Third instalment dedicated to Michael Jackson: today we're discussing "Bad".
After the unrepeatable success of "Thriller", Jackson was effectively the most significant African-American artist in the global music scene. However, the deterioration of family relationships and friendships within the celebrity world, combined with the pressures of fame, led the artist to retreat from the spotlight in 1985. Two more years passed before the release of "Bad" (1987), his seventh studio album and final collaboration with Quincy Jones. Characterised by a more aggressive sound compared to his previous work, "Bad" revisits the amalgamation of genres and musical influences that made "Thriller" successful, mixing dance, R&B, funk, soul, jazz and rock, whilst employing a wider range of digital sounds and synthesisers. The album title itself announces Jackson's new trajectory, and his image changes accordingly: black clothing, buckles and studded belts characterise this new musical chapter. However, his use of cosmetic surgery, combined with the progressive lightening of the singer's skin, generated rumours and controversies, especially among his African-American fans.
Jackson's search for innovative sounds translates into extensive use of synthesisers including the Fairlight CMI and the Synclaver PSMT, sometimes combining them to achieve new creative stimuli. The writing of this project sees Jackson as the author of almost all tracks, addressing themes such as the fight against bullying, love, hope, self-improvement and the media. The album opens with "Bad": originally conceived as a duet with Prince, the song was inspired by the story of a young African-American killed out of envy by his "ghetto" peers after attending a private school in New York, which Jackson had read about in a newspaper article. This is followed by the dance rhythm of "The Way You Make Me Feel" and "Speed Demon", leading to the vaguely tribal atmospheres of "Liberian Girl", with South African singer Letta Mbulu transporting us to the African continent through Swahili chanting. Jackson's pen steps aside to make way for the Siedah Garrett-Glen Ballard duo for the famous "Man in the Mirror", where the popstar reminds us that to make the world a better place, change must first come from ourselves, from the "man in the mirror". The first single from the album, "I Just Can't Stop Loving You", is the ballad with which Jackson chose to open the doors to "Bad", in a romantic duet with Siedah Garrett. However, the mood turns dark again with "Dirty Diana", a rock piece where Jackson releases all his anger towards a groupie who hurt the singer's feelings. The album closes with the rock-R&B groove of "Smooth Criminal" and the funk of "Leave Me Alone".
Despite the extremely high expectations following "Thriller's" record-breaking sales, the album reached number one in the American charts and in 24 other countries, becoming the best-selling album between 1987 and 1988. The singles conquered the charts, and critics renewed their praise for Jackson's acclaimed talent, which has influenced countless artists from the '80s to today.
We conclude this journey through the King of Pop's music with "Smooth Criminal", a track that still sounds incredibly modern almost 40 years later. Enjoy listening!
