Latest on MJJC

Michael's best produced album?

Bad sounds like it's time, which doesn't mean much. Today's music sounds like it's time as well. Music doesn't date; melodies, grooves, hooks and verses, they're immortal. Technology, like the synclavier, do become obsolete, but it's a unique sound just the same. Bad sounds crisper than most 80s albums.

I thinkInvincible sounds the most well produced. The Darkchild tracks are iffy, some say they sound like Brandy's Full Moon, but it's really the other way around. "Unbreakable" is very crisp. Everything sounds like it came from this century. After it, I'd say HIStory is next up. Really, it'd be the winner, but "This Time Around" and "Tabloid Junkie" are 90s wayward. Still love them though. And Dangerous, who can forget it? The Teddy Riley tracks are like James Brown and Sly and the Family Stone dabbled with Hip-Hop and some general rock elements. Very unique, but not timeless. They're prettyyyyy close though.
 
I think all the albums except for parts of
Invincible are excellently produced. With invincible some of the fast tracks have way too much going on. They seem too load like your being screamed at. Although
Xscape is not a really Mj album I feel the same way about that as Invincible. Like I said only certain songs from those albums.
 
Dangerous without a doubt.
The production on HIStory was perfect on some songs but not on others in my opinion. I love Tabloid Junkie but there is one noice in the background through the complete song that annoyes me when i listen to it with headphones. The intro of Little Susie is too long. Beside of that the song is produced perfectly. On Will You Be There i loved the long intro. They Don't Care About Us and Scream for example are produced timeless and perfect.
On Dangerous i love the production of every single song and i discover new sounds everytime i listen to one of the songs. I could listen to some songs without vocals. So I vote for Dangerous.
 
Last edited:
Off The Wall - I'm amazed how fresh this album sounds after all this years.
 
For me:
1. HIStory
2. Invincible
3. Thriller
4. Off The Wall
5. Bad
6. Dangerous

All of them are produced masterfully. But this is my list based solely on production, not song selection or song quality.
 
Great response all around everyone, intriguing thread to say the least.

This is something that I've often pondered myself, and in order to stay objective, I'm just gonna review the eighth song from each of MJ's adult solo album releases. That was a totally random pick. The criteria is as stated in the original post: Quality, Sound, Production Value.

Quality to me designates the level of enjoyment derived from the song (How good it is in terms of songwriting, catchiness, hooks. The overall composition)

Sound would underscore clarity and depth/clearness.

Production Value would relate to the tools/tricks/instruments used in the recording process and how they enhance the specific tune for the better, or worse.

Obviously, this'll be totally subjective, however I'll endeavor to be level headed in my approach to each song.

1) I Can't Help It: Honestly, this track displays masterclass all around. The instrumentation, specifically that subtle percussion that provides the perfect texture to Michael's smooth vocals. His voice is young and strong, the lyrics are by Stevie Wonder and Susaye Greene and you can hear the former's influence on the vocal inflections. But MJ makes it his own, thanks to his distinctive voice and Quincy Jones sweeping/swaying production. It's Michael Jackson doing Jazz straight up, and is awesome. It's like being swept away by a gentle current. It embodies the declaration that Mike was now an adult looking for serious relations, both through his music and lyrically, in intimacy.

2) P.Y.T (Pretty Young Thing): A lot of the tracks on Thriller are aimed at wooing the ladies, this is the one that best fits MJ's up tempo vocal perfection and actual age at the time. What's great about the song is all the different musical currents you can concentrate, and in extension, isolate on for appreciation. The synth swerves in and out with the distinctive keys of the piano, hand claps are timed just seconds before the light bongo beats, all giving way to the constant driving lead vocals of the verses.

Michael also displays a peculiar baritone background vocal (Now is the perfect tiiiiime duuuhdaaaa) They're low and just comprehensible enough to relate to the leads persuasively growly singing (Now is the perfect time, we can dim the lights just tah make it right-a!) It's complimenting. QJ's brilliance was his ability to reconfigure and then conduct MJ's killer hooks on a song, peppering it just enough but not overwhelming the palate. The song has enough room to breath when it could have been cultured.

I mean damn! Are they using some kind of synth xylophone throughout the chorus here, right after he sings pretty young thang! Who does that? And succeeds in doing so to boot. Power cords on the bridge contrast the sparse bongos and MJs laboured UNGHS! and heavy breathing, it's no wonder ladies like this one so much, the guy is vocally humping you throughout the track. He's definitely channeling Marvin Gaye with some of this crooning.

It's a fun song that sends a quiver up your spine and makes you want to strut around and flirt with the closest person to you, awesome club number no doubt. His sister's high pitched chipmunk like singing withstanding.

3) I Just Can't Stop Loving You: A very expressionistic ballad, Michael's sings blissfully drippy vocals, Siedah voice is somewhat more earthy than Mike's, giving contrast that had some questioning who was singing at certain times. If anything, I find that beautiful, it's a love song after all, and sonically this one acts as a junction for lovers collective conscious (Yes, I meant that in a singular way) It's like a communion. You get so caught up in it it's over before you know it, the song could do with an extra minute of runtime for the breakdown (Think the live performances when they really get into it)

It's palatial all around to the point where it can almost come off as saccharine to some I imagine. I don't think i'd be listening to this when I'm single :p Production wise it sounds like a song that'd play at the end of an late 80s movie (Like Prince's Scandalous for 1989's Batman) This somewhat dated style, though nice, clashes with the heavenly vocals in a slightly ill fitting way.

*I'll split this post for the Dangerous/HIStory/Invincible songs*
 
Last edited:
4) Black or White: Michael's voice blares out like a trumpet heralding a new age of utopian relations, a scatting guitar crashing just moments before. This song is a fusion of old school rockabilly (Think Elvis Costello's Welcome to The Working Week) and musically more than lyrically evokes a jubilant sense of parade and celebration (Martha and the Vandellas 'Dancing in the Street')

Yeah, the words to Black or White are the true mystery, they're tinged with the silver lining of threats, (It won't matter if you're black or white) The guy is just daring you to bring up race, in regards to any of his choices in life. Very bold indeed, this of course explodes in the hard rock/metal bridge, ending with that bizarre scatting guitar sound once again, it's like the music is trying to rewind the passive-aggressiveness that highlights race relations just long enough to get us to the peaceful resolution at song's end. (If you're thinking of being my baby/brother, it won't matter, etc)

It's stellar pop music by the then recently anointed King of Pop (though he'd won the throne nearly a decade prior, think of this single release as the crowning ceremony) The production on this one harkens back to Off The Wall, in my opinion. It's not as dense as say, anything of Thriller, but not nearly as calculated as the stuff on Bad, thanks in part to using the first rough vocal run through. Though this does leave something to be desired on those 'Yeah Yeah Yeaaahs!" towards the close. Think about how they were lovingly treated in the Clivillés and Cole remix.

Most would argue what holds it down is the rap interlude, performed by Mr. Bill Bottrell himself. You can't help but wonder what if Mike had listened to his collaborators advice and brought in a real rapper, like say, LL Cool J?

Well honestly, who knows. In a way I think the rap is fitting, albeit clunky no doubt. Its so short and to the point (Not gonna spend my life being a color) that perhaps the hope was that white folks would easily replicate its message in attempts to copy it? Let's be real, some 25 years on, despite the evolution of Hip-Hop and it's current position as the Rock'n'roll of today, you'll still encounter the rhythmically challenged in their attempt to dish out some bars, more likely than not sounding like Vanilla ice , or uhh..Macklemore)

Anyways, you hippity-hop hipsters, don't tell me you agree with me, when I saw you kicking dirt in my eye. Deepest MJ lyric ever.

5) You Are Not Alone: Now, the actual eighth song on HIStory is Come Together, A Beatles cover that MJ recorded in 88, so for obvious reason I'm gonna round up to the next song on the album, the R. Kelly penned/plagiarised You Are Not Alone.

This one is hard to describe honestly, from what perspective is the singer weaving this tale of loss? is he the widow or the soul departing for regions unknown? It inspires perseverance, no doubt, and builds with that classic Jackson orchestrations meets choir, but Michael attains the most potent emotional height of any of his songs by way of operatic bellowing. (Did he actually hold that note the whole time? No way! It's part of the fun though, wondering if so) His vocal hiccups here are straight up trademark quality.

The Melody is a bit...I don't know. Well I do actually, not to sound abrasive, but at times I feel like the instrumental version could be heard in the bathroom of a ski lodge in Colorado, or in an elevator somewhere, it's got that kind of essence. You all know you've heard I Believe I Can Fly in a department store before! The clarity of sound is over all lovely, nice resonance.

6) Speechless: This one is in the vein of Be Not Always, but in a positive manner. And certainly an improvement. Never has an acapella of Michael Jackson sounded so pristine. It leaves me...well speechless. It's probably one of the most honest songs he ever wrote, and shows with the performance. A part of me wishes he'd just kept it bare bones, no extra instrumentation at all.

The reverb was a slight touch, very little, and nice. At the end those almost omnipresent harmonies/choir are a bit much though. Remember what I wrote about You Are Not Alone's benchmark in emotional height (you are always in my heart~) Well crazily enough, he does it again here..just not as well. Perhaps he meant it as an allusion to the prior song, or an ode, much like he sings i'll be there in the former as well.

All in all, the song is meant to be soft and appreciative, but levels out much too soon in terms of production.

So who wins? To get right to it I'd rank them based on the above random songs as so:
1)Thriller
2)Off The Wall
3)Dangerous
4)Bad
5)HIStory
6)Invincible

Just for fun here's my personal rankings:
1)Bad
2)Dangerous
3)HIStory
4)Off The Wall
5)Thriller
6)Invincible
 
Last edited:
1. HIStory
2. Dangerous
3. Off the Wall
4. Invincible
5. BOTDF - the 5 new songs are great
6. Thriller
7. BAD
 
if there was a poll taken of every single fan of Michael Jackson from 1969-present, Thriller and Off The Wall are always as a whole, be chosen as his top 2 albums, it will always be the case
 
Last edited:
Bringing Brighter Days said:
if there was a poll taken of every single fan of Michael Jackson from 1969-present, Thriller and Off The Wall are always as a whole, be chosen as his top 2 albums, it will always be the case
Click to expand...

Maybe, but just because in that period MJ had much more fans. If there was a poll taken of every single fan of Michael Jackson from 1987-present it would most definitely not be the case.

Also this thread is about production, not the best album in general. Two completely different topics in my opinion.
 
OnirMJ said:
Maybe, but just because in that period MJ had much more fans. If there was a poll taken of every single fan of Michael Jackson from 1987-present it would most definitely not be the case.

Also this thread is about production, not the best album in general. Two completely different topics in my opinion.
Click to expand...


and this is why I specifically said throughout the entire experience, from the very beginning to the end, from 1969-present, that would be the case, and for the very reason you mentioned, he had much more fans then

even regarding production, the result would be the same

even regarding what his best video is, the result would be the same, the Thriller video will always rank at the top, and 50 years from now, people around the globe will still be recreating the choreography for that video during Halloween
 
Bringing Brighter Days said:
and this is why I specifically said throughout the entire experience, from the very beginning to the end, from 1969-present, that would be the case, and for the very reason you mentioned, he had much more fans then

even regarding production, the result would be the same

even regarding what his best video is, the result would be the same, the Thriller video will always rank at the top, and 50 years from now, people around the globe will still be recreating the choreography for that video during Halloween
Click to expand...
I think you are probably correct.
 
Dangerous, because it had Teddy Riley magic all over the place. However, Quincy also mastered the New Jack Swing concept in Siedah Garrett's "I Don't go for that", now THAT was a great jam! But Teddy Riley was the ish when it came down to New Jack Swing style stuff.
 
Shane Michaels;4115258 said:
I thinkInvincible sounds the most well produced. The Darkchild tracks are iffy, some say they sound like Brandy's Full Moon, but it's really the other way around.
Click to expand...

Sonically, ‘Invincible’ & ‘Full Moon’ do not resemble when it comes to the songs that are produced by the same producer (Rodney Jerkins).

The tracks that Rodney Jerkins produced for ‘Invincible’ are heavier & more crowded (as compared to the ones on ‘Full Moon’).

If I had to make a comparison, I would compare the futuristic sound of those specific tracks (on ‘Invincible’) with the sound of the tracks on Aguilera’s ‘Bionic’ (although they do not share the same producer). But, the futuristic tracks on ‘Bionic’ sound messy & noisy.

All in all, although Brandy & Christina Aguilera are among my most favorite singers, I am not ashamed to admit that the tracks that Jerkins produced for ‘Invincible’ still sound better as compared to those two aforementioned albums (even though ‘Invincible’ is older than both of them).
 
Shane Michaels said:
Bad sounds like it's time, which doesn't mean much. Today's music sounds like it's time as well. Music doesn't date; melodies, grooves, hooks and verses, they're immortal. Technology, like the synclavier, do become obsolete, but it's a unique sound just the same. Bad sounds crisper than most 80s albums.

I think Invincible sounds the most well produced. The Darkchild tracks are iffy, some say they sound like Brandy's Full Moon, but it's really the other way around. "Unbreakable" is very crisp. Everything sounds like it came from this century. After it, I'd say HIStory is next up. Really, it'd be the winner, but "This Time Around" and "Tabloid Junkie" are 90s wayward. Still love them though. And Dangerous, who can forget it? The Teddy Riley tracks are like James Brown and Sly and the Family Stone dabbled with Hip-Hop and some general rock elements. Very unique, but not timeless. They're prettyyyyy close though.
Click to expand...
I made this post over 8 years ago, And lemme tell you, my thoughts have changed.

Bad has never sounded more contemporary tbh. All of the 80s touches now sound even more catchy, thanks to big tunes like Blinding Lights by the Weeknd. The smaller tunes though, they're incredible. IJCSLY and Liberian Girl, they are incandescent. The latter is in the running for MJ's most immaculately engineered track ever. And that's thanks to his voice as well, but the instrumental as well. And those touches are present throughout the record.

Meanwhile, now I say, HIStory edges over Invincible. It is the freshest album throughout, and it's warmth in the mastering adds to just how sharp everything comes through. Tracks 2, 3, 5, and various others, except maybe 9. It's just full of life and power. Even the directly 90s cuts, still stand out way more positively these days, that retro Dallas Austin/Jam & Lewis production is just great.

Invincible has the late 90s vibes that you have to be in the mood for. But it's high points, are very high, and it's lows are pretty moderate tbh. Heaven Can Wait is pretty lush too actually. Not Liberian Girl but, in the same lyrical/sonic category. It's the uptempos on Invincible that sound a bit funny, tbh. Everyone picks a different favorite though, so I'll just say YRMW and Unbreakable have my vote.

I've heard Dangerous be referred to as dry, and I think that's an accurate way to say it. It doesn't have the lushness of the others. I actually like it though, and it does sound strong. But it is very 90s throughout, to it's benefit and detriment.

At least, that's the first half. The 2nd half is very timeless, incandescent throughout. Who Is It is essentially perfect actually. Definitely next to Liberian Girl. But it's just a fun half. Dangerous' second half versus HIStory's first half, tbh, that's a crazy match up.

I'm starting to realize I can't make up my mind. But I'm gonna nap and see if I can come back later and figure it out with input.
 
Mister_Jay_Tee said:
I made this post over 8 years ago, And lemme tell you, my thoughts have changed.
Click to expand...
Hallelujah! Can you imagine how boring it would be if your ideas never progressed or changed or developed in any way? That would just be weird.

Mister_Jay_Tee said:
Bad has never sounded more contemporary tbh. All of the 80s touches now sound even more catchy, thanks to big tunes like Blinding Lights by the Weeknd. The smaller tunes though, they're incredible. IJCSLY and Liberian Girl, they are incandescent. The latter is in the running for MJ's most immaculately engineered track ever. And that's thanks to his voice as well, but the instrumental as well. And those touches are present throughout the record.
Click to expand...
I'm generally quite lukewarm about Liberian Girl but I agree with this statement. I've listened to it a few times recently just for the Paulinho da Costa percussion. I think if I was a music teacher I'd be playing this song to my students just to teach them about percussion and also the engineering. It's all there.

Mister_Jay_Tee said:
I'm starting to realize I can't make up my mind. But I'm gonna nap and see if I can come back later and figure it out with input.
Click to expand...
Welcome to my world, lol. I've been on the board for about a year now and it sometimes feels like I'm doing a school project. A science project, lol. And I've finally realised I'm not gonna be coming up with any conclusions. My mind changes all the time about every aspect of Michael as an artist. I think I'm supposed to do what I always have done which is allow my thoughts to flow like a river, changing course every now and then but just flowing on and on.
 
HIStory, without question. All of MJ’s albums are well produced, but the versatility, ingenuity, and genius of HIStory is terribly underrated. There’s a reason it’s damn near impossible to accurately recreate something like “2 Bad,” “Tabloid Junkie,” or “They Don’t Care About Us.”
 
HIStory is a masterpiece, it's hauntingly beautiful record. It feels like the music is baring it's soul, along with Michael.

Not only lyrically and vocally but sonically it captures, despair, anguish, paranoia, isolation, reflection and resolution.

Every song might not be a hit, like on Thriller or Bad, but it's an artistic triumph that separates Michael from his peers.

The production on songs like Money, Stranger In Moscow and Tabloid Junkie especially are glorious. You feel dropped into the middle of a storm but it never feels too busy and Mike's masterful hooks and harmonies are still centre stage (arguably some of his greatest hooks are on HIStory)
 
I think Off the Wall and Thriller are the best-produced MJ albums by far. Quincy Jones Imo was the best music producer of the 20th century and these albums prove it. Off the Wall has such a natural, raw sound (thinking of the bottle clinks on DSTYGE, strings on GOTF and ICHI), I think nothing out there production-wise compares to that sound.
 
You must log in or register to reply here.
Back
Top