Michael Jackson: Bad - 1987

 

Michael Jackson returned five years after the stratospheric Thriller with this long-waited offering from 1987. It is heavier and denser than its two predecessors, Thriller and Off The Wall, but, as it was 1987, is synthesiser-dominated. 

It contains enough instantly appealing chart material to keep the pop/greatest hits consumers happy and, although for some, it is let down by its "filler", I find those tracks are more credible than earlier equivalents. It also marked the period when Jackson went white, so to speak, returning with a dramatically-altered appearance since Thriller, on which he was still holding on to normality. Someone who was quirky and inventive before had now turned decidedly weird. His long descent started here. The album was well-received by his now millions of fans, though, and was soon playing in wine bars and sitting on the shelves of those who had invested in the new phenomenon of a CD player and had three or four CDs. You could rest assured that this was one of them. 

Bad begins with a programmed drum backing and a typically hiccuppy Jackson vocal. There is a vaguely jazzy feel to the verses before the song kicks in to the instantly recognisable synthy chorus. The track has an in-your-face catchiness, though, that ensures it serves its purpose as a robust announcement that Michael Jackson was back. Next up is a classic serving of Jackson pop in The Man In The Mirror, which is again dominated by programmed drums and synth breaks but redeemed by a killer chorus. Now it is time for the "filler" - four tracks in a row. Speed Demon is a chunky, industrial chugger of a track that has a gritty appeal. Liberian Girl slows the mood down on an appealing slowie that has more about it than some of Jackson's earlier, more saccharine ballads. 

Just Good Friends is so very 1987 - a pounding piece of synthy dance pop with Jackson fully using his trademarks whoops and yelps to the nth degree. Another Part Of Me does so too, although over a slightly less frenetic beat. Again, it is a solid enough track, if not anything special. It is certainly more than acceptable. Although these tracks had not been as bad as some said, I Just Can't Stop Loving You is probably the album's most slushy song, but it carries a considerable thump to its backing. 

Dirty Diana is an atmospheric and hard-edged heavy rock influenced number about a groupie that attracted accusations of sexism. I've heard far worse. So Diana was a bit dirty. Yeah, yeah, yeah. I'm sure Michael got over it. 

Smooth Criminal has often been dismissed as a sub-standard offering, but the slightly Prince-influenced number has always sounded powerful enough to me in a programmed funk sort of way. The album ends with another upbeat piece of pop-funk in the lively grind of Leave Me Alone. Sonically, this was an album very much of its time, but, taking that into account, it is still listenable, despite a bit of a bombastic production.