Bad 25 - Pressethread

[Dreamerdancer]

http://de.wikipedia.org/wiki/Bad_25

Die schreiben da,....Bad 25 ist das zehnte Album, welches nach Michael Jacksons Tod im Juni 2009 veröffentlicht wurde. Alle zehn Alben wurden von Sony und Motown/Universal rausgegeben.

häää?

[thiron]

Vielleicht haben sie alle Projekte und Subprojekte, jede Special Edition gezählt, egal ob von Sony oder nicht Aber wie dem auch sei, in Sachen MJ stimmt Wikipedia oft leider herzlich wenig. Das Paradebeispiel ist die englische Seite über unveröffentlichte Songs.

[Soundchaser]

Wobei es solch eine Seite wohl auch nur selten bei Musikern gibt...

[Lena]

Promis äußern ihre Erinnerungen ans Bad-Album (Video im Link)

http://idolator.com/6908832/michael-jackson-bad-25-kylie-minogue-miguel-wonder-girls

__________

Music Review: Michael Jackson - Bad 25 - 25th Anniversary Edition (3-CD/1-DVD)
To commemorate the quarter-century mark of this classic album, Epic/Legacy Recordings has assembled a terrific set.
September 16, 2012 0
By Chaz Lipp, Contributor




It’s been 25 years since Michael Jackson unleashed Bad, his follow-up to the best selling album of all time, Thriller. With five consecutive Billboard number one hits, Bad managed to overcome somewhat mixed critical reaction, eventually selling somewhere between 30 and 45 million copies worldwide. Quincy Jones produced the album, the third and final time he would fulfill that role on a Jackson release. Epic/Legacy Recordings has put together an outstanding box set that includes the remastered original album, a disc of outtakes, alternate versions, and remixes, plus a complete (and previously unreleased) concert from the Bad tour on DVD and CD.

The album remains a classic collection of sterling pop songs with enough hits that it almost plays like a “best of” collection. Jackson was at peak level songwriting-wise, responsible for nine of the 11 tracks. Only the self-improvement anthem “Man in the Mirror” (a potentially treacly song that only Jackson could convincingly sell) and the disposable “Just Good Friends” were contributed by outside writers. The latter is a duet with Stevie Wonder that is unfortunately the weakest thing on the record. It’s easy to see why Jackson chose to record Siedah Garrett’s uplifting “Mirror” (Garrett also duets with him on “I Just Can’t Stop Loving You”). But “Just Good Friends” is a piece of junk that is far beneath the two great artists who sing it.

For the most part, the album sizzles with unforgettable hooks. Yes, the overall sound forever brands it as a product of 1987, but luckily Jones didn’t layer on more than what was needed (unlike some of the producers Jackson would go on to work with). Jackson’s vocals are jaw-dropping throughout, whether caressing a ballad like “Liberian Girl” or rocking out on “Dirty Diana.” With 25 years separating Bad from whatever post-Thriller expectations once surrounded it, the album works better than ever.




The bonus audio on the second disc runs about one hour. The first six tracks, all written by Jackson, are the most interesting. They’re previously unreleased demo versions of songs that didn’t make the final cut. As the liner notes make clear, no additional production work was added to the raw recordings. In fact, in cases where Jackson himself returned to a track to continue working on it, only the Bad-era original recordings were used. That was a smart choice, given the justifiably controversial reaction to the overproduced mess that was the posthumous album Michael (2010). Here we get a fascinating glimpse at true works-in-progress.

It kicks off with the mid-tempo, piano-driven “Don’t Be Messin’ ‘Round.” Too bad he didn’t finish this one off, it would’ve made a far better duet vehicle for him and Stevie Wonder. With a Latin-tinged groove, it even recalls Wonder’s “Don’t You Worry ‘bout a Thing.” The lyrics are far from finished, but it’s a very cool track with a killer hook. “I’m So Blue” is a pretty, melodic ballad with a confident Jackson vocal. The verses are far more fleshed out than on the previous track, though he hadn’t come up with lyrics for the chorus yet.

Things get super interesting with the edgy dance number “Song Groove (a.k.a. Abortion Papers),” starting with the title itself. The liner notes explain, “The song is about a girl whose father is a priest…She gets married in the church but decides, against the Bible, to have an abortion.” It features a searing vocal by Jackson, passionately belting out the chorus, “Those abortion papers/Signing your name against the word of God.” From what I can tell (since the lyrics aren’t always easy to understand), this isn’t a pro-life screed, but rather a meditation on the girl’s internal struggle with her decision. The song is likely to inspire some discussion or even debate among fans.

“Free” is a mellow piece of smooth pop. The soaring chorus is fully formed and Jackson harmonizes beautifully with himself, but the verses were still sketchy in this demo. It ends with Jackson breaking up in a fit of laughter. “Price of Fame” is possibly the most fully finished of the outtakes, and it’s a great song that would’ve fit perfectly on the album. The liner notes include a quote regarding the lyrics, taken from Jackson’s work notes, that says the song is about “the girls who are over-obsessed with me, who follow me, who almost make me kill myself in my car.”

It’s immediately clear from the herky-jerky rhythms that “Al Capone” would later evolve into “Smooth Criminal,” but it’s different enough to function as a song in its own right. Next up are the three songs that appeared on the 2001 reissue of Bad, “Streetwalker,” “Fly Away,” and “Todo Mi Amor Eres Tu” (the Spanish version of “I Just Can’t Stop Loving You”). If you haven’t heard “Streetwalker” before, you’re in for a treat as this is definitely an album-worthy cut. The French version of “I Just Can’t Stop Loving You,” "Je Ne Veux Pas La Fin De Nous,” is thrown in for good measure. That’s where the bonus disc effectively ends for me, as I have zero interest in the three all-new remixes (two of “Bad” and one of “Speed Demon”). Surely the vaults must have held more interesting original outtake material that could’ve been used instead of these.

Perhaps the best part of Bad 25 is the full concert recorded live at London’s Wembley Stadium, July 16, 1988. For the DVD, the video footage was sourced from Jackson’s personal VHS copy of the Jumbotron broadcast that the capacity crowd saw that night (the only known copy to exist). That means, obviously, that we aren’t dealing with anything close to modern visual standards. But thankfully it’s a highly watchable picture, generally unblemished by the typical dropouts and such that mar old VHS tapes. Even better, the audio was sourced from the original multitrack soundboard recordings. It’s been remixed and is presented as an excellent Dolby Digital 5.1 mix.

After a brief bit of news footage showing rabid fans charging into Wembley and Jackson meeting Prince Charles and Princess Diana (who attended the concert), the nearly two-hour show hits the ground running with “Wanna Be Startin’ Somethin’.” This is simply prime Michael Jackson. He’s in fantastic voice throughout, always in control of his instrument—even during the most delicate moments, such as “She’s Out of My Life.”

I’d list some highlights, but at the risk of sounding hyperbolic, the whole thing functions as a highlight. This concert is relatively stripped down visually, making it a perfect contrast to the more elaborately produced Live in Bucharest: The Dangerous Tour DVD. It’s a kick seeing Sheryl Crow, who was a back-up singer on the Bad tour, getting an early taste of the spotlight as she duets on “I Just Can’t Stop Loving You.” Older tunes like “Working Day and Night” and The Jacksons’ “This Place Hotel” sit well with the then-contemporary Bad material. Jackson’s dancing is as mesmerizing as ever, on full display during tunes such as “Smooth Criminal” and, of course, “Billie Jean.”


The DVD also includes, as a bonus track, a performance of “The Way You Make Me Feel” from the night before, July 15, 1988. Also added as a bonus are performances of “I Just Can’t Stop Loving You” and “Bad,” taped at Japan’s Yokohama Stadium in September, 1987.

The entire setlist, minus the extended “Bad Groove” jam section that Jackson is offstage for, is included on CD. This is his first-ever officially released solo live album. A little trimming was done to fit all the songs onto one disc, but the editing doesn’t negatively impact the listenability. This concert makes for a great live album because unlike so many live recordings that are tweaked to death, practically sounding like studio recordings, this retains a very “live” feel.

With interesting extra tracks, outstanding live material, and the new remixes kept to a relative minimum, Bad 25 thoroughly trounces 2008’s Thriller 25. The sturdy (yet lightweight and compact) box also holds two separate booklets, loaded with liner notes and cool photos (my favorite is a shot of Jackson with Robert De Niro on the set of the “Smooth Criminal” video). This is a superb package that only enhances the legacy of Bad and of Michael Jackson as an artist.
Dies ist ein hervorragendes Paket, das nur das Erbe von Bad und Michael Jackson als Künstler erhöht.

http://www.themortonreport.com/enter...ion-3-cd1-dvd/

[Dreamerdancer]

Die BBC hat eine positive Beurteilung über Bad 25 geschrieben

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

BBC Review
An awesome, evergreen and essential pop masterpiece.
Mike Diver 2012-09-17
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.

[king of hearts]

Hier ein Video über eine französiche Doku über "Bad":

Quelle: MJJSource.eu

[Dreamerdancer]

Noch ein Review über Bad25 aus der LA Times, merkwürdiger weise kritisiert er das Wembley Konzert, mir ist nur nicht ganz klar ,warum, wegen der Bild und Tonqualität ,oder der Performance wegen, kann mir da jemand bei der Übersetzung helfen , ich habe das nicht so richtig verstanden, wie der Autor das gemeint hat.

http://www.latimes.com/entertainment/music/posts/la-et-ms-michael-jacksons-bad-25-is-it-worth-your-money-20120918,0,2000283.story

By Randall Roberts
Los Angeles Times Pop Music Critic
September 18, 2012, 9:41 a.m.
A quarter of a century ago, Michael Jackson released “Bad,” his follow-up to the blockbuster album "Thriller." It sold over 30 million copies, contained many hits that you can probably sing by heart -- “Dirty Diana,” “Smooth Criminal,” “Man in the Mirror,” “The Way You Make Me Feel,” and others -- and has become one of the touchstone pop recordings of the era.

Since his death, Jackson’s record label Sony Music has understandably started capitalizing on his legacy, doling out a handful of tracks for last year’s “Michael” album and adding remixes to his Cirque du Soleil performance. Now, on "Bad 25," the label has dug into the archives for a disc’s worth of unreleased rehearsal recordings and a complete 1988 live performance at London’s Wembley Stadium.

The result is the three-CD, one-DVD box set released Tuesday. The set’s list price is 34.99. Is it worth it?

PHOTOS: Michael Jackson | Life in pictures

The sturdy box, which is kept shut with a nifty magnet, includes two double-disc collections with glossy cardboard gatefold sleeves. The first features a remastered version of 10-song album (with the bonus track "Leave Me Alone") and a selection of demos on the second disc that illustrate the musician at work.

The best of these is also the most revealing: a track tentatively titled "Song Groove" but also known as "Abortion Papers." Somewhat understandably, Jackson struggled with the lyrics to this story about a teen pregnancy, and ultimately decided not to tackle the hot-button issue on "Bad."

Also featured on that disc are new remixes by current EDM hitmakers Afrojack and Nero intended, one would assume, to appeal to a young generation that wasn’t yet born when Jackson was a commercial force. These are terrible commercial house tracks -- especially Afrojack's "Bad" remix featuring Pitbull -- and are an insult to MJ's memory not because they rework his music, but because they do it so ungracefully.

Two different glossy booklets focus on, respectively, the recording of “Bad” and a rundown of the outakes, and the Wembley Stadium performance of July 16, 1988. They’re detailed accounts, filled with dozens of striking photos of Jackson in performance, and behind-the-scenes glimpses of him with his many admirers.

Hollywood Star Walk: Michael Jackson

That Wembley gig is documented in its entirety on DVD, and shows Jackson in peak form, moving through then-new songs and dipping into his back catalog to highlight both earlier solo work and a hot medley of Jackson 5 hits. It's a solid, if thinly recorded, document that lacks sonic heft. The rhythm section sounds a mile away, and lacks the pop of a well-recorded concert.

And, for the 8-year-old kid in you, the package also includes a fold-out poster and a “Bad 25” sticker you can put on your locker door.

Worth noting are other versions of this collection that are also available. A two-CD set features only the remastered "Bad" and disc of outtakes and is available for $12.99, and you can get just the Wembley show and DVD for the same price. A "Deluxe Collector's Edition" features all of the above plus a fancier box and an MJ T-shirt, and is available for $199.99.

Price, though, isn't the issue for a product designed for diehard MJ fanatics who covet posters and stickers as much as they do the music. At $35, the full box isn't a bad deal if you're a completist. The asking price of the $200 version is more than a little ridiculous, but this is Michael Jackson we're talking about.

Alas, regardless of which version you take, consumers will have no choice but to receive the aforementioned new remixes. Which is a shame because not only do they tarnish a legacy, but signal a future in which Jackson's music is officially deconstructed to unfortunate ends with full sanction of the singer's estate.

Here's hoping that Paris Jackson has better taste in dance music than estate co-executors John Branca and John McClain.

RELATED:

Michael Jackson's 'Bad' to get 25th anniversary reissue

Spike Lee bringing Michael Jackson documentary to ABC

Michael Jackson's "Human Nature": A classic on his birthday

Follow Randall Roberts on Twitter: @liledit

Copyright © 2012, Los Angeles Times

[Soundchaser]

Er kritisiert einzig die Tonqualität.^^ Er findet, dass die irgendwie unausgeglichen ist und der Rhythmus sehr distanziert wirkt, wodurch dem eigentlich sehr gut aufgenommenen Konzert irgendwie der Pop fehlt.

Ansonsten drischt er auf die Remixe ein, womit er absolout recht hat.

[Dreamerdancer]

Von den Remixen gefällt mir nur Neros.Das hat richtig Pepp und finde ich fast schon besser als das Original.
Wie soll ich das denn verstehen, der Rhytmus wirkt distanziert??Kann mir das mal ein Musikkenner erklären, ich bin neugierig und will alles wissen

[rip.michael]

18.09.2012

Albumklassiker mit Zugaben
Michael Jacksons "Bad" wird zum 25-Jährigen neu aufgelegt
Von Bernd Lechler

Über 40 Millionen mal erkaufte sich Michael Jacksons Album "Bad" von 1987 und zeigte nach "Thriller" einen musikalisch veränderten Superstar. 25 Jahre später kommt nun die Doppel-CD "Bad 25" heraus: eine Deluxe-Version mit bisher unveröffentlichtem Bonusmaterial.

Es fing ja nicht gut an. Die Vorabsingle zu "Bad 25" war vor einigen Monaten eine Remix-Version des Titelsongs, die nicht nur statt des legendären Grooves mit der raffinierten Lücke einen beschleunigten Dancebeat von der Stange bekommen hatte, sondern auch einen ungebetenen Gast: den Rapper Pitbull.

Der reimt eher schlicht und rappt eher schlecht, aber er verkauft in den USA Fantastillionen, was Marketingabteilungen ohne Herz und Ohren zu schätzen wissen, und so vernimmt man trotz modernem Mastering das leise Störgeräusch des im Grab rotierenden Michael. Aber: da kommen wenigstens seine Originale umso schöner zur Geltung, und man stellt beim Wiederhören nach langer Zeit erst mal fest: "Bad" ist gut.

Nicht ganz so gut wie "Thriller", und nicht so zeitlos: man hört die 80er im wuchtig-maschinellen Sound von "Bad", nicht alle Details der insgesamt aber beeindruckend erfinderischen Produktion sind gut gealtert. Michael Jackson hatte sich von Funk und Soul und Disco und der geschmeidigen Eleganz der Jahre bis "Thriller" nun fast ganz verabschiedet: Sein Sound war kantiger geworden, und weißer - ganz wie seine Nase und seine Haut auf dem Coverfoto. Dazu ein ernster Blick, schwarze Kluft mit Riemen und Schnallen: Produzent Quincy Jones hatte ihm zu einem tougheren Image geraten, nicht zuletzt weil die neuen Konkurrenten Prince und Madonna erwachsener und straßentauglicher daherkamen als der gleich alte, aber ewig kindliche Michael. Die relative Düsternis vieler Songs entsprang allerdings der Seele des Sängers.

Zur Erinnerung: "Dirty Diana" machte das unberechenbare Weibsbild aus "Billie Jean" noch ein Stück gefährlicher. "Leave Me Alone" war ein klaustrophobischer Hilferuf aus dem Gefängnis des Weltruhms, und "Smooth Criminal" ein Krimi, bei dem Jackson weniger ums Opfer bangt als vom Täter fasziniert scheint.

Zum Ausgleich: das euphorische "The Way You Make Me Feel" oder der groß angelegte Gospel "Man In The Mirror". Alles langlebige Hits, alle noch im Ohr, auch die unvermeidliche überzuckerte Ballade.

Die gibt's hier für die ganz großen Fans auch auf spanisch und französisch, aber die wahre Attraktion der Bonus-CD sind die Demos und Outtakes von vor 25 Jahren. Die Nachlassverwalter haben aus dem Fiasko um das posthume 2010er Album "Michael" gelernt, bei dem ja vor lauter Modernisierung der alten Fragmente der Verdacht aufkam, selbst der Gesang stamme nicht von Jackson selbst. Diesmal wurden die Fundstücke original belassen, und wir entdecken erstmals: eine ungemein charmante Latin-Fingerübung: "Don't Be Messin' Round" - Michael Jacksons zumindest musikalisch mitreißender Versuch, einen Popsong zum Thema Abtreibung zu schreiben.

Manche der Songs sind interessant als Vorstufen der endgültigen Album-Tracks, und einer wie "Fly Away" passte wohl damals einfach nicht, ist aber ein sonnig-perfektes Stück Jackson-Pop, das selbst auf "Thriller" nicht fehl am Platz gewesen wäre.

Kurzum: man muss kein Nerd sein, um in diesen erweiterten Albumklassiker zu investieren. Und für nen Zwanziger mehr kriegt man mit der Deluxe-Ausgabe auch noch eine Konzert-DVD, Michael Jackson live in Wembley 1988, ein grobkörniges Dokument, mit Lady Di und Prinz Charles im Publikum: Selbst als Royal war man damals Jackson-Fan. Und die Welt trotz Hausaffe und Sauerstoffzelt noch fasziniert, noch nicht befremdet von dem Mann, der es damals auch noch nicht nötig hatte, sich "King Of Pop" zu nennen. Er war es einfach.

Quelle: Deuschlandfunk Deutschlandradio Kultur


~~~~~~~~~~~~~~~~~~~~~~~~~


15.09.2012, 08:26 Uhr

Michael Jackson - Bad - 25th Anniversary Deluxe Edition

Michael Jackson hatte nach der Veröffentlichung von "Thriller" (1982) ein großes Problem: Wie sollte er jemals diesen Meilenstein der modernen Pop-Musik toppen können? Die Messlatte, die Jackson sich mit der Blaupause für alle nachfolgenden Platten selbst auferlegte, war so unfassbar hoch, dass jeder Versuch, auch nur ansatzweise daran heranzukommen, zum Scheitern verurteilt war. Doch der "King Of Pop" wollte weitaus mehr, als nur zaghaft an der Oberfläche von "Thriller" zu kratzen - viel mehr. Fünf Jahre ließ er sich für den Nachfolger Zeit. Nun erscheint, pünktlich zum 25-jährigen Jubiläum, eine Neuauflage des Albums, das ihn für immer unsterblich machen sollte: "Bad".
Von Ben Hiltrop

Die Frage, welches der beiden Alben nun besser sei, spaltet die MJ-Fangemeinde bis heute. Fakt ist aber, dass Michael Jackson mit "Bad" eine Platte erschuf, die an Gigantomanie nicht zu übertreffen sein sollte - kein Musiker ihm schaffte Vergleichbares. Welcher Künstler konnte es sich erlauben, einen eigenen Kinofilm herauszubringen, der voll und ganz auf die Promotion von "Bad" zurechtgeschneidert war? Satte 67 Millionen US-Dollar sollte "Moonwalker"(1988) an den Kassen einspielen, und der Film war im Grunde genommen nichts weiter, als eine lose Aneinanderreihung von Musik-Video-Clips und einer kurzen Michael-Jackson-Rahmenhandlung.

Wenn die Wörter "Neuauflage", "Remastered" oder "Jubiläums-Edition" auftauchen, ist der Vorwurf des Ausverkaufs der - in den meisten Fällen - toten Künstler schnell hervorgezogen. Im Falle von "Bad - 25th Anniversary" ist es glücklicherweise anders. Der Fan hat die Auswahl zwischen zwei Editionen. Die einfache Standard-Ausführung beinhaltet die CD-Version des Albums - also inklusive des Songs "Leave Me Alone", der auf LP und MC noch nicht enthalten war - und eine Bonus-Platte mit 13 absolut raren Demo-Versionen, Rough-Cuts, alternativen Remixen sowie der französischen und spanischen Version von "I Can't Stop Loving You".

Doch die volle Packung kriegt man erst in Form der Deluxe-Edition: Auf zwei weiteren Discs - einer CD und einer dazugehörigen DVD - gibt es einen Live-Mitschnitt von der "Bad"-Welttour, als Michael Jackson 1988 im Londoner Wembley-Stadion 74.000 Fans zum kollektiven Ausrasten brachte. Nach heutigen technischen Maßstäben kann der Mitschnitt von damals selbstverständlich mit keiner Hochglanz-Produktion mithalten. Muss er aber auch nicht. In den knapp zwei Stunden zeigt der "King Of Pop", warum er unmissverständlich der absolute König der modernen Pop-Musik war und immer bleiben wird: sein Gesang, seine Tanzbewegungen, seine Show, sein Charisma - bis heute unerreicht. "Bad - 25th Anniversary" lohnt sich für alle, auch für diejenigen, die diesen Meilenstein der Musik - egal in welcher Form - ihr Eigen nennen.

Bewertung: Meisterwerk

Quelle web.de

[pearl]

Michael Jacksons wahres Meisterstück

VON GESA EVERS


Warum das Album, das vor genau 25 Jahren erschien, zu Unrecht im Schatten von „Thriller“ steht.




Foto: Grafik: Martin Ferl

Einen wirklich großen Künstler macht nicht aus, ein fast schon lächerlich großartiges und erfolgreiches Album auf den Martk zu bringen. Einen großen Künstler macht aus, danach ein Album herauszubringen, das dieses Niveau hält. „Thriller“, das 1982 erschien, brach sämtliche Rekorde. Bis heute ist es mit rund 120 Millionen verkauften Exemplaren das meistverkaufte Album aller Zeiten. Songs wie „Thriller“, „Billy Jean“ oder „Beat It“ sind musikalisches Weltkulturerbe.

Nach „Thriller“ waren sich die meisten Experten und auch Fans einig, dass Jackson mit diesem Meisterstück seinen künstlerischen Zenit erreicht hatte. Er selbst glaubte wohl auch lange daran, denn der Termin für die Veröffentlichung des Nachfolgers „Bad“ wurde immer wieder verschoben. Erst fünf Jahre nach „Thriller“ erschien das Album, mit dem Jackson eigentlich nur verlieren konnte – und es doch nicht tat.

Dass „Bad“ bis heute „nur“ rund 45 Millionen Mal verkauft wurde (eine für jeden anderen Künstler sensationelle Zahl) ist nicht entscheidend. Entscheidend ist, dass das Album musikalisch dem Vorgänger in nichts nachsteht. Es ist mindestens ebenso präzise, liebevoll und bis in den letzten Tonfitzel produziert, es unterliegt dem gleichen manischen Perfektionismus. Jackson und sein kongenialer Produzent Quincy Jones erlagen nicht der Versuchung, eine Art „Thriller II“ zu konzipieren, sie machten ein Album, das genau in das Jahr 1987 passte.

Er schrieb neun der elf Songs selbst

Während „Thriller“ in Teilen noch deutlich vom weichen Soul-Sound der 70er Jahre geprägt war, war „Bad“ ein für Jacksons Verhältnisse regelrecht hartes Album. Das schroffe Gitarrensolo zu Beginn des Titelsongs „Bad“ entsprach dem aufkommenden Rockzeitalter, das später von Bands wie Guns'N'Roses dominiert wurde. Der peitschende Beat von „The Way You Make Me Feel“ und „Smooth Criminal“ war eben jener stampfende, etwas klinisch klingende Sound, der den 80ern ihre eigene, von vielen so hassgebliebte musikalische Identität gab.

Doch Jackson tat natürlich viel mehr, als lediglich zeitgemäß zu sein. Er schrieb neun der elf Songs selbst, er schaffte mit „Bad“, „I Just Can't Stop Loving You“ und „Smooth Criminal“ ebenfalls Lieder für die Ewigkeit, die der Generation der heute 30-Jährigen näher sind als das Frühwerk „Thriller“. Erstmals in seiner bis dahin schon langen Karriere, die weitgehend fremdbestimmt war, konnte der Endzwanziger Jackson auf diesem Album seine ganz persönlichen Ideen, musikalischen Vorlieben und seine einzigartige Originalität ausleben.

Angesichts seines persönlichen und künstlerischen Abstiegs, der schon auf dem ideenarmen Nachfolgealbum „Dangerous“ (1992) zu hören war, darf „Bad“ wohl als letztes wahres Michael-Jackson-Album gelten, als letzter wirklich gewollter und kontrollierter Output seines Genies. Es gehört zur Ironie der Geschichte, dass der wohl großartigste Song des Albums, „Man In The Mirror“, zu den zwei Liedern gehört, die er nicht selbst geschrieben hat. Bei allem Kitsch wurde aus eigenem Antrieb gelebte Menschlichkeit nie bewegender und treffender besungen als auf dieser – wie sollte es anders sein – perfekt arrangierten Ballade.

Sondererdition zum Jubiläum

Zum 25. Geburtstag des monumentalen Werks ist nun eine Sonderedition erschienen, die neben dem regulären Album unveröffentliche Songs sowie eine CD und DVD von Jacksons Auftritt im ausverkauften Londoner Wembley-Stadion 1988 enthält. Zudem dreht der oscar-nominierte Regisseur Spike Lee anlässlich des Jubiläums einen Dokumentarfilm, den er selbst als „Liebesbrief“ an den „King of Pop“ bezeichnet.

In einer Pressekonferenz bei den Filmfestspielen in Venedig stellte er die rhetorische Frage, wie groß wohl der Druck auf Jackson nach dem Megaerfolg „Thriller“ gewesen sein muss. Es gehört zum einzigartigen Vermächtnis Michael Jacksons, dass er in „Bad“ eine so fantastische Antwort gab.


Quelle

[Lena]

Angesichts seines persönlichen und künstlerischen Abstiegs, der schon auf dem ideenarmen Nachfolgealbum „Dangerous“ (1992) zu hören war, darf „Bad“ wohl als letztes wahres Michael-Jackson-Album gelten, als letzter wirklich gewollter und kontrollierter Output seines Genies.

Jetzt müssen wir wohl bis Dangerous 25 warten bis es heißt Dangerous sein letztes großes Album. Aber wir kämpfen uns ja langsam vor.

__________________


September 20, 2012
Überwältigendes Lob für Bad 25


Critics 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."
Kritiker lobten "Bad25" als es am 18. September debütierte zum Gedenken an den 25. Jahrestag von Michael`s Album, dass die Pop-Musik Geschichte veränderte.
Entertainment Weekly hat Bad25 ein "A" gegeben, sagt es ist "eine starke Erinnerung daran, wie viel" Bad pulsierender Pop enthält. "The Houston Chronicle nannte Bad25" eine geschichtete, liebevolle Hommage ", während die Seattle Post Intelligence Bad25" eine positiv elektrisierende Feier dieses oft unterschätzten Albums nennt. "
Die DVD von Michaels 1988 Wembley-Konzert aus der wegweisenden "Bad"-Tour, die im Deluxe-Paket enthalten ist wurde von der Huffington Post"als Äquivalent der Beatles im Shea Stadium in 1965" verglichen, fügte aber hinzu, "keinen Fehler zu machen:, Jackson überstrahlte in seiner Leistung sogar seine begabtesten Vorgänger.

Read what critics are saying about Bad25...
Lesen Sie was die Kritiker zu Bad 25 sagen
(Anmerkung von mir :Für die Links zu den vollen Reviews in den Link gehen)

Entertainment Weekly
"A... The three discs and one DVD of live, remixed, and premastered material here are a potent reminder of just how much Bad's pulsing pop holds up. "
Read the full review.
"A. .. Die drei Scheiben und eine Live- DVD, Remixe und premastered Material sind eine potente Erinnerung daran, wie viel Bad pulsierenden Pop enthält."
Lesen Sie den kompletten Test.

Vibe
"It's all about the songs, which includes five no. 1 singles. "[lexicon]The way you make me feel[/lexicon]," "[lexicon]Smooth Criminal[/lexicon]," "[lexicon]Man in the mirror[/lexicon]," "[lexicon]Liberian Girl[/lexicon]"…this is greatness, y'all."
Read the full review.
"Es ist alles über die Songs, die fünf-Nr. 1-Singles enthält wie." [lexicon]The way you make me feel[/lexicon] "," [lexicon]Smooth Criminal[/lexicon] "," [lexicon]Man in the mirror[/lexicon] ","[lexicon]Liberian Girl[/lexicon] "... das ist Größe, y'all."
Lesen Sie den kompletten Test.

Seattle Post Intelligencer
"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. "
Read the full review.
"Markierend eine Vierteljahrhundert- Marke seit der Veröffentlichung von Michael Jackson`s Arbeit von Pop-Genie, ist Bad 25 eine positiv elektrisierende Feier dieses oft unterschätzten Albums."
Lesen Sie den kompletten Test.

Houston Chronicle
"This is a layered, loving tribute whose power ultimately resides in the genius of the original album."
Read the full review.
"Dies ist ein liebenswertes Tribute, dessen Power in dem Genie des Orginal-Albums liegt."
Lesen Sie die volle Review

NBC News' The Grio
"Bad25: A Michael Jackson masterpiece gets its due."
Read the full review.
"Bad25: Ein Michael Jackson Meisterwerk bekommt seinen Grund."
Lesen Sie den kompletten Test.

Huffington Post
"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."
Read the full review.
"Die Wembley-Shows sind das Äquivalent der Beatles im Shea Stadium in 1965 Aber machen Sie keinen Fehler:. Jacksons Leistung hier überstrahlt sogar seine begabtesten Vorgänger."
Lesen Sie den kompletten Test.

Showbiz411.com
"Fans will love all the versions of "Bad25," believe me."
Read the full review.
"Fans werden alle Versionen von Bad25 lieben", "glauben Sie mir."
Lesen Sie den kompletten Test

BBC
"An awesome, evergreen and essential pop masterpiece."
Read the full review.
"Ein toller, atemberaubender Evergreen und bedeutendes Pop-Meisterstück."
Lesen Sie den vollen Text

Blog Critics
"… Bad is a treasure chest of indelible pop hooks, tasteful arrangements, devastating dance grooves, and some impeccable vocal performances."
Read the full review.
"... Bad ist eine Schatzkammer von unauslöschlichen Pop-Hooks, geschmackvollen Arrangements, verheerenden Dance-Grooves und einigen unglaublichen Gesangseinlagen."
Lesen Sie den kompletten Test.

Source : http://www.michaeljackson.com/us/new...campaign=bad25

[Dreamerdancer]

Hier noch ein Review zu Bad25
Michael Jackson: Bad 25 [Deluxe Edition]
By Evan Sawdey 21 September 2012
PopMatters Interviews Editor
The Michael Jackson of the mid-‘80s can lay claim to having a problem that no one in the world had ever run into at that point: how do you follow up the biggest selling album of all time?

After all, Jackson’s 1979 “debut” album Off the Wall was a bona fide classic, and established Jackson as a full-bore pop icon in his own right following his many years with The Jackson 5. Yet 1982’s Thriller was a game-changer in every single possible sense of the word. From his iconic Moonwalking, innovative music videos, and something-for-everyone accessibility and appeal, Thriller was not as much an album as it was a cultural event of the highest order. It was so powerful and omnipresent, people actually forget that it won the Album of the Year Grammy in 1984. It was the album that pushed Jackson into the rarest of superstar echelons, so when it came to recording a follow-up, not only was the world waiting with baited breath, but Jackson and producing partner Quincy Jones ran into the difficult problem of having to figure out exactly how to top the biggest album ever.

The end result, of course, was Bad, and looking back on it 25 years after its initial release with this multi-disc special edition released by Sony Legacy (entitled, simply, Bad 25), we are reaffirmed in everything we’ve always known about this disc: it is a dynamite sequel that exemplifies everything about the “if it ain’t broke, don’t fix it” philosophy of success. It dares little, sounds like a carbon copy of its predecessor, but still manages to deliver some of those knock-out moments that Jackson became known for. It may not be perfect, but there’s still a lot to love here.

During the album’s creation, Jackson decided to take a greater control of his vision, having written only four of Thriller‘s nine songs (those four—“Wanna Be Startin’ Somethin’”, “The Girl is Mine”, “Beat It”, and “Billie Jean”—all placed in the Top 5, the latter two becoming #1’s). Thus, go-to Jackson songwriter Rod Temperton (“Rock With You”, “Thriller”) was jettisoned as Jackson took on the lion’s share of the songwriting duties, writing nine of the album’s 11 tracks (only the Stevie Wonder duet “Just Good Friends” and “Man in the Mirror” were outsourced). All of this was done because Bad was ultimately meant to be a more personal project for Jackson, although its commercial intentions were never in doubt. Amazingly, 10 of the album’s 11 songs were released as singles (“Just Goods Friends” being the odd one out), and five of them topped the charts—an astonishing record.

Yet Thriller had already moved on from Off the Wall‘s disco leanings to embrace a modern sound that was rooted in funk, soul, and traditional pop. It was broadly appealing and highly marketable, but Bad rarely ventures outside of the Thriller palette (only when Dangerous was released did Jackson start to actually update his sound to be more contemporary). Just listen to the title track: solid keyboard grounding, immaculately detailed backing vocals, a large amount of lyrical braggadocio—this could very well have fit on Thriller without anyone noticing.

In truth, Jackson’s legacy has become so intrinsically sewn into our pop culture consciousness that we rarely sit back to objectively look at how his songs stack up when separated from their visually-stunning counterparts. While “Thriller” is arguably the signature song for Jackson, the funky tune—as fun as it is—is not one of the greater songs in Jackson’s cannon: it’s more style than substance, flashy and fun but free of the lite emotional gravitas that “Beat It” or even “Rock With You” possessed. The song exists almost solely for its music video, which is and always will be considered one of the greatest of all time if not the greatest of all time. You can’t hear the song without immediately thinking of its promo clip, and much of the fun nostalgia laced with the song stems from exactly that: its music video.

The only other time this comes up in Jackson’s canon is once again with a title track: “Bad”. The song is lyrically tough yet musically very soft, and it exists less a defiant statement of badassery than it does as a fun promotional tool. Heck, even the song’s structure hews remarkably close to that of “Thriller”, the chorus’ for both sitting on a higher key than the verses, both popping with bright horns (although virtually every modern pressing of Bad opts for the single mix, which oddly doesn’t feature as many horns as the original album version). Although the video is still responsible for roughly 80% of all black leather jacket sales in the U.S. in 1988 (at least according to this statistic that I just made up), detractors did have a valid point when noting that Jackson himself was succumbing to a bit of sequelitis with this release.

That being said, there is nothing wrong with delivering more of what the people want, and when Bad hits its target, it can be nothing short of thrilling. Just listen to “The Way You Make Me Feel”, a song which carries on the same good-time vibes of “Don’t Stop ‘til You Get Enough” and “Wanna Be Startin’ Somethin’” but possesses a certain freewheeling looseness that both of those tightly regimented songs were missing (although it tends to get lost in the conversation of his more iconic works, it could be argued that “The Way You Make Me Feel” is one of the strongest singles he ever released). Although the reaffirming “Man in the Mirror” addresses many of the worlds ills in its verses, that spectacularly uplifting chorus truly makes it feel like you can be part of the cure, resulting in a track proves to be fulfillingly anthemic without ever fully tiling over into pretentiousness. It’s a tough balancing act, but this song manages to pull it off in spades.

The parts when Bad truly comes alive, however, are the times when Jackson pushes himself outside his comfort zone, taking true risks with his sound, which—in this case—means going darker, edgier. “Dirty Diana” is a perfect example of this, one-upping his riotous Eddie Van Halen collaboration with “Beat It” by delivering a true-blooded hard rock song, full of moody synths and feisty electric guitar solos (courtesy of Billy Idol’s go-to axe-man Steve Stevens). It’s also a song that goes back to the philosophy that some fans share about Jackson: he writes best when he writes paranoid. This song, about a persistent groupie, has Jackson giving us one of his darkest-ever character studies, but it’s the album’s closing tune, “Leave Me Alone”, that proves to be one his all-time greats. Although not initially included in Bad‘s official vinyl track listing (something that was changed upon each subsequent release of the album, which is actually a very welcome move as it proves to be a more fitting closer than “Smooth Criminal”), this rant about the pressures of fame and dealing with paparazzi sounds unlike anything else Jackson had recorded to this point: the popping guitar sounds had been heard before, but this song wasn’t exactly a dance song, not exactly a pop number, and the multi-tiered chorus assuredly wasn’t rock either. It’s a bit of an introverted tale, but also one of the rare times where Jackson actually lashes out at someone, and it’s fascinating to see this side of his personality. (Also, his singing in tandem with the wheezing synths on the bridge? Delightful.)

When you the whole album into consideration, however, there are still some notably weak portions, and the worst offenders are on the album’s A-side. “Speed Demon” is one of Jackson’s rare misfires, as a song about angry driving can only do so much (also, who knew that the word “demon” only had one syllable in it?). “Liberian Girl”, which follows, aims for the exotic, but its ethereal synth backdrop unfortunately deadens any impact Jackson was going for (the song’s multi-tracked vocals on the chorus being the song’s only real takeaway). Additionally, although there’s nothing inherently wrong with “Another Part of Me” by itself, the synth backings here have noticeably shown their age, moreso than most Jackson recordings. While a majority of his songs have transcended their era, “Another Part of Me” unfortunately just feels trapped in it.

Yet Bad 25 is a very, very smart re-release. Although Bad itself had been remastered as recently as 2001, the first disc of this four-disc set is simply the original album—nothing else. It’s very wise to leave things by itself, as the album is best absorbed without any additional ephemera (or, like the 2001 re-releases, elongated audio interviews with the behind-the-scenes crew tacked on at the end). The biggest takeaway for fans, though, is the second disc, featuring “bonus tracks, demos, and remixes”, and save for both a Spanish and French version of “I Just Can’t Stop Loving You” (which exist as curiosities for collectors and nothing more), it is uniformly excellent. As the brief and to-the-point liner notes explain, the songs selected here are genuine Bad-era tunes, as songs that were recorded during this era and later reworked for subsequent LPs was deliberately left off. Thus, there are some top-notch tunes to be found, ranging from the funky, fun strut of “Streetwalker” (which could have easily stood on its own in the album proper) to the fascinating “Al Capone”, which was later reworked into what we know today as “Smooth Criminal”. Some of these rarities are experiments that overlapped with thematic material already on the album (see “Price of Fame”, which is a solid anti-media rant, although “Leave Me Alone” was just a bit more effective), some are some nice mid-tempo ballads that still carry an Off the Wall-styled 70s pop vibe (“Free”), and some are songs that are so good they could’ve easily been not only worked onto the album, but also have been great singles (as is the case with the feel-good “Don’t Be Messin’ ‘Round”, which was released as a specialty B-side as part of the marketing run-up to this album).

Perhaps the most notable/controversial entry is a synth-driven tune called “Song Groove (A/K/A Abortion Papers)”. The liners mention how Michael wasn’t afraid to tackle some more “big picture” issues with his music (“Black or White”, “Earth Song”), and “Abortion Papers” is no exception. The song’s chorus never really came together (somehow screaming out “those abortion pa-pers!” just never really seemed to have much of a place in ‘80s pop radio), but it’s still presented here as a fully-formed track, pretty much ready to go on a purely musical front. It is an utterly fascinating discovery and a real treat for patient fans who’ve already waded through choppier waters like The Ultimate Collection and Michael to get to the King of Pop’s real unreleased treasures.

Less intriguing are the remixes included, which, unlike the numerous guest-star atrocities that marred the Thriller: 25th Anniversary Edition release, are more “serviceable” than “an affront to good taste”. Afrojack has two remixes of “Bad” here, obviously trying to make the song sound like it belongs on modern-day radio (one of them, with two guest verses from Pitbull, is just outright trash), while noted dance maestros Nero do the best they can giving “Speed Demon” new life, which is a challenge given the noted history of the song. While the group certainly does “get” the staccato nature of the music, and although they try to fashion something all club-ready for 2012 listeners, it ends up sounding more like a Nero song with MJ’s vocals than it does a genuine Michael Jackson remix (this is a problem that dates all the way back to Blood on the Dance Floor: it is just really hard to reinterpret MJ).

The last two discs of this massive collection cover Jackson’s 1988 run of shows at Wembley during the height of his Bad World Tour, British royals happily in attendance. As the liners point out, this was Jackson’s first-ever solo world tour, and is a fascinating document, given the only other commercially available document of his live performance abilities is for the gaudier but less-exciting Dangerous World Tour. Here, Jackson is at the peak of his powers, absolutely bursting with energy. Extended dance breaks are added into the songs, his backing quartet of dancers are extremely precise, and yes, that’s 80s Sheryl Crow coming out to duet with him on “I Just Can’t Stop Loving You”. Some oddities are thrown into the mix (the second song is “This Place Hotel”), and there are occasional get-ups that are, in a word, unnecessary (wait until you see guitarist Jennifer Batten get into something I refer to as “the neon nightmare”). Yet the show is remarkably fun, and relatively fast-paced. There are multiple costume changes throughout, with Jackson wearing whatever jacket is appropriate for the song he’s singing (a letterman jacket for “Thriller”, a white coat and fedora for “Smooth Criminal”, that signature black leather for “Bad”). At first, he and his dancers could not be tighter. They exude energy, and perhaps what’s most remarkable is how Jackson is able to still sing/sustain notes while doing his numerous laser-precise moves. By the time he starts Moonwalking during “Billie Jean” (and let there be no mistake: this is as spectacular and smooth as he has ever executed the move), the already-nuts crowd simply goes into overdrive. By the time he reaches “Thriller”, however, he starts to lose some of that exact precision, obviously exhausted for having been onstage for nearly an hour without as much as a water break.

What ultimately kills the momentum of the Wembley show (and what is mercifully excised from the audio CD version of it) is the “band groove” following “Thriller”. Although Jackson has hired numerous talents to help make his musical vision complete—and yes, they all very much do deserve their solos (especially drummer Ricky Lawson, who interrupts his furious kick-drum pounding half-way through to put some sunglasses on)—but at a full 14 minutes, it is extremely hard to regain the momentum generated in the show’s first half. The DVD itself is relatively light on extras (holding out for two bonus performances done at different times & locations), and the visual quality—as the liners point out—leaves a bit to be desired, as the recording of this concert was on a VHS tape from Michael’s personal collection. It’s obvious a lot of effort has gone into the remastering (the audio, thankfully, was multi-channel when filmed), but there’s a very good reason why you will not see a Blu-ray version of this performance anytime soon.

In short, Bad 25 is a fantastic package for any serious pop fan or even casual Michael Jackson connoisseur. The album still carries the same flaws that have dogged it ever since its release in 1987, but the moments that work—and the numerous, delightful revelations derived by the onslaught of bonus material here—only help enhance our understanding of the King of Pop, and allow us to enjoy the music all the more, definitively answering the question one and for all: “Who’s bad?”
Rating:
Extras rating:

http://www.popmatters.com/pm/review/163219-michael-jackson-bad-25/

[rip.michael]

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Michael Jackson
Bad 25

Die Jubiläumsedition des 1987 meist erwarteten Albums der Popgeschichte

(.. bildergalerie)

Die meisten entscheiden sich für "Thriller", die Coolen schwören auf das frühe "Off The Wall", und selbst "Dangerous", zermalmt 1991 von Nirvana, findet Hörer, die es als Geheimtipp bezeichnen. Ungnädiger wird heute "Bad" beurteilt, Michael Jacksons „Thriller“ -Nachfolger und seinerzeit das meist erwartete Album der Geschichte.

Leider merkte man Jackson und Produzent Quincy Jones den Druck an. Die Platte wirkte stark kontrolliert, kein Klang sollte vorpreschen, Jackson durfte deshalb seine größte Stärke kaum ausspielen – Kunstwörter zur Musik einzustreuen. Dafür unterliefen ihm bei der Besetzung strategische Fehler. Gitarrist Steve Stevens als Eddie-van-Halen-Nachfolger (für „Dirty Diana“) hinterließ Achselzucken. Stevie Wonder als Duettpartner („Just Good Friends“) fiel– wir schreiben das Jahr 1987 – in die Kategorie „Has Been“.

Anders sieht es aus mit der meist erwarteten Vorabsingle aller Zeiten: „I Just Can’t Stop Loving You“. Sie beginnt mit einem einminütigen Flüsterintro und stellt die unbekannte Siedah Garrett als Co-Sängerin ins Rampenlicht. Eine gewagte Entscheidung, mit diesem untertourigen Song bei den Fans vorzufühlen (als zweite Single wurde „Bad“ losgelassen).

Die remasterte „Anniversary Edition“ enthält auch Outtakes („Fly Away“ hätte seinen Platz auf „ Bad“ verdient, „Speed Demon“ dafür raus) und Remixe, sowie einen Wembley-Auftritt von 1988 auf DVD. Eine Bad-Hair-Parade, die Jackson im Schatten des gleichzeitig tourenden Prince zeigt; mit der Kapitalismus-Persiflage der "Sign O' The Times"-Tour (1987) und dem Gospel der „Lovesexy“-Tournee (1988) spielte Prince ihn mühelos an die Wand.

Was bleibt heute von „Bad“? Der „besondere“ Sound – besonders in dem Sinne, dass alle Spuren zu R&B und Soul, in denen Jackson sich wie kein Zweiter beheimatet fühlte, von Elektronik zerstört wurden. Beats klingen hier wie berstende Kristalle, es gibt kaum Tiefen. Niemals mehr würde ein Album so klingen wie dieses. In diesem Fall ist das kein Vorteil.

(... video)

Quelle: Musikexpress.de

[Dreamerdancer]

Was hat der denn gegen Steve Stevens? Wie nett, Dangerous findet als Geheimtip seine Zuhörer , auf welchem Planeten lebt der Typ denn.

Echt? Michael ist im Schatten von Prince getourt, warum ist mir das nie aufgefallen?