by Sam Wolstenholm
Happy spooky season everyone! I felt like doing something different for this review, so I went with Thriller by Michael Jackson as it features one of the best spooky-themed songs of all time (you know what I'm talking about). This album was released on November 30th, 1982 and took the world by storm. Since it's release, it's become 34 times platinum as well as becoming the second-best-selling album of all time in the United States. I could go on forever about the awards and achievements this thing has accumulated throughout the years, but I need to mention a few other things. First of all, R.I.P. to the King of Pop. I don't know what he'd be up to if he were alive today, but I do know his influence runs deep in the music world. The other name I need to mention is Quincy Jones. If you haven't seen the documentary about him on Netflix, go watch it. It's called Quincy. He is the genius that produced this album. Just know that he had his hand in pretty much every sound you'll hear on Thriller, and he deserves more recognition for his work here. Alright, now I wanna be startin' somethin', so let's go.
What an epic of an opening track. Running at 6 minutes, this track demands your attention. It's impossible not to dance to (a common theme on this album). You have to at least nod your head or tap your foot to this. It's required by law. The drum beat and the bass line pretty much cover the entire song, but it doesn't get old because of how many other sounds are coming in and out. Instruments like horns and synths help bring a lot of energy to this track. For the record, I consider Michael's voice an instrument because he brings a ton of energy just by himself. We get the classic "Ma-ma-say, ma-ma-sah, ma-ma-coo-sah!" I assume you went back to re-read that out loud. This song is great, and it's a fantastic way to open an album. The energy is off the charts. Michael is showing off his vocal abilities. It sounds like a party honestly.
I don't need to say much about the lyrics. The title tells you exactly what the song is about. Honestly, the lyrics aren't exactly thought-provoking across the whole project, so most of what I say will be about the instrumentals. Speaking of, the production here is interesting. There's quite a bit going on. Synths are playing along well with one of the fattest bass lines I've ever heard. I don't love the drums, but basic beats work well for pop music. Michael Jackson does enough with his voice that the repetitive drum loops are more of a background sound in place to keep the audience on beat. The melodies, vocals mainly, are the focus of this song. I listened to this before I fell asleep and woke up smiling and humming it (not really, but it's got that effect). There's a key change toward the end of the song too. It's a bit jarring, but I found it pleasant. It worked really well as a transition to the part of the track would eventually fade out to bring the experience to a close. Yes, this song is an experience. It is my dark horse pick for sure. Everybody knows "Thriller" and "Billie Jean," but who's giving this song the credit it deserves? I am. Right now.
The sound of this track is nice and soft. Nothing jumps out. Michael isn't singing with the power he's capable of. I think part of the reason for that is the inclusion of Paul McCartney. Something about this combonation doesn't work for me. Obviously, they both can sing, but I don't think they pair very well together. The melodies are pretty basic (which is something that Michael Jackson can usually pull off, but not in this case). I do like when Paul does a really deep voice. It sounds cool, but he only does it once and it sounds out of place because of that. The duo share a moment of friendly banter later in the song where they argue over a woman. It isn't heated at all. In fact, it almost sounds like they're about to come to the decision to share her. I really don't like the concept of this track. Like, at this point, let the girl decide you dumbasses. It isn't a competition between you two. The music doesn't exactly make up for it either. It sounds alright, but it's forgettable compared to pretty much the rest of the album. I wouldn't say this song is trash (because it still is listenable), but it's a weaker point on the album. Sorry Paul, I'll review a Beatles album soon to make up for this. Also, the transition from this track to the next isn't very smooth, but it doesn't matter because of what the next song is.
4. "Thriller"
OH YEAH! You already know about this one. At least you should. Within the first 30 seconds, the audience is hooked by the creaky door sound, howls, and creepy wind. That's before the iconic and cinematic horns usher in the beat as it sounds like an epic title screen of a movie. The equally iconic bass line follows it up, forcing anyone listening to start dancing. Specifically, you must do the zombie dance. You know what I'm talking about. THEN HE STARTS SINGING. Prime Michael Jackson hitting notes all over the place. All his classic adlibs on full display. This track is everything great about the King of Pop. If any song has ever sounded like a movie, it's this one (editing note: I forgot to mention Vincent Price's narration and evil laugh at the end, so I'm doing that here). Make sure you watch the music video below if you haven't seen it. It might be the best one of all time. Seriously. Okay let me try to dig for a deeper meaning in the song's content. It's supposed to be like a horror movie themed song, and horror movies are extremely satirical and metaphorical. This has to follow the same direction, right? Well...yes and no (I feel like I say that too much, but not many things fit into absolutes). The film parallels in this track are not by coincidence. "Thrilller" refers to an actual thriller kind of movie. It's supposed to sound scary because it's purpose is to match the idea of bringing a partner to a scary movie in order to hold them close. Protect them, if you will. It's kind of messed up to purposefully scare someone into running to you for help, but that's a strategy that has been used for a long time. Michael seems to just be dropping as many monster references as he can in order to scare a girl into being afraid of the night and darkness. That way, he can swoop in and be there for her protection. The music video is more symbolic than the song. He is fully aware of this tactic as he is literally the one turning into the monster. There's probably much more to unpack here, but that's how I take it for now. Share your spooky ideas in the comments, but don't be afraid to dance!
5. "Beat It"
Another classic. The rock influence is heavy. Electric guitar rifts resonate across this track bringing an energy that is perfect for the message Michael is trying to say (I'll get to that in a second). The guitar solo is also something you don't get very often anymore, but I wish that were different. This one goes bananas. Fun fact: Eddie Van Halen did it for free as a favor for Quincy Jones and recorded it in about 30 minutes. I haven't discussed the drums very much so far (because they really aren't anything special), but I have to with this one (and the next). It is such a simple beat, but it's essential for making this song what it is. Even if they aren't live drums, they sound like it. And whoever is hypothetically playing them is truly beating them (pun intended) because each strike of a drum head absolutely pounds through the headphones. As far as lyrical content goes, this is the first song on the album that I think has an actual positive message (not that the others are inherently negative or dangerous). He's acknowledging toxic masculinity and the fact that it can really get you hurt. Sometimes, it's really not worth it to fight just to prove that you're "a man." Your safety is much more important than your image. Be a lover, not a fighter. Thanks Michael. More people need to understand this.
Timeless. You can't tell me that this song isn't good. Even if it isn't your style or you hate Michael Jackson or whatever, this song is great. It's another dance song with a classic drum and bass combonation. The simple synth lead on top of that is absolute perfection. It's a recipe for a moonwalk (I'll link a video here on how to do it so you can practice). Michael is singing fom his heart here as it seems to be one of the more personal perspectives he takes. He's denying a claim that a woman, Billie Jean, has a son by him. Turns out this story is not based on a personal experience, but it is inspired by real-life stories that Michael has heard from his friends. He gives advice to just be careful when making decisions about dancing with someone. Of course, to "dance on the floor in the round" is a Michael Jackson way of saying sex. He's acknowledging his mistake while also trying to deny the consequence (the kid). This could be interpreted in a few different ways, but one line leads me to an idea: "And mother always told me, 'be careful of who you love, and be careful what you do, 'cause the lie becomes the truth.'" Isn't that something? Regardless of what is actually true in the universe, a lie can be convincing enough that it might as well be the truth to all of us imperfect human observers. Therefore, it's important to be careful about who you trust and what you get yourself into. Honestly, it's another interesting message that I never thought too hard about, and it's something that I feel like I should probably remember moving forward in my life. This track makes me think, sing, and dance. What more can I really ask for?
Moving into a much softer tone than the last batch of songs, Michael explores his human nature. Implying that he cannot help feeling these feelings, he discusses his desire for more. He wants to be one with the city. He wants love and intimacy with a woman. He cannot help but be attracted to all kinds of beauty. This track probably has the best lyrics on the album (depending on how you want to view the "Thriller" lyrics). "Hear her voice shake my window. Sweet seducing sighs," is my favorite one. "Her" refers to mother nature. Her "voice" being the wind. Michael feels like the outside world is calling to him. Also, can we acknowledge the alliteration in that line? Yes? Okay good. The instrumental is pretty too. I mentioned that it's soft, but it doesn't lose that Michael Jackson feel (consisting of various simple melodies playing off of each other). The main drums (kick and snare) are very spaced out while a shaker fills that time. Michael's singing is also lowkey. He doesn't go crazy with his vocals, opting to focus more on harmonizing with the melodic guitar. This is a great song, but it isn't making my personal playlist. That's because it doesn't make me want to dance like the others nor does it switch up as much as I'd like it to for a four-minute song.
I hate the way he starts the song by talking. It just sounds creepy. Maybe that's just me. He also ends it like that, but I'm going to try to ignore all of that. This song is one that I hate that I love. I don't want to like it but I cannot deny it. There are so many catchy parts that I find myself singing it without even realizing it. Background vocals bounce around with Michael's lead in such a tasteful way. That goes for the guitar and various synths too. The assembly and arrangement are incredible. Even the hard rock guitar breakdown with the "uh!" and call and response part seems to just slide into the track seamlessly. I even love the chipmunk vocals at the end. The reason I don't want to like this is because it's a basic love song with a basic drum beat. However, it's too dynamic for me to hate it. I actually really like it (especially now after reviewing it). Michael Jackson sings like he does, which is enough to add such a fun energy to this song. It's another one you have to dance to. Damn. This is good.
Big time shift in tone. This song feels extra slow after the super upbeat "P.Y.T." I don't love this song personally, but I'm clearly not who he's singing for. I imagine there are plenty of women that had their first slow dance at prom to this track in 1983 that love it. Still, there isn't a whole lot happening here. It's slow and sensual. You can easily guess the song topic from the title alone. It isn't too much, but it isn't trying to be. Underwhelming and situational, this competes with "The Girl is Mine" as the worst on the project. It's still produced and performed well. It just doesn't have anything exciting hapening. I guess it's still a dance song (for slow dancing), but there's no way it's what you think of when you think Michael Jackson. I'll leave this track alone because I really can't hate on it. It's just not my cup of tea. Weak album aloser though.
Overall
If you're trying to dance, play this album. That's what most of it is for. You're honestly not going to be paying much attention to the lyrics because you don't need to. Nothing is thought-provoking unless you really want it to be. Instead, Thriller is for having fun! And I definitely had a lot of fun going back to listen to it for a review. It definitely sounds like the 80's but not in the Phil Collins kind of way. It's the Michael Jackson kind of way. There's a reason it blew up to be what it is. There's a reason he's the King of Pop. Quincy Jones makes sure that every song is dynamic by including a plethora of sound effects and instances where instruments just pop in and out to compliment other instruments. Yes, there are a couple duds on here in my opinion, but they still sound fine. They aren't great as complete songs, but they certainly don't sound bad. I can dislike a song while still appreciating its production and performance quality. Speaking of performance, Michael sings his ass off. He's so good at hitting notes in any range while keeping himself animated. His voice is so unique, and he uses that to his advantage by making it the centerpiece to every track. Even the adlibs are amazing. They fit in the tracks just right as if they're a whole instrument being played live. I guess that sort of actually is the case. Either way, this album is brilliant. There are just some things holding me back from giving it a higher score. The slower songs specifically just don't hit the way the high-energy ones do. There also isn't a whole lot of substance in terms of topics. For the most part, they're all just different versions of a love song. The tracklist also plays a little weird as one song's ending will contrast harshly with the start of the next. If I'm not mistaken, I think every song ends with a fade out. Fade outs are fine, but it's kind of lazy to do it for every song. To be fair, I don't think this was intended to be an album experience. It's more of a collection of singles, and that is executed beautifully. I'm rating it as an album though, so everything comes into play. It is definitely not a perfect album, but it is really good.
8.8/10
If you've read my review, I assume you have already heard Thriller, so I want to hear what you think. What'd I miss? Did I tear apart your favorite song? Or give too much credit to one that doesn't deserve it? Any questions or comments? I'd love to respond. Feel free to drop review requests too! I will strongly consider them.
Peace and love.
you have all great takes on this album. Baby Be Mine is forever the dark horse of Thriller!