Michael Jackson
Thriller 40
Epic/Legacy/MJJ
Buy via Official Store | Listen Below
Original Album:
Deluxe Bonus Material:
With Thriller celebrating its 40th anniversary this month, a special expanded edition has been released to mark the occasion. Available as a double CD with 10 “rare and unreleased” tracks or as a digital collection including a further 15 tracks of grab-bag remixes and edits, the new collections bring into focus the artistry and tenacity of Michael Jackson and his fixation to create an album full of hit singles.
For many a Jackson completist, the collection isn’t that complete, with unreleased tracks of note such as “Hot Street” and “Nightline” (later recorded and released by the Pointer Sisters on early configurations of their 1983 Break Out album and co-written by future Jackson collaborator Glen Ballard) curiously absent.
But what the selection of tracks does offer is a glimpse inside the machinations in the creation of Thriller and also a reflection on who Jackson was and how he was perceived.
The first track on the collection of rarities is “Starlight,” which to even the most casual of listeners will scream as the earlier workings of what transforms into “Thriller.” The demo features the musical foundations of “Thriller” with that trademark bassline and swirling synths against lyrics with an overly joyous and bright outlook of life. As the story goes, it was a strong contender for the title track but Jackson, producer Quincy Jones and songwriter Rod Temperton felt the song could still be stronger. At Jackson’s behest to move the song into a lyrically darker territory, Temperton reworked the lyrics into what would eventually be the iconic horror schlock fest that thrilled the world.
From there the collection wanders through a journey of demos either written for Jackson or penned by the artist himself. These include a handful of songs that look to be a hybrid of Jackson’s massively successful Off The Wall (1979) sound and the new direction in which Jackson was headed—what I would classify as bridging songs designed to carry fans from their expectations of what a Jackson album should sound like.
The most obvious (and contentious) of these is The Wiz era rework “Can’t Get Out Of The Rain.” Taking the extended coda of the Jackson-sung highlight from the film, the funky “You Can’t Win” and reworking the refrain “You Can’t Get Out Of The Game” to “Can’t Get Outta The Rain,” the song was first aired as a B-side to Thriller’s lead single “The Girl Is Mine.” Curiously enough, in the creative process, original songwriter Charlie Smalls saw his credits get washed away with Jones and Jackson being incorrectly credited on the release. Strategically placed as the B-side so as to not burn any potential singles of the remaining Thriller tracks, its inclusion here is both arguably legitimate but also sonically anachronistic.
Tracks like the bouncy synth tweaked jaunt “Got The Hots” (another Temperton collaboration) and the Jackson penned funky ride of “Sunset Driver” both clearly have the sonics of the dance inspired heights of Off The Wall in their rear vision mirror and adequately represent the evolving sound that Jackson was pushing for.
And this is where the songs penned for Jackson come sharply into contrast to those he was writing on his own. Songs like the breezy MOR “Carousel” co-written by Michael Sembello, feature a dreamy melody and vocal arrangement that Jackson feels confined by. Indeed, there are moments during the delivery where you can almost hear Jackson bristle as he tries to add more bite to the lightweight lyrics.
“She’s Trouble” similarly offers little for Jackson to sink his teeth into with early ‘80s by-the-numbers arrangement. Co-written by Terry Britten (who would contribute “Just Good Friends” to Jackson’s Bad album), it’s a pretty straightforward song with the only real sparks of interest held in the moments Jackson goes off script and delivers what would evolve into his trademark hoos and hollahs.
What is evident in these tracks is the perception of who the writers thought Jackson was; this disco-tinged singer-dancer staying within a narrowing lane of early ‘80s R&B. Of course, this wasn’t who Jackson saw himself as. For Thriller, Jackson wanted to broaden the musical horizon, while weaving and skipping genres just as easily as he would skip a lit-up sidewalk.
Take the soulful demo, “Who Do You Know” that playfully nods to his Motown heritage but modernizes Jackson as a thoughtful balladeer. His vocals are captivating, and against a simple Rhodes piano and Roland CR-78 drum pattern, Jackson sketches mood and tone by using his voice as an instrument to layer string arrangements, soothing harmonies, and accentuated beat boxing. What this demo, or “polaroid” as Jackson/Jones referred to them as, demonstrates is a wealth of promise contained within. You can almost hear how Jones with his production and arrangement expertise would bring in elements to help flesh the song out and have it stand shoulder to shoulder with tracks like “Human Nature.”
“The Toy” (written for the Richard Pryor helmed film of the same name) is a sweet reflection on friendship and innocence. Although the song wasn’t completed in time—and considering the label complications that came from the Jackson produced E.T. The Extra-Terrestrial track “Someone In The Dark” (another curious omission in this timeline), it was probably a good thing —Jackson would return to work on this track several times in his career with its evolution “Best of Joy” ultimately being released on his first posthumous album, Michael.
A track like “Behind The Mask” demonstrates Jackson’s affinity for a great groove and pulse on the future of music. Taking and reconfiguring Japanese new wave artist Yellow Magic Orchestra’s track of the same name, Jackson wrote lyrics and a new melody to evolve the song into a brooding tale of deceit and betrayal. A dispute over royalty sharing in a pre-sample clearance era sidelined the track and it didn’t progress to a finished stage for inclusion. Which is a sonic tragedy as it would have added an extra element of production and genre-crossing to Thriller’s ambitions. Curiously enough, post Thriller, the song has been covered by artists as diverse as Eric Clapton and The Human League. A revised version saw the light of day on the posthumous release Michael (2010), but this rawer version feels more in line with Jackson’s intent for the song.
As an Amazon affiliate partner, Albumism earns commissions from qualifying purchases.
As a song initially written during the late ‘70s, “What A Lovely Way To Go” shines a light on Jackson’s musical ambitions. Combining touches of gospel with The Beatles and Queen inspired arrangements and production, this demo is a revelation. With lush, layered harmonies, beatboxed groove, and pulsing piano, it’s perhaps as close as Jackson gets to the edges of psychedelic. It’s also evidence of Jackson’s growing skills as a songwriter with a knack for crafting delicious melodies and irresistible earworms. One listen and you’ll find yourself singing the song hours later. You can only imagine what a full Jones/Jackson production with orchestra arrangement would bring.
And that’s the beauty and the rub of these demos. Some act as way finders, others as placeholders while Jackson pushed and pursued new tracks like “Beat It” and “Human Nature.” And some torment you as you revel in their promise and have you wondering “What if?” And then, of course, what songs that did make the final cut would you have sacrificed. Therein lies the rub.
And therein also lies the genius of Thriller. The ability to bring into focus the tracks that rise to the top and hold their position. Songs that provide a sonic shift in the way music sounds and how albums are viewed.
With the digital expanded edition, you are also privy to hearing Jackson’s early demos for “Billie Jean,” “Beat It,” “Wanna Be Startin’ Somethin’” and Jackson’s own take on an alternative universe version of “P.Y.T.” Sadly absent is Jackson’s solo version of “The Girl Is Mine” and instrumentals from the era. The collection is rounded out with the forgettable remixes from Thriller 25, a remix of the title track, plus a megamix.
Where the deluxe editions work is in offering us a peek behind the curtain, allowing us to follow the rhinestone-bricked road, while simultaneously wondering what if and reveling in what was.
Notable Tracks: “Behind The Mask” | “What A Lovely Way To Go” | “Who Do You Know”
BUYThriller 40 via Michael Jackson’s Official Store
LISTEN: