Jean is mentioned in passing in Thriller's most combative track, the hyperactive "Wanna Be Startin' Somethin',"

wherein Jackson also takes on the press, gossips of all kinds and other grief-givers. Here the emotions are so raw that

the song nearly goes out of control. "Somebody's always tryin' to start my baby crying," he laments, and that sense

of quasi paranoia yields to near-bitterness in the chorus: "You're a vegetable, you're a vegetable/They'll eat off you,

you're a vegetable." It's a tune that's almost as exciting as seeing Jackson motivate himself across a concert stage ?and

a lot more unpredictable. These lyrics won't keep Elvis Costello awake nights, but they do show that Jackson has

progressed past the hey-let's-hustle sentiments that dominated Off the Wall. The sheer vitality of the musical setting obviates any sense of self-pity. Quincy Jones' production ?Jackson

coproduced his own compositions杋s sparer than usual, and refreshingly free of schmaltz. Then again, he's working

with what might be pop music's most spectacular instrument: Michael Jackson's voice. Where lesser artists need a string

section or a lusty blast from a synthesizer, Jackson need only sing to convey deep, heartfelt emotion. His raw ability and

conviction make material like "Baby Be Mine" and "Wanna Be Startin' Somethin'" into first-class cuts and even salvage

"The Girl Is Mine." Well, almost. Maybe the best song here is "Beat It," a this-ain't-no-disco AOR track if ever I heard one. Jackson's voice soars all

over the melody, Eddie Van Halen checks in with a blistering guitar solo, you could build a convention center on the

backbeat, and the result is one nifty dance song. Programmers, take note. Jackson's greatest failing has been a tendency to go for the glitz, and while he's curbed the urge on Thriller, he hasn't

obliterated it entirely. The end of side two, especially "P.Y.T. (Pretty Young Thing)," isn't up to the spunky character

of the other tracks. And the title song, which at first sounds like a metaphoric examination of the same under-siege

mentality that marks the LP's best moments, instead degenerates into silly camp, with a rap by Vincent Price.

(Couldn't they get Count Floyd?) Jackson has made no secret of his affection for traditional showbiz and the glamour that goes with it. His talents, not just

singing but dancing and acting, could make him a perfect mainstream performer. Perish the thought. The fiery conviction

of Thriller offers hope that Michael is still a long way away from succumbing to the lures of Vegas. Thriller may not be

Michael Jackson's 1999, but it's a gorgeous, snappy step in the right direction.

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NEWS MOTOWN 25TH ANNIVERSARY SHOW Fred Astaire calls and said, `I watched it last night, and I taped it, and I watched it again this morning. You're a helluva mover.'

NEWS JACKSON, ROSS RITCHIE PROPOSED CONCERT .

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HUMAN NATURE Unreleased in the UK in July 1983 and there was a 5 month gap before the next single from Thriller was issued.. Single Review: Human Nature Michael Jackson by Matthew Milam BC Magazine ?Blogcritics Magazine http://blogcritics.org/archives/2006/03/02/031237.php Written by John Bettis (with background music by Toto) Michael Jackson's Human Nature is the cornerstone of his career.

It speaks clearly to the heart of celebrity and it also speaks on the general theme of desire; it's also a damn good song. The song itself is a cool combination of synthesizer with a nice quiet funky baseline underneath. The synth part lasts for

about ten seconds, but I'm not even thinking about the instrument. Somehow, I get the image of a city covered in the

just-arrived-night sky, with all the lights on and the cars racing through the streets. Living under the glass bubble of his family, with an extra layer developed by his fame, Michael Jackson was an

individual isolated from the rest of the world. When he decided to visit New York by himself, the very desire to leave

his protective world started to come out. This surfaces in the first couple of verses of the song: Looking out Across the night-time The city winks a sleepless eye Hear her voice Shake my window Sweet seducing sighs Get me out Into the night-time Four walls won't hold me tonight If this town Is just an apple Then let me take a bite When asked in the chorus "Why?, Why?" he answers with "Human Nature". "Why does he do me that way?" the

lyric that follows, has been the cause of some speculation about his sexuality. I believe the line is more in reference

to people surrounding him all the time voicing their frustrations with Michael's growing independence. In the middle of the song, Michael goes outside into the world. As he walks the streets with cameras flashing their

lights to take photos of him, he eyes a girl eyeing him. He asks for her because he wants to know someone other than

the people in his own circle; preferably a girl, of whom Jackson has never had much chance to be with due to his

situation. At this point after the chorus returns for a second time, the song interrupts itself with the following: Why, why, does he do me that way I like livin' this way I like lovin' this way What happens next in the song is an unusual interpretation, but I believe its right. Michael, finally in reach of something

real, makes love to it and becomes his own person; that's what I gathered at least when I listen to the instrumental after

the second chorus. When the morning returns to New York, Michael speaks in a new confidence: Looking out Across the morning The city's heart begins to beat Reaching out I touch her shoulder I'm dreaming of the street The rest of the song, as with The Beatles' Hey Jude, has a sing-along like feel to it. As opposed to speaking to one

person, as Jude was intended for, Michael is speaking to everyone who ever asks why people do certain things. I've

been asking that of late with my family as well as my own life. I've never been as clear about a song as I have been with this one. Call it long nights of staying up late or a lack of a

social life, but this song is very deep without being overly cryptic. If my analysis doesn't answer your questions,

go listen to it anyway; it's Track 7 on the Thriller album. NEWS

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THRILLER SINGLE

THE MAKING OF THRILLER Released: November 1983 (USA) March 1984 (UK)

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9 SINGLES PACK

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THE AMERICAN MUSIC AWARDS

THE HAIR ON FIRE INCIDENT

THRILLER GUINNESS BOOK OF WORLD RECORDS & CBS AWARDS PARTY GRAMMY AWARDS

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NEWS (PYT) PRETTY YOUNG THING Released first in the USA in October 1983 and later in March 1984 in the UK NEWS I LOVE QUINCY A unique documentary on Quincy Jones, which sees Michael allowing access on the set of Thriller. This was a very

rare moment to catch Michael giving interviews during this period in his carrer..

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POSSIBLE THOMAS DOLBY HOOK UP MEETING PRESIDENT RONALD REAGAN NEWS VICTORY TOUR OFFICAL 1985 CALENDAR NEWS FRED SANDFORD COPYRITE HEARING

NEWS

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SAY SAY SAY COLUMBIA EMI ?446-1135 Scarce Colombian 3-track EMI 'promocional' stamped label vinyl 12" of Say Say Say, 1983. track listing in both

English and Spanish.