Overwhelming Praise for BAD25

September 20, 2012Critics lauded "Bad25" when it debuted on September 18 commemorating the 25th anniversary of Michael's album that changed pop music history.
Entertainment Weekly gave Bad25 an "A," saying it is "a potent reminder of just how much "Bad's pulsing pop holds up." The Houston Chronicle called Bad25 "a layered, loving tribute" while the Seattle Post Intelligencer called Bad25 "a positively electrifying celebration of this often underrated album."
Of the DVD of Michael's 1988 Wembley concert from the landmark "Bad" tour included in the deluxe package, the Huffington Post compared it to "the equivalent of the Beatles at Shea Stadium in 1965" but added, "make no mistake: , Jackson's performance here eclipses even his most talented predecessors."
Read what critics are saying about Bad25...

Michael Jackson Remembered

Music Review
Bad 25 (2012)

EW's GRADE
A

The three discs and one DVD of live, remixed, and remastered material here are a potent reminder of just how much Bad's pulsing pop holds up. But the real treasures are the six previously unreleased tracks: Noticeably unfinished (refreshingly so, given Bad 25's hermetic polish) numbers like rhythmic earworm ''Don't Be Messin' Around'' and tender ''I'm So Blue'' shine, while ''Al Capone,'' an early sketch for ''Smooth Criminal,'' is strong enough to stand alone as its own single. A
Best Tracks:
I'm So Blue
Messin' Around

http://www.ew.com/ew/article/0,,20396305_20627104,00.html

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BAD 25 Shines Light on Michael Jackson’s Most Underrated Album, Era, And Competitive Obsessions

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. 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). To achieve this ridiculous coup, Jackson envisioned a follow-up work that was bolder, more musically groundbreaking, and grander in epic songwriting scale.
When the dust settled months after its much-anticipated August 31, 1987 release, 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. But it did something much more impressive. The no. 1 Billboard album displayed a genius talent who grew exponentially as a songsmith, producer, and vocalist. 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.
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. Let the music historians and insiders dwell on how Bad “failed” to meet the record industries’ (and MJ’s) grandiose sales expectations. Brush aside Bad’s impressive U.S. numbers of more than 20 million copies off the shelves. And set aside its movie-quality barrage of award-winning music videos. It’s all about the songs, which includes five no. 1 singles. “The Way You Make Me Feel,” “Smooth Criminal,” “Man In The Mirror,” “Liberian Girl”…this is greatness, y’all.
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. 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. Bad, indeed.—Keith Murphy (@Murphdogg29)
VIBE: For Michael, there was a lot to live up to with the release of Bad. By now we’ve all heard the stories about how he was intent on destroying the record sales of Thriller. But Michael was also intent on raising the bar artistically with Bad from the album to the tour. Can you talk about his mindset going into that era, album and tour?
Greg Phillinganes: He simply wanted to top Thriller.
He was aiming for 100 million copies, so says the legend, correct?
Greg: Yes, but there’s a fine line between having a goal and being unrealistic [laughs]. Thriller broke all the records. It became this massive iconic success that it is today. But Michael was driven [during those Bad album sessions]. By this time he had way more songwriting and production input in the music. It was still up to Quincy [Jones] to keep everything solid and make sure we didn’t lose touch with reality.
Was there any moment during those Bad studio sessions that you thought, this is surreal…I’m playing for Michael Jackson!
Greg: All the time. I remember making “The Way You Make Me Feel” in the studio. Michael would stand right next to me when I would do my [keyboard] part. He would just groove and bob his head and snap his fingers.
That had to be intimidating, right?
Greg: Well, the thing is Michael was very much into the character of not only each song, but each part of the song. Sometimes you don’t realize how brilliant he was. 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. My God, he was great! You could to see the extent of his influences: Fred Astaire, James Brown, Sammy Davis Jr…everybody.
Patterson: From a dancing aspect, Michael always wanted to raise the bar. He was never a choreographer except for his own movements. But he still knew what he wanted from the [other dancers]. 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.
BAD 25 Shines Light on Michael Jackson’s Most Underrated Album, Era, And Competitive Obsessions

He was also a serial perfectionist, right?
Vince: [Laughs] Yes! I’ll give you an example from the “Smooth Criminal” [video shoot]. There’s this one dance phrase that repeats itself in the video. I gave it to Michael and he stood in front of the mirror for four hours doing just the same count again and again and again! I kept coming over and saying, “Michael come on…you can take a break.” And Michael told me, “No, Vincent…I want to do this ‘til it’s perfect.” Michael was a taskmaster on himself.

http://www.vibe.com/article/ba…nd-competitive-obsessions

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Music Review: Michael Jackson - Bad 25 - Deluxe Anniversary Edition [3-CD/1-DVD]

Marking the quarter century mark since the release of Michael Jackson's work of pop genius, Bad 25 is a positively electrifying celebration of this often underrated album. Released five years after Thriller, Bad ended up being regarded by many as a disappointing follow up to what became the best-selling album of all time. While Thriller was certainly a hard act to follow, Jackson did so by stepping up his songwriting output. With only two exceptions ("Man in the Mirror" and "Just Good Friends"), he wrote the entire record.

Of course, songwriting credits alone don't spell greatness. What does is the sheer craftsmanship and artistry that went into songs like "Smooth Criminal," "Dirty Diana," "Leave Me Alone," and "The Way You Make Me Feel." These hits helped define pop music in the late-'80s and continue to serve as standard bearers. Even the lesser known album tracks, such as the propulsive "Speed Demon" and silky "Liberian Girl," stand out as prime examples of Jackson's abilities. It helped having Quincy Jones on board as producer, as he had been for Off the Wall and Thriller.

In other words, Bad is a treasure chest of indelible pop hooks, tasteful arrangements, devastating dance grooves, and some impeccable vocal performances. Epic/Legacy Recordings, in collaboration of the Estate of Michael Jackson, meant business when they put together this special anniversary edition. The remastered album sounds great, but the draw for fans is the additional material.

I'm going to jump right to the DVD, which contains a full, unedited two-hour concert from London's Wembley Stadium, July 16, 1988. Want to see a 26-year-old Sheryl Crow duetting with Jackson on "I Just Can't Stop Loving You?" Crow was a backing vocalist on the Bad tour, but was given a featured spot on that chart-topping ballad. Looking for a few surprises in the set list? There's a slamming take on the Jacksons' 1980 hit "This Place Hotel." This concert is simply incredible from start to finish. Jackson literally finishes "She's Out of My Life" in tears, bringing a stunning level of intimacy to the 72,000 fans on hand.

Here's the only catch-the video of the concert was sourced from a VHS cassette from Jackson's private collection. It was made from the JumboTron feed that the concertgoers saw that night. While the image has been remastered, we're still stuck with a mid-'80s home video-quality picture. It's not nearly as bad as it might sound though. The image, for all its obvious shortcomings, is never difficult to watch. The best part is that the audio was all sourced from the multitrack board tapes, which means it's excellent. In fact, the DVD boasts a Dolby Digital 5.1 mix.

There are a couple bonus clips included on the DVD. "The Way You Make Me Feel" was not performed during the July 16 show, but it was the night before. They recreate the music video, with Sheryl Crow sashaying around as the object of Jackson's affection. A pair of songs from a September, 1987 show in Japan are included, "Bad" and "I Just Can't Stop Loving You." Crow duets with Jackson on the latter, getting soulful and pulling some priceless Joe Cocker faces during an extended ending that isn't present in their duet from the Wembley performance.

Though slightly edited to fit on one CD, the entire concert is included as a live album-which makes it the first of Jackson's solo career. The only things missing from the concert video are a "Bad Groove" jam section (that Jackson was not involved in) and a few extended endings (including a spine-tingling coda to "I'll Be There"). In other words, it's a sensational live album with 16 tracks of primo Jackson greatness in pristine sound quality.

Then there are the studio outtakes, alternate versions, and new remixes on the other disc. While the remixes may be interesting for some listeners, I didn't find them to be an essential (or even desired) part of the package. But two Afrojack remixes of "Bad" (one featuring Pitbull) and Nero's remix of "Speed Demon" are included. Carrying over from the 2001 Bad reissue are "Streetwalker," "Fly Away," and the Spanish version of "I Just Can't Stop Loving You." This edition adds a French language version of the latter song for good measure.

The real prize is a group of six unvarnished, previously unreleased demos, all written by Jackson and recorded during the Bad sessions. The most immediately attention-getting is "Song Groove (a.k.a. Abortion Papers)," a track that many fans have already begun debating the meaning of. Regardless of whether it carries a pro-life or pro-choice message, it presents a scintillating dance groove with a fiery vocal. While I can't quite decipher all the lyrics, the liner notes include some quotes from Jackson's own notes about the song that suggest it's something more ambiguous than a straightforward "message" song.

"Al Capone" bears strong rhythmic and structural similarities to the track it evolved into, "Smooth Criminal," but it stands as its own funky workout. I love the piano-driven "Don't Be Messin' 'Round" and the smooth sounds of "I'm So Blue" and "Free." Those three are fascinating glimpses at Jackson's songwriting process as they each have clearly unfinished lyrics. Much more complete is "Price of Fame," a song about obsessive fans that sounds more or less album-ready and would've made a great addition to the final product.

Two booklets are included, each with pictures and liner notes. There's also a double-sided mini-poster folded up inside the matte-finish black box. We fans can only hope for similar treatment for Dangerous and beyond, but for now Bad 25 offers plenty.

http://www.seattlepi.com/lifes…Bad-25-Deluxe-3872556.php

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(michaeljackson.com)

'Bad 25' remembers the mastery of Michael Jackson

Michael Jackson's "Thriller" album was unleashed near the end of 1982, cementing his legacy as a superstar solo artist. It's a remarkable, unrivaled collection and has served as a blueprint for practically every pop album in its wake. You can hear, see and feel Jackson's influence in the work of Beyoncé and Chris Brown, Usher and Britney Spears, Madonna and Adam Lambert.
I was just 8 years old at the time, but "Thriller" made its mark on me, too. I sang along with the words. Tried to mimic the dance moves. Scooped up Jackson folders at Kmart and sold them to classmates (at retail price, of course).
"Bad" came around five years later and produced another string of hits. Its first five singles all shot to No. 1, but it only sold a fraction of the 30 or so million "Thriller," the best-selling album of all time, moved in the U.S. alone. (To be clear, 10 million copies is hardly a failure.)
But I was 13 by then, and music had become an intrinsic part of my life, an outlet for expression and a means of escape. The songs of "Bad" are embedded in my memory perhaps more vividly than "Beat It" or "Billie Jean." And that cover photo, all steely gaze, straps and belts, remains iconic.
"Bad 25," in stores now, repackages the original album with lush bonus features and artwork, including unreleased demos and a 1988 concert at Wembley Stadium in London. This is a layered, loving tribute whose power ultimately resides in the genius of the original album.
I remember waiting impatiently for the parade of MTV video premieres from the album: "Bad," "Man in the Mirror," "Leave Me Alone," "Dirty Diana." These weren't mere promotional clips. They were mini-movies. In its entirety, the "Bad" short film, directed by Martin Scorsese and written by Richard Price, ran 18 minutes and debuted in prime time on CBS in 1987.
A "Bad 25" documentary, produced and directed by Spike Lee, is set to debut on ABC in November. It screened at the Venice and Toronto film festivals and includes rare footage and interviews with Jackson's collaborators and friends, including Scorsese, Kanye West and Justin Bieber.
The entire album has been remastered, and the best songs still sound crisp and modern. Jackson co-wrote and co-produced the bulk of it with Quincy Jones, who knew how to balance commercial sheen with eccentric edges.
The title track still bristles with zeal and aggression, and "The Way You Make Me Feel" could be a hit on radio today - or any day. It's a perfect pop song - joyful and ominous, buoyed by a galloping beat and razor-sharp vocal work.
"I Just Can't Stop Loving You" remains a highlight, an alternately hushed and sweeping ballad lifted high by Jackson's pleading, emotive vocal. "Dirty Diana" grooves harder than most anything on current rock radio, and the often-overlooked "Liberian Girl" is a smooth, soothing gem.
A second disc boasts unfinished demos recorded at Jackson's Hayvenhurst home in Encino, Calif. Among the filler are previously issued "Flyaway," "Streetwalker" and Spanish and French versions of "I Just Can't Stop Loving You." There's also a frenzied Afrojack remix of "Bad" featuring an unnecessary Pitbull rap.
To be sure, there are some true finds, including "Al Capone," which would eventually become "Smooth Criminal." Traces of the final song are evident, but the final result was a wholly different song. "Free" and "I'm So Blue" are lovely, lilting tunes that fall in line with Jackson's penchant for simple, effective balladry.
"Song Groove," also known as "Abortion Papers," rides a distinctly '80s rhythm for its tale of a young, religious girl who decides to have an abortion. Imagine the fuss that would have created. It dwindles into repetition, but Jackson's message is clear even in the early stage.
Jackson describes "Price of Fame" in the liner notes as an ode to "the girls who are over-obsessed with me, who follow me, who almost make me kill myself in my car, who just give their lives to do anything with me, to see me - they'll do anything and it's breaking my heart. It's running me crazy. It's breaking up my relationship with my girl, with my family."
The song's ominous strings and melody make it a ringer for "Billie Jean," which might be why Jackson never put it on an album.
The biggest draw of "Bad 25" is likely to be the July 16, 1988, concert at Wembley Stadium. It was one of seven sold-out shows, and Prince Charles and Princess Diana were in attendance. Jackson brought the same show to the Summit (now Lakewood Church) for three shows, April 8-10, 1988, and I was at one of them. When I close my eyes, I can still remember the electricity, the cheering, the pop magic.
Jackson had every show on the tour recorded for his review, but we're talking late-'80s. This is pre-HD, videotape quality, and the footage is often grainy. But the power is undeniable. He gives every inch of himself - quivering lips, hips and hands - to the songs, kicking off with the rocket-fueled blast of "Wanna Be Startin' Somethin.'" He pairs up with hilariously halter-topped, big-haired background singer Sheryl Crow for "I Just Can't Stop Loving You." And the one-two punch of "Smooth Criminal" and "Dirty Diana" is nothing short of fantastic. His dancing, of course, remains a remarkably controlled feat.
But despite the fanfare, the hysteria, the sheer hugeness of the songs, performances and persona, "Bad 25" manages to highlight the artistry and the inspiration that Jackson so desperately wanted to be remembered for. His gift to us is our gift to him.

http://www.chron.com/entertain…chael-Jackson-3872373.php

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‘Bad 25′: A Michael Jackson masterpiece gets its due

bilder:
http://thegrio.com/2012/09/18/…ackson-recording-bad-16x9

How do you follow up the most successful album ever made? This unenviable task confronted a 28-year-old Michael Jackson in 1986 when he undertook his ambitious solo album Bad.
The blockbuster album, released in August of 1987, failed to live up to Jackson’s unbelievably lofty expectations (he reportedly wanted to sell 100 million copies) but it still managed to spawn five number one hits, a record that was matched for the first time last year by Katy Perry.
Twenty-five years after its initial release, Epic/Legacy Recordings is giving this often underrated classic the recognition it deserves with a lovingly packaged box set — Bad 25 — which features a remastered edition of the original LP, several terrific unreleased tracks from the original Bad recording sessions, as well as a DVD and CD of Jackson’s celebrated 1988 concert at Wembley Stadium in London — you know, the one with all those fainting teenage girls.
As if this treasure trove were not enough, filmmaker Spike Lee — as of late, one of Michael Jackson’s biggest boosters — has directed and produced a full-length documentary exploring the inspired and frequently arduous process of creating the album, which sold over 8 million copies in the United States alone and now ranks as the fifth all-time best-seller internationally. The film, which will debut on ABC this Thanksgiving, is already scoring rave reviews.
Jackson’s ambition for Bad was to build upon the popularity of its predecessor Thriller in every conceivable way. He wrote 9 of the 11 final songs himself (whittled down from a rumored 60-plus tracks), the sound of the music grew more complex and Jackson moved farther away from his genteel “lover, not a fighter” image.
“By the time we were working on Bad, Mike’s ideas became stronger and clear,” Greg Phillinganes, a musician who worked on both the album and its subsequent international tour, recently told TIME. In the same piece, Jackson’s lawyer and co-executor of his estate, John Branca, says, “He was intent on topping himself and he put a lot of pressure on himself to do that.”
By most accounts, Jackson’s infamous perfectionism paid off. Bad boasts unforgettable ballads like “Man In the Mirror” and dancefloor staples like “Smooth Criminal” and “The Way You Make Me Feel.” State-of-the-art music videos accompanied the album and were ubiquitous on MTV — the most indelible of which was arguably Martin Scorsese’s take on the hit title cut, which featured an up-and-coming Wesley Snipes as an antagonist. Yet, while Bad now routinely lands on Greatest Albums of All Time lists, its legacy as a masterpiece was never all that assured.
Jackson had largely disappeared from the pop culture landscape following the unprecedented success of Thriller. With the exception of his historic role in crafting “We Are the World” in 1985 and his starring role in the 3-D sci-fi epic Captain EO for Disney in 1986, he appeared to be ceding his place at the top of the charts to the artists who came in his wake.
The press grew skeptical and Jackson started to get some of the first negative notices of his career. “The year 1985 has been a black hole for Michael watchers, who witnessed the most spectacular disappearing act since Halley’s comet headed for the far side of the solar system in 1910,” wrote Gerri Hirshey for Rolling Stone. In 1988, that magazine’s readers would vote Jackson the “Worst Male Singer” and “Worst Dressed.”
“People are responding negatively to his image and to the hype,” said Rolling Stone music editor David Wild at the time.
People magazine was only slightly more charitable, its cover heralding his 1987 return to music read: “He’s back. He’s Bad. Is this guy weird or what?”
The King of Pop’s decision during this period to purchase a sizable portion of the highly-prized Sony/ATV music publishing catalogue, which included classic songs by The Beatles and others, not only angered Jackson’s longtime friend and collaborator Paul McCartney, but also legions of music fans. Many people resented the re-purposing of influential 1960s rock songs for what they considered crass commercial use. Jackson made a fortune, but also a few enemies in the process.
It was also around this period that the “***** *****” moniker, which according to The Atlantic may have had racial connotations, was attached to the singer by the tabloid press, where it would remain a mainstay for the rest of his life. Some of the coverage of his eccentricities was the result of self-inflicted wounds. Jackson himself is alleged to have been the source of outrageous rumors that he sought to purchase the Elephant Man’s bones and slept in a hyperbaric chamber, but some of the backlash was a symptom of his hypersensitive persona and drastically evolved physical appearance.

It was Jackson’s dramatic physical changes that sparked the greatest backlash within his African-American fanbase. Comedian Tommy Davidson once mocked the opening of the song “Bad” with the lyrics, “This nose ain’t mine!” while others simply marveled at how in just three years the biggest black star in the world had grown several shades lighter.
Jackson would later attribute his change in hue to the skin disease Vitiligo, an explanation that was confirmed by autopsy reports following his death, but the scuttlebutt at the time was that the singer was distancing himself from his black roots in an effort to further ingratiate himself with white audiences.
In a particularly vicious 1987 Village Voice column, black pop culture critic Greg Tate wrote, “Jackson emerges a casualty of America’s ongoing race war — another Negro gone mad because his mirror reports that his face does not conform to the Nordic ideal.”
This theory overlooks Jackson’s Afro-centric musical sound, spearheaded by legendary producer Quincy Jones, and his identification with black culture in nearly all of his music videos from the predominately black gangs of “Beat It” to the African motif of “Remember the Time,” just to name a few.
“I’m a black American, I am proud of my race. I am proud of who I am,” Jackson emphatically told Oprah Winfrey in 1993 and he never wavered from that stance (at least publicly) until the day he died.
Still, these minor controversies seem quaint compared to the firestorm of scandal that consumed much of his later life.
Listening to the classic, refurbished Bad gives fans an opportunity to revisit the last era of Jackson’s career where he was still the purest, most popular musical star on the planet. His career was at a pinnacle, instead of at the beginning of a decline. And the trip down memory lane is rewarding to say the least.
Bad certainly deserves a place alongside Thriller and Off The Wall in the pantheon of pop music perfection. And the sterling new tracks, some of which have appeared in other special editions, make a compelling case for the fact that Bad could have been a formidable double album. Catchy cuts like “Al Capone” and “Streetwalker” could easily have climbed the charts in any era. Yet, the real find of this well-packaged set is the footage from Wembley.
The quality is not pristine — the footage is apparently culled from Jackson’s personal VHS copy — but that’s part of its charm. Much like This Is It, this DVD is a chance to marvel at what made the King of Pop musical royalty. Even the biggest Jackson detractor can’t help but be impressed by his ability to both dance and sing at the same time with this level of quality and intensity. His performances glide effortlessly through his then-already decades long career from the Jackson 5 to the latest tracks from his current album.
It is impossible to listen to any new Jackson output without viewing it through the prism of his sudden, tragic death just three years ago. And like so much of what Jackson did, in hindsight we see how ahead of his time he was.
On Bad 25 and in this invaluable concert footage we see a Michael Jackson still at the peak of his powers, before his prolonged descent into scandal and sickness. It’s all still there — that voice, so tender yet fierce, the poise, the strut and the magical rapport with an audience of 72,000 fans that only a true pop icon can muster.
This is a last glimpse of the Michael Jackson we want to remember and it is a beautiful sight to behold.

http://thegrio.com/2012/09/18/…ackson-recording-bad-16x9

Joe Vogel
Author and Freelance Journalist

A Piece of History: Michael Jackson Live at Wembley Stadium

Twenty-five years ago in the late summer of 1987, Michael Jackson released his long-anticipated follow-up to Thriller, the Bad album. Bad went on to produce five No. 1 hits, several classic short films, and a record-setting world tour. To date, it has sold an estimated 30-45 million copies. To celebrate the milestone, the Estate of Michael Jackson and Epic/Legacy Recordings will release a three-CD package (Bad 25, out September 18), which includes the remastered original album, an album of bonus tracks, including demos and remixes, and a live album from his Bad World Tour.
Along with the new songs, the highlight of the Bad 25 box set is undoubtedly the "Live at Wembley" full concert DVD. This is a remarkable piece of history that might have been lost if not for a fortuitous discovery among Jackson's belongings. The Wembley shows are the equivalent of the Beatles at Shea Stadium in 1965. But make no mistake: Jackson's performance here eclipses even his most talented predecessors.
Unfortunately, in spite of an extensive search through the pop star's storage archives, Jackson's estate was unable to locate the original Umatic master tapes for the Wembley shows. Perhaps one of these days, they will show up somewhere. What they did find was a personal VHS copy of the concert from the singer's own video collection. "Even finding this VHS felt like a miracle to us," says estate co-executor John Branca.
A consummate perfectionist, Jackson often watched tapes like this of his shows to ascertain whether the "magic" was being captured and what could be improved not only in his own performance, but that of the rest of the crew. This was his viewing copy for the legendary July 16, 1988 performance, attended by 72,000 people, including Princess Diana and Prince Charles.

Picture Courtesy of © MJJ Productions

While the sourced footage remains "pre-HD, 1988 videotape quality," it has been restored by a team that has also treated recovered footage for NASA. The result isn't a perfect high definition picture, but for me, at least, took little away from the enjoyment of the experience. Watching the DVD is like being transported in time. It feels like the era it comes from. Generally, it seems the closer and mid-range shots are much sharper, while the distant shots can sometimes be a bit blurry. Fortunately, because the camera work is so good, we get many brilliant close-ups of Jackson that might almost be mistaken for high-definition. Add to that that the original audio was captured on multi-track and presented in 5.1 audio, and it is hard to complain about the results.
The Bad World Tour began in September 1987 in Japan and concluded nearly sixteen months later in January 1989 in Los Angeles. It became the highest-grossing and most attended concert series in history. Jackson played to an estimated 4.4 million fans in fifteen countries. It was also his first and last solo tour in North America.
The London shows came in the midst of the second leg of the tour. Michael-mania was sweeping through Europe. In Vienna, Austria, the Associated Press reported that over 130 people passed out during the concert. By the time he reached London excitement had reached a fever pitch. All seven concerts at Wembley Stadium sold out, shattering a record previously held by Madonna and Bruce Springsteen.

Picture Courtesy of © MJJ Productions

Watching the July 16 show on DVD 24 years later one can still feel that visceral energy and excitement in the stadium. When Jackson finally appears out of the smoke and starts into the opening number, "Wanna Be Startin' Somethin,'" the crowd erupts. This is Michael Jackson at the height of his performing powers.
Yet part of what makes the performance so enjoyable is how stripped down and spontaneous it is (by Jackson's standards), from the stage design, to the costumes, lighting and overall presentation. Music director Greg Phillinganes heads up a dynamic band, elevated just behind the stage, while Jackson is flanked, on many of the choreographed numbers, with a talented group of androgynous, Blade Runner-esque dancers (including Lavelle Smith).
The minimalist approach allows Jackson's talent -- as a dancer, singer and performer -- to shine through. He is loose and exuberant, like he's simply having a great time, and we're there to watch in. Jackson sings live throughout most of the show, and improvises to brilliant effect in certain parts. At the conclusion of "I'll Be There," for example, he begins ad libbing like a gospel preacher possessed by the spirit. He does call and response with his backup singers and with the audience. "Can you feel it!" he exclaims. Dripping with sweat, the music pulsing through him, he begins rhythmically tapping his foot, then scatting, before launching into the next number.
Other highlights abound. Jackson's locking, popping, miming rendition of "Human Nature" and its ethereal cries directed outward to the audience. The intro to "Smooth Criminal," in smoky silhouette, which gives way to the now-famous, but still captivating high-art choreography. The extended drum-solo postlude to "Billie Jean" that allows Jackson to improvise to the beat -- gyrating, kicking, tapping and gliding. Part of what makes Jackson so compelling as a performer is how his body is constantly in motion and completely in-sync with the music. For the entirety of the show, he becomes, as he often said, "the medium through which the music flows."
One of the most enjoyable moments actually comes at the end as Jackson playfully introduces his backup singers, guitarists and band. It gives a sense of his humor and joy in being a part of a creative collaboration. He also allows a group of children on stage, who earnestly try to imitate their idol's dance moves.
The show concludes with a breathtaking encore performance of "Man in the Mirror." As Spike Lee (who ended up using the performance to conclude his Bad25 documentary) says, "If you look at that performance, he's somewhere else. That's one of the great performances ever. You see the way Michael's singing that song -- he's not of this world. He's somewhere else."
Jackson played a total of seven shows in London to an estimated 500,000 people. Ticket demand was so strong it was estimated he could have done at least 10 more sold-out Wembley concerts if he had desired. Everyone wanted to witness the phenomenon that was Michael Jackson.
On September 18, after years of gathering dust in storage, the world will finally have the chance to experience the magic again.

http://www.huffingtonpost.com/…on-wembley_b_1871878.html

[h=2]Michael Jackson “Bad” Tracks: Mysteries Explained[/h]08/29/12 3:23
Roger Friedman

Sony Music really liked our story about the new Michael Jackson tracks, the unreleased material from “Bad.” But I’m told the Jackson estate is nervous I’ve implied the tracks were less than genuine. Never! They are 100% pure Michael, and just great.
Here’s an explanation for my earlier questions, just so every is, as we say, on the same page. A source close to the estate emailed me:
“There are no mysteries about the tracks. They were all done in Michael’s studio at Hayvenhurst. Bruce Swedien never worked at Hayvenhurst with Michael and would only have heard the tracks that Michael brought to Quincy [Jones] to include on the album. As a result, there are many songs that would be unfamiliar to Bruce. And, as far as Bill [Bottrell] is concerned, he doesn’t even know the names of all of the tracks he did work on. Is it really surprising that, with the amount of tracks worked on during the BAD sessions, that there are some Bill doesn’t remember having done some engineering on? And, by the way, Bill wasn’t the only engineer working with Michael at Hayvenhurst. Matt Forger was there then as well.”
Fans will love all the versions of “Bad25,” believe me. And I do hope Sony tries to get a couple of hits out of the demos. “I’m so Blue” is so catchy it’s embarrassing!

http://www.showbiz411.com/2012…racks-mysteries-explained

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Michael Jackson Bad 25 Review

An awesome, evergreen and essential pop masterpiece.

A multi-million-unit-shifter, Bad was (and remains) as important to 1980s pop culture as the rise of the Walkman, the Back to the Future movies, and the shooting of JR. Like 1982’s Thriller, it’s an album that appeared to easily find a home within the record collection of rockers and poppers, punks and poets alike.
Ubiquity comes cheap in 2012 (thanks, internet), but in 1987, it was earned by being the best of the best. And Bad was just that: almost a greatest hits package, it spawned nine hit singles. Its chart campaign didn’t begin with the title cut, but with I Just Can’t Stop Loving You, a number one in both the US and UK. In Britain, Bad (the song) peaked at 3, as Rick Astley sat atop the pile.
The title track rocketed to No.1 in the US, followed by The Way You Make Me Feel, Man in the Mirror and Dirty Diana. Jackson’s star was at its zenith across the 1980s – but fame never guarantees critical approval. Yet Bad was as well-received in the press as it was by Jackson’s fans. It’s a special rarity: a commercial behemoth with nary a lapse in quality across its 48 minutes.
Quincy Jones’ production is tight yet yielding, every song allowed to breathe and never cluttered by needless elements. Dirty Diana is remarkably lean, Steve Stevens’ flamboyant guitar aside, yet powerful too. Speed Demon, deemed “filler” by critics at the time, is fun funk-rock that’d sit happily on a Prince album of the period, compositionally if not lyrically.
Unreleased demos make up the majority of this anniversary release’s second disc. Amongst the most interesting are Song Groove (A/K/A Abortion Papers) and Price of Fame. The former, aggressive of percussion yet light of synth, is about a Christian girl carrying an unwanted pregnancy. “Michael knew (it) could be controversial,” read the accompanying notes; but Jackson handles the subject matter with tenderness.
Price of Fame addresses the pressures Jackson felt as a pop idol. Of his obsessed followers, he wrote: “They’ll do anything and it’s breaking my heart… It’s running me crazy.” It is, perhaps, a first instance of the cracks that’d soon spread. But nothing that was to come in Jackson’s career could ever take the shine off this awesome, evergreen and essential pop masterpiece.

http://www.bbc.co.uk/music/reviews/gxb6

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Music Review: Michael Jackson - Bad 25 - Deluxe Anniversary Edition [3-CD/1-DVD]

Marking the quarter century mark since the release of Michael Jackson’s work of pop genius, Bad 25 is a positively electrifying celebration of this often underrated album. Released five years after Thriller, Bad ended up being regarded by many as a disappointing follow up to what became the best-selling album of all time. While Thriller was certainly a hard act to follow, Jackson did so by stepping up his songwriting output. With only two exceptions (“Man in the Mirror” and “Just Good Friends”), he wrote the entire record.Of course, songwriting credits alone don’t spell greatness. What does is the sheer craftsmanship and artistry that went into songs like “Smooth Criminal,” “Dirty Diana,” “Leave Me Alone,” and “The Way You Make Me Feel.” These hits helped define pop music in the late-‘80s and continue to serve as standard bearers. Even the lesser known album tracks, such as the propulsive “Speed Demon” and silky “Liberian Girl,” stand out as prime examples of Jackson’s abilities. It helped having Quincy Jones on board as producer, as he had been for Off the Wall and Thriller.
In other words, Bad is a treasure chest of indelible pop hooks, tasteful arrangements, devastating dance grooves, and some impeccable vocal performances. Epic/Legacy Recordings, in collaboration of the Estate of Michael Jackson, meant business when they put together this special anniversary edition. The remastered album sounds great, but the draw for fans is the additional material.
I’m going to jump right to the DVD, which contains a full, unedited two-hour concert from London’s Wembley Stadium, July 16, 1988. Want to see a 26-year-old Sheryl Crow duetting with Jackson on “I Just Can’t Stop Loving You?” Crow was a backing vocalist on the Bad tour, but was given a featured spot on that chart-topping ballad. Looking for a few surprises in the set list? There’s a slamming take on the Jacksons’ 1980 hit “This Place Hotel.” This concert is simply incredible from start to finish. Jackson literally finishes “She’s Out of My Life” in tears, bringing a stunning level of intimacy to the 72,000 fans on hand.

Here’s the only catch—the video of the concert was sourced from a VHS cassette from Jackson’s private collection. It was made from the JumboTron feed that the concertgoers saw that night. While the image has been remastered, we’re still stuck with a mid-‘80s home video-quality picture. It’s not nearly as bad as it might sound though. The image, for all its obvious shortcomings, is never difficult to watch. The best part is that the audio was all sourced from the multitrack board tapes, which means it’s excellent. In fact, the DVD boasts a Dolby Digital 5.1 mix.
There are a couple bonus clips included on the DVD. “The Way You Make Me Feel” was not performed during the July 16 show, but it was the night before. They recreate the music video, with Sheryl Crow sashaying around as the object of Jackson’s affection. A pair of songs from a September, 1987 show in Japan are included, “Bad” and “I Just Can’t Stop Loving You.” Crow duets with Jackson on the latter, getting soulful and pulling some priceless Joe Cocker faces during an extended ending that isn’t present in their duet from the Wembley performance.
Though slightly edited to fit on one CD, the entire concert is included as a live album—which makes it the first of Jackson’s solo career. The only things missing from the concert video are a “Bad Groove” jam section (that Jackson was not involved in) and a few extended endings (including a spine-tingling coda to “I’ll Be There”). In other words, it’s a sensational live album with 16 tracks of primo Jackson greatness in pristine sound quality.
Then there are the studio outtakes, alternate versions, and new remixes on the other disc. While the remixes may be interesting for some listeners, I didn’t find them to be an essential (or even desired) part of the package. But two Afrojack remixes of “Bad” (one featuring Pitbull) and Nero’s remix of “Speed Demon” are included. Carrying over from the 2001 Bad reissue are “Streetwalker,” “Fly Away,” and the Spanish version of “I Just Can’t Stop Loving You.” This edition adds a French language version of the latter song for good measure.

The real prize is a group of six unvarnished, previously unreleased demos, all written by Jackson and recorded during the Bad sessions. The most immediately attention-getting is “Song Groove (a.k.a. Abortion Papers),” a track that many fans have already begun debating the meaning of. Regardless of whether it carries a pro-life or pro-choice message, it presents a scintillating dance groove with a fiery vocal. While I can’t quite decipher all the lyrics, the liner notes include some quotes from Jackson’s own notes about the song that suggest it’s something more ambiguous than a straightforward “message” song.
“Al Capone” bears strong rhythmic and structural similarities to the track it evolved into, “Smooth Criminal,” but it stands as its own funky workout. I love the piano-driven “Don’t Be Messin’ ‘Round” and the smooth sounds of “I’m So Blue” and “Free.” Those three are fascinating glimpses at Jackson’s songwriting process as they each have clearly unfinished lyrics. Much more complete is “Price of Fame,” a song about obsessive fans that sounds more or less album-ready and would’ve made a great addition to the final product.
Two booklets are included, each with pictures and liner notes. There’s also a double-sided mini-poster folded up inside the matte-finish black box. We fans can only hope for similar treatment for Dangerous and beyond, but for now Bad 25 offers plenty.

http://blogcritics.org/music/a…el-jackson-bad-25/page-3/