Vince: Yes! I’ll give you an example from the “Smooth Criminal”.
Michael jackson bad album breakdown serial#
He was also a serial perfectionist, right? I was involved in videos for “Beat It,” “Thriller,” and all of the ones off the Bad CD, including “Smooth Criminal” and “The Way You Make Me Feel.” And you know Michael did really evolve. But he still knew what he wanted from the.
He was never a choreographer except for his own movements. Patterson: From a dancing aspect, Michael always wanted to raise the bar. My God, he was great! You could to see the extent of his influences: Fred Astaire, James Brown, Sammy Davis Jr…everybody. I know it’s now funny for me to say that, but you actually forget Michael’s sheer brilliance in not only dancing, but in his songwriting and singing. Sometimes you don’t realize how brilliant he was. Greg: Well, the thing is Michael was very much into the character of not only each song, but each part of the song. He would just groove and bob his head and snap his fingers. Michael would stand right next to me when I would do my part. I remember making “The Way You Make Me Feel” in the studio. Was there any moment during those Bad studio sessions that you thought, this is surreal…I’m playing for Michael Jackson! It was still up to Quincy to keep everything solid and make sure we didn’t lose touch with reality. By this time he had way more songwriting and production input in the music. It became this massive iconic success that it is today. Greg: Yes, but there’s a fine line between having a goal and being unrealistic. He was aiming for 100 million copies, so says the legend, correct? Greg Phillinganes: He simply wanted to top Thriller. Can you talk about his mindset going into that era, album and tour? But Michael was also intent on raising the bar artistically with Bad from the album to the tour. By now we’ve all heard the stories about how he was intent on destroying the record sales of Thriller. Keith Murphy For Michael, there was a lot to live up to with the release of Bad. From what it was like to work with a hungry Jackson in the recording studio during the making of Bad and their time on the record-breaking madness of the Bad tour to the one person Jackson viewed as his true competition, this is a Q&A that shows why MJ remains a transcendent figure nearly three years after his death. To discuss BAD 25, VIBE caught up with members of Jackson’s Bad-era band including acclaimed keyboardist Greg Phillinganes, guitarist Jon Clark, and choreographer Vince Patterson. “The Way You Make Me Feel,” “Smooth Criminal,” “Man In The Mirror,” “Liberian Girl”…this is greatness, y’all. It’s all about the songs, which includes five no. And set aside its movie-quality barrage of award-winning music videos. numbers of more than 20 million copies off the shelves. Let the music historians and insiders dwell on how Bad “failed” to meet the record industries’ (and MJ’s) grandiose sales expectations. Which is why Tuesday’s release of BAD 25-a deluxe package featuring three discs that includes a remastered version of the original album remixes by electronic music visionaries Afrojack and Nero unreleased songs and the first ever commercial DVD of the 1988 Wembley Stadium concert from Jackson’s record-breaking Bad tour-is an intriguing set.
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Unlike previous releases, 1979’s glorious Off The Wall and the monster that is Thriller, this time Jackson ran the show, leaving all-world producer Quincy Jones to settle on backseat driver duties. 1 Billboard album displayed a genius talent who grew exponentially as a songsmith, producer, and vocalist. But it did something much more impressive. When the dust settled months after its much-anticipated Augrelease, Jackson’s Bad album did not meet the late Gloved-One’s over-the-top ambitions of quadrupling his previous landmark 1982 statement in sales. To achieve this ridiculous coup, Jackson envisioned a follow-up work that was bolder, more musically groundbreaking, and grander in epic songwriting scale. Indeed, it is now well documented that the biggest pop star to ever moonwalk across the planet wanted to bury music’s most commercially/culturally successful album of all time (now 42 million and climbing in America alone). In the summer of 1986, Thriller hung around Michael Jackson’s neck like a mammoth, neon albatross a 25-million-copies-sold albatross to be exact.