#LostInMusic: MICHAEL JACKSON'S 'BAD' (REVIEW)

Michael Jackson's seventh studio album, released in 1987, is rarely thought of as one of his finest bodies of work, but is instead considered full of iconic moments in musical history. When you consider however, that this album saw the birth of feature zips, the Dirty Diana, and Smooth Criminal legacies, not to mention Moonwalker, and a worldwide tour that grossed $125 million dollars, in some ways, this was one of Michael's most successful projects. In the words of another great, let's start at the very beginning…

The title song was originally supposed to be a duet with that other iconic musician, equally enigmatic, and far more risqué and controversial than Michael ever was. But when Prince listened to the 'Bad' demo, he reportedly told Jackson and Executive Producer, Quincy Jones: "You don't need me on this, man!" And turned down the offer; shattering the hopes and dreams of joint fans everywhere, forever, since the opportunity never came again.

Determined not to be mistaken for a 'Beat It' pt. 2; Michael switched position from Peacemaker to Aggressor in this next phase of his storytelling genius. With 'Off The Wall' we learned that 'Little Michael Jackson' had his own two feet. With 'Thriller', we learned that 'Little Michael Jackson' wasn't so little. With 'Bad', we learned that Mr Jackson had an edge.

Now a lover and a fighter, the sounds were tougher, the moves were sharper, and the words were hard enough to render him the Bruce Lee of lyricism. The video was another defining moment in musical, and cultural history. In the case of Wesley Snipes, it was the beginning of the gainful employment that led to that pesky little tax problem.

If, by some freak force of nature, you've never heard this album, or any of its muthaluving CLASSICS, consider this a crash course. Sit down, grab your notebook, and sharpen your pencil, because class is most definitely in session. In the vein of our US friends, you gon learn today, my friends.

Now then. Once you put your initial shock aside, and consider the lyrics, you'll realise that the aggressor is actually the good guy employed to corral the baddies! Don’t let the black buckles and chains fool you – the villains on the block had a new nemesis, and like the John Waynes, Sergeant Kinchloes, and Shafts before him, this unorthodox protector of the peace was one baaaad mammajamma. Make him mad and he WILL dance at you…

Can we also take a moment to recognise, and celebrate the birth of 'shamone'? That verbal fixture that we all now know so well?

If ever there was a moment that Michael Jackson and I both shared in history, it was that of being stunned by the oh so breathtaking Tatiana Yvonne Thumbtzen. He (and most males) wanted her, and I (and most females) wanted to be her! 'The Way You Make Me Feel' is essentially a slick, four minute and fifty-eight second chat up line, that I feel confident in saying would work on most females; especially in the eighties, when this side of MJ was still so new, sexy, and charismatic to women across the world. A besotted young man lays eyes (and aspires to loins) on an attractive young lady and sets out to get her by laying on the charm nice and thick, to the borderline of insufferable, but never actually breaching it – hence the reason it works. He dances at his prey again, but this time, his gyrating powers are used in an entirely different fashion…

'Speed Demon' is another one that, as Quincy Jones said, was "so far out of the box, that he just stayed there!" On his bike (literally), MJ is targeted by the Road Police, for a ticket that he doesn't want to take, so he burns rubber to get away. Sounds too simplistic, now doesn't it? In fact the premise doesn't sound particularly interesting at all, right? But that was before you heard, and saw him do this with it:

'Liberian Girl' makes you want to change your nationality. An infatuated love song for the exotic fantasy girl, the video features a host of celebrity friends, all trying to find MJ. In the most elaborate Where’s Wally – I mean Michael ever, see if you can spot him…

'Just Good Friends' is an amazing moment in music history. Two of the greatest musicians of all time, not so 'Little Michael Jackson' and not so 'Little Stevie Wonder' come together (no pun intended) in beautiful, duetting harmony, for a back'n'forth, over a girl who's playing them both with the same lines…Trollope. No video for this one, but oh how I wish there was. Michael and Stevie in the studio together should have been recorded properly, for posterity; so a major FAIL on that one.

'Another Part of Me' is an attempt to remind listeners that we’re all one nation, one race, one colour beneath the Heavens, so we should really be nicer, and more accepting of each other. His first message song hitting back at the fingers which, by that time, had begun to point and sneer at him and make him a target. A harder, angrier version is yet to come on this set.

'Man In The Mirror' is still one of Michael’s biggest message songs to date. It's inspirational, it's heartwrenching, and it brings its listeners together in unified solidarity. Definitely one of those 'Best Of' moments…

'I Just Can't Stop Loving You' brought about a milestone in the life of a young(er) ES. This was the first time I ever experienced seething jealousy towards another female (not counting that daft Thriller chick who didn't have the good sense to be eaten by zombies). Throughout my childhood, I developed a perfectly normal and mentally stable hatred for Seidah Garrett, for bewitching my Michael, and making him fall in love and declare his devotion in such a heartfelt fashion. Even though I now know and understand that it was just for the purpose of the song, there’s still a little niggle everytime I think of her. They were too real! No official video for this one either, but here he is, rehearsing it with the amazingly talented Judith Hill, for the 'This Is It' tour:

In the case of 'Dirty Diana', the milestone was learning the true meaning of a slapper. The great Quincy Jones described this one as a "Groupie Song"; so for several years I thought groupie and slapper were one and the same. I humbly apologise to all the non-slapper groupies. It was a genuine mistake. In terms of the song itself? A single, non-racially profiled, female goes a little bunny boiler crazy, when she holds him against his will after a show. She attempts to break up his relationship, and generally creates the definitive term for needing a straightjacket. 

Now when I said that this track created a movement, I really wasn't joking. 'Smooth Criminal' also played a heavy part in the movie 'Moonwalker', which followed a year later. Grossing over $67 million worldwide, it's safe to say that despite the critics response, the film was a stratospheric success. An iconic moment in music history, Jackson's love of old black and white gangster movies came to colourful life a short time, with the twist being that the usual fight scene in a bar became a major dance scene that has become one of the biggest for any artist, in music history…

'Leave Me Alone' closes the standard set with an unabashed message to the media that were, by then, vilifying and condemning him on a daily basis; rarely with a justified reason, but always with a pricetag attached…

This album is an amazing body of work. So creative, and visionary, that last year, on it's 25th anniversary, the occasion was marked not only by a re-release with several (murderous, and NOT in a good way) remixes, but also a documentary by Spike Lee, interviewing some of the world's biggest names, to discuss the influence of the album on them and their talents in their chosen field. It proved without a shadow of a doubt that Michael Jackson's legacy reaches far and wide; beyond the realms of our collective imagination. His achievements will likely never be replicated by one person. So far, the few records broken, have been by various people. No one person has, nor probably ever will, match the unimaginable feats that this one man managed in 44 years. I highly doubt that anyone will change HIStory.

Michael Jackson, #WeSaluteYou til the end of time.

Until the next…

ES ;)

LOST IN MUSIC THROWBACK: Michael Jackson's 'Off The Wall'

Now I could have gone the obvious route.

When deciding who, and what, the focus of the very first Lost In Music 2014 feature should be, I very easily could have gone for the easy choice that everyone would expect, and it would have been a nobrainer. After all, if you are going to talk about The Greatest Entertainer of ALL Time, then surely his greatest collection of works is only fitting, no? No. Not for this Miss.

Instead of the lazy obvious, I decided to take a look at the works that preceded it. For, as a standing rule, I firmly believe that with any artistic great – no matter whom they are, or what they do, before their Opus, comes an inkling that something great is on the way, because the groundwork is already there. Take the female equivalent of my favourite leading examples, for instance. Before Mariah Carey's Butterfly, there was Daydream, which bore the now infamous line that we all know backwards – think Mariah, and pacifiers – you with me? Good. Let's move on, because Mariah made a trend out of exactly this sort of thing. Before The Emancipation of Mimi, there was Charmbracelet, and before Memoirs of an Imperfect Angel, there was E=MC2 – okay, that last one may have only had great moments, but overall, each was grossly underrated, and each was a tell-tale sign of the brilliance that was to come.

Now the problem with Michael Jackson's Off The Wall, serves equally as part of its charm. In 10 songs, lasting 42 minutes and some change, the album is over before you know it, leaving your ears desperately wanting more. Equally, it takes you on a breathless ride that boggles the mind before you realise the rhythmic takeover.

Don't Stop 'til You Get Enough is undoubtedly one of, if not thee best of musical introductions ever recorded. The intro is foreboding and slightly scary, as you listen to 'Little Michael Jackson' talking about a 'force' that appears to be swallowing him whole. Now having seen the video, my jury is still out on whether his force had anything to with the Star Wars force – I mean, how could you really tell, space is space, no? Nevertheless, with a rebirth-like cry, and an electric undercurrent of excitement and anxiety that fit perfectly with his personal life at the time, the choice is yours - whether you hear a musical rebirth, the start of a one of a kind rollercoaster ride, or both. Having just left The Jacksons officially, to break out as an Independent Artist, there were a lot expectant eyes upon him, as well as a misguided father (and sacked Manager) poised to celebrate his failure, if there was even a hint that the public would not accept a completely solo Michael Jackson. Aren't we glad MJ proved him wrong, with quite possibly the most magnificent of bait & switches in musical history? How many of you realised, in this moment tailor-made for John Travolta and some flashing lights, that 'Little Michael Jackson' was actually singing about doing 'The Big Nasty'?

'Get closer to my body now; just love me, 'til you don’t know how'

'Touch me and I feel on fire. Ain’t nothing like a love desire…

I'm melting, like hot candle wax'

If you are anything like me, then suddenly you hear that early yelp in a whole other quick finish context…

If Don't Stop broke Michael Jackson free from The Jacksons' chains, then Rock With You catapulted him to the heights of genuine Vocal Sexpert. Nobody knew that 'Little Michael' had it in him! Well that was because he was 'Little Michael' no more. 

With an intro that proves who the Pied Piper of Music really was (hint: NOT you, R. Kelly), his new RnB sound was seductive without a doubt. You instantly realise that from that drum solo to those early strings, something radical was happening in this new kind of music. It sounded like nothing else on the radio – and you should thank Quincy Jones’ production, and Rod Temperton's lyrics for that. Just as Jimmy Jam and Terry Lewis would do with Michael's baby sister less than a decade later, Jones and Temperton took a shy young man, found his inner charm and charisma, and the three lay their findings down on wax. You’d be hard-pressed to find a sexier song before or after it, unless Michael wrote and sang it himself.

'Girl, close your eyes, let the rhythm get into you.
Don't try to fight it; there ain't nothing that you can do.'

As he sings those opening lyrics, you realise that what you are feeling, he is, word for word, depicting in song. Now how can anyone get so far inside a beat that he gets under the skin of women for generations to come, when he would sadly no longer be around, to witness the remarkable reach of his talent? Mr Jones made sure the bass got in on the act, while Michael purred seductively, in a manner we had never heard before, and that was essentially that! Ready-made seduction in 3 minutes and 41 seconds; served up and putting itself in the modern classic history books, alongside Marvin Gaye's 'Let's Get It On'. Many cite this as Michael's greatest release – but they forget, that other big album had not happened yet…

Next is Working Day & Night, which a young ES completely misunderstood the real meaning of, until her early 20s. Contrary to (my) popular belief, Michael was not, in fact, singing about a money-grubbing girlfriend sending him out to work all the hours, so that she could spend all of his money…Nor was she deliberately making him too tired to partner her in ‘Ze Bedroom Danse’ (teen years). As we (I) discovered (what everybody else already knew), MJ is bemoaning his ladylove for making him work too hard, whilst not giving him any ‘love’ at all…

'How can you leave girl, when love like ours was meant to be?

You must be seeing, some other guy instead of me!'

Now in my defence, who knew that one man could make rhythm sound like a conveyor belt and dancefloor rolled into one, yet still be appealing at the same time? Moreover, can we talk about Quincy Jones production on this one for just a second? I dare you to name a tighter horn section than the one that battled the electric guitar, in a bridge that literally sounded like the guy and girl, going back and forth in a lovers quarrel? Answers in the Comment Box below please! The orchestral sound was so fresh and revitalising in a genre that, at the time, was so heavily synthesised and electric. Between them, Jackson and Jones brought a live, big band feel to Disco that was funky enough to have made even Nile Rodgers jealous!

More live instrumentation and vocal percussion lead the way in the fourth track. The first to actually do what it says on the tin; Get On The Floor is all about 'that girl' that he’s spotted in the club, and her mesmerising moves, MJ croons about trying to woo a potential new ladylove with a few gyrations of his own. And let’s be honest, if he couldn't do it, no one could!

Now I always considered the intro to title track Off The Wall, a precursor to Thriller. It’s Halloween spooky for no apparent reason other than Michael just wanted to liven up everybody – including the dead. Ghoulish elements aside, this song was an early ode to acceptance, togetherness, and being brave enough to be YOU, in spite of those who would dissuade you; with a 'feel good vibe, funky enough to rival McFadden & Whitehead at their finest. GLEE eat your heart out.

'Do what you want to do, there ain’t no rules, it’s up to you'

By the Paul McCartney penned Girlfriend, the tempo slows just enough for the pace to change into an audible love note, that makes me think of the school playground. Something about the arrangement that is almost like a teasing chant between a boy and girl in the throes of puppy love. The song is sweet and subtle enough to make you forget that it is essentially, a story about emotional blackmail, ultimatums and a young girl with loose morals. And yet it is. Remember that as you’re singing along. It will not stop you, because the song is too catchy, but at least bear it in mind.

'Girlfriend, I'm gonna tell your boyfriend (yeah),

tell him, exactly what we're doing (yeah);

tell him what you do to me, late at night when the wind is free.'

Every RnB crooner, from Ginuwine to Marc Nelson, to Country & Western's Willie Nelson even, has covered She's Out Of My Life – with no version even coming close to the original. A sad, painful ballad, it almost feels like the next chapter in the story of this girl that he has been chasing for the last few songs. The moment lets those who pressed play, looking for 'Little Michael Jackson' know, that part of him was still here. Part of the strength of this song, is its simplicity. Just as in the video you're about to see, directed by Bruce Gowers; it's purely a grown up Michael, and some keys, living through the storm of a first heartbreak. The fanfare left when the love did.

Michael Jackson’s cover of Stevie Wonder’s I Can’t Help It brought the sexy back way before Justin, with an intro that is at once hypnotic, and movement inducing. The tempo ramps back up slightly, and gives you, the listener, the opportunity to compare and contrast the application of his softer voice in two completely different scenarios. The change is ever so slight, and yet both make you want to hand the man a tissue – in one song, for his tears and snot, in the other, with your phone number. And possibly your address, dependent upon your moral latitude (Hey, no judgement here).

It's The Falling In Love, the only duet on the album called upon the one and only Patti Austin to take on the gargantuan task; talks of the juxtaposition of falling, and actually being in love, now that they've gone and unwillingly fallen all over again. 

'No matter how it starts it ends the same, someone's always doing someone wrong.'

Quincy Jones' Goddaughter, aka Ms Patti Austin, provides a beautiful wall of sound from the outset with the background vocals, and her tone blends so seamlessly with his, that it is often difficult to differentiate between the two. Like the eight preceding it, 'Falling' is another track that gets under your skin, and makes it impossible not to sing along to; with a subtly sped up tempo, that acts as a blindsiding segue to the closing dancefloor anthem. 

Burn This Disco Out is full of pomp and glory, in the sense that it is a marvellous way to demonstrate going out with a literal BANG. Again, the live orchestral feel, gives the track a sense of closing fanfare. It’s big, it’s braggadocious, and it dares you not to dance.

'Got a hot foot, better freak across the floor,

Join the party; and we came to move, and that’s for sure.'

No soft vocals on this one, it’s Michael’s sharp, fight voice, leading a disco revolt, to party euphoria in an RnB, Jazz and Funk fusion – narcotics not necessary.

Rod Temperton, of Heatwave fame, partnered with Michael for the writing credits on this legendary album that has not only been inducted into the Rock & Roll Hall of Fame as it's own entity, but been cited as one of the greatest albums of ALL TIME. The vast experience in his influence cannot be overlooked. If he were the blueprint, then Jones’ wizardry of live instruments throughout most definitely provided the literal bricks and mortar for the powerhouse, and Michael? Well he was just the electricity that illuminates up the project! Between Temperton, Jones, and Jackson, here was not only a formidable team, but also one of literal organic magic; what else could come from a creative team so powerful? And they were just getting started…

Michael Jackson, for Off The Wall, We Salute Your Memory for getting us Lost In Music.

Until the next,

ES ;)

#FindOutFriday with Musician and Producer, S.I.P!

The late, great Ms. Whitney said "the children are our future". Whether you're 'Nasty' or not, Ms. Jackson didn't lie when she reminded us that "we are a part of a Rhythm Nation". That's why this week, we're going back to the music, so I can tell you about a very talented teen that I met awhile back.

Shannon Punter is a musician over-brimming with eager potential. I could give you a lengthy intro, but that would detract from his spotlight so, introducing himself - meet a strong candidate for the future of UK music...

1. Welcome Shannon, to the #FindOutFriday hotseat! I believe it was last Spring when you impressed me with your skills, live in the 'Bush Bash Recordings' studio. Introduce yourself to my readers and tell them what you do:

Shannon Punter AKA S.I.P...

Hello Erica, thank you for having me on the #FindOutFriday hotseat. My Name is Shannon Punter, I'm now 19 years old since August. My stage name is 'S.I.P' which are my initials minus one letter (because it just doesn't roll off the tongue the same way)...

I'm a Singer-Songwriter, I also produce, rap and can play many musical instruments. I see myself as a complete musician. I also teach music to 8-13 year-old's in Shoreditch, London.

2. What made an 8-year-old from North London want to learn the Classical Piano?

One word - Parents! I think it started off as the classic parental idea of "I'll live one of my experiences that I didn't finish through you." However, I started to enjoy the creativity of experimenting with chord patterns and different notes. I started to get told that because of this, I was way more accomplished for my age than a lot of other young amateur players that hadn't taken any grades. Shortly after, I was recommended to a teacher who entered me into grade tests with Trinity music each year. Getting Distinctions all the way through to Grade 5; I've now completed Grade 7 and  I look forward to completing the last - Grade 8 in due time.

3. You got into Music Production 4 years ago – how did that come about and what was the first thing you produced?

It was kind of a branch from the Piano. I always used to learn songs off of the radio and I liked singing, it just wouldn't go farther than that. Then a studio got built in my secondary school and I knew I had found the next level of creativity when it came to music. The recording was just a plus at the time. But all of this triggered my imagination and I knew that was my forum for art.

The first thing I actually produced was at a studio in my youth arts club. I made a grime remix to 'Chopsticks', with the help of  Ghanian artist and producer Mensah, who engineered for me at the time. It was so hard I couldn't stop skanking all the way home!

4. You mentioned some Heavy Hitters as influences when we talked; can you name your three favourite Producers and ONE lesson that each have taught you through their work?

My three favourite Producers are Quincy Jones, Timbaland, and Labrinth.

Lesson from Quincy: Making something with human feeling and capturing it within an orchestral score to accompany your lead riff makes your music sound so much more captivating...

Lesson From Timbo: Be influenced by every sound you can find. Music is everything so let your imagination and creativity take you away and be experimental with things you don't find repulsive (a prime example of being influenced by every sound would be the baby sounds in Aaliyah's 'Are You That Somebody')

Lesson from Lab: Everything that influences you from the current day to your cultural musical roots - incorporate it and see how brilliant you can make it sound. Also, you can make it as a Producer and as an Artist - not just one or the other...

5. In terms of musical influences, you cite some legends that date back to before even I was born (which I commend you for)! As a young 19-year-old, what are you finding in the music produced between the 60s and 90s that isn’t there, in that of your own peers?

I think the sincerity is absent from the music these days. Sadly, that's because sex and fashion sell and those aren't emotions. What people fail to realise is that yes those things may sell, but how did they get there in the first place?

Sex was described by Love and Romance in the 'Yester-Era'. When you had artists saying "Turn off the lights and light a candle" it was true feelings that were expressed. Some artists, you just heard it in their voice and all they were saying was "oh, oh, oh, oh, Baby" about 10 times. The truth in feelings showed the humanity of it all and if a man couldn't sing out his feelings or say them, he damn sure would put on a track that spoke for him. I don't think you have that from hardly any English artists these days, because they don't know how to blend and adapt the two, without dropping one out.

Stress Free - S.I.P productions by SIPeezy

Fashion is displayed through confidence and creativity, not arrogance. And it seems that you have to have that almost arrogant persona these days to be accepted. Once you take that on, it's naturally going to be difficult to maintain your humility. You're not supposed to gloat about what you have in my eyes, words don't need to speak much for you because people have eyes and those who gloat are mostly in the public eye already. To me whether you have swagger or class it's your creativity and confidence that'll make it likeable.

6. And how do you think you’re replacing what’s missing today with your own music?

I'm bringing back the humanity in music; the feeling in music, I'm making music for everyday people. Music that will touch people’s souls. Music that doesn't rely on the 'bling image' to look or sound good.

7. Now you don’t just play and produce, you also write. I got an insight into the ‘Artist’s’ side of what you’re embarking on in the studio. What would you say you’re mainly trying to express lyrically and how does it differ from your production works?

With writing, I focus on the reality of the scenario, mixing  present feelings with elements of fantasy if needed. This is to connect with the imagination of the audience. I wanna make them think "yeah I felt / want to feel like that" or "haha that bar reminds me of what happened to…" So everyone can relate.

My production accompanies the words. It's like Ying and Yang. There has to be some differences but ultimately, they have to coincide. It's either the words produce the music, or the music produces the words with me.

8. In terms of discipline, what’s the fundamental difference between what you've learned through your Classical training and the Music Technology that you’re studying at College?

I think it takes more discipline to be Classically-trained because it’s more structured and you're playing something specific to the set standard. With Producing, it can be done at your preference, at your own leisure. There are guidelines to this too, but it’s more about creativity. However the principle to become one of the best Producers is the same as being Classically-trained and that principle is to practice and research to no end.

S.I.P Productions- U know the deal instrumental by SIPeezy

9. You have an edge that most aspiring artists your age do not; in that you've grown up with the privilege of watching and learning how the Music Industry works from the inside. What’s the most valuable lesson that you've picked up so far?

It's imperative that you stay relevant; whether it be in performing, making songs, mixtapes, albums, etc. People's memories and attention spans are shortening as we speak.

Also, try and adapt what you think is the norm. Everyone likes something that's slightly different but still relevant.

Lastly, be consistent. Even people with a lack of talent can succeed because of consistency. So if you have both - a lot of talent and you're consistent then your winning, no ifs, buts or maybes.

10. So what can we expect from you musically in 2013?

More S.I.P Productions - whether the artist on the track is me or another (possibly from the collective I'm creating called R U Listening) or maybe someone a little more well-known (if my peoples can talk to their peoples and we can do lunch)... More S.I.P Mixes - aka Remixes of songs with S.I.P being one of, or the artist(s) on the track. More frequent uploads to Soundcloud and YouTube. 2 Mixtapes / EP's - hopefully by the end of the year...

Nobodies Perfect SIPmix by SIPeezy 

_________________________________________

Thanks Shannon! I for one, found the infusion of Classical training  into today's popular scene really interesting to watch in a live setting; so I'll definitely be keeping an eye out for what comes from this Young One in the future. You can do the same by connecting with S.I.P via his Social Media Catalogue:

Facebook / Twitter / Soundcloud

What do you think of Shannon's talents? Got any constructive advice for a budding musician? Feedback in the comment box below and don't forget - To Share is to Care!

See you soon...

ES ;)