Bad (альбом)

Bad (с афр. амер. — «Крутой») — седьмой студийный альбом американского автора-исполнителя Майкла Джексона. Был выпущен на лейбле Epic Records 31 августа 1987 года, продюсерами пластинки стали сам Джексон и Куинси Джонс — Bad стал их третьей и последней совместной работой. Песни на альбоме выдержаны в жанрах фанка, ритм-н-блюза, госпела, поп-рока, хард-рока, свинга и блюза.

Джексон написал девять из одиннадцати песен, попавших в окончательный список композиций. В сентябре 1987 года Bad дебютировал на вершинах американского чарта Billboard 200 и британского UK Albums Chart, всего пластинка возглавила хит-парады 25-ти стран мира. В период с 1987 по 1989 год из Bad было выпущено девять синглов, наибольшего успеха добились первые пять из них: «I Just Can't Stop Loving You», «Bad», «The Way You Make Me Feel», «Man in the Mirror» и «Dirty Diana» — они возглавили американский чарт Billboard Hot 100, таким образом, был установлен рекорд по количеству синглов из одного альбома, побывавших на вершине хит-парада. Мировые продажи пластинки по разным источникам составляют от 30 до 45 миллионов экземпляров. В 1988 и 1990 году Bad получил две статуэтки «Грэмми».

На девять песен из альбома были сняты видеоклипы. Для продвижения пластинки Джексон снялся в главной роли музыкального фильма «Лунная походка», релиз ленты состоялся на видеокассетах в начале 1989 года. По мотивам фильма с 1989 по 1990 год выпускалась видеоигра Michael Jackson's Moonwalker.

В сентябре 1987 года, почти сразу после релиза альбома, Джексон отправился в мировой тур в его поддержку — Bad World Tour. Серия концертов продлилась 18 месяцев и стала самым прибыльным концертным турне сольного исполнителя в 1980-х годах.

Альбом дважды был переиздан, впервые — в 2001 году под названием Bad: Special Edition. Выпуск второго переиздания, Bad 25, состоялся в 2012 году в честь 25-летия пластинки. Оба релиза включали в себя бонусные материалы и ранее невыпущенные песни.

 Предыстория
Спустя три года после релиза альбома Off The Wall (1979 г.), Джексон выпустил Thriller (1982 г.). Пластинка получила высокие оценки от критиков и имела огромный коммерческий успех. Рецензенты отмечали, что с её помощью певец вывел своеобразную «формулу», позволяющую смешать жанры поп, рока и ритм-н-блюза и помог своим коллегам вступить в эпоху «кроссовера». Кроме того, музыкант трансформировал на тот момент примитивные видеоклипы в новую форму искусства, используя сюжетные линии, танцы и спецэффекты. Он сумел пробить расовые барьеры на телевидении и попасть в регулярную ротацию на американских рок-радиостанциях. В 1984 году альбом собрал 8 статуэток «Грэмми», тогда же мировые продажи пластинки превысили 25 млн экземпляров и она стала самым продаваемым альбомом в мире, а музыкант был включён в Книгу рекордов Гиннесса. В том же году певец вместе с группой The Jacksons выпустил пластинку  и поехал в последний совместный тур с коллективом по США и Канаде в её поддержку. На заключительном концерте турне Джексон объявил о том, что покидает группу.

В 1985 году певец принял участие в благотворительном проекте USA for Africa: в соавторстве с Лайонелом Ричи он написал песню «We Are the World». В записи поучаствовали 45 американских артистов, средства с продаж сингла и одноимённого альбома были направлены на помощь голодающим Африки. Композиция стала первым мультиплатиновым и самым быстро продаваемым синглом в истории популярной музыки США. В 1986 году «We Are the World» собрала четыре награды «Грэмми».

В то же время вместе Фрэнсисом Фордом Копполой и Джорджем Лукасом Джексон работал над 3D-фильмом «Капитан Ио»: на основе 17-минутной короткометражной ленты был создан первый 4D-аттракцион с иллюзией полного погружения. Он был запущен в сентябре 1986 года в калифорнийском Диснейленде и ещё нескольких парках развлечений по всему миру. Несмотря на это Джексон тогда практически исчез с глаз публики: не выступал, не давал интервью и не выпускал нового материала.

 История создания
Джексон продолжил сотрудничество с продюсером Куинси Джонсом, однако захотел расширить свои творческие рамки с целью иметь как можно больший контроль над готовящимся материалом. И без того далёкие от идеала отношения между музыкантом и продюсером натянулись ещё больше. В результате, Bad стал их последней совместной работой. Пытаясь достигнуть своей цели, в 1985 году певец начал работу в своей домашней студии в Энсино. Затем он переслал многочисленные плёнки с записями в , где уже вместе с Джонсом и звукорежиссёром  дорабатывал или отвергал демоверсии. Всего для альбома Джексон написал 62 песни и собирался издать 33 из них на тройном альбоме, однако Куинси Джонс отговорил певца от этой идеи. Как и для Thriller, для новой пластинки команда рассмотрела сотни демоверсий. Между музыкантом и продюсером завязалась борьба в процессе выбора треков для альбома: теми, что Джексон написал сам и теми, что принёс в студию Джонс. В результате, певец стал автором девяти из одиннадцати песен, отобранных в окончательный список композиций: «Bad», «The Way You Make Me Feel», «Speed Demon», «Liberian Girl», «Another Part of Me», «I Just Can't Stop Loving You», «Dirty Diana», «Smooth Criminal» и «Leave Me Alone». Джонс собрал отдельную команду авторов и потребовал от них «как минимум четыре песни, сражающие наповал», в трек-лист из предложенных ими композиций вошли две: «Just Good Friends» и «Man in the Mirror». Известно, что финальный отбор не прошли такие песни, как «Don’t Be Messing Around», «Tomboy», «Fly Away», «Turning Me Off», «Al Capone», «Price of Fame», «Streetwalker» и многие другие. Некоторые из них вошли в переиздания альбома, другие остаются невыпущенными. По словам Брюса Свидена, на записи «Don’t Be Messing Around» Джексон сам сыграл себе на рояле. «Price of Fame» была заранее запланирована в качестве главной темы для рекламных роликов Pepsi: в бюро по авторским правам США она была зарегистрирована с изменённым для них текстом, но, поскольку песня так и не попала в трек-лист пластинки, вместо неё в рекламе звучала «Bad». Композицию «Fly Away» певец позднее отдал своей старшей сестре Ребби Джексон, она выпустила её на своём альбоме  в 1998 году. Всего на запись Bad ушло 800 мультитрековых плёнок.

Ассистент звукорежиссёра Расс Рагсдейл вспоминал: «По представлениям Майкла начинать запись новой пластинки нужно с создания новых, свежих звуков, которые раньше никто не слышал». Джексон сам записал весь бэк-вокал для альбома. В студии к певцу присоединились гитарист Билли Айдола, Стив Стивенс, хор ,  и участники группы Toto  и . Критики отмечали, что, используя синтезаторы, Джексон добился гораздо более агрессивного звучания, чем ранее, работая с аналоговыми технологиями. Это и было целью музыканта, однако в процессе записи команда, наряду с новой цифровой техникой, продолжала пользоваться и старой. Например, создавая новое звучание ударных, Свиден сначала сводил ритм на 16-трековой плёнке и только затем переводил его в цифровой формат: таким образом, получался механический, но «жирный» звук, характерный для аналоговой техники — певец очень любил такое звучание. Команда Джексона и Джонса окончательно оставила диско позади, результатом работы стала пластинка в жанрах поп-музыки, рока, фанка и ритм-н-блюза. Первоначально новый альбом должен был называться Smooth Criminal, однако, по просьбе Куинси Джонса, титульным треком стала песня «Bad».

 Особенности композиций альбома
Альбом открывают три ритмичные композиции: титульный трек, «The Way You Make Me Feel» и «Speed Demon». «Liberian Girl» резко меняет атмосферу — после ревущих двигателей в предыдущей песне, становится слышно пение птиц и звуки природы. Темп снова повышается далее в «Another Part of Me» и переходит в мелодичный госпел «Man in the Mirror». В заключительной части представлены наиболее агрессивные и тревожные песни с элементами рока: «Dirty Diana», «Smooth Criminal» и «Leave Me Alone».

 «Bad». «Bad», выдержанную в жанре фанка с элементами хип-хопа, Джексон написал в середине 80-х гг. после того, как прочёл историю об убийстве чернокожего подростка белым полицейским в Гарлеме. В 1987 году певец в интервью Ebony и Jet объяснил, в каком значении он употребляет слово «bad» в песне и названии новой пластинки: «Не воспринимайте его слишком серьёзно, я использую это слово, чтобы сказать: „Ты крут, ты силён, всё в порядке“. Я не имею в виду „плохой“ в преступном смысле, хотя, конечно, люди так это и воспримут». Первоначально песня задумывалась как дуэт Джексона и Принса: записанная совместно композиция могла стать иллюстрацией к соперничеству, разыгравшемуся тогда между музыкантами. Рассмотрев предложение, Принс отказался от сотрудничества.

 «The Way You Make Me Feel». Свинговый ритмический рисунок, , и блюзовые гармонии являются одними из главных особенностей песни «The Way You Make Me Feel». Певец написал композицию с таким ритмом по просьбе его матери. В тексте Джексон признаётся девушке в чувствах, которые он к ней испытывает, рабочим названием было «Hot Fever». Песня является одной из самых энергичных композиций на альбоме, отличающихся быстрым развитием.
 «Speed Demon». Критики определили жанр композиции как фанк с высокотехнологичным рок-звучанием («high-tech rock»), она показалась рецензентам авангардной в контексте музыки конца 80-х. Песня была написана музыкантом после того, как по пути в студию его оштрафовали за превышение скорости. В тексте певец повествует об автомобильной погоне. Ударные и синтезаторы имитируют звуки переключения передач мотоцикла, Джексон демонстрирует низкий и жёсткий вокал в куплетах и фальцет в бридже.
 «Liberian Girl». Мечтательный экзотический роман описывается в джазовой «Liberian Girl». Песня стала одной из первых в западной культуре композиций, воспевающих красоту африканской женщины. Балладу с рабочим названием «Pyramid Girl» певец написал для совместного альбома с группой The Jacksons  в 1983 году. Позднее он переименовал её и записал для своей пластинки Bad. В студию была приглашена южноафриканская джазовая певица , в начале песни и каждого куплета она произносит слова на языке суахили: «Nakupenda pia — nakutaka piya — mpenziwe» (суах. «Я тоже люблю тебя — я тоже хочу тебя — любовь моя»).
 «Just Good Friends». Джексон заранее договорился со Стиви Уандером о том, что на Bad будет выпущен их дуэт, оставалось подобрать подходящую композицию. Синти-фанковая «Just Good Friends» была написана для певца  и , именно её Джексон выбрал для дуэтной записи с Уандером.
 «Another Part of Me». Отбирая песни для альбома, музыкант хотел, чтобы в список композиций вошла его песня «Streetwalker», однако Куинси Джонс в последний момент переубедил его, и вместо неё в альбом включили ритм-н-блюзовую «Another Part of Me». Она была написана певцом в 1985—86 гг. в качестве саундтрека к короткометражному 3D-фильму «Капитан Ио».

 «Man in the Mirror». «Man in the Mirror», выдержанная в жанре госпела, была написана для Джексона  и Гленом Баллардом. Эти авторы оказались в числе тех, кого Джонс попросил написать несколько композиций для Bad. Певец был впечатлён демоверсией Гарретт и решил записать трек. Текст призывает слушателей, прежде всего, взглянуть на себя со стороны и измениться к лучшему: таким образом можно изменить к лучшему и весь мир вокруг. Для записи бэк-вокала музыкант пригласил в студию хор , он попросил хористов создать госпел-звучание, похожее на церковные песнопения.
 «I Just Can’t Stop Loving You». Джексон планировал записать балладу «I Just Can’t Stop Loving You» дуэтом с Барброй Стрезанд, но певица не приехала в студию в назначенный день. Уитни Хьюстон также ответила отказом. Тогда в записи вновь приняла участие Саида Гарретт. Певица рассказала, что Джонс неожиданно пригласил её в студию. Она думала, что её попросят помочь закончить «Man in the Mirror» и была очень удивлена, когда продюсер дал ей текст «I Just Can’t Stop Loving You». Помимо версии на английском языке Джексон и Гарретт записали песню на испанском и французском: «Todo Mi Amor Eres Tu» и «Je Ne Veux Pas La Fin De Nous» соответственно. Они были выпущены на переизданиях альбома певца.

 «Dirty Diana». «Dirty Diana» — песня о любовном треугольнике между артистом, его девушкой и настойчивой поклонницей-групи. Джексон хотел написать для нового альбома песню с тяжёлым рок-звучанием. В студию был приглашён гитарист Билли Айдола Стив Стивенс. Результатом работы стала композиция, выдержанная в жанрах поп-рока, хард-рока и метала. «Dirty Diana» звучит мрачнее и острее других песен из альбома, она стала одним из экспериментов Джексона со звуком.
 «Smooth Criminal». В середине 80-х гг. певец решил написать песню на гангстерскую тематику. В 1985 году он записал демоверсию композиции под названием «Chicago 1945», повествовавшую об атмосфере Чикаго середины 1940-х гг. По словам звукорежиссёра Мэтта Форджера, песня, возможно, стала толчком для создания другой композиции на гангстерскую тематику — «Al Capone». В свою очередь, песня, источником вдохновения для которой послужила реальная историческая фигура, Аль Капоне, стала основой следующей композиции — фанковой «Smooth Criminal». По мнению критиков, слушая «Al Capone», можно проследить её эволюцию в «Smooth Criminal». В тексте певец повествует об убийстве девушки по имени Энни «ловким преступником». В первом куплете история рассказывается в третьем лице, а в припеве Джексон поёт от первого лица, используя местоимение «мы» и обращаясь непосредственно к жертве: «Annie, are you okay? Will you tell us, that you’re okay?» (). Такая смена местоимений позволяет слушателю почувствовать себя любым действующим лицом рассказанной истории: Энни, убийцей или свидетелем преступления.
 «Leave Me Alone». CD-издание альбома завершает агрессивная «Leave Me Alone», выдержанная в жанрах фанка и поп-рока и сочетающая в себе шаффл и элементы хард-рока. Джексон объяснял, что несмотря на то, что текст композиции повествует о расставании парня и девушки, он вложил в него и другой смысл. К концу 80-х гг. певец оказался под сильным давлением жёлтой прессы, и в песне музыкант призывает оставить его в покое.

 Визуальная атрибутика
alt=|thumb|upright|200px|Куртка, украшенная полицейскими значками, и металлический пояс — эти предметы гардероба Джексон надевал на концертах Bad World TourСоздавая новый альбом, Джексон задумывался и о новом образе, который визуально дополнил бы звучание пластинки. Костюмер певца Майкл Буш вспоминал: «Поскольку Bad был наполнен уличной музыкой, был выдержан в стиле урбан, он искал что-то подобное в одежде». По этой причине новыми элементами в костюмах певца в конце 1980-х стали пряжки, ремни, увесистые пояса, полицейские значки, и байкерские аксессуары.

Однажды, гуляя по бульвару Мелроуз в Голливуде, Джексон приобрёл в одном из магазинов одежды понравившиеся ему хлопчатобумажные куртку и брюки. Певец отвёз предметы гардероба в ателье, где попросил нашить на них как можно больше ремней и пряжек, так был создан костюм для видеоклипа «Bad». В нём Джексон появился и на обложке альбома. Образ дополнили сшитые на заказ ботинки, задние части которых были обиты металлом. Для тура в поддержку пластинки костюмеры нашили на куртку и брюки ещё больше пряжек и ремней.

В видеоклипе на «Dirty Diana» певец должен был появиться в чёрной кожаной куртке, однако на костюмированной репетиции он остался ею недоволен. Вместо куртки Джексон надел белую рубашку из китайского шёлка. Позднее, в ролике на песню «Come Together», он появился в жёлтой рубашке из того же материала. Кроме того, для видеоклипа певец надел увесистый металлический пояс, напоминающий чемпионские пояса боксёров. Аналогичные аксессуары Джексон впоследствии носил на концертах Bad World Tour.

В связи с тем, что видеоклип на песню «Smooth Criminal» является трибьютом Фреду Астеру, образ Джексона в ролике во многом повторяет образ Тони Хантера, главного героя мюзикла «Театральный фургон» в эпизоде «The Girl Hunt»: белый костюм в стиле 40-х гг., федора, галстук, атласная синяя рубашка. Однако, певец дополнил свой костюм новыми деталями: повязкой на правом рукаве, укороченными брюками и заклеенными белым пластырем пальцами правой руки. Пластырь на пальцах играл ту же роль, что и белая перчатка, расшитая стразами: он привлекал внимание зрителей к движениям рук Джексона.

 Релиз и промо
На подготовку альбома и промокампании к нему у Джексона и Джонса ушло 18 месяцев. Руководство Epic Records требовало как можно скорее закончить Bad, и назначило крайний срок — 30 июня 1987 года, однако, основная часть работы была завершена лишь к 10 июля, когда была сделана мастер-запись. По словам Джонса, если бы не давление со стороны звукозаписывающего лейбла, команда могла провести в студии ещё год. Бюджет альбома составил больше 2 млн. долларов. Релиз Bad состоялся 31 августа 1987 года, в продажу поступили виниловые пластинки, компакт-кассеты и компакт-диски.

 Коммерческий успех
За первую неделю после релиза было продано 350 тыс. экземпляров — Bad является одним из самых быстро продаваемых альбомов в мире. В сентябре пластинка дебютировала на вершинах американского хит-парада Billboard 200 и британского UK Albums Chart. Всего Bad возглавил чарты 25-ти стран мира. В период с 1987 по 1989 год Джексон выпустил девять из одиннадцати треков из альбома в качестве синглов, пять из них возглавили хит-парад Billboard Hot 100 — таким образом певец установил рекорд по количеству синглов № 1 из одной пластинки в американском чарте. Bad занимает 9 место в списке самых продаваемых альбомов всех времён в Великобритании. Мировые продажи пластинки по различным источникам составляют от 30 до 45 миллионов экземпляров.

 Синглы и видеоклипы
Видеоклипы
22 июля 1987 года состоялся релиз первого сингла из Bad — «I Just Can’t Stop Loving You». Песня возглавила Billboard Hot 100, R&B Singles, Hot Adult Contemporary Tracks, UK Singles Chart и получила золотую сертификацию от RIAA.

Вторым синглом из пластинки стал титульный трек «Bad». Песня сопровождалась 18-минутным короткометражным фильмом режиссёра Мартина Скорсезе. Сюжет частично перекликается с историей убийства чернокожего подростка, которая вдохновила певца на создание песни. Ролик вошёл в список самых дорогих музыкальных видеоклипов. «Bad» стал вторым синглом № 1 из альбома Джексона в американском чарте и получил серебряную сертификацию во Франции и платиновую в Австралии. Композиция, записанная музыкантом с изменённым текстом, сопровождала телевизионные рекламные ролики Pepsi с певцом в главной роли.

Видеоклип, по сюжету которого певец пытается привлечь внимание девушки на тёмной улице, сопровождал третий сингл из альбома Bad — «The Way You Make Me Feel». Песня была выпущена в качестве сингла 9 ноября 1987 года, а в январе 1988 песня достигла вершины Billboard Hot 100. Сингл получил золотой статус в Австралии и серебряный в Великобритании.

В январе 1988 года четвёртым синглом из альбома было решено выпустить композицию «Man in the Mirror». Видеоклип на песню демонстрирует картины массового голода, войны и проявлений расизма. Композиция получила платиновую сертификацию от BPI. Кроме того, по данным британской компании Official Charts Company на 2014 год, «Man in the Mirror» — самый продаваемый сингл Джексона в цифровом формате на территории Великобритании.

Песня «Dirty Diana» стала рекордным пятым синглом из альбома певца, достигшим вершины американского чарта Billboard Hot 100. Видеоклип на песню представляет собой концертное выступление Джексона перед живой аудиторией. В съёмках принял участие и гитарист Стив Стивенс. Премьера ролика состоялась в апреле 1988 года на телеканале MTV за несколько дней до релиза сингла.

«Another Part of Me» — шестой сингл из пластинки. Песня стала 11-й в Billboard Hot 100 и поднялась на вершину Hot R&B/Hip-Hop Songs. В качестве видеоклипа на песню использовался ролик, смонтированный из фрагментов концертов тура Джексона Bad World Tour в Париже и Лондоне.

Сингл «Smooth Criminal» был выпущен 5 октября 1988 года. В видеоклипе на песню музыкант продемонстрировал несколько элементов, ставших его визитными карточками: «антигравитационный наклон», заклеенные белым пластырем пальцы руки и повязку на рукаве. «Smooth Criminal» добрался до 7-й строчки в американском сингловом чарте и стал «золотым» в Великобритании и Мексике.

Композиции «Leave Me Alone» и «Liberian Girl» были выпущены в качестве синглов лишь в Австралии и странах Европы, оба релиза сопровождались видеоклипами. Ролик «Leave Me Alone» был смонтирован в стилистике игрового кино, совмещавшего в себе анимацию и актёрскую игру. Видео высмеивало абсурдные сплетни, окружавшие певца. Сингл возглавил хит-парад Ирландии и вошёл в первую пятёрку чартов Великобритании, Бельгии и Нидерландов. На съёмки видеоклипа «Liberian Girl» были приглашены более 30-ти знаменитостей: Стивен Спилберг, Вупи Голдберг, Джон Траволта и многие другие. Песня стала № 1 лишь в Ирландии.

В качестве синглов планировалось выпустить и две оставшиеся песни из альбома: «Just Good Friends» и «Speed Demon». Режиссёр, создатель пластилиновой анимации  снял видеоклип «Speed Demon», по сюжету которого Джексон ускользает от толпы туристов, папарацци и полиции. Релиз песни первоначально должен был состояться вместо «Leave Me Alone».

 Фильм «Лунная походка» и игра Michael Jackson’s Moonwalker

Параллельно с подготовкой альбома Джексон работал с несколькими режиссёрами над музыкальным фильмом «Лунная походка». Полнометражную ленту планировали показать в кинотеатрах США на Рождество 1988 года, но, по каким-то причинам, план был свёрнут. Фильм был выпущен на VHS в начале 1989 года.

Лента открывается роликом, смонтированным из нескольких выступлений Джексона с песней «Man in the Mirror» на Bad World Tour и автобиографической компиляцией из концертных выступлений певца, сольных и с группой The Jackson 5. Затем следуют несколько видеоклипов: «Badder» (снятая специально для фильма пародия на «Bad», в которой все роли сыграли дети), «Speed Demon» и «Leave Me Alone».
Центральной сюжетной линией ленты стал 40-минутный эпизод «Smooth Criminal», снятый Колином Чилверсом, бюджет съёмок составил 8 миллионов долларов. Завершается фильм выступлением Джексона перед живой аудиторией с кавер-версией на песню группы The Beatles «Come Together».

По мотивам фильма в период с 1989 по 1990 год была выпущена видеоигра Michael Jackson’s Moonwalker. В качестве саундтрека к игре были использованы песни Джексона из альбомов Thriller и Bad. На игровых уровнях певец появляется в образе из эпизода «Smooth Criminal».

 Концертные выступления

Выступления на Bad World Tour (1988 г.)
Незадолго до выпуска альбома было объявлено о том, что музыкант поедет в турне в его поддержку. Bad World Tour — первый сольный мировой тур Майкла Джексона. Певец дал 123 концерта в 15 странах, шоу посетили 4,4 миллиона человек, кассовые сборы составили 125 миллионов долларов, что сделало Bad World Tour самым прибыльным концертным турне сольного исполнителя в 1980-х гг. Первое шоу состоялось 12 сентября 1987 года в Японии, последнее — 27 января 1989 года в США.

Джексон дал семь концертов на стадионе «Уэмбли» в Лондоне, билеты на них были полностью распроданы, эти шоу посетили 504 тыс. человек: певец установил рекорд посещаемости площадки. Достижение так и осталось не побитым, в 2003 году стадион был снесён. Один из лондонских концертов посетили представители королевской семьи Великобритании: принцесса Диана и принц Чарльз. Узнав об этом, Джексон исключил из сет-листа песню «Dirty Diana» считая, что композиция о «распутной Диане» может оскорбить принцессу. Однако перед концертом она призналась Джексону, что это — одна из её любимых песен музыканта, и что ей хотелось бы её услышать. Но певец так и не смог выполнить просьбу принцессы, поскольку до начала шоу оставались считанные минуты. В 2012 году, в честь 25-летия альбома, этот концерт был выпущен на DVD . На заключительном шоу турне в Лос-Анджелесе среди зрителей были Софи Лорен, Смоки Робинсон, Донна Саммер, основатель Motown Records Берри Горди и другие знаменитости; Стив Стивенс поднялся на сцену, чтобы сыграть гитарное соло в «Dirty Diana», а Стиви Уандер исполнил с Джексоном песню «Bad».

2 марта 1988 года на 30-й церемонии вручения премии «Грэмми» Джексон исполнил песни «The Way You Make Me Feel» и «Man in the Mirror». Это выступление стало первым появлением певца на телевидении с 1985 года. Несмотря на то, что сам музыкант не получил ни одной статуэтки, его перфоманс оказался в центре всеобщего внимания. В Rolling Stone писали: «Это выступление настолько же грандиозно и значительно, насколько и лунная походка, исполненная им на 25-летии Motown Records».

 Реакция критиков

«Альбом продемонстрировал растущую уверенность Джексона в себе, он показал себя как автора песен и продюсера, — писал Джон Мёрф в The Atlantic, — Певец активно искал возможность сделать своё звучание мейнстримовым в поп-музыке и ритм-н-блюзе». Критик отметил, что Bad был скорее переходной записью музыканта между Thriller и Dangerous: в таких песнях как «Bad», «Speed Demon» и «Smooth Criminal» можно отследить движение Джексона в сторону нью-джек-свинга — музыкального стиля, в котором и была выдержана следующая пластинка певца. Журналистам радио NPR, напротив, показалось, что музыкант потерял свою независимость, и альбом был записан под слишком сильным влиянием Куинси Джонса. В The New York Times пластинку посчитали «безликой» по сравнению с Thriller: несмотря на то, что для Bad Джексон написал больше песен, чем для предыдущей пластинки (9 против 4), он ничем не показал свою индивидуальность, «но в целом, это качественно сделанная, запоминающаяся запись». «Любой, кто обвиняет альбом в посредственности, слишком ограничен, чтобы расслышать, как профессионалы превосходят самих себя. Это самый сильный и последовательный альбом в чёрной поп-музыке за много лет», — писал Роберт Кристгау. «Любые сравнения с Thriller несущественны, за исключением одного, — заметил критик из Rolling Stone, — даже без такой значительной записи, как „Billie Jean“, Bad лучше. Заполняющие его песни, такие как „Speed Demon“, „Dirty Diana“, возможно, „Liberian Girl“ делают новую пластинку богаче, сексуальнее и ярче забытых композиций из предыдущей». По мнению рецензента El País: «Bad — не Thriller. Это и не нужно. Певец предстал в новой пластинке более творческим, вдохновлённым, идущим в ногу со временем». По оценке критика Cashbox: «Пластинка полна энтузиазма, теплоты и монструозных хуков, в ней много ярких треков». «Результатом работы Джексона и Джонса стал более зрелый, отточенный альбом, затрагивающий ещё более мрачные тематики», — писала журналистка The Telegraph. Некоторые рецензенты критиковали Bad за излишнее изобилие ритмичных композиций и отсутствие эмоциональности. При этом, в журнале Time альбом назвали «прогрессивной танцевальной музыкой» и подчеркнули сочетание красноречия в текстах песен и мастерского использования Джексоном скэта. В The Chicago Tribune писали о заразительных ударных и драйвовых синтезаторных поп-мелодиях, наполняющих пластинку. Наиболее высоко критики оценили композиции «Man in the Mirror», «The Way You Make Me Feel» и «Smooth Criminal».

 Рейтинги и списки
 Издание Рейтинг/Список Источник Q Список записей года, 1987 Rolling Stone 500 величайших альбомов всех времён New Musical Express 500 величайших альбомов всех времён VH1 Величайшие альбомы всех времён Slant Magazine 100 лучших альбомов 1980-х Книга 1001 альбом, которые вы должны прослушать, пока живы

 Переиздания

В первый раз альбом был переиздан на компакт-дисках в 2001 году под названием Bad: Special Edition. Релиз, помимо первоначального списка композиций, включал в себя бонусный материал: аудиоинтервью с Куинси Джонсом и три композиции, записанные Джексоном во время студийных сессий Bad: «Streetwalker», «Todo Mi Amor Eres Tu» (испаноязычная версия «I Just Can’t Stop Loving You») и «Fly Away».

В ноябре 2011 года стало известно о том, что пластинка будет вновь переиздана с ранее невыпущенным материалом в качестве бонуса в честь 25-летия альбома. Релиз Bad 25 состоялся 18 сентября 2012 года, в продажу поступили стандартные двухдисковые издания и несколько вариантов делюкс-бокс-сетов. Самый крупный из них состоит из четырёх дисков: оригинального альбома, диска с демоверсиями ранее не выпущенных композиций, DVD с концертом Джексона на Bad World Tour на стадионе «Уэмбли» и CD с аудиозаписью с него. Из переиздания были выпущены два сингла: «I Just Can’t Stop Loving You» с новым бонусным треком «Don’t Be Messin' Around» и ремикс на песню «Bad» от диджея Афроджека с участием рэпера Pitbull. Режиссёр Спайк Ли на основе авторских интервью и архивных материалов снял документальный фильм о создании альбома Bad — . Премьера ленты состоялась вне конкурса на 69-м Венецианском кинофестивале в середине сентября 2012 года.

 Список композиций

 Участники записи

 Майкл Джексон — тексты, музыка, вокал, бэк-вокал, аранжировка вокала и ритма, сопродюсер
 Куинси Джонс — продюсер, аранжировка ритма
  — звукорежиссёр, микшер, запись голоса, ударные
  — текст песни, вокал, бэк-вокал
 , хор  — бэк-вокал
  — бас-гитара
 Джимми Смит — соло на органе Хаммонда
  — соло на синтезаторе
 Джон Робинсон, Мико Брандо, , , Билл Боттрелл — ударные
 Дуглас Гетшал — программирование ударных
 , Билл Боттрелл, , Дэнни Халл, Стив Стивенс, Данн Хафф, ,  — гитары

 Гэри Грант,  — трубы
 Кен Кэйлат, Том Джонс — звукорежиссёры
 , Олли Е. Браун — перкуссия
 Стефан Стефанович — клавишные
 Ким Хатчкрофт, Ларри Уильямс — саксофон
 Кристофер Карелл — , «стиральная доска», синтезатор
 Джон Барнс, , Грег Филлингейнс, Ретт Лоуренс,  — синтезаторы
 Джон Барнс — рояль
 Джерри Хэй — аранжировка духовых
 Ларри Уильямс, Эрик Першинг,  — программирование синтезаторов
 Ларри Уильямс — миди саксофон

 Позиции в чартах и сертификации

 Позиции в чартах
Чарт (1987)Высшаяпозиция Австралия2 1 Австрия1 Бельгия1 Бразилия1 Великобритания1 Германия1 Гонконг1 Греция1 Дания1 Зимбабве1 Израиль1 Испания1 Италия1 Канада1 Нидерланды1 Новая Зеландия1 Норвегия1 США1 1 Финляндия1 Франция1 Швейцария1 Швеция1 ЮАР1 Япония1

 Сертификации
СтранаСертификация Израиль (NMC) Золотой Португалия (UNEVA)Золотой Сингапур ()Золотой Финляндия (IFPI)Золотой Япония (RIAJ)Золотой Гонконг (IFPIHK)Платиновый Мексика (AMPROFON) Платиновый Нидерланды (NVPI)Платиновый Норвегия (IFPI)Платиновый Швейцария (IFPI)2× Платиновый Швеция (IFPI)2× Платиновый Испания (PROMUSICAE)3× Платиновый Австрия (IFPI)4× Платиновый Германия (BVMI)4× Платиновый Дания (IFPI)4× Платиновый Австралия (ARIA)6× Платиновый Канада (Music Canada)7× Платиновый Новая Зеландия (RIANZ)9× Платиновый США (RIAA)11× Платиновый Великобритания (BPI)14× Платиновый Франция (SNEP)Бриллиантовый

 Награды и номинации
 Год Награда Номинированная работа Категория Результат Источник1988 American Music Awards «Bad» Лучший мужской соул/ритм-н-блюз сингл  Grammy AwardsBad Альбом года  Лучшая работа инженера Продюсер года «Bad» Лучший мужской поп-вокал  Лучший мужской ритм-н-блюз вокал «Man in the Mirror»Запись годаMTV Video Music Awards«Bad»Лучшая хореография«The Way You Make Me Feel» Japan Gold Disc AwardsBad Альбом года  Лучший рок/фолк альбом зарубежного сольного исполнителя 1989 BRIT Awards«Smooth Criminal» Лучшее музыкальное видео People's Choice AwardsЛюбимое музыкальное видеоBadЛучший ритм-н-блюз альбом«Bad»Лучший сингл в жанре соула «Man in the Mirror»Лучший сингл в жанре современного ритм-н-блюзаЛучший видеоклип в жанре современного ритм-н-блюзаWorld Music Awards«Dirty Diana»Видео № 1 в миреMTV Video Music Awards«Leave Me Alone»Видео годаВидео-прорывЛучшие спецэффектыЛучшая работа художника-постановщикаЛучший монтажВыбор зрителей«Smooth Criminal»Лучшее танцевальное видеоЛучшая хореографияЛучшая кинематографияJuno AwardsBadМеждународный альбом годаInternational Advertising Film Festival«Leave Me Alone»Золотой лев за лучшую работу года1990Grammy AwardsЛучшее музыкальное видео, короткометражная форма

 Примечания

 Литература

 Ссылки

Категория:Альбомы Майкла Джексона
Категория:Альбомы Epic Records
Категория:Альбомы, возглавлявшие Billboard 200
Категория:Альбомы — лауреаты премии «Грэмми»
Категория:Альбомы, сертифицированные как мультиплатиновые Американской ассоциацией звукозаписывающих компаний
Категория:Альбомы на английском языке
Категория:Альбомы современного ритм-н-блюза
Категория:Альбомы, возглавлявшие Canadian Albums
Категория:Альбомы, спродюсированные Майклом Джексоном
Категория:Альбомы, спродюсированные Куинси Джонсом

After three years after the release of the album Off The Wall (1979), Jackson released Thriller (1982).

The plate received high reviews from critics and had huge commercial success.

"Предыстория

коммерческий

Question: what was the title of jackson's 1982 album

After three years after the release of the album Off The Wall (1979), Jackson released Thriller (1982).

The plate received high reviews from critics and had huge commercial success.

what was the title of jackson's 1982 album

Question: when did jackson jackson release thriller

when did jackson jackson release thriller

Question: what was the title of jackson's first album, released in 1979

what was the title of jackson's first album, released in 1979

Question: when was the first bad album released

Question: what was the title of jackson's first album

what was the title of jackson's first album

Question: what was the name of jackson's first album

what was the name of jackson's first album

Question: who released the album off the wall

1979 г. ) , Джексон

After three years after the release of the album Off The Wall ( 1979 ) , Jackson released Thriller ( 1982 ) .

The plate received high reviews from critics and had huge commercial success .

Предыстория Спустя три года после релиза альбома Off The Wall (1979 г.), Джексон выпустил Thriller (1982 г.). Пластинка получила высокие оценки от критиков и имела огромный коммерческий успех.

Предыстория Спустя три года после релиза альбома Off The Wall (1979 г.), Джексон выпустил Thriller (1982 г.).

Пластинка получила высокие оценки от критиков и имела огромный коммерческий успех.

After three years after the release of the album Off The Wall (1979), Jackson released Thriller (1982). The plate received high reviews from critics and had huge commercial success.

After three years after the release of the album Off The Wall (1979), Jackson released Thriller (1982).

The plate received high reviews from critics and had huge commercial success.

The reviewers noted that with her help the singer made a sort of "formule" that allowed to mix pop, rock and rhythm-n-blues genres and helped his colleagues enter the "crossover" era.

In addition, the musician transformed the primitive videos into a new form of art, using story lines, dances and special effects.

своеобразную

трансформировал

Question: what type of music did bad make

The reviewers noted that with her help the singer made a sort of "formule" that allowed to mix pop, rock and rhythm-n-blues genres and helped his colleagues enter the "crossover" era.

In addition, the musician transformed the primitive videos into a new form of art, using story lines, dances and special effects.

Question: what kind of videos did bad make into art

примитивные видеоклипы

what kind of videos did bad make into art

Question: what genres did bad mix

поп , рока и ритм - н - блюза и помог своим коллегам вступить в эпоху « кроссовера » .

Question: what genre of music does bad sing about

Question: what did bad make with her help

Question: what did bad change the primitive videos into

what did bad change the primitive videos into

Question: what did bad use to make his videos unique

сюжетные линии , танцы и спецэффекты

story lines , dances and special effects

what did bad use to make his videos unique

The reviewers noted that with her help the singer made a sort of " formule " that allowed to mix pop , rock and rhythm - n - blues genres and helped his colleagues enter the " crossover " era .

In addition , the musician transformed the primitive videos into a new form of art , using story lines , dances and special effects .

Рецензенты отмечали, что с её помощью певец вывел своеобразную «формулу», позволяющую смешать жанры поп, рока и ритм-н-блюза и помог своим коллегам вступить в эпоху «кроссовера». Кроме того, музыкант трансформировал на тот момент примитивные видеоклипы в новую форму искусства, используя сюжетные линии, танцы и спецэффекты.

Рецензенты отмечали, что с её помощью певец вывел своеобразную «формулу», позволяющую смешать жанры поп, рока и ритм-н-блюза и помог своим коллегам вступить в эпоху «кроссовера».

Кроме того, музыкант трансформировал на тот момент примитивные видеоклипы в новую форму искусства, используя сюжетные линии, танцы и спецэффекты.

The reviewers noted that with her help the singer made a sort of "formule" that allowed to mix pop, rock and rhythm-n-blues genres and helped his colleagues enter the "crossover" era. In addition, the musician transformed the primitive videos into a new form of art, using story lines, dances and special effects.

The reviewers noted that with her help the singer made a sort of "formule" that allowed to mix pop, rock and rhythm-n-blues genres and helped his colleagues enter the "crossover" era.

In addition, the musician transformed the primitive videos into a new form of art, using story lines, dances and special effects.

He managed to break the racial barriers on television and get into regular rotating on American rock radio stations.

трансформировал

американских

радиостанциях

When the members of Fall Out Boy were recording 2007's Infinity On High, they turned to two albums for guidance. One was a late-'90s hardcore record from Sweden. The other was Michael Jackson's Thriller. "It's the best pop record ever," frontman Patrick Stump said at the time. "It's mindless catchiness with the most mind to it."
At first, the lustrous post-disco sound of Thriller seems an unlikely muse for Stump and his bandmates: When Fall Out Boy covered Jackson's "Beat It" a few years ago, their punky homage had more in common with Queens of the Stone Age than it did with the King of Pop. In fact, while numerous rockers have paid homage to Jackson via cover song — including Chris Cornell, Alien Ant Farm, and Death Cab for Cutie's Ben Gibbard — few of them have any discernible musical connections with the Gloved One. After all, Jackson's sound — with its quivering vocals and trademark whooos and hee-hees — made for tricky dittoing. And yet Thriller, despite not technically being a rock & roll album, has had a bigger impact on rock & roll than just about any other album of the past 30 years. It's just not always easy to hear it.
For starters, consider Jackson's nearly cyclopean musical ambitions, which were obvious to anyone who unwrapped Thriller for the first time and heard the six-minute opener, "Wanna Be Startin' Something," which begins with an almost compulsory dance beat and ends with an African chant. It was anthemic, and unapologetically so. The success of Thriller was not some happy accident; it was the result of countless hours of in-studio calculation and calibration, all in the name of maximum appeal. "Thriller was geared exclusively toward making the best singles," Stump noted. "Michael Jackson and Quincy Jones said, 'We have to make pop music better.' "
Of course, if there were ever a DSM-IV diagnosis for pop stars, that sort of stratospheric hubris would be symptom No. 1, and certainly, Jackson wasn't the first musician consumed with dominating the charts. But when Thriller was released in 1982, the over-the-top moxie that had come to define pop music was falling out of favor: Punk had exposed the tacky vanities of Led Zeppelin and Aerosmith, while disco had tipsily staggered back underground. The sort of world-ascension moxie that had ruled the '70s was in temporary decline, which made Thriller all the more jarring. Jackson provided aspiring pop and rock stars everywhere with a sort of mission-statement-slash-permission slip, one that allowed them to be as sleek and audacious and as they wanted, so long as the music was perfect. Pink Floyd's The Wall might get all the credit for being the seminal '80s concept album, but to the millions of teens and pre-teen Jackson fans who grew up listening to Jackson — some of whom went on become musicians — no musical statement could ever be as grand or intimidating as Thriller.
Jackson's other major contribution to rock music comes with an exact timestamp: Thriller, side two, at the 2:49 mark, when Eddie Van Halen interrupts "Beat It" with a boiling 31-second guitar solo. Even in the wake of Jimi Hendrix or Sly and the Family Stone, black artists were impossible to find on rock radio in the early '80s, but the clamor for "Beat It" forced even the most stubborn DJs — and well as MTV programmers — to desegregate their playlists. "At that time in my life, I wasn't really a fan of Michael's music," says Cornell, who was living as a teenager in Seattle when he first heard "Beat It." "But [Thriller] had a big impression for me. It opened the door for Prince and Run-DMC to suddenly be in the living rooms of white people across the nation."
It also primed listeners for the slew of genre-mingling Top 40 hits that followed: Prince's "Let's Go Crazy." Run-DMC's "King of Rock." Living Colour's "Glamour Boys." Even Jackson's own "Dirty Diana." Most of these songs would have come to prominence without "Beat It," of course, as would the numerous black-rock bands like Fishbone and 24-7 Spyz that would become breakout college-radio acts later on in the decade. But the crossover success of "Beat It" subtly made a point that Jackson would repeat, rather pedantically, nearly 10 years later: It doesn't matter if you're black or white. Not everyone got the message, but those who did discovered an entire new framework for how pop, rock and R&B can merge.
In the end, Jackson's influence on rock & roll will always be more cultural than musical; it's not as though you can go to the Warped Tour or turn on Fuse and come across a bunch of Thriller sound-alikes. Yet for anyone making music now or in the future, Jackson's best moments will always be throbbing somewhere in the background — an undeniable, unavoidable force.
"It's impossible to say, musically, where I may have been influenced by Michael Jackson," admits Cornell. "Because I didn't buy his records and listen to 'em. [But] I think that an artist whose music is on television, and constantly coming out of radios and speakers in people's cars, and just sort of permeating pop culture, there's no way you could say that you weren't in some way influenced by it."

Question: what did bad break on tv

расовые барьеры на телевидении и попасть в регулярную ротацию на американских рок - радиостанциях

He managed to break the racial barriers on television and get into regular rotating on American rock radio stations.

Question: what kind of music did bad make

примитивные видеоклипы

Question: where did bad radio show come from

американских рок - радиостанциях

Question: what kind of music does bad make

Question: what did bad break in american rock radio

расовые барьеры на телевидении и попасть в регулярную ротацию на американских рок - радиостанциях

what did bad break in american rock radio

Question: what are the 3 main things that bad does

и спецэффекты

what are the 3 main things that bad does

Question: what type of barriers did bad break on tv

what type of barriers did bad break on tv

He managed to break the racial barriers on television and get into regular rotating on American rock radio stations .

Кроме того, музыкант трансформировал на тот момент примитивные видеоклипы в новую форму искусства, используя сюжетные линии, танцы и спецэффекты. Он сумел пробить расовые барьеры на телевидении и попасть в регулярную ротацию на американских рок-радиостанциях.

Он сумел пробить расовые барьеры на телевидении и попасть в регулярную ротацию на американских рок-радиостанциях.

In addition, the musician transformed the primitive videos into a new form of art, using story lines, dances and special effects. He managed to break the racial barriers on television and get into regular rotating on American rock radio stations.

He managed to break the racial barriers on television and get into regular rotating on American rock radio stations.

In 1984, the album collected eight Grammy statues, then the worldwide sales of the album exceeded 25 million copies and it became the world’s most sold album, and the musician was included in the Guinness Book of Records.

In the same year, the singer, along with the band The Jacksons, released the album and went to the last joint tour with the band across the United States and Canada to support it.

Question: who sings the song i'm so bad

In 1984, the album collected eight Grammy statues, then the worldwide sales of the album exceeded 25 million copies and it became the world’s most sold album, and the musician was included in the Guinness Book of Records.

In the same year, the singer, along with the band The Jacksons, released the album and went to the last joint tour with the band across the United States and Canada to support it.

Question: how many grammy statues does bad have

Question: when did bad by the jacksons come out

Question: how many copies did bad sell worldwide

Question: what is the name of the book that records bad

Книгу рекордов

what is the name of the book that records bad

Question: how many statues did bad have in 1984

8 статуэток « Грэмми

Question: how many copies did bad sell worldwide in 1984

25 млн экземпляров и она стала самым продаваемым альбомом

how many copies did bad sell worldwide in 1984

Question: where did the jacksons tour with bad

США и Канаде

In 1984 , the album collected eight Grammy statues , then the worldwide sales of the album exceeded 25 million copies and it became the world ’s most sold album , and the musician was included in the Guinness Book of Records .

In the same year , the singer , along with the band The Jacksons , released the album and went to the last joint tour with the band across the United States and Canada to support it .

В 1984 году альбом собрал 8 статуэток «Грэмми», тогда же мировые продажи пластинки превысили 25 млн экземпляров и она стала самым продаваемым альбомом в мире, а музыкант был включён в Книгу рекордов Гиннесса. В том же году певец вместе с группой The Jacksons выпустил пластинку и поехал в последний совместный тур с коллективом по США и Канаде в её поддержку.

В 1984 году альбом собрал 8 статуэток «Грэмми», тогда же мировые продажи пластинки превысили 25 млн экземпляров и она стала самым продаваемым альбомом в мире, а музыкант был включён в Книгу рекордов Гиннесса.

В том же году певец вместе с группой The Jacksons выпустил пластинку и поехал в последний совместный тур с коллективом по США и Канаде в её поддержку.

In 1984, the album collected eight Grammy statues, then the worldwide sales of the album exceeded 25 million copies and it became the world’s most sold album, and the musician was included in the Guinness Book of Records. In the same year, the singer, along with the band The Jacksons, released the album and went to the last joint tour with the band across the United States and Canada to support it.

In 1984, the album collected eight Grammy statues, then the worldwide sales of the album exceeded 25 million copies and it became the world’s most sold album, and the musician was included in the Guinness Book of Records.

In the same year, the singer, along with the band The Jacksons, released the album and went to the last joint tour with the band across the United States and Canada to support it.

In 1985, the singer took part in the charity project USA for Africa: in co-authorship with Lionel Ritchie he wrote the song "We Are the World".

благотворительном

Question: who wrote the song we are the world

Лайонелом Ричи

In 1985, the singer took part in the charity project USA for Africa: in co-authorship with Lionel Ritchie he wrote the song "We Are the World".

Question: when was the song we are the world written

when was the song we are the world written

Question: what was the name of the song written by lionel ritchie and bad

what was the name of the song written by lionel ritchie and bad

Question: what was the name of the song written by bad in 1985

what was the name of the song written by bad in 1985

Question: what charity did bad sing about in 1985

Question: what was the name of bad's 1985 song

Question: which african country did bad sing about in 1985

which african country did bad sing about in 1985

In 1985 , the singer took part in the charity project USA for Africa : in co - authorship with Lionel Ritchie he wrote the song " We Are the World " .

В 1985 году певец принял участие в благотворительном проекте USA for Africa: в соавторстве с Лайонелом Ричи он написал песню «We Are the World».

В 1985 году певец принял участие в благотворительном проекте USA for Africa: в соавторстве с Лайонелом Ричи он написал песню «We Are the World».

In 1985, the singer took part in the charity project USA for Africa: in co-authorship with Lionel Ritchie he wrote the song "We Are the World".

In 1985, the singer took part in the charity project USA for Africa: in co-authorship with Lionel Ritchie he wrote the song "We Are the World".

The recording included 45 American artists, funds from the sale of the single and the same-name album were directed to help the hungry Africans.

благотворительном

поучаствовали

американских

одноимённого

Question: who wrote we are the world by bad

Лайонелом Ричи

The recording included 45 American artists, funds from the sale of the single and the same-name album were directed to help the hungry Africans.

Question: what was the name of the song written by bad and lionel ritchie

what was the name of the song written by bad and lionel ritchie

Question: how many american artists sang we are the world

how many american artists sang we are the world

Question: why did bad sing we are the world

помощь голодающим Африки

The recording included 45 American artists , funds from the sale of the single and the same - name album were directed to help the hungry Africans .

В 1985 году певец принял участие в благотворительном проекте USA for Africa: в соавторстве с Лайонелом Ричи он написал песню «We Are the World». В записи поучаствовали 45 американских артистов, средства с продаж сингла и одноимённого альбома были направлены на помощь голодающим Африки.

В записи поучаствовали 45 американских артистов, средства с продаж сингла и одноимённого альбома были направлены на помощь голодающим Африки.

In 1985, the singer took part in the charity project USA for Africa: in co-authorship with Lionel Ritchie he wrote the song "We Are the World". The recording included 45 American artists, funds from the sale of the single and the same-name album were directed to help the hungry Africans.

The recording included 45 American artists, funds from the sale of the single and the same-name album were directed to help the hungry Africans.

The composition became the first multiplatinum and fastest-selling single in the history of popular music in the United States.

поучаствовали

американских

одноимённого

мультиплатиновым

Question: how many american artists had a hit single with bad

The composition became the first multiplatinum and fastest-selling single in the history of popular music in the United States.

how many american artists had a hit single with bad

Question: what was the highest selling single in the history of popular music in the us

мультиплатиновым

what was the highest selling single in the history of popular music in the us

Question: what was the significance of bad in the history of music

первым мультиплатиновым

what was the significance of bad in the history of music

Question: who was the song bad going to help

голодающим Африки

Question: what was the impact of bad on the music industry

первым мультиплатиновым

what was the impact of bad on the music industry

Question: who was the song bad written for

The composition became the first multiplatinum and fastest - selling single in the history of popular music in the United States .

В записи поучаствовали 45 американских артистов, средства с продаж сингла и одноимённого альбома были направлены на помощь голодающим Африки. Композиция стала первым мультиплатиновым и самым быстро продаваемым синглом в истории популярной музыки США.

Композиция стала первым мультиплатиновым и самым быстро продаваемым синглом в истории популярной музыки США.

The recording included 45 American artists, funds from the sale of the single and the same-name album were directed to help the hungry Africans. The composition became the first multiplatinum and fastest-selling single in the history of popular music in the United States.

The composition became the first multiplatinum and fastest-selling single in the history of popular music in the United States.

In 1986, We Are the World received four Grammy awards.

мультиплатиновым

Question: when did we are the world come out

In 1986, We Are the World received four Grammy awards.

Question: how many grammy awards did we are the world get in 1986

how many grammy awards did we are the world get in 1986

Question: what was the name of the 1986 hit single by bad

what was the name of the 1986 hit single by bad

Question: who had the first grammy for bad

Question: how many grammy awards did we are the world have

мультиплатиновым

how many grammy awards did we are the world have

Question: what awards did we are the world win in 1986

награды « Грэмми

what awards did we are the world win in 1986

Question: how many grammy awards did we are the world win in 1986

четыре награды « Грэмми

how many grammy awards did we are the world win in 1986

Question: what was the significance of we are the world

первым мультиплатиновым

what was the significance of we are the world

In 1986 , We Are the World received four Grammy awards .

Композиция стала первым мультиплатиновым и самым быстро продаваемым синглом в истории популярной музыки США. В 1986 году «We Are the World» собрала четыре награды «Грэмми».

В 1986 году «We Are the World» собрала четыре награды «Грэмми».

The composition became the first multiplatinum and fastest-selling single in the history of popular music in the United States. In 1986, We Are the World received four Grammy awards.

In 1986, We Are the World received four Grammy awards.

At the same time, Francis Ford Coppola and George Lucas Jackson worked on the 3D film "Captain Joe": on the basis of a 17-minute short film, the first 4D attraction with the illusion of full immersion was created.

короткометражной

Question: what was the first 3d film made by francis ford coppola and

At the same time, Francis Ford Coppola and George Lucas Jackson worked on the 3D film "Captain Joe": on the basis of a 17-minute short film, the first 4D attraction with the illusion of full immersion was created.

what was the first 3d film made by francis ford coppola and

Question: what is the illusion of in bad movie

полного погружения

Question: what kind of movie is bad in

Question: what type of movie was captain joe

Question: how long was the first 4d movie bad

Question: who was the director of the movie bad

Джорджем Лукасом

At the same time , Francis Ford Coppola and George Lucas Jackson worked on the 3D film " Captain Joe " : on the basis of a 17 - minute short film , the first 4D attraction with the illusion of full immersion was created .

В то же время вместе Фрэнсисом Фордом Копполой и Джорджем Лукасом Джексон работал над 3D-фильмом «Капитан Ио»: на основе 17-минутной короткометражной ленты был создан первый 4D-аттракцион с иллюзией полного погружения.

В то же время вместе Фрэнсисом Фордом Копполой и Джорджем Лукасом Джексон работал над 3D-фильмом «Капитан Ио»: на основе 17-минутной короткометражной ленты был создан первый 4D-аттракцион с иллюзией полного погружения.

At the same time, Francis Ford Coppola and George Lucas Jackson worked on the 3D film "Captain Joe": on the basis of a 17-minute short film, the first 4D attraction with the illusion of full immersion was created.

At the same time, Francis Ford Coppola and George Lucas Jackson worked on the 3D film "Captain Joe": on the basis of a 17-minute short film, the first 4D attraction with the illusion of full immersion was created.

The story of Jackson continued his collaboration with producer Queensy Jones, but he wanted to expand his creative framework to have as much control over the prepared material as possible.

сотрудничество

Question: who wrote the song bad by jackson

Куинси Джонсом

The story of Jackson continued his collaboration with producer Queensy Jones, but he wanted to expand his creative framework to have as much control over the prepared material as possible.

Question: who wrote the music for the movie bad

Question: what does queensy jones mean in bad

Question: why did jackson want to expand his creative framework

as much control over the prepared material as possible

как можно больший контроль над готовящимся материалом

as much control over the prepared material as possible

why did jackson want to expand his creative framework

Question: who is the bad in the movie bad

"История создания Джексон

The story of Jackson continued his collaboration with producer Queensy Jones , but he wanted to expand his creative framework to have as much control over the prepared material as possible .

История создания Джексон продолжил сотрудничество с продюсером Куинси Джонсом, однако захотел расширить свои творческие рамки с целью иметь как можно больший контроль над готовящимся материалом.

История создания Джексон продолжил сотрудничество с продюсером Куинси Джонсом, однако захотел расширить свои творческие рамки с целью иметь как можно больший контроль над готовящимся материалом.

The story of Jackson continued his collaboration with producer Queensy Jones, but he wanted to expand his creative framework to have as much control over the prepared material as possible.

The story of Jackson continued his collaboration with producer Queensy Jones, but he wanted to expand his creative framework to have as much control over the prepared material as possible.

There was a struggle between the musician and producer in the process of choosing the tricks for the album: those that Jackson wrote himself and those that Jones brought to the studio.

As a result, the singer became the author of nine of the eleven songs selected in the final list of compositions: “Bad”, “The Way You Make Me Feel”, “Speed Demon”, “Liberian Girl”, “Another Part of Me”, “I Just Can’t Stop Loving You”, “Dirty Diana”, “Smooth Criminal” and “Leave Me Alone”.

окончательный

His best friend's a chimp, a favorite hobby is face sculpting, and he'll do anything to sell 100 million LPs. 'Bad'? Well, weird at least
Imagine the banner headline if the National Enquirer got hold of the story: Michael Jackson shares hotel suite with "Actor friend." The perennial bachelorhoold of Jackson – who at twenty-nine still lives with his mother – is one of the many mysteries that have provided the media with abonanza of gossip and speculation. But this time the story is true. Even Michael Jackson's manager, Frank Dileo, confirms it.
Michael Jackson: A Look Back at His Life and Career
When Michael kicks off his first solo tour in Tokyo this month, he will be sharing his two-bedroom suite with one of his closest friends, who is, indeed, an actor. Michael has even helped get an agent for this actor; you may have seen him in Rodney Dangerfield's Back to School. Michael's friend is a three-year-old named Bubbles.
Bubbles is a chimpanzee.
Bubbles is just one of the many real-life characters who populate the elaborate fantasy world that the superstar has constructed around himself. Playing and chatting with Bubbles or Louie the Llama or Crusher, his new 300-pound python, Michael can effortlessly become one of those Disney characters he so loves.
Bubbles goes everywhere with Michael They are a classic TV-style duo, like Timmy and Lassie or Wilbur and Mister Ed. Bubbles often eats at the dinner table with Michael; he was in the recording studio with Michael for much of the two years it took to make Bad, the follow-up to Thriller. Bubbles accompanied Michael to New York for Martin Scorsese's filming of the "Bad" video, which debuted August 31 st on the. CBS special Michael Jackson … the Magic Returns. Bubbles is a star of the new line of stuffed animals known as Michael's Pets, which will also be the basis for a children's cartoon series. Bubbles even has a crib in Michael's bedroom. And when Michael threw an elaborate dinner party at his Encino, California, mansion on a warm July night to begin the promotion of Bad, it was Bubbles, not the pop star, who worked the room, truly the life of the party.
Nearly five years had elapsed since the release of Thriller, which became the biggest album in history, spawning seven hit singles, winning eight Grammys and selling an unprecedented 38.5 million copies worldwide. Thus the unveiling of Bad was a major event, and treated as such. Less than a week after Bad had been mastered, Michael's label, Epic, footed the bill for a group of the most powerful record retailers in America to be flown in and put up at the Beverly Hills Hotel. The party of fifty – including executives of CBS, Epic Records' parent company – met at the hotel's tightly guarded Crystal Ballroom to hear the première playing of Bad. Yet since most of those gathered were businessmen, not pop connoisseurs, they were uncomfortable sitting around listening to a record. They were eager to get to the real show – Michael Jackson and his child's paradise.
The guests were chauffeured to Encino in a fleet of stretch limousines. They drove past the black iron gates that seal off the Wonderful World of Michael, down the long gravel driveway to the immense ludor-style house. With its fanciful clock tower and turrets lighted like Christmas trees, well-stocked candy shop and manicured lawns, the estate strongly resembled Disneyland at night. Only the sight of the uniformed security men staked out on the roof of the house broke the magic spell.
For the next hour or so, everyone milled about, drinks in hand, touring the house as if it were an amusement park. They marveled at the large collection of antique clocks and the giant statues depicting Louis XIV on horseback and David killing Goliath. Michael's machine-packed game room offered everything from Space Invaders to a mechanical bucking bronco; in the trophy room visitors could gawk at the astounding number of gold and platinum records.
Up the stairs, above the garage, was the gallery, containing memorabilia from nearly twenty years of show business: a life-size wax figure of Michael, glass cases containing his Sgt. Pepper-style jackets, his sequined socks, his famous gloves. Most impressive were the photographs, hundreds and hundreds of them covering the walls, dating back to Michael's earliest years as a child star. Michael and President Reagan. Michael and Jimmy Carter. Michael and Fred Astaire. Michael and Yul Brynner. Michael and Sammy Davis Jr. Michael and Liza. Michael and Liz. (There's one of Michael and Wayne Newton, too, but it hasn't been put up yet.)
And if sightseeing grew tiresome, there was always the ever-delightful Bubbles. Outfitted in suspenders and trousers, under the watchful eye of his trainer, Bob Dunn, the mischievous chimp was willing to play with anyone who showed interest. He posed for photos with some of the guests, performed back flips and did his own version of Michael's moon walk.
Just before dinner was served, Michael materialized with his sister La-Toya from the rear of the garden, striding toward the back-yard tables. Michael looked as if he had stepped right off the cover of Bad: black pants, black shirt, metal-studded belts. All that was missing was the black Bad jacket, festooned with zippers and buckles. (La-Toya, 31, was also in black, looking frighteningly like Michael, save for a white admiral's hat.)
The clothes are part of Michael's new street image. His manager and certain record-company honchos seemed to feel that the old sequined look was a tad fey, so now Michael's duded up like a stylized punk. But his pale, made-up face with its newly clefted chin looks anything but street; it barely seems of this world.
In videos Michael always casts himself as a kind of showbiz Superkid, able to change the world merely by breaking into song. He seems truly to believe this. It's the theme of the 3-D, seven-teen-minute movie Captain EO, in which he lived out the ultimate kid's fantasy – having the makers of Star Wars construct a sci-fi adventure around him. And with Captain EO's permanent installation at Disneyland and Disney World, Michael has become more than just a Disney character – he's now one of the rides.
But business is business, and this evening Michael and La Toya dutifully took their places at a table with a group of Michael's closest friends and advisers: Dileo; CBS Records Group president Walter Yetnikoff; CBS Records president Al Teller; and Michael's attorney, John Branca. After a gourmet barbecue featuring grilled salmon and veal chops served up by celeb chef Wolfgang Puck and topped off with Cristal champagne, it was time for Michael to meet his guests – sort of.
Michael deftly maintained his famous there-but-not-there stance. The only actual interaction between Michael and his guests came toward the end of the meal, when one of his security guards preceded him to each table and grouped the visitors together for a photograph, explaining that the star would be there in one minute. Then another guard brought Michael over, a few banalities were exchanged, the photo was snapped, and he was scooted off to the next table. That was it. "It was almost like a military exercise," says Record Bar executive Steve Bennett. Still, most retailers came away from the dinner ready to believe in the renewed magic of Michael.
His obligations met, Michael disappeared into the house. Perhaps he ducked into his thirty-two-seat screening room and sat beside the large, stuffed Mickey Mouse to watch a few cartoons: he has said he believes that "cartoons are unlimited. And when you're unlimited, it's the ultimate." Or maybe he stopped for a moment in the trophy room, reveling in the awards and staring fondly at the centerpiece, a large terrarium containing a diorama from Snow White and the Seven Dwarfs, which had been delivered to Michael personally by Disneyland characters.
Or maybe, just maybe, when Michael escaped the party, he headed up to the bathroom to stare at his ever-evolving features in the mirror, and ponder the note he's taped to it.
Michael Jackson is fond of writing himself messages. In his house and around its grounds are signs on posts and walls, sweet aphorisms about the importance of memories, of reaching for the stars and following your dreams, that sort of thing. But the note on the bathroom mirror merely reads, 100 Million.
The note helps explain why Michael Jackson, the painfully shy, childlike recluse, would do something as bizarre as throw open the doors of his Xanadu to a bunch of ogling, hard-line business types and pose bar mitzvah style with them, activities that even a much lesser star would find degrading. Michael aims to sell a whopping 100 million copies of Bad, and he knows that requires the industry chugging behind him.
There are two Michael Jacksons: his own manager describes him as "a cross between E.T. and Howard Hughes." His producer Quincy Jones says, "He's the oldest man I know, and he's the youngest kid I know." One Michael is a shrewd businessman who makes these vague personal appearances, who wrangles staggeringly lucrative deals out of licensers and sponsors ($15 million from Pepsi this time around), who bought the publishing rights to the Beatles' songs when Paul McCartney and Yoko Ono couldn't and who controls his media exposure like a hawk.
His control mania can reach absurd proportions. He retains ownership of nearly every photographic image of himself. He hasn't given an in-depth interview since 1983, and he demands that musicians who work with him sign a stringent nondisclosure form (his lawyer had to waive these agreements before interviews for this article could take place). And his authorized biography, Moonwalk, to be written with Stephen Davis and edited by Jacqueline Onassis, was supposed to come out a couple of years ago but still hasn't been submitted in full to Doubleday. One reason for the delay, according to Dileo, is that Michael balked at how much hè was being quoted in it.
The second Michael is the flighty-genius star-child, a celebrity virtually all his life, who dwells in a fairy-tale kingdom of fellow celebrities, animals, mannequins and cartoons, who provides endless fodder for the tabloids with his plots to buy the Elephant Man's remains, to oxygenate his body by sleeping in a hyperbaric chamber or to marry Elizabeth Taylor.
But it's the same child in Michael who inspires the artistry that fuels all the subsidiary industries, who turns his primal fears and fantasies into wondrous, hyperkinetic and emotional music. Whatever else can be said about him. Michael Jackson sings with a shimmery soulful voice and dances like a swirling comet; as an entertainer he has no peer.
Nonetheless, for Bad to equal the dizzying success of Thriller, Michael the artist is under more pressure from Michael the corporation than ever before. Paralyzed by the burden of attempting to top himself, dreading rejection by the public, he was finally forced to declare Bad finished only because so many externals depended on it that it had to be released. Already, he had seen failure with a Michael Jackson clothing line and Magic Best perfume, both of which came out last fall and, with no new music to spark interest, disappeared without, a trace. During the Grammys, in February, Pepsi ran a commercial teaser featuring Michael that promised, THIS SPRING … THE MAGIC RETURNS. But Bad and its new set of Pepsi ads were so long delayed that Pepsi was forced to run out and hire David Bowie and Tina Turner to fill the gap.
And last fall a two-page ad ran in Women's Wear Daify (see page 56) proclaiming, "Michael Jackson's name is now available for licensing…. Here are the kinds of products that megastar Michael Jackson's name could send through the roof." The ad listed head wear, bumper stickers, lunch buckets – you name it. It concludes with the audacious claim that the Pepsi spots, the line of clothing and the new album are "marketing tools working together to help sell your product."
Michael presold the song "Bad" to Pepsi for one commercial, and for the other he is providing a nonalbum cut called "The Price of Fame." It's a subject he should be familiar with. His priorities are now hopelessly jumbled: making music goes hand in glove with the need to be the Biggest Thing Ever. Raised on adulation and having already experienced a decline in popularity during the mid-Seventies, bamboozled by Motown and mishandled by his (former manager) father, Michael is now obsessed with maintaining his stature at whatever the cost. He's broken with the former mainstays of his life: he has declared he will never again tour with his brothers; and conflicts about the sex and violence in his art have led to his departure from the Jehovah's Witnesses. Everything has been dropped in favor of his solo career.
Can Bad possibly be as big as Thriller? In the years since the success of Thriller the public has found new heroes playing similar music – including Michael's own sister. Janet, whose album, Control, sold 4.5 million copies. If Bad sells "only" 10 million copies, that will be more than virtually any other record but could be viewed as a failure for Michael Jackson.
A few days after his house party Michael showed up unannounced at the offices of The Album Network, a small radio trade publication, to preview a few cuts of Bad for the editors. "It's such overkill, and it's undignified," says the manager of another major star. "Michael Jackson is past the point where he should be appearing be beg radio. That's what you do with your baby acts that you're trying to introduce."
"History's history," contends Frank Dileo. "I've got to work this harder. We've got to work this as if it was Miami Sound Machine. It's got to have the same intensity…. You lose when you take things for granted. We don't do that. We win. We're into winning."
But the reason for this big push is more complicated than that. To top Thriller, Michael must counteract the backlash that began in 1984 during the much-hyped Jacksons' Victory tour. The slick and impersonal show was such an artistic and financial mess that by the end of the tour it wasn't even selling out; Michael ended up giving his money to charity, but fans still felt cheated. And those who weren't turned off by the intense media circus may have been alienated by Michael's increasingly eccentric behavior.
Stevie Wonder, who has known Michael since his childhood at Motown and who duets with him on Bad's "Just Good Friends," thinks Michael's priorities are a little out of whack. "You can't think about what people will like; you go crazy doing that. If it's possible for him to sell 50 million records, let that happen. But if it doesn't, it's not the end of the world. It's just records."
Failure seems an especially painful prospect for Michael, for whom satisfaction apparently comes not from within but from outside things like sales and awards, which can be fickle. In 1983 he and Rolling Stone's Gerri Hirshey discussed the phenomenon of the four hit singles from Off the Wall, the album that preceded Thriller in 1979. "Nobody broke my record yet, thank God," said Michael. "Hall and Oates tried but they didn't."
After Off the Wall won only one Grammy (in an R&B category), Michael told another reporter, "It bothered me. I cried a lot. My family thought I was going crazy because I was weeping so much about it." The down side of the astronomical success of Thriller is that Michael is now no longer competing with anyone but himself: he has been catapulted forever into his own lonely stratosphere.
"I'm gonna sue!" cries michael Jackson's manager, a 220-pound, five-foot-two cigar-chomping cross between Colonel Tom Parker and P.T. Barnum. Frank Dileo is standing in his Encino office, an oversize cabana facing his swimming pool, just a short distance from his roomy ranch house, fuming about the previous night's Late Show, on the Fox network. The show featured a twenty-year-old Michael Jackson impersonator named Valentino Johnson, who had spent $40,000 to have his features cosmetically altered to look like the star. Dileo is infuriated that the subject of Michael Jackson and plastic surgery has again been raised in the media.
"I can't understand why people keep bringing that up," he says, settling into the sofa before his desk: a large, uncluttered coffee table. "So many terrible things have been written."
Unwrapping a cigar, he places it in his mouth, unlighted. Dileo hasn't shaved this morning; his longish brown hair is slicked back, tied in a ponytail. "Okay, so he had his nose fixed, and the cleft – big deal. I got news for you, my nose has broke five times. It's been fixed twice. Who gives a shit? Who cares? Elvis had his nose done. Marilyn Monroe had her nose done, had her breasts done … everybody's had it done."
Michael calls Dileo Uncle Tookie (now also the name of the stuffed frog in Michaels Pets). The Bad song "Smooth Criminal" opens with the sound of Michael's heartbeat and Dileo breathing heavily; on the Bad inner sleeve Michael put a photo of himself and Dileo in silhouette with a caption the reads, ANOTHER GREAT TEAM. "Elvis and the Colonel are in our minds a lot … the Beatles and Brian Epstein … Abbott and Costello," Dileo explains. Michael and his manager talk on the phone constantly (Dileo has said "eighty-two times a day"), spend most of their days together, live less than five minutes apart. Dileo plays understanding father to Michael's impetuous ten-year-old.
Dileo hesitantly claims some responsibility for Michael's"new look," noting that "I bring a street attitude to Michael" He proudly recounts teaching Michael about Al Capone, "me explaining to him about all those type of people. Whether Capone was a good guy or a bad guy is yet to be determined in my mind. But nobody had more style." Dileo becomes animated when he mentions that Martin Scorsese wants to cast him as a gangster in the upcoming film of Wiseguy.
At thirty-nine, Dileo is self-assured, loud, excitable and prone to hyperbole. "Frank is explosive," says a music-industry source who has worked with him. "If he's pissed, you'll know it He's not a real stickler for details, and he's not really a long-run planner. His forte is the immediate wallop."
To watch Dileo in action, laying on the charm, slipping and sliding his way around tough questions, blustering about his sole client, it's easy to understand why Michael has hired him as his liaison with the world. "Michael knows that if I tell him something, it's the truth," says Dileo. "I don't have to agree with things if I don't want to. In other words, 'cause I know this is eventually going to come up in this interview anyway, the hyperbaric chamber. I'm 100 percent against that I don't want it It's coming on the road with us on tour. I don't want it around. I've spoken about it publicly. Some managers couldn't have that conversation with their artist They'd be too afraid. He respects my opinion. He doesn't always listen…. " (According to one source, "cooler heads have since prevailed," and it now looks like the tank stays home.)
Dileo once declared his goal as being "to keep [Michael] as popular and in demand as anyone can be." But what about the price of fame, he has been asked. Might all this hoopla damage the singer's already fragile psyche?
"It's too late, anyway," Dileo responded. "He won't have a normal life even if I stop."
It took three men to carry Crusher, a 300-pound, twenty-foot python into Studio D of Westlake Audio in Los Angeles, where the recording of Bad took place. Most in the Jackson camp are accustomed to seeing Michael's pets in the studio; Bubbles once even rode around on the back of engineer Bruce Swedien's Great Dane. But when one afternoon synthesizer ace Greg Phillinganes wandered into the studio and came face to face with Crusher, he "freaked," says Quincy Jones. "Small heart attack. Greg Phillinganes could be an hors d'oeuvre for that snake." Michael just sat back, watching the scene, laughing to himself in that soft, high voice.
Three weeks prior to the release of Bad, Quincy Jones is recalling this scene from his bed in L.A.'s Cedars-Sinai Medical Center, where he is soon to undergo oral surgery. Tonight the fifty-four-year-old veteran producer of such luminaries as Frank Sinatra, Ray Charles and Count Basie is recalling the recording of Bad in his inimitable hipster voice while viewing a rough edit of the "Bad" video on a TV across the room. On the screen Michael is sizzling through a highly stylized dance number like a young incarnation of James Brown.
As soon as he heard "Bad," Jones thought of getting his friend Martin Scorsese to direct the video. But Michael was unfamiliar with Scorsese's work, having only seen New York, New York, and wanted George Lucas or Steven Spielberg. But the image-savvy Dileo pushed Scorsese, knowing that a glossy Spielberg-type fantasy would merely cement further Michael's problematic Peter Pan-sy image.
According to a close friend of Scorsese's, the filming of "Bad," which kept Michael out of the studio for six weeks last fall, was "a nightmare." Michael insisted the director "reshoot and reshoot." Scorsese describes his star as "a perfectionist" and says that because of Michael (who was also footing the bill), the video went "two or three times over budget," costing about $2 million. Still, the director found Michael "sympaatheric and sweet and open."
The "Bad" script, written by novelist Richard Price, was inspired by the true story of a Harlem youth named Edmund Perry who went to prep school at Phillips Exeter. The subject of the recent book Best Intentions, by Robert Sam Anson, Perry was shot to death two years ago by a New York plainclothes policeman who claimed Perry had tried to mug him. The video romanticizes things somewhat, allowing Michael's character to dance his way out of the situation, though the ending is ambiguous. "Bad" – a stunning minimovie that enhances the lyrically vague song with vivid images – could help Bad beat the follow-up jinx.
"You have to forget about what you did before," says Jones. "Figuring out how to sell 38 million albums? I don't know how to do that. That's in God's hands."
But during the recording sessions, Thriller loomed over everyone – especially Michael. He had written sixty-two songs, and during 1985 he recorded dozens of forty-eight-track demos at his home studio, including a cover of "Come Together," one of his favorite Beatles tunes. By the time he and Jones moved to Westlake on August 4th, 1986, pressure was mounting. "There was so much stress," says guitarist David Williams, "and so much tension" that "I was doing the exact same part at least five different times on each song. They were trying to match the other one, the Thriller album, at least."
In the studio Michael usually dressed casually but sometimes showed up wearing, as Jones put it, "this Captain Marvel stuff" or "a beautiful, chic suit." While recording his vocals, Michael demanded the lights be turned off and almost always danced; there's a permanent wooden stage with mirrors built into Studio D.
Meanwhile, back in the real world, the proposed cover portrait was causing a commotion. When Walter Yetnikoff saw it – a close-up of Michael's heavily made-up face with black floral lace superimposed – he went berserk, allegedly telling Dileo, "Look, this cover sucks." The feminine-looking shot was scrapped in favor of a promotional photo of Michael in his tough-guy duds taken during a fifteen-minute break in the "Bad" filming.
At a 1986 Christmas party at Jones's house, songwriter Glen Ballard approached Jones and asked, half jokingly, "Need anything for Michael?" "Yeah," the producer replied, also only half joking, "I need a hit!"
Jones now says he wanted "four more killer songs"; during the first week of February, he held a meeting of his staff writers at his house, and he alerted other publishers that he was looking for material. He ended up finding two songs, "Just Good Friends," by Tina Turner hitmakers Terry Britten and Graham Lyle, and "Man in the Mirror," by Ballard and Siedah Garrett.
It seems fitting somehow that "Man in the Mirror" – the album's one "message" song – was not written by Michael Garrett and Ballard's lyrics speak of the confusion Michael feels when he sees "kids in the street, with not enough to eat." He decides that "I'm starting with the man in the mirror, I'm asking him to change his ways…. If you wanna make the world a better place, take a look at yourself and then make a change."
For the most part, Michael's own lyrics – about groupies, fast cars, romance, sex and murder – don't seem based on personal experience; rather, they seem secondhand, as if he had learned about these things from movies, TV, other songs or his associates. He even had help from Quincy Jones writing the confessional spoken introduction to "I Just Can't Stop Loving You," in which he talks lovingly to his duet partner Siedah Garrett and says wispily, "A lot of people misunderstand me. That's because they don't know me at all."
The song had been conceived from the start as Bad's first single; originally Michael wanted to sing it with Barbra Streisand. But according to Dileo, Streisand "didn't like it"; Whitney Houston didn't work out, either. "I didn't lose any sleep over it," says Dileo. "I knew the song was a hit – with or without Barbra." In May, Michael met Garrett when she was adding background vocals to "Man in the Mirror." "I love your voice," he told her. "I think you are incredible. I love your song." And suddenly she found herself recording the duet.
Throughout the sessions, celebrity friends were encouraged to stop by to relieve the tedium: Spielberg, Sean Lennon, Emmanuel Lewis, Robert De Niro and Oprah Winfrey all popped in. As Michael has become the world's biggest celebrity, he's also become the biggest fan. Fame seems the one constant in his life: the Bad liner notes thank Cary Grant and Marlon Brando.
In mid-February 1987, Michael took yet another break to shoot an $8 million extended video for the song "Smooth Criminal," directed by Colin Chilvers, in which Michael plays an A1 Capone-era gangster. When that took two months, Michael's advisers realized they had a crisis on their hands. Bad had to be completed and in the stores before the already-scheduled tour of Japan in September. Frank Dileo called an emergency meeting at Universal Studios, where Michael was still working on the video. Dileo and John Branca announced that the album had to be finished by June 30th. "This train has got to leave," Dileo said, imploringly. The album was finally mastered July 10th.
"You need a dramatic deadline," admits Jones today. "I swear to you, it doesn't happen without that. We'd have been in the studio for another year." In the end, the hundreds of reek of digital tape used for Bad fill an entire room at Westlake. The record took more than two years to complete (Thriller was recorded in just three months) and cost more than $2 million. And now it was time for Michael to leave his magic kingdom and try to sell some product.
Michael Jackson won't drink Pepsi-Cola, but he sure wants you to.
In March 1986, Frank Dileo, John Branca and Pepsi president Roger Enrico completed Michael's second Pepsi deal for $15 million. Up front. In exchange Pepsi would get to sponsor Michael's world tour (which includes putting its logo on his tour book), and Michael would make two commercials, which could air for up to a year. There were three reasons Michael wanted the payment in full. Branca told Enrico one: Michael needed the income in 1986 for tax breaks that were available to him because of his purchase of the $47.5 million ATV Music publishing company (which owns nearly all the Beatles' songs). The second reason, which wasn't revealed, was that Branca and Dileo would instantly be able to renegotiate the deal to add as much as $10 million more for other participations. The third reason was completely irrational but perhaps the most important: the $15 million was about three times the previous record for such a deal (which was paid to the Jacksons by Pepsi in 1984), and getting the record-setting amount all at once would make Michael happy.
Perhaps because Michael was financially scorched during his years at Motown (the Jackson Five were only paid 2.7 percent royalties and weren't allowed to write their own material), Michael Jackson has set out with grim determination to become the ruler of an immense business empire. His publishing concerns alone are worth perhaps $100 million. Besides the Beatles songs, Michael holds copyrights to countless hits by acts ranging from Little Richard to A-ha. He's particularly fond of his Sly and the Family Stone copyrights, and he has his eye on the James Brown catalog. "A great song is like a great piece of art," says Branca. "Any art collector buys based on a love of art. Michael approaches it in that way."
Though sources close to Michael claim the singer makes the final decisions on all major business deals, he does rely heavily on Branca and Dileo, and rewards them well for their efforts. Clinching the ATV and Pepsi deals earned Branca and Dileo a $120,000 Rolls-Royce Silver Spur each. "Michael," says Branca, "inspires loyalty and teamwork."
The boyishly good-looking Branca is one of the top entertainment lawyers in the world. A partner in the powerful firm of Ziffren, Brittenham and Branca, he has executed many of Michael's most savvy maneuvers. Branca, 36, is extremely bright, egocentric and ambitious, all qualities that have endeared him to Michael.
Michael's power broker has no problem with the wedding of soda pop and pop star; Branca has negotiated sponsorship deals for Elton John, Don Johnson and Mick Jagger, among others. "You could look at a commercial like you look at radio," he says, sitting in his office on the thirty-second floor of the Fox building in Century City, California. "If it's a great commercial, when the song goes on the air on national TV in front of tens of millions of people, it's free advertising for the artist."
But doesn't Michael risk alienating his fans? "Spielberg and E.T. in some ways is a parallel phenomenon to Michael," says Branca. "Did anybody say that Spielberg did E.T. to make a lot of money? Or did anybody care that they licensed 797 E.T. products, from pencil erasers to clocks, and that therefore that was commercialization? No. E.T. was great and everybody wanted a little share in that magic. And it helped build the E.T. phenomenon even bigger."
The comparison is not so farfetched: Michael, in fact, likened himself to E.T. in one of his last interviews. "His story is the story of my life in many ways," Michael said. "He's in a strange place and wants to be accepted…. He's most comfortable with children…. He gives love and wants love in return, which is me. And he has that super power which lets him lift off and fly whenever he wants to get away from things on earth, and I can identify with that."
But now E.T. Jackson wants to come back to earth, and wants a huge reception. To facilitate that, he, Dileo, Branca and CBS are orchestrating a marketing and promotion blitz so grand that it is a phenomenon itself. The game plan seems almost identical to that of Thriller. the choice of first single, the hard-rock guitar solo on another, the street-gang video, the Pepsi ads, the special TV events and the expensive long-form videos (also planned are "The Way You Make Me Feel," to be directed by Pepsi-commercial director Joe Pytka, and "Speed Demon," a Claymation piece by Will Vinton). Dileo says he hopes to release "nine or ten singles" off the album – in other words, every cut. Only one thing is certain: by the end of 1988 everyone should be so sick of Michael Jackson they'll wish he takes ten years to make his next album.
Back at his cabana, the promotion man is at it again. "This will be, without a doubt – this is no hype, no B.S., no come-on, no lead-in, nothing of that sort – this will be Michael's last tour."
What?
Dileo is clearly enjoying himself. "His only solo tour ever. 'Cause after this he's going to do movies. And records. This is what he has told me."
Dileo is spending three hours of his Saturday morning giving this interview for one reason – Michael Jackson no longer talks to the press. There are several theories concerning this. One is that Michael's extreme shyness makes interviews unbearable for him. More likely, he realizes that the less said, the more people clamor for tidbits. It's said he wants his music to do the talking. That's certainly less taxing and more profitable for him.
Associates say dealing with Michael is akin to talking to a preteen boy. Promised something, he stubbornly holds out for it. He has difficulty grasping abstractions; he is easily distracted, even more easily bored. Jerry Kramer, who is directing a sixty-minute TV or home-video special tentatively titled Moonwalker, recalls, "We were trying to share a concept with him, and I could see that he was listening, but he was bored. And then one of us got up and acted it out for him, and you could just see him come to life. He's not a conceptual intellect."
As Michael said at the beginning of the "Thriller" video, he's "not like other guys." It seems obvious why Michael would take a sympathetic interest in the Elephant Man: he, too, has been made to feel cut off from the rest of humanity. His fascination with Elizabeth Taylor, Sean Lennon, Jane Fonda and Liza Minnelli indicates that he's most comfortable with those who, like himself, have grown up with fame. And his belief that the hyperbaric chamber will somehow extend his life and keep him young forever shows his inordinate, if understandable, fear that aging will somehow jeopardize his art.
But, like everything else in the Wonderful World of Michael, it's also part of his marketing approach. He's a packaged enigma. The calculated exploitation of Michael's eccentricities is a crafty move that has helped him remain in the news without any new product.
"It's real good P.R.," says David Williams. "I know Michael. He collects certain objects, weird things. He didn't have to let that out to the press. He's got tons of shit that nobody knows about at his house that probably may be a little weirder than that. It's a publicity stunt."
Quincy Jones is more pragmatic about Michael's quirks. "Most people, if they had enjoyed the success Michael has had, they could not handle it," says Jones. "And I'd rather have a kid who's talking about the Elephant Man's bones than with a pound of cocaine. Any day. Send me the bones. Oxygen tank, too. I wish he were my little brother."
Michael admitted in a 1979 20/20 interview that "being around everyday people and stuff I feel strange…. It's some-thing I work on." But those who have worked with him recently say that his problem dealing with "everyday people" has got worse. Even Dileo admits that Michael spends most of his time holed up at his estate. "Everything he does is at his house. He is a victim of being inside those four walls. That's the sad part."
This year and next, Michael will actually see a little of the world as he performs before millions of fans. But once the touring ends – perhaps by 1988 – his isolation will become complete, as he enters the hermetic environments of recording studios and movie sets.
"Michael is a human being," says Williams. "He's a person. If you said, 'Shut up,' around him, he'd probably break into tears. They think he's shy and he's evasive and all this. No. He's just fucking scared and tired of people bugging him. He's a little sweetheart, and people would eat him up if he let them."
So figure we've already been as close to Michael Jackson as we'll ever get. Maybe it's close enough. Maybe we don't want to know any more. For beneath the makeup and beyond the iron gate, past the P.R. machinations and the freak show, is a scared, shy, unworldly litle boy who just happens to be one of the most talented singers and dancers the world has known. And just maybe, if we actually hung out with him, it would be a drag. Or a bore. Or worse, we'd lose interest, cease to care.
And those possibilities are just too scary for Michael Jackson even to consider.
This story is from the September 24th, 1987 issue of Rolling Stone.
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Question: how many of jackson's bad songs are written by him

There was a struggle between the musician and producer in the process of choosing the tricks for the album: those that Jackson wrote himself and those that Jones brought to the studio.

As a result, the singer became the author of nine of the eleven songs selected in the final list of compositions: “Bad”, “The Way You Make Me Feel”, “Speed Demon”, “Liberian Girl”, “Another Part of Me”, “I Just Can’t Stop Loving You”, “Dirty Diana”, “Smooth Criminal” and “Leave Me Alone”.

how many of jackson's bad songs are written by him

Question: how many songs on bad by jackson jones

Question: what are the songs on bad by jackson

Question: who wrote the song i just ca n 't stop loving you

who wrote the song i just ca n 't stop loving you

Question: who wrote the songs on bad by jackson

музыкантом и продюсером

There was a struggle between the musician and producer in the process of choosing the tricks for the album : those that Jackson wrote himself and those that Jones brought to the studio .

As a result , the singer became the author of nine of the eleven songs selected in the final list of compositions : “ Bad ” , “ The Way You Make Me Feel ” , “ Speed Demon ” , “ Liberian Girl ” , “ Another Part of Me ” , “ I Just Ca n’t Stop Loving You ” , “ Dirty Diana ” , “ Smooth Criminal ” and “ Leave Me Alone ” .

Между музыкантом и продюсером завязалась борьба в процессе выбора треков для альбома: теми, что Джексон написал сам и теми, что принёс в студию Джонс. В результате, певец стал автором девяти из одиннадцати песен, отобранных в окончательный список композиций: «Bad», «The Way You Make Me Feel», «Speed Demon», «Liberian Girl», «Another Part of Me», «I Just Can't Stop Loving You», «Dirty Diana», «Smooth Criminal» и «Leave Me Alone».

Между музыкантом и продюсером завязалась борьба в процессе выбора треков для альбома: теми, что Джексон написал сам и теми, что принёс в студию Джонс.

В результате, певец стал автором девяти из одиннадцати песен, отобранных в окончательный список композиций: «Bad», «The Way You Make Me Feel», «Speed Demon», «Liberian Girl», «Another Part of Me», «I Just Can't Stop Loving You», «Dirty Diana», «Smooth Criminal» и «Leave Me Alone».

There was a struggle between the musician and producer in the process of choosing the tricks for the album: those that Jackson wrote himself and those that Jones brought to the studio. As a result, the singer became the author of nine of the eleven songs selected in the final list of compositions: “Bad”, “The Way You Make Me Feel”, “Speed Demon”, “Liberian Girl”, “Another Part of Me”, “I Just Can’t Stop Loving You”, “Dirty Diana”, “Smooth Criminal” and “Leave Me Alone”.

There was a struggle between the musician and producer in the process of choosing the tricks for the album: those that Jackson wrote himself and those that Jones brought to the studio.

As a result, the singer became the author of nine of the eleven songs selected in the final list of compositions: “Bad”, “The Way You Make Me Feel”, “Speed Demon”, “Liberian Girl”, “Another Part of Me”, “I Just Can’t Stop Loving You”, “Dirty Diana”, “Smooth Criminal” and “Leave Me Alone”.

Assistant audio director Rass Ragsdale recalled: “Michael’s idea is to start recording a new album with creating new, fresh sounds that no one has heard before.”

звукорежиссёра

представлениям

On Thanksgiving night, the world will get a glimpse of Michael Jackson they have never seen before when Spike Lee's Michael Jackson: Bad 25 makes its television premier (ABC, 9:30pm EST). What follows is an exclusive excerpt from Man in the Music: The Creative Life and Work of Michael Jackson, which was used as a resource for Bad 25 and comprehensively explores the artist's entire solo career -- from 1979's Off the Wall to 2001's Invincible. The excerpt below comes from the third chapter, dedicated to Jackson's highly-anticipated follow-up to Thriller, the Bad album.
MJ in the studio circa 1987. Picture courtesy of ©Matt Forger. Used by permission.
Michael Jackson began work on what would become the Bad album in 1985. Three years had lapsed since the release of Thriller, and fans were waiting anxiously for the sequel. Following the most successful record in the history of the music industry, however, was not an enviable task.
Jackson added to the pressure, writing a note on his bathroom mirror that said simply: "100 million." That was his aim for Bad -- more than double the sales (at the time) of Thriller. With this ambitious goal in mind, he went to work.
In the early stages, he would simply go into his home studio at Hayvenhurst with musicians and engineers such as Matt Forger, John Barnes, or Bill Bottrell and work on ideas. Jackson called it "the laboratory." Here, he recorded dozens of 48-track demos in a variety of styles. It was a space that allowed him more freedom and spontaneity to pursue creative ideas.
Eventually a bit of a rift developed between what became known as the B-Team working with Jackson at his home studio and Quincy Jones's A-Team at Westlake Studios. "Michael was growing and wanted to experiment free of the restrictions of the Westlake scene," explained producer Bill Bottrell. "That's why he got me and John Barnes to work at his home studio for a year and a half, on and off. We would program, twiddle, and build the tracks for much of that album, send the results on two-inch down to Westlake and they would, at their discretion, rerecord, and add things like strings and brass. This is how MJ started to express his creative independence, like a teenager leaving the nest."
Many of the songs the B-Team worked on were practically finished before they reached Westlake. "He was able to take some finished demos into the 'real' studio with Quincy and that was his way of getting more say [in how they were produced]," recalls Bill Bottrell.
In late 1986, recording finally began in earnest at brand new Studio D at Westlake, where Jackson continued to work with many of the same key players from Off the Wall and Thriller, including recording engineer Bruce Swedien and keyboardist Greg Phillinganes.
Quincy Jones, meanwhile, continued to act as producer, though he and Jackson didn't always work together as smoothly as they had in the past. It was clear to everyone around Jackson that he was evolving and gaining more and more creative confidence and control as an artist (he would write nine of the eleven songs included on Bad, plus numerous others that didn't make it onto the record). This led to some collisions on production and song choices, as well as on the album's overall aesthetic vision.
"[Quincy and I] disagreed on some things," Jackson recalled. "There was a lot of tension because we felt we were competing with ourselves. It's very hard to create something when you feel like you're in competition with yourself."
In spite of the pressure and high expectations, most who worked on the album remember the atmosphere in the studio as one of "love" and "camaraderie" -- a creative climate attributed to both Jones and Jackson. Bruce Swedien recalls a tradition Jackson started called "Family Night," in which all the family members and friends of the studio crew were invited on Fridays to dinner in the studio prepared by Jackson's cooks, Catherine Ballard and Laura Raynor (affectionately nicknamed the "slam-dunk sisters"). Assistant engineer Russ Ragsdale remembers Jackson doodling all the time in the studio; he also remembers him enjoying getting out for a break. "On a few occasions," recalls Ragsdale, "Michael would want to get out of the studio for a bit. At the time I had a big full-sized Ford pickup truck with tinted windows. Michael loved riding in that truck and got real excited because he was able to sit so much higher off the ground than his Mercedes. We tried our best to just treat Michael like a regular guy. We didn't go out of our way too much."
As with Thriller, hundreds of songs were considered for Bad. From these, Jackson and Jones whittled down the list. "Fifty percent of the battle is trying to figure out which songs to record," Jones remarked. "It's total instinct. You have to go with the songs that touch you, that get the goosebumps going."
According to Rolling Stone, "Jackson had 62 songs written and wanted to release 33 of them as a triple album, until [Quincy] Jones talked him down." This trimming down led to some excellent tracks being left on the cutting room floor, including "Streetwalker" (which Jackson preferred, but was talked out of by Jones in favor of "Another Part of Me"), "Fly Away" (a beautiful, melodic mid-tempo ballad), and "Cheater" (a funky, gritty rhythm track), among others.
Once the songs were chosen for recording, the objective was creating sounds the "ear hadn't heard." Jackson didn't want to duplicate Thriller, or other music on the radio, for that matter. He wanted to innovate sonically. "Michael's vision [is] to start making a record by creating totally new fresh sounds that have never been heard before," explained Russ Ragsdale. "For Bad this was achieved with synth stacks filling up the entire large tracking room taking up every available space, as well as the largest Synclavier in the world at the time operated by Chris Currell. ... It took over 800 multitrack tapes to create Bad; each song was a few hundred tracks of audio." For the rhythm tracks in particular, Jackson wanted fresh drum sounds that would really hit. Swedien recorded them on 16-track tape as he did on Thriller, but then transferred them to digital, retaining that "fat, analog rhythm, sound" Jackson loved. Jones called it "big legs and tight skirts."
In the end, Jackson and Jones were in the studio for more than a year. "A lot of people are so used to just seeing the outcome of work," Jackson reflected. "They never see the side of the work you go through to produce the outcome." As deadlines came and passed, however, frustration mounted. Quincy Jones reportedly walked away from the project for a time when he discovered Jackson had snuck into the studio and altered some tracks. Epic executives kept pushing to wrap up the record, but Jackson couldn't bring himself to release the album until it was "ready." "A perfectionist has to take his time," he explained. "He shapes and molds and sculpts that thing until it's perfect. He can't let it go before he's satisfied; he can't."
Excerpted from MAN IN THE MUSIC: The Creative Life and Work of Michael Jackson by Joseph Vogel, by Sterling Publishing Co., Copyright © 2011 by Joseph Vogel. All rights reserved.

Question: who is the guy that plays drums on bad

Расс Рагсдейл вспоминал

Assistant audio director Rass Ragsdale recalled: “Michael’s idea is to start recording a new album with creating new, fresh sounds that no one has heard before.”

Question: what was rass ragsdale's job

"Ассистент звукорежиссёра

Question: who wrote the song bad by michael ragsdale

who wrote the song bad by michael ragsdale

Question: who was the guy that made bad

"Ассистент звукорежиссёра Расс Рагсдейл вспоминал

Question: what was michael ragsdale's idea for bad

начинать запись новой пластинки

what was michael ragsdale's idea for bad

Question: what kind of sound does bad have

раньше никто не слышал

Assistant audio director Rass Ragsdale recalled : “ Michael ’s idea is to start recording a new album with creating new , fresh sounds that no one has heard before . ”

Ассистент звукорежиссёра Расс Рагсдейл вспоминал: «По представлениям Майкла начинать запись новой пластинки нужно с создания новых, свежих звуков, которые раньше никто не слышал».

Ассистент звукорежиссёра Расс Рагсдейл вспоминал: «По представлениям Майкла начинать запись новой пластинки нужно с создания новых, свежих звуков, которые раньше никто не слышал».

Assistant audio director Rass Ragsdale recalled: “Michael’s idea is to start recording a new album with creating new, fresh sounds that no one has heard before.”

Assistant audio director Rass Ragsdale recalled: “Michael’s idea is to start recording a new album with creating new, fresh sounds that no one has heard before.”

Jackson himself recorded the entire back vocal for the album.

In the studio to the singer joined the guitarist Billy Idola, Steve Stevens, the chore, and the participants of the group Toto and .

присоединились

August 30, 1987|By Lynn Van Matre, Pop music critic.
Michael Jackson, decked out in black leather pants and a black jacket covered with an array of zippers and decorative buckles that hold together nothing in particular, peers from the cover of his long-awaited new album,
``Bad.``
He looks as tough as he can-which isn`t all that tough, given that he`s also sporting makeup base, muted pink lip gloss and eyeliner on his androgynously elfin-featured face (not to mention manicured fingernails).
So, okay, Michael doesn`t really manage to look too menacing. But give the poor guy a break. You can`t blame him for wanting to cop an attitude, for feeling the need to slip into battle gear, haute couture though it may be. There`s no doubt but that he`s facing a formidible challenge.
The ironic thing is that he`s in the uncomfortable position of going into battle against himself.
It`s been nearly five years since the release of Jackson`s ``Thriller,``
the album that spawned seven Top 10 hits, earned the singer a record-breaking eight Grammy Awards and went on to become the best-selling album in history
(38.5 million copies sold so far).
Now, in a one-two Jackson pop punch, the long-awaited followup on Epic Records, ``Bad,`` hits the stores on Monday, the same day that the singer`s CBS television special, ``Michael Jackson . . . The Magic Returns,`` features the ``world premiere`` of the title video. The 16-minute video, directed by Hollywood heavy hitter Martin Scorsese (``Taxi Driver``), features the 29-year-old Jackson as a young man who returns to his old ghetto neighborhood and stands up to his old pals, who have slipped into a life of crime and want him to do likewise. You can bet that there will be plenty of dancing before the dust settles. (The half-hour special airs at 7 p.m. on Channel 2.)
The big question is, can Jackson do it again? Should we brace ourselves for Michaelmania, Part II? Or have folks tired of the singer and his widely publicized eccentricities-the naps in the special, supposedly life-extending hyperbaric oxygen chamber, the bizarre attempts to buy the remains of the Elephant Man, his ``shrine`` to Elizabeth Taylor and the seemingly endless string of facial plastic surgery procedures that have erased virtually all traces of his racial heritage?
It remains to be seen whether Jackson`s latest album will outsell
``Thriller`` and make musical history, or fall short of his previous record-setting effort and be branded a ``failure`` in the way Bruce Springsteen`s last release, which sold ``only`` 4 million copies, was written off as a relative commercial disappointment compared to his previous sales figures. (No, it`s not fair, but that`s the way it works.)
But one thing is certain: Musically, ``Bad`` is a winner.
Loaded with infectiously percussive, synthizer-driven pop dance tunes, the album-also available in audio cassette and CD format, with the CD including one extra dance song, ``Leave Me Alone``-also features some harder- rocking sounds, a marvelous gospel-ish number with backing by gospel groups the Winans and the Andrae Crouch Choir, and, in a departure for Jackson, a cocktail-lounge-cool style number.
Produced in slick, sophisticated style by Jackson and Quincy Jones (who also produced ``Thriller`` and Jackson`s 1979 solo album, ``Off the Wall``),
``Bad`` is largely a vocal tour de force for the singer, who also wrote all but two of the songs. (The exceptions are ``Just Good Friends,`` which was written by Terry Britten and Graham Lyle, and the gospel-flavored ``Man in the Mirror,`` by Siedah Garrett and Glenn Ballard.) Stevie Wonder duets with Jackson on ``Just Good Friends``; Garrett duets with him on the ballad ``I Just Can`t Stop Loving You`` (released earlier as a single and currently in the Top 10) and joins the Winans and the Crouch Choir on ``Man in the Mirror.``
Otherwise, all of the lead and background vocals on the album belong to Jackson; backing musicians include Billy Idol`s guitarist, Steve Stevens, and Toto members Steve Porcaro and David Paich.
The album kicks off in high gear with the title cut, an uptempo dance number, followed by two more energetic, fast-paced songs: ``The Way You Make Me Feel,`` a love song boasting an exuberant horn section, and ``Speed Demon,`` a highway saga that opens with the sound of roaring engines and features Jackson singing about ``speedin` on the freeway.`` (Lyrical profundity isn`t the point here-or with any of Jackson`s other songs, for that matter.)
``Liberian Girl`` offers a musical change of pace, with its cool, lightly jazzy feel; it`s reminiscent of something Sade might do. Then, it`s back to uptempo dance music again with ``Just Good Friends,`` with Jackson and Stevie Wonder trading off on vocals and Wonder tossing in a synthesizer solo, and
``Another Part of Me,`` is a percolating, uptempo cut.
One of the most memorable songs on the album is ``Man in the Mirror``;

Question: who played guitar on bad by jackson

Jackson himself recorded the entire back vocal for the album.

In the studio to the singer joined the guitarist Billy Idola, Steve Stevens, the chore, and the participants of the group Toto and .

Question: who sang the back vocal on bad by jackson

who sang the back vocal on bad by jackson

Question: what is billy idola's job on bad

Question: who did the chore for bad by jackson

Стив Стивенс

Question: who did the back vocal on bad by jackson

who did the back vocal on bad by jackson

Question: what part of the song is bad by jackson

Jackson himself recorded the entire back vocal for the album .

In the studio to the singer joined the guitarist Billy Idola , Steve Stevens , the chore , and the participants of the group Toto and .

Джексон сам записал весь бэк-вокал для альбома. В студии к певцу присоединились гитарист Билли Айдола, Стив Стивенс, хор , и участники группы Toto и .

Джексон сам записал весь бэк-вокал для альбома.

В студии к певцу присоединились гитарист Билли Айдола, Стив Стивенс, хор , и участники группы Toto и .

Jackson himself recorded the entire back vocal for the album. In the studio to the singer joined the guitarist Billy Idola, Steve Stevens, the chore, and the participants of the group Toto and .

Jackson himself recorded the entire back vocal for the album.

In the studio to the singer joined the guitarist Billy Idola, Steve Stevens, the chore, and the participants of the group Toto and .

This was the goal of the musician, but in the recording process, the team, along with the new digital technology, continued to use the old.

For example, creating a new sound of the shock, Svidene first reduced the rhythm on a 16-track film and only then translated it into a digital format: thus, it was a mechanical but “fat” sound, characteristic of the analog technique – the singer really loved such sound.

пользоваться

механический

On Saturday night, Bad 25, Spike Lee’s brilliantly detailed, two-hour documentary on the making of Michael Jackson’s Bad celebrates the album’s 25th anniversary. But Bad is not the only Jackson record with an anniversary to celebrate.
On this date, 30 years ago, Jackson released Thriller, and with it, changed the landscape of contemporary pop music. Before Thriller, established rock guitarists did not collaborate with soul, R’n’B and disco singers. Before Thriller, black artists were very rarely featured on MTV.
The album came three years after Jackson’s first non-Motown solo record, Off the Wall – itself a smash hit which had sold more than eight million copies. Released when Jackson was 20, Off the Wall had been seen as a departure from his brothers and his childhood stardom. Many were sceptical that he could survive without Motown but Off the Wall had proved them wrong and it was assumed that Jackson had reached his peak. Jackson, on the other hand, knew that he was only just getting started. Off the Wall had been a decent disco record, but Thriller was set to span genres and break both boundaries and records.
Michael Jackson in the video for Billie Jean (Photo: Rex)
Jackson and his producer Quincy Jones approached the project with enormous ambition. They wanted to make an album that would appeal to fans of all genres and prove so important that the press that would normally give a black man little coverage would be forced to pay attention to him. To give the record true rock credibility, Jackson and Jones drafted in Eddie Van Halen to play a solo on Beat It.
To add to the sheer scope of the record, Paul McCartney sang a duet with Jackson on The Girl is Mine, horror film actor Vincent Price provided the creepy vocals at the start and end of the song Thriller; and sound effects of footsteps, opening doors and howling wind were added. It played across the genres: Billie Jean and Wanna Be Startin’ Something are funk tracks, Human Nature and Lady of My Life are ballads, Beat It is a rock song, PYT and Baby Be Mine fall into the realm of R’n’B and disco. Never had a pop record incorporated so much and done it so well. It went on to win a record-breaking eight Grammy Awards and became the best-selling album of all time but Thriller’s legacy did not end there.
In the early Eighties, MTV showed only rock videos with black artists barely getting a look in. It’s debateable whether their refusal to play Jackson’s previous hits was based on his race or his genre, but with Thriller, Jackson made songs – and videos – that MTV simply could not ignore. His use of Eddie Van Halen on Beat It made it undoubtedly a rock song and its gangland, West Side Story-influenced video set a new standard – costing an unheard-of $150,000 to make.
The 14-minute horror film pastiche that was the accompaniment to the song Thriller, directed by American Werewolf in London’s John Landis, was something else entirely. Its budget was $500,000 and the production was on the scale of a major movie. The television premiere was a well-hyped event, and it was shown on Channel 4 late at night due to its scary contents. Fans stayed up late to watch, fingers poised over the VCR record button.
His performance of Billie Jean at the Motown 25 celebration went down in history simply for being brilliant
It was five years before Jackson completed another album, again with Quincy Jones at his side. They left his disco roots behind and produced an album of pop, rock, funk and R’n’B. The result was more adult, with darker themes and even more polished.
More event videos followed; this time Martin Scorsese made the video for Bad (which starred Welsey Snipes), Moonwalker - which included the video for Smooth Criminal - became a project even more ambitious than Thriller, and Liberian Girl starred possibly the largest number of celebrities ever featured in a music video.
Compared to the enormous success of Thriller, Bad did not sell as well and only won two Grammies. But with time it has found its place in history. Both Bad and Thriller can easily be named as Jackson’s finest album, depending on who you ask. That said, it could be argued that Bad is the stronger album simply because it doesn’t contain the utterly dire Paul McCartney duet, The Girl is Mine.
The legacy of both albums, along with Jackson's individual dancing style, voice, and inclusive approach to different genres is well-documented. Love them or hate them, even brand new artists such as Justin Bieber cite him as an influence. With the countless bizarre stories now associated with the artist, it's all too easy to forget just how innovative, talented and groundbreaking the work of Michael Jackson was, and still is today.
Bad 25 is on BBC Two, Saturday 1 December, at 9.45pm

Question: who first reduced the rhythm on a 16-track film

This was the goal of the musician, but in the recording process, the team, along with the new digital technology, continued to use the old.

For example, creating a new sound of the shock, Svidene first reduced the rhythm on a 16-track film and only then translated it into a digital format: thus, it was a mechanical but “fat” sound, characteristic of the analog technique – the singer really loved such sound.

who first reduced the rhythm on a 16-track film

Question: what was the sound of the shock in bad

жирный » звук

Question: what type of recording technique did svidene use

what type of recording technique did svidene use

Question: the sound of the shock was characteristic of what technique

аналоговой техники

the sound of the shock was characteristic of what technique

Question: what sound did svidene create a new sound of

what sound did svidene create a new sound of

Question: what type of sound was the sound of the shock

what type of sound was the sound of the shock

Question: what type of sound did svidene create

механический

Question: what type of film did svidene first reduce the rhythm of the shock

16-трековой плёнке

what type of film did svidene first reduce the rhythm of the shock

This was the goal of the musician , but in the recording process , the team , along with the new digital technology , continued to use the old .

For example , creating a new sound of the shock , Svidene first reduced the rhythm on a 16 - track film and only then translated it into a digital format : thus , it was a mechanical but “ fat ” sound , characteristic of the analog technique – the singer really loved such sound .

Это и было целью музыканта, однако в процессе записи команда, наряду с новой цифровой техникой, продолжала пользоваться и старой. Например, создавая новое звучание ударных, Свиден сначала сводил ритм на 16-трековой плёнке и только затем переводил его в цифровой формат: таким образом, получался механический, но «жирный» звук, характерный для аналоговой техники — певец очень любил такое звучание.

Это и было целью музыканта, однако в процессе записи команда, наряду с новой цифровой техникой, продолжала пользоваться и старой.

Например, создавая новое звучание ударных, Свиден сначала сводил ритм на 16-трековой плёнке и только затем переводил его в цифровой формат: таким образом, получался механический, но «жирный» звук, характерный для аналоговой техники — певец очень любил такое звучание.

This was the goal of the musician, but in the recording process, the team, along with the new digital technology, continued to use the old. For example, creating a new sound of the shock, Svidene first reduced the rhythm on a 16-track film and only then translated it into a digital format: thus, it was a mechanical but “fat” sound, characteristic of the analog technique – the singer really loved such sound.

This was the goal of the musician, but in the recording process, the team, along with the new digital technology, continued to use the old.

For example, creating a new sound of the shock, Svidene first reduced the rhythm on a 16-track film and only then translated it into a digital format: thus, it was a mechanical but “fat” sound, characteristic of the analog technique – the singer really loved such sound.

The team of Jackson and Jones finally left the disc behind, the result of the work was a record in pop music, rock, fan and rhythm-n-blues genres.

Initially the new album was to be called Smooth Criminal, however, at Quincy Jones' request, the title track became the song "Bad".

окончательно

"Первоначально

Question: what was the original name of bad by quincy jones

The team of Jackson and Jones finally left the disc behind, the result of the work was a record in pop music, rock, fan and rhythm-n-blues genres.

Initially the new album was to be called Smooth Criminal, however, at Quincy Jones' request, the title track became the song "Bad".

what was the original name of bad by quincy jones

Question: who wrote the song bad by quincy jones

Джексона и Джонса

Question: what genre of music is bad by quincy jones

what genre of music is bad by quincy jones

Question: what was the title of quincy jones' smooth criminal album

what was the title of quincy jones' smooth criminal album

Question: what genres were the songs on smooth criminal

, результатом работы стала пластинка в жанрах поп - музыки , рока , фанка и ритм - н - блюза

pop music , rock , fan and rhythm - n - blues

what genres were the songs on smooth criminal

The team of Jackson and Jones finally left the disc behind , the result of the work was a record in pop music , rock , fan and rhythm - n - blues genres .

Initially the new album was to be called Smooth Criminal , however , at Quincy Jones ' request , the title track became the song " Bad " .

Команда Джексона и Джонса окончательно оставила диско позади, результатом работы стала пластинка в жанрах поп-музыки, рока, фанка и ритм-н-блюза. Первоначально новый альбом должен был называться Smooth Criminal, однако, по просьбе Куинси Джонса, титульным треком стала песня «Bad».

Команда Джексона и Джонса окончательно оставила диско позади, результатом работы стала пластинка в жанрах поп-музыки, рока, фанка и ритм-н-блюза.

Первоначально новый альбом должен был называться Smooth Criminal, однако, по просьбе Куинси Джонса, титульным треком стала песня «Bad».

The team of Jackson and Jones finally left the disc behind, the result of the work was a record in pop music, rock, fan and rhythm-n-blues genres. Initially the new album was to be called Smooth Criminal, however, at Quincy Jones' request, the title track became the song "Bad".

The team of Jackson and Jones finally left the disc behind, the result of the work was a record in pop music, rock, fan and rhythm-n-blues genres.

Initially the new album was to be called Smooth Criminal, however, at Quincy Jones' request, the title track became the song "Bad".

“Bad”

“Bad”, held in the genre of fan with elements of hip-hop, Jackson wrote in the mid-1980s.

Question: what is the title of a song written by jackson in the 1980s

“Bad”

“Bad”, held in the genre of fan with elements of hip-hop, Jackson wrote in the mid-1980s.

what is the title of a song written by jackson in the 1980s

Question: what genre of music is bad based on

“Bad”

Question: what genre of music is bad in

“Bad”

Question: when did jackson write the song bad

“Bad”

Question: what is the title of the song that jackson wrote in the 1980s

“Bad”

what is the title of the song that jackson wrote in the 1980s

“ Bad ” , held in the genre of fan with elements of hip - hop , Jackson wrote in the mid-1980s .

«Bad». «Bad», выдержанную в жанре фанка с элементами хип-хопа, Джексон написал в середине 80-х гг.

«Bad», выдержанную в жанре фанка с элементами хип-хопа, Джексон написал в середине 80-х гг.

“Bad” “Bad”, held in the genre of fan with elements of hip-hop, Jackson wrote in the mid-1980s.

“Bad”, held in the genre of fan with elements of hip-hop, Jackson wrote in the mid-1980s.

After reading the story of the murder of a black teen by a white police officer in Harlem.

In 1987, the singer in an interview with Ebony and Jet explained what the meaning he uses the word “bad” in the song and the title of the new album: “Don’t take it too seriously, I use this word to say, “You’re good, you’re strong, it’s okay.”

воспринимайте

|Ebony/Jet interview 1987|
|Interview year: 1987|
|
EBONY/JET: It's been almost four years since you've recorded a come out with the new album. How do you feel now that the album is out?
|
MICHAEL JACKSON: Um... I feel rejuvenated, kinda, because after working on it so long... It's so much work. A lot of people... they're used to just seeing the outcome of work. They never see the sight of the work you go through to produce that outcome. And I feel, you know, rejuvenated and happy. It's a jubilation, it names what it is. It's like a celebration, it's like: "We're done!"
E/J: How long did it take to come up with... I guess you almost wrote eight songs or seven songs on it. How long did it take to come up with that creative process?
MJ: I don't remember. I totally don't... I don't even count the hours or anything. Every song is different.
E/J: It is.
MJ: Sometimes it happens quickly, sometimes it happens slowly. No one can quite say what the creative process is, because I have nothing to do with it almost 'cause it's created in space. It's God's work, not mine.
E/J: You know, talking 'bout that... God gives us a lot of gifts, a lot of times and you've been really blessed with a tremendous amount of gifts. And yet is seems is though a lot is being required of you. Do you sometimes regret being so awfully famous?
MJ: No... Some time. Only some time. Sometimes I wanna sneak into places and not have any [...?], you know and it doesn't work all the time, because people starting a crowd around... which is sweet, I mean, I shouldn't complain, but...
E/J: No, but you have a right to complain because everybody has a right to go out there and to just be alone. But it seems like that right is not really given to you.
MJ: That's part of the work, I would say.
E/J: Mhm. How do you feel about the song "Bad"? We talked earlier and I told you that, I like the song "Bad" because it's really all about you. You are the baddest when it comes to the record industry.
MJ: Um... Well... It is quite different from anything I've ever recorded, from I've ever written. That's a bold statement to say. But I mean [... ...?] so don't take it too seriously. Yeah. I'm sayin'... It's like you were sayin' you're cool, you're alright, you're tough. I'm not sayin' I'm like criminally bad. Of course that's how people will take it. It's a bold statement to make.
E/J: How about the video? The video is... Another thing on this album is that a lot of songs make social statements. And the video also does that too, with "Bad". I know that you probably didn't experience anything like that but my name is Daryl, I grew up in Harlem in a south Bronx and I went away to school and I also had to deal with few pressures. How did you come out about the whole idea of doing something like that?
MJ: Oh, it wasn't really my idea. It's actually part of a true story where this kid tried to...
E/J: That's my story!
MJ: Yes, your story. But the truth of what really happened... this kid... [? MJ is talking something to Frank]
[PAUSE]
E/J: Now I know that you didn't write the video. But you're telling me... The story is almost like the story of my life. But you told me that it's based on another person.
MJ: Yes, it is. This kid who went to school upstate, in the country, whatever, who is from the ghetto and he tried to make something of his life and he would leave all his friends behind and when he came back on spring break or whatever, Thanksgiving break, his friends became so envious, jealous of him and they killed him. But in the film I don't die of course. So it's a true story that was... We had taken it from "Time" or "Newsweek" magazine. And... he's a black kid, like me. And... it's a sad story. But we...
E/J: How...
MJ: Pardon?
E/J: How does that make you feel when you see those sad stories?
MJ: Oh, something like that is very sad, because it's all negative, it's wrong. I think that's life, to wanna grow and become more and like you plant a seed and it grows into something beautiful and it never dies really. I think people should be that way.
E/J: You know what, my favourite song on the album is "Man in the mirror".
MJ: Oh, yeah, I like that a lot.
E/J: That's my favourite song. [....?] I'm feelin' that no matter what you do in the world, it really has to start with you.
MJ: It's my philosophy, too. "If you wanna make the world a better place, take a look at yourself and then make a change".
E/J: Is it hard to do?
MJ: Well, people don't look at themselves honestly. They don't look at themselves and point the finger 'cause it's always the other guys' fault or [somebody up?] You should change yourself. Look at yourself. Make better of yourself.
E/J: When you look in the mirror, are you happy with what you see?
MJ: In what way?
E/J: Just when you look there in terms of that social philosophy.
MJ: Um... I'm never totally satisfied. I always wish the world could be a better place. No. No, no. Hopefully...You know, that's what I do with my music - bring happiness to people. And to bring joy. Bring some peace in their lives.
E/J: Are you a prayerful person?
MJ: Pardon?
E/J: I said: are you a prayerful-typed person?
MJ: Oh, yeah, yeah. I pray a lot, yeah. I see a beautiful sunset, I say: 'God, it's beautiful, thank You'. Or a baby's smile or butterfly's wings or anything like that, you know.
E/J: You know, on the album version of "I just can't stop loving you" you make some very strong sensuous remarks to a woman that you're layin' next to.
MJ: I was in a bed when I was doing that also.
E/J: Really?
MJ: Yeah. I was laying in cover and everything when I did that whole rap. In the dark.
E/J: And the lyrics go: "because people really don't understand me".
MJ: No, I say: "a lot of people misunderstand me, it's 'cause they don't know me". I guess that's true. People believe a lot of crazy stories they read, some is true, some is not, and...
E/J: Does it hurt when you see those crazy stories?
MJ: Some time. But it's part of the work, you know.
E/J: You ever wanna lash out in any type of way and say: "Hey, that's not true"?
MJ: Yeah, a lot of times. But why bring more attention to a thing?
E/J: Aha. Is there another favourite song of mine. Is... not as much as "Man in the mirror" but... "Liberian girl". Is there a Liberian girl in your life?
MJ: No, I wrote that at my house, in a game, I guess I was playing some pinball or something and the song just popped in my head. And... I ran upstairs, put it on tape and... it became "Liberian girl". Same thing with (Michael sings) "We are the world, we are the children". I didn't really... I mean I don't know why those words came, they just came as that: "we are the ones to make a brighter day, so let's start giving". I didn't think about it, it just... you know... it just comes.
E/J: One thing that I find is like what you said it took so long to come up with all the different songs on the album and every song is different. You have calypso influences, you have reaggae influences, you have 'new cool sound' with one, you have heavy metal with "Dirty Diana"...
MJ: I love "Dirty Diana".
E/J: That's your favourite song?
MJ: One of my favourites.
E/J: Why?
MJ: Because it's a life story of a groupie. Hate to say the word 'groupie' but that's what it is. And it's something that I've experienced and a lot of people who grow up on the road. Like me. I don't remember not performing.
E/J: Do you feel that you've missed out on something by not remembering not performing?
MJ: Of course. But I've gained a lot, too. Lot of people never get out of their home town, get to see other wonderful places. Lot of kids read about things and I get to see in person - all over the world - different places. So that's... I'm so happy about that. I mean... You never can have everything.
E/J: How does it feel when you go in to do a concert somewhere and literally there are tens of thousands of people that are rushing over to you just to get a glimpse?
MJ: That's a wonderful feeling. Especially when you see them smiling. I love the fans. I think it's very sweet. I feel thankful, it's how I feel. I really do. I don't take any of it for granted.
E/J: What would you say - what interests you most about life?
MJ: What interests me most about life... is learning. Finding out new things, exploring different worlds. I'm so interested in human anatomy now, the brain and in so many different things like that, the bones and everything.
E/J: I know that... And you know, this is [... ...?] but you're very much interested in the bones of the Elephant Man, John Merrick.
MJ: Yes.
E/J: Is that because of your anatomical interest?
MJ: Yes, I've been to the London school for doctors twice and I visited John Merrick's remains who I feel a closeness to. I love story of the Elephant Man, very sad story.
E/J: Would you some day like to do maybe a remake of the movie or of the play?
MJ: Nnn... Maybe. Maybe, but I feel it's been done so well already with David Lynch. And I think it was John Hurt who played John Merrick. And I don't think I can contribute any better than what they've done.
E/J: The part that I like best is when after he gains confidence and then he's back on his way after having gone to the [... ... .... ?] stole them out of the hospital and then he's inside the subway station and then finally he has to yell...
MJ: Oh, yeah. Yeah. "Leave me alone"...
E/J: "Leave me alone, I'm not an animal..."
MJ: "...I'm a human being".
E/J: "...I'm a human being". Do we as human beings treat people as animals too many times?
MJ: I think so. [... ...?] I mean, that's what war is all about.
E/J: Sure.
MJ: [... ... ...?]
E/J: Are you scared of war?
MJ: I think anybody likes war in truth. I don't like war. I like peace. I'm a peaceful person.
E/J: Do you ever think about ever being an ambassador or anything like that? The fact's that you're accepted around this whole world. Did you ever think of being some type of an ambassador?
MJ: I feel I'm that really with my music, what I've done with music, 'cause it breaks all barriers. I don't have to make a political statement. I do all of that with music. It breaks all language barriers and everything, to all races of people. It goes all over the world. And it's funny to see kids from India or whatever country you name, you know, who know about the music.
E/J: Last question, sure. This will be about the tour. Why did you choose to start your worldwide tour in Japan? And not really give your fans here in America a chance to see you until the end of the year?
MJ: Well, as you remember, the Victory Tour was all American. And the rest of the world didn't get anything, so it's good to be fair, you know. And ask me, I think it's more fair because the show will be much better when we get here. The worst thing to me personally to see is an opening show because you know it's not as tidy as it can be. It was something that my manager have done and people who work for me. Wherever they book it - if I like it, I'll go. I like Japan, I've been there before.
E/J: Any apprehension about touring by yourself for the first time?
MJ: I've done some much solo work. Even when I was little, thirteen - solo albums, solo appearances on TV shows. And it's just another road. But of course you always think... feel things... I don't see Marlon next to me, I don't feel Jermaine, I don't... you know...
E/J: Sure.
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Question: when did the song bad come out

After reading the story of the murder of a black teen by a white police officer in Harlem.

In 1987, the singer in an interview with Ebony and Jet explained what the meaning he uses the word “bad” in the song and the title of the new album: “Don’t take it too seriously, I use this word to say, “You’re good, you’re strong, it’s okay.”

Question: where did the song bad come from

Question: who wrote the song bad by ebony and jet

Question: who killed a black teenager in harlem in 1987

белым полицейским

who killed a black teenager in harlem in 1987

Question: who killed the kid in bad by jet

белым полицейским в Гарлеме

Question: what word does jet use in his song bad

Question: who is the killer in bad by jet

After reading the story of the murder of a black teen by a white police officer in Harlem .

In 1987 , the singer in an interview with Ebony and Jet explained what the meaning he uses the word “ bad ” in the song and the title of the new album : “ Do n’t take it too seriously , I use this word to say , “ You ’re good , you ’re strong , it ’s okay . ”

после того, как прочёл историю об убийстве чернокожего подростка белым полицейским в Гарлеме. В 1987 году певец в интервью Ebony и Jet объяснил, в каком значении он употребляет слово «bad» в песне и названии новой пластинки: «Не воспринимайте его слишком серьёзно, я использую это слово, чтобы сказать: „Ты крут, ты силён, всё в порядке“.

после того, как прочёл историю об убийстве чернокожего подростка белым полицейским в Гарлеме.

В 1987 году певец в интервью Ebony и Jet объяснил, в каком значении он употребляет слово «bad» в песне и названии новой пластинки: «Не воспринимайте его слишком серьёзно, я использую это слово, чтобы сказать: „Ты крут, ты силён, всё в порядке“.

After reading the story of the murder of a black teen by a white police officer in Harlem. In 1987, the singer in an interview with Ebony and Jet explained what the meaning he uses the word “bad” in the song and the title of the new album: “Don’t take it too seriously, I use this word to say, “You’re good, you’re strong, it’s okay.”

After reading the story of the murder of a black teen by a white police officer in Harlem.

In 1987, the singer in an interview with Ebony and Jet explained what the meaning he uses the word “bad” in the song and the title of the new album: “Don’t take it too seriously, I use this word to say, “You’re good, you’re strong, it’s okay.”

I don’t mean “bad” in a criminal sense, though, of course, people will perceive it.”

Initially the song was thought as a duet of Jackson and Prince: the jointly recorded composition could become an illustration of the competition that was then played between the musicians.

"Первоначально

задумывалась

иллюстрацией

соперничеству

разыгравшемуся

Erika Ramirez
Billboard
Released exactly 25 years ago today (Aug. 31), "Bad" -- the multi-platinum tour de force that was Michael Jackson's 7th studio album -- cemented the King of Pop and the most formidable musical artist of his, or possibly any other generation. The legend lived up to the task of following his monstrously successful "Thriller" album with a record-breaking 11-song set that showcased all sides of his musical personae and, at times, replaces his polished, pitch-perfect performances with a rougher, racier sheen.
"Bad" marked the third (and last) project that Michael produced with the equally legendary Quincy Jones. The duo laced the album with a mixture of R&B;, pop and rock tunes that ranged from dance floor hits to tender ballads to introspective calls for social change.
Search: Michael Jackson's estate battle
"Bad" was the first album to produce five consecutive No. 1 singles on the Billboard Hot 100 chart, and was the sixth album to debut at No. 1 in the history of the Billboard 200, spending 38 weeks in the chart's top 10. On its 25th anniversary, we take a listen to the classic album that truly defined Michael Jackson as the King of Pop.
1. "Bad" Although "I Just Can't Stop Loving You" was the first single off "Bad," the album's title single set the sweeping, daring mood for Michael's album. "Bad" peaked at No. 1 on the Billboard Hot 100 on Oct. 24, 1987. "Bad" -- which was inspired by a magazine story of a student's death -- became Michael's second "Bad" Hot 100 No. 1 and his seventh No. 1 in total. "Bad" was reportedly intended to be a duet between both Michael and Prince, but then union unfortunately didn't come to fruition.
Tell us on Facebook: What was your favorite song off of "Bad"?
2. "The Way You Make Me Feel" The third "Bad" single remains one of Michael's most beloved and best-known songs. "The Way You Make Me Feel" showcased Michael as the relentless pursuer of love, not backing down till he gets his hands on his leading lady (in the case of the Joe Pytka-directed music video, Tatiana Thumbtzen). And if you look closely, you'll see Jackson's sister La Toya strutting her stuff as one of Tatiana's friends in the video. "The Way You Make Me Feel" -- which samples Roy Ayers' "Hot" in the full version of the song's video -- peaked at No. 1 on the Hot 100 on Jan. 23, 1988. It was the longest running single off "Bad," staying on the charts for 18 weeks.
3. "Speed Demon" After Michael got pulled over for a traffic ticket, he went into the studio and scribed "Speed Demon." Its full of playful, light lyricism, but "Speed Demon" is better known for its accompanying video than for its chart success. In the clip, which appears in "Moonwalker" (1988), Jackson morphs into different clay characters, some celebrities (Sylvester Stallone, Tina Turner, Pee-Wee Herman) while involved in a car chase.
4. "Liberian Girl" Michael's star power was undeniable, even to his close circle of celebrity friends. The music video for "Liberian Girl," directed by Jim Yukich, featured 35 of Michael's superstar pals, including Whoopi Goldberg, Corey Feldman, Paula Abdul, Quincy Jones, John Travolta, Weird Al Yankovic, and many more.
Also: Michael Jackson's family in Gary, Ind., to mark pop star's birthday
5. "Just Good Friends" feat. Stevie Wonder For one of the two duets on the album, Jackson called upon another legend, Stevie Wonder, to give him a helping hand. What's even more endearing than the friend-to-friend advice Stevie gives Michael throughout "Just Good Friends" is the real-life friendship and mutual admiration that shines through in the song. "Now Stevie Wonder, he's a musical prophet. He's another guy I have to credit," Michael said of Stevie in an interview with Ebony Magazine in 2007. "I wanted to experience it all. So Stevie Wonder used to literally let me sit like a fly on the wall. I got to see 'Songs in the Key of Life' get made, some of the most golden things."
6. "Another Part of Me" With classics such as "We Are the World" and "Man in the Mirror," Michael became known for being a caring humanitarian. "Another Part of Me" also showcases that side of Michael, with the song's lyrics focusing on world unity. The song peaked at No. 11 on the Hot 100 chart. The Patrick Kelly-directed video covers Michael performing the song live during his 'Bad World Tour' in Parc deed Princes on July 14, 1988.
7. "Man in the Mirror" "Man in the Mirror" remains one of Michael Jackson's most powerful songs. The emotional track that calls for both personal and global change matched its songwriters' (Glen Ballard and Siedah Garrett) lyricism of self-truth with the powerful background vocals of Garrett, the Winans and the Andrae Crouch Choir, who all joined Michael on the soaring track. "Mirror," "Bad's" fourth consecutive No. 1 single, stayed at the top of the Hot 100 chart after its peak on March 26, 1988.
Also: Spike Lee's Jackson documentary to run on TV
8. "I Just Can't Stop Loving You" feat. Siedah Garrett "I just want to lay next to you for awhile. You look so beautiful tonight ... A lot of people misunderstand me. That's because they don't know me at all," Michael whispers at the beginning the Hot 100 No. 1 ballad. The song was originally intended to be a duet with Barbra Streisand or Whitney Houston, though both divas had to pass due to other obligations. Quincy Jones' protégé Siedah Garrett stepped in to provide vocals at the last minute, and the song kicked off the five consecutive "Bad" Hot 100 No. 1s. The song peaked at No. 1 on September 19, 1987 and stayed on the charts for 14 weeks.
9. "Dirty Diana" MJ penned a rock n' pop classic with his fifth "Bad" single. "Dirty Diana," co-produced by Michael himself and featuring guitar licks by Billy Idol axeman Steve Stevens, showcased Jackson with the rough edge he originally revealed on "Thriller"s chart-topping single "Beat It." After nine weeks on the Hot 100 chart, "Dirty Diana" peaked at No. 1 on July 2, 1988. The single was the fifth and final single from "Bad" to hit No. 1.
More: Photo: In Memoriam: Michael Jackson
10. "Smooth Criminal" The next "Bad" track is an uptempo story of a home invasion which is illuminated by slick production elements courtesy of Quincy Jones. The music video -- taken from the '88 film "Moonwalker," is one of Michael's most iconic, as it features his signature anti-gravity lean (which was executed using a specially-designed pair of shoes that Jackson had patented). "Smooth Criminal" went on to peak at No. 7 on the Hot 100 chart.
BONUS TRACK: "Leave Me Alone" "Bad" closes on an aggressive note. On bonus track "Leave Me Alone," Michael turns the tables on the media and tabloids and addresses them on their false allegations and rumors. The music video, directed by Jim Blashfield and Paul Diener, brings Michael's frustration to life as he rides through an amusement park full of lewd headlines and images only to finally break free of it all.

Question: who duetted on the song bad

Джексона и Принса

I don’t mean “bad” in a criminal sense, though, of course, people will perceive it.”

Initially the song was thought as a duet of Jackson and Prince: the jointly recorded composition could become an illustration of the competition that was then played between the musicians.

Question: what does the song bad mean in criminal sense

what does the song bad mean in criminal sense

Question: who duetted with jackson on bad

Question: what is the meaning of bad in spanish

Question: who duetted with prince on bad

Question: what does the song bad mean in english

„ плохой “ в преступном

Question: what was the original meaning of bad by jackson

what was the original meaning of bad by jackson

Question: where does the term bad come from

I do n’t mean “ bad ” in a criminal sense , though , of course , people will perceive it . ”

Initially the song was thought as a duet of Jackson and Prince : the jointly recorded composition could become an illustration of the competition that was then played between the musicians .

Я не имею в виду „плохой“ в преступном смысле, хотя, конечно, люди так это и воспримут». Первоначально песня задумывалась как дуэт Джексона и Принса: записанная совместно композиция могла стать иллюстрацией к соперничеству, разыгравшемуся тогда между музыкантами.

Я не имею в виду „плохой“ в преступном смысле, хотя, конечно, люди так это и воспримут».

Первоначально песня задумывалась как дуэт Джексона и Принса: записанная совместно композиция могла стать иллюстрацией к соперничеству, разыгравшемуся тогда между музыкантами.

I don’t mean “bad” in a criminal sense, though, of course, people will perceive it.” Initially the song was thought as a duet of Jackson and Prince: the jointly recorded composition could become an illustration of the competition that was then played between the musicians.

I don’t mean “bad” in a criminal sense, though, of course, people will perceive it.”

Initially the song was thought as a duet of Jackson and Prince: the jointly recorded composition could become an illustration of the competition that was then played between the musicians.

Swing rhythmic drawing, and blues harmony are one of the main features of the song "The Way You Make Me Feel".

The singer wrote a composition with such a rhythm at the request of his mother.

особенностей

Question: the way you make me feel what type of music is bad

блюзовые гармонии

Swing rhythmic drawing, and blues harmony are one of the main features of the song "The Way You Make Me Feel".

The singer wrote a composition with such a rhythm at the request of his mother.

the way you make me feel what type of music is bad

Question: who wrote the song the way you make me feel

who wrote the song the way you make me feel

Question: what type of harmony is the way you make me feel

what type of harmony is the way you make me feel

Question: the song the way you make me feel is an example of what type of music

the song the way you make me feel is an example of what type of music

Question: who wrote the way you make me feel

Question: what type of music is the song the way you make me feel

"Свинговый ритмический рисунок , , и блюзовые

what type of music is the song the way you make me feel

Question: what is the name of the song bad

Swing rhythmic drawing , and blues harmony are one of the main features of the song " The Way You Make Me Feel " .

The singer wrote a composition with such a rhythm at the request of his mother .

Свинговый ритмический рисунок, , и блюзовые гармонии являются одними из главных особенностей песни «The Way You Make Me Feel». Певец написал композицию с таким ритмом по просьбе его матери.

Свинговый ритмический рисунок, , и блюзовые гармонии являются одними из главных особенностей песни «The Way You Make Me Feel».

Певец написал композицию с таким ритмом по просьбе его матери.

Swing rhythmic drawing, and blues harmony are one of the main features of the song "The Way You Make Me Feel". The singer wrote a composition with such a rhythm at the request of his mother.

Swing rhythmic drawing, and blues harmony are one of the main features of the song "The Way You Make Me Feel".

The singer wrote a composition with such a rhythm at the request of his mother.

The song is one of the most energetic compositions on the album, characterized by rapid development.

The Speed Demon.

The critics defined the genre of composition as a high-tech rock fan, which appeared to the reviewers of an avant-garde in the context of the music of the late 1980s.

отличающихся

высокотехнологичным

Question: what is the name of the song on bad

The song is one of the most energetic compositions on the album, characterized by rapid development.

The Speed Demon.

The critics defined the genre of composition as a high-tech rock fan, which appeared to the reviewers of an avant-garde in the context of the music of the late 1980s.

Question: what genre of music is the speed demon

высокотехнологичным рок - звучанием ( « high - tech rock

The Speed Demon.

Question: what type of music is bad by bad

- tech rock » ) , она показалась рецензентам авангардной

The Speed Demon.

Question: what is the difference between bad and the other

быстрым развитием

The Speed Demon.

what is the difference between bad and the other

Question: what type of rock fan is bad

высокотехнологичным рок - звучанием ( « high - tech

The Speed Demon.

The song is one of the most energetic compositions on the album , characterized by rapid development .

The critics defined the genre of composition as a high - tech rock fan , which appeared to the reviewers of an avant - garde in the context of the music of the late 1980s .

Песня является одной из самых энергичных композиций на альбоме, отличающихся быстрым развитием. «Speed Demon». Критики определили жанр композиции как фанк с высокотехнологичным рок-звучанием («high-tech rock»), она показалась рецензентам авангардной в контексте музыки конца 80-х.

Песня является одной из самых энергичных композиций на альбоме, отличающихся быстрым развитием.

Критики определили жанр композиции как фанк с высокотехнологичным рок-звучанием («high-tech rock»), она показалась рецензентам авангардной в контексте музыки конца 80-х.

The song is one of the most energetic compositions on the album, characterized by rapid development. The Speed Demon. The critics defined the genre of composition as a high-tech rock fan, which appeared to the reviewers of an avant-garde in the context of the music of the late 1980s.

The song is one of the most energetic compositions on the album, characterized by rapid development.

The critics defined the genre of composition as a high-tech rock fan, which appeared to the reviewers of an avant-garde in the context of the music of the late 1980s.

In the text, the singer tells about a car drive.

The shock and synthesizers imitate the sound of the motorcycle transmission switch, Jackson demonstrates a low and hard vocal in the couplets and a false in the bridge.

The Liberian Girl.

автомобильной

переключения

демонстрирует

September 1, 1987|By THOM DUFFY, The Orlando Sentinel
With the cockiness of a street kid ready to seize control of his old turf, Michael Jackson has returned. He has declared his stance in a single word, emblazoned like a bold, red graffiti stroke on the cover of his new album, Bad.
It is the word on the street for smart and tough. And Jackson`s new LP, which arrived in record stores Monday, deserves each of those descriptions. As the album opens with the strutting, throbbing rhythm of its title song, the singer asserts:
My friend you have seen nothin`;
just wait `til I get through.
But, of course, we have seen so much from Jackson already. Bad faces expectations higher than those for any pop album in recent memory. It is both boosted and burdened by the astounding achievement of its predecessor, Thriller.
Thriller, the most successful LP in history, has sold more than 38.5 million copies worldwide, including 20 million in the United States, since its release in December 1982. It included a record-setting seven Top 10 pop singles and brought Jackson eight Grammy awards, another record.
(In South Florida, sales of the new album are cool in some locations, hot in others. Peaches and Spec`s Music stores in Palm Beach County reported nothing out of the ordinary Monday -- no lines, no crowds. In Broward, the Peaches record store on Sunrise Boulevard in Fort Lauderdale said the first-day reaction was comparable to the frenzied buying spree that took place last year when the live Bruce Springsteen album was released.)
``Excellent. Every other sale is either the (Bad) cassette, CD or album -- or two or three at time,`` said a Peaches sales clerk Monday.
Around the nation sales were reported brisk in some locations. Tower Records in New York City sold 50 copies in about the first 20 minutes, with many customers buying the LP, compact disc and cassette at the same time.)
-- Pop music always has been fueled by fantasies, and no star seems more ready to embrace that fact than Michael Jackson. His publicized penchant for making friends with his mannequins and pet snake leaves him open to ridicule. But those eccentricities also reflect the heightened imagination that shapes his songs.
Bad is packed with fantasies beginning with the showdown of the title song, which recalls the theme of Beat It. Speed Demon picks up the racing scenario that has been a rock staple from the Beach Boys to Bruce Springsteen. A dream of exotic romance runs through the jazzy Liberian Girl. And Smooth Criminal is a horrific narrative about a nighttime intruder, clearly the work of the horror-film aficionado who wrote Thriller.
Dirty Diana, a tale of a maliciously seductive fan, finds Jackson doing some credible heavy-metal rock wailing, accompanied by a solo from Steve Stevens, the guitarist from Billy Idol`s band. But the song comes across as a calculated attempt to gain Jackson rock radio airplay using the same strategy as he did with Beat It.
However, the superstar duet between Jackson and Stevie Wonder on Just Good Friends is far more rewarding than the lame pairing of Jackson and Paul McCartney on Thriller`s first single, The Girl Is Mine.
Jackson`s choice of Wonder is all the more appropriate because of Bad`s stylistic roots. Another Part of Me and The Way You Make Me Feel, with its irresistible, loping synthesizer beat, owe much to the keyboard funk that Wonder first mastered in the mid-`70s.
But the album`s best song draws on even older musical roots. The Man in the Mirror is a wonderful contemporary gospel number on which Jackson sings with the Winans, the Andrae Crouch Choir and Siedah Garrett, who co-authored the song. Here, the fantasies found elsewhere on Bad give way to realism and a call for self-reflection and social action. Although Jackson did not write the song, he sings it as his most important statement on Bad and highlights its lyrics in the album`s liner notes.
-- If Bad is judged solely against the sales figures of Thriller, it seems certain to come in second. For Thriller`s runaway popularity resulted from circumstances of pop music history as well as from Jackson`s considerable talent.
When Thriller arrived, Top 40-style radio had reappeared for the first time since the 1960s in a format called contemporary hits. And those stations jumped on Thriller`s mix of musical styles, from the dance beat of Wanna Be Startin` Something to Eddie Van Halen`s guitar solo in Beat It.
More importantly, music videos still were a relatively new cog in the star- making machinery when Thriller began its ascent. With the videos for Billie Jean, Beat It, and the groundbreaking 14-minute film for the title track, Thriller tapped the video`s promotional potential as no album before.
Jackson has followed similar strategies on Bad, but the power of surprise is no longer on his side.

Question: what sound does the song bad imitate

переключения передач мотоцикла

In the text, the singer tells about a car drive.

The shock and synthesizers imitate the sound of the motorcycle transmission switch, Jackson demonstrates a low and hard vocal in the couplets and a false in the bridge.

The Liberian Girl.

Question: what is the song bad about in the text

автомобильной

The Liberian Girl.

Question: what sound does bad by jackson imitate

переключения передач мотоцикла

The Liberian Girl.

Question: what sounds like a motorcycle transmission switch in bad

The Liberian Girl.

what sounds like a motorcycle transmission switch in bad

Question: what kind of transmission is bad by jackson

The Liberian Girl.

what kind of transmission is bad by jackson

In the text , the singer tells about a car drive .

The shock and synthesizers imitate the sound of the motorcycle transmission switch , Jackson demonstrates a low and hard vocal in the couplets and a false in the bridge .

В тексте певец повествует об автомобильной погоне. Ударные и синтезаторы имитируют звуки переключения передач мотоцикла, Джексон демонстрирует низкий и жёсткий вокал в куплетах и фальцет в бридже. «Liberian Girl».

В тексте певец повествует об автомобильной погоне.

Ударные и синтезаторы имитируют звуки переключения передач мотоцикла, Джексон демонстрирует низкий и жёсткий вокал в куплетах и фальцет в бридже.

In the text, the singer tells about a car drive. The shock and synthesizers imitate the sound of the motorcycle transmission switch, Jackson demonstrates a low and hard vocal in the couplets and a false in the bridge. The Liberian Girl.

In the text, the singer tells about a car drive.

The shock and synthesizers imitate the sound of the motorcycle transmission switch, Jackson demonstrates a low and hard vocal in the couplets and a false in the bridge.

These authors were among those whom Jones asked to write several compositions for Bad.

The singer was impressed by the demo version of Garrett and decided to record the track.

Siedah Garrett, who wrote the lyrics for Michael Jackson's No. 1 hit "Man In The Mirror" and is a featured vocalist on the song, still remembers the day she penned the reflective record 25 years ago for the King Of Pop's Bad album that is being reissued as a special edition this week.
Garrett, who went on to record as a solo artist and write smashes for the likes of Tevin Campbell and Jennifer Hudson, said she immediately knew she had something great. "I called Quincy [Jones] and said, 'Dude, Glen [Ballard] and I have written a great song.' He said, 'Great, great. So turn it into the publishing office, and I'll hear it on Monday.' I said, 'Nope. No. Quincy. Let me just drop off the cassette [now]'," Garrett said during an interview with Yahoo! Music.
Within a week, Jackson, who preferred to write his own material, was in the studio recording the track that he would later use to close out his concert tours. When he died in 2009, his estate played the song at the conclusion of his memorial.
When Jones assigned a group of songwriters the task to write one last song for Bad, Garrett knew she needed to come up with something powerful. "I couldn't write a 'oh baby baby [song].' It couldn't be a run-of-the-mill idea," she said. "He had such a huge platform. He had the eyes and the ears and attention of the entire planet, so I wanted to offer him something to say to the world, not knowing if he would get it, not knowing if it would get past Quincy."
Jackson told Garrett that "Man In The Mirror" and John Lennon's "Imagine" were his favorite songs. His chemistry with Garrett was so strong that he invited her to duet with him on another Bad single, "I Just Can't Stop Lovin' You." Garrett pays homage to Jackson on her new song, "Keep On Loving You."
Garrett last saw Jackson a month before he died, during auditions for his London tour, This Is It, where she ironically sang, "Man In The Mirror."
Garrett said she misses the way he valued his colleagues. "Here's the essence of his genius," she said. "Whenever he found someone whose artistry he respected, he studied that person and would take the good of what they do and internalize and tweak, twist and flip it, and make it his own. So whenever you were in his presence, and he respected you as a talent, he made you feel as if he had as much to learn from you as you did from him. Oh my God. That was the biggest lessen that I learned from him."
Camera and editing: Robert Gardner
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Question: what is the name of the bad song

These authors were among those whom Jones asked to write several compositions for Bad.

The singer was impressed by the demo version of Garrett and decided to record the track.

Question: what is the name of the song by garrett jones

what is the name of the song by garrett jones

Question: who wrote the song bad by jones

Question: who wrote the song bad by jason jones

был впечатлён демоверсией Гарретт и решил записать

Question: who is the original singer of bad

был впечатлён демоверсией Гарретт и решил записать

These authors were among those whom Jones asked to write several compositions for Bad .

The singer was impressed by the demo version of Garrett and decided to record the track .

Эти авторы оказались в числе тех, кого Джонс попросил написать несколько композиций для Bad. Певец был впечатлён демоверсией Гарретт и решил записать трек.

Эти авторы оказались в числе тех, кого Джонс попросил написать несколько композиций для Bad.

Певец был впечатлён демоверсией Гарретт и решил записать трек.

These authors were among those whom Jones asked to write several compositions for Bad. The singer was impressed by the demo version of Garrett and decided to record the track.

These authors were among those whom Jones asked to write several compositions for Bad.

The singer was impressed by the demo version of Garrett and decided to record the track.

The text calls on the listeners, first of all, to look on themselves side by side and change to the better: thus you can change to the better and the whole world around.

To record the back vocal, the musician invited the chore to the studio, he asked the chors to create a gospel sound similar to church songs.

“I just can’t stop loving you.”

Question: what type of song is the song bad from

The text calls on the listeners, first of all, to look on themselves side by side and change to the better: thus you can change to the better and the whole world around.

To record the back vocal, the musician invited the chore to the studio, he asked the chors to create a gospel sound similar to church songs.

“I just can’t stop loving you.”

Question: what is the meaning of bad in english

“I just can’t stop loving you.”

Question: what is the gospel sound of bad

церковные песнопения

“I just can’t stop loving you.”

Question: what is the name of the song in bad

бэк - вокала

“I just can’t stop loving you.”

Question: i just can't stop loving you by bad

госпел - звучание

“I just can’t stop loving you.”

Question: what is the gospel song in bad

“I just can’t stop loving you.”

The text calls on the listeners , first of all , to look on themselves side by side and change to the better : thus you can change to the better and the whole world around .

To record the back vocal , the musician invited the chore to the studio , he asked the chors to create a gospel sound similar to church songs .

Текст призывает слушателей, прежде всего, взглянуть на себя со стороны и измениться к лучшему: таким образом можно изменить к лучшему и весь мир вокруг. Для записи бэк-вокала музыкант пригласил в студию хор , он попросил хористов создать госпел-звучание, похожее на церковные песнопения. «I Just Can’t Stop Loving You».

Текст призывает слушателей, прежде всего, взглянуть на себя со стороны и измениться к лучшему: таким образом можно изменить к лучшему и весь мир вокруг.

Для записи бэк-вокала музыкант пригласил в студию хор , он попросил хористов создать госпел-звучание, похожее на церковные песнопения.

The text calls on the listeners, first of all, to look on themselves side by side and change to the better: thus you can change to the better and the whole world around. To record the back vocal, the musician invited the chore to the studio, he asked the chors to create a gospel sound similar to church songs. “I just can’t stop loving you.”

The text calls on the listeners, first of all, to look on themselves side by side and change to the better: thus you can change to the better and the whole world around.

To record the back vocal, the musician invited the chore to the studio, he asked the chors to create a gospel sound similar to church songs.

The singer told me that Jones suddenly invited her to the studio.

She thought she would be asked to help finish “Man in the Mirror” and was very surprised when the producer gave her the text “I Just Can’t Stop Loving You.”

SIEDAH GARRETT: Behind the Man In The Mirror * Working with Michael Jackson
SIEDAH GARRETT : BEHIND THE MIRROR WITH THE MAN IN THE MIRROR
By PAUL ZOLLO
Hard to believe it’s been more than two decades since “Man In The Mirror” was born. This is a little journey back to that time. It’s a tribute to the legend that was then and always will be Michael Jackson. And to the songwriters who wrote this anthem for him.
It was Fall of 1987, and I had just recently succeeded in convincing the fine folks at the National Academy of Songwriters to appoint me as editor of what was then essentially a newsletter and calendar of events, SongTalk. My aim from the start was to invite the world’s greatest songwriters to sit down for in-depth interviews about the art and craft of songwriting. As we had virtually no advertising and because we published on newsprint, we had ample space for long conversations.
For my first issue I scored an interview with the legendary Frank Zappa, but was notified quickly that his face should not grace our cover, as he was deemed too politically charged of a figure for what was to be the debut of our new magazine.
We were in the enthralling wake of Michael Jackson’s astounding Thriller. The world was, of course, entranced and enraptured by the pure passion that was Michael, and songwriters were tuned into the fact that in addition to being maybe the greatest performer this country has known, he had also become a seriously great songwriter. So I started politely pestering, as was my way, Miko Brando – Marlon’s son and Michael’s main man – to arrange an interview with Michael that would focus only on his songs and songwriting. It wasn’t to be. I even called Michael’s lawyers and folks at Quincy Jones’ office, all of whom were impressed by our chutzpah in even asking, but none of whom – with Miko always the sweetest and most apologetic – who could set up the interview.
We knew MJ had been working on the follow-up to Thriller, again to be produced by Quincy, and word came through that Michael had cut a song by a beautiful woman and amazing vocalist named Siedah Garrett, who co-wrote, with the then unknown Glen Ballard, “Man In The Mirror.” Siedah also sang a duet with MJ on his song “I Just Can’t Stop Loving You.” I quickly surmised, not entirely accurately, that Siedah would become a blazing star, and if we could get her for SongTalk early on – and be our cover story – we could get a jump on what would surely be a stellar career.
Glen Ballard, as students of songwriting and pop music already know, went onto enormous success as a co-writer and producer with Alanis Morrisette on her first albums, as well as many other projects. He wrote the music for “Man In The Mirror” and Siedah, who also adds her distinctive vocal sound to MJ’s record of the song, wrote the words. She was already famous for her own vocals and for her great gift at arranging vocals. She got her start when Quincy Jones picked her out of about 800 hopefuls to sing with his group Deco; she sang the lead on the dance hit “Do You Want It Right Now.” She also sang and arranged vocals on Madonna’s True Blue album, and started churning out great songs she wrote herself for such artists as Kenny Loggins, The Pointer Sisters and Donna Summers.
But her biggest break came when Quincy told her that MJ needed songs for his next album. She and Glen got to work, knowing they needed something that not only sounded like a hit – something with the luminous musical magnitude of a song Michael could make his own – but something with a lyric of substance. Together they created a song that would forever be linked with Michael; he loved it so much that it is the only song lyric to be quoted on the album. Not the whole song, but the line, “If you want to make the world a better place, take a look at yourself and make a change.”
Michael was not only stunned by the song, but also by the soulful beauty of Siedah’s voice on the demo (indeed, she sings the song with as much passion and purity of intention as Michael would also inject into it), that he immediately enlisted her, and not other notables being considered (such as Barbra Streisand and Whitney Houston) to sing a duet with him on his song “I Just Can’t Stop Loving You.” She also was to learn that Michael wanted her to personally guide his vocal sessions for “Man In The Mirror” as he wanted to sing it like she did on the demo. (The following year, she, Glen and Michael co-wrote the song “Keep The Faith.”)
So I succeeded in arranging an interview with both Siedah and Glen – it took place in a sunny office at Warner Brothers’ Burbank headquarters, where I was to conduct scores of interviews. We also did a cover-photo shoot with Siedah, in which the photographer suggested we blow bubbles into the shot, which we did – with the lovely Siedah jumping and exclaiming, “I got a song on the new Michael Jackson album!” And the great thing about her, among which there were many, was that she was genuine – as excited as a child at what, for a songwriter, was not unlike winning the lottery. It was a dream come true.
Here, more than two decades since that moment, is my interview with Siedah; an interview with Glen Ballard will be in the next edition of Bluerailroad.
Bluerailroad: How does it feel to be thrust so thoroughly and intensely into the spotlight?
Siedah Garrett: It is amazing. I’ve been thrust into the limelight so quickly. This level of media attention is so new to me. Like I never go shopping anymore. I never have time to go to lunch. My time isn’t my own anymore. I’m very busy doing stuff like this, and writing and recording.
“Man In The Mirror” has a long, rich melody. It has four sections – the verse, chorus, bridge and tag. Did you and Glen write it all at once?
Actually, yes. It all came at once. Usually it goes in stages. We have an initial writing session in which we come up with all these ideas and deviations of ideas from musical variations. And we Also start a lyric idea from that point. Then I take it home and embellish the lyric and Glen embellishes the music. Then we meet again and put all the parts together.
Where did the title come from?
I had it for about a year. I have a book and when I hear things that I like, I write it down. I keep a pad in my car at all times.
When I go to Glen’s house, I’ll listen to what he has to play me and I’ll leaf through my book at these titles that I’ve written or collected. And if anything else catches my attention that works well with his music, we’ll use it.
When you came up with that phrase – “Man In The Mirror” – did you know how you would use it in a song?
Yes. When that title came to me, I already knew the concept behind the whole song.
Did you write it with Michael in mind?
Yes. Quincy [Jones] asked me for anything from a funk-groove street song to a ballad. So I figured I pretty much had free rein.
I know you met with Michael then – had he heard the song first?
Yes. We had the demo of the song done on a Friday evening. Knowing that Quincy Jones’ offices were going to be closed until Monday, I called [Quincy] and said, “I can’t wait until Monday.” He told me to bring the tape over. I did. Four hours later – four hours! – he called me. He said, “Baby, the song is great. It’s really good. But– ” I said, “But what?” And he said, “I don’t know. I’ve been playing songs for Michael for two years. And he has yet to accept an outside song.”
Three days later I got a call from Quincy and he told me that Michael loved the song and wanted to cut it. I screamed! Couldn’t believe it.
Then he said that Michael had a great idea for the background; he’s gonna have the Winans and Andre Crouch an a choir. Then he said, “And I might be able to squeeze you in on that. I said, “Q Babe! Thanks!” [Laughs]
A few days before the session I got a call from Quincy. He told me Michael wanted to extend the bridge and needed some new lyrics for it. And he was trying to tell me the message that should be in these new lyrics. He would say, “Michael wants so-and-so,” and then, in the background I would hear, [softly and high-pitched] “Mmmrrrmmrr…” And it was Michael, you know?
This went on for a little while, with Quincy translating for Michael. Finally, Quincy says, “Hold on,” and puts Michael Jackson on the phone, right? I’m home cooking dinner, right? And inside I’m like “OMIGOD!! It’s MICHAEL JACKSON!!” But on the phone I’m like [softly and coolly], “Yes, Michael?” Really cool, you know?
He said, “I love your song and I think you have a great voice.”
I said, “Wow. Thanks! Thanks for doing it, dude!” [Laughs]
So Michael tells me what he wants and I take off to find the answer to his dilemma in the bridge. I came up with three different ideas for the part. But then the song turned out to be long anyway, that they never used it. So it’s pretty much as it was in demo form with the exception of the key change.
Often key-changes are corny, but this one works so well, especially at it arrives on the word “Change.”
That’s it! It does really work. It’s such a lift.
How does it feel that a song about changing your life has so profoundly changed your life?
It is ironic, isn’t it? I can’t tell you how happy I am. I’m a happy puppy. Things are going so right. My plan was nowhere near this grand. God’s plan is great!
Speaking of God, I understand that when Michael asked you where you got the idea for the song, you said you asked God for it.
My answer to him was that “I asked for it.” I didn’t mention God because I didn’t know where he was as far as religion goes. But he knew who I was talking about. I didn’t ask my neighbor George for it!
And you did ask God – that is the truth?
It’s God’s honest truth! I said, “I want to write a song for Michael Jackson.” Since I wanted Michael to know who I was, I was thinking in my mind, “What can I say to him that he wouldn’t be afraid to say to the rest of the world?” And this song came through. [Claps hands and laughs.]
When did he ask you to sing the duet with him?
It came as a total surprise. Quincy called me after I had worked with him doing the background vocals for “Man In The Mirror” to come back to the studio to do more work.
But when I got there, I was surprised to discover that there was nobody else in the studio but Quincy, Michael and me. And the song they were working on wasn’t “Man In The Mirror.” It was a song that Quincy had given me a tape to learn. But I had no idea – I do lots of vocals on demos for Quincy, so this was nothing unusual.
So Quincy said, “You got the tape, right? Did you learn the song?”
I said, “Sure, I know the song.”
He said, “Well, go in there and sing it.”
I go into the booth: there’s two music stands. Michael Jackson is standing at one of them in front of a microphone and there’s another microphone for me. This is the first time I realized what was happening. On the sheet music it said, “Michael, Siedah, Michael, Siedah, etc.” I said, “Wow! I get it.”
Well, when you got the demo tape of it – was Michael singing it?
Yeah. I should have known that something was strange because, of course, I know Michael’s voice. But I didn’t put it together.
Did you and Michael do the vocals at the same time or overdub?
We did them together. It was exciting. But see, Michael is funny. He has a real keen sense of humor. Which surprised me, because you hear all these stories about how strange he is. I guess he felt relaxed with me because I wasn’t in awe of him when we met. I was kind of, “Yo, Michael, what’s up?” I think he found that refreshing.
No weird behavior on his part at all?
Well, if I was talking to Quincy and we were serious for some reason, Michael would toss cashews and peanuts at us. I would be talking to Quincy and these peanuts would fly by. [Laughs]
You know, the duet is a very serious love song. And when I was doing my verse, Michael was making these faces ar me so that I would mess up. Quincy would say, “Siedah – come on! You’re holding up the whole album!” And I would get in trouble!
Another time I came into the studio expecting to be alone with Michael.
And there were all these people there – technicians and film people. Maybe 50 of them. They were doing a documentary on the making of Bad. And his monkey was there. Bubbles. I walked into the studio and the monkey walks over to me and walks up my leg and rests on my hip. It was weird.
Then I removed the monkey [laughs] and these two guys opened this enormous metal box, taller than I am. It was the snake. And this guy had a piece of the snake as big as my thigh! I didn’t want to see the rest of it so I excused myself.
Michael came into the room where I saw and said [softly and high-pitched], “I noticed that when they brought out Muscles that you left.”
I said, “I’m just not into snakes.”
And he said, “Aw, you just chicken.”
I said, “Yes I am. When I see snakes, I think of handbags, belts and shoes, you know?” [Laughs]
I understand when Michael heard the demo of you singing “Man In The Mirror,” he said he wanted to sing it like you.
That was such a high compliment. We’d finished the part we had to fix on the duet so I was getting ready to leave. I was packing up and he said, “Where you goin’?”
I said, “Aren’t we done? Isn’t this history, dude?”
He said, “No. We’re getting ready to do ‘Man In The Mirror’ and I need you to stay because I want to sing it like you.” It was great. I stayed. It was like I was producing.
Was Quincy leading the sessions – or was Michael equally involved in producing?
When I was there, Michael was doing vocals so he wasn’t producing. It’s hard to produce your own vocals. I don’t know how it was when I wasn’t there.
Did you see how Michael prepared vocally for the sessions?
Yes. He spends two hours with Seth Riggs [the vocal coach].
Unfortunately, at $50 an hour, Seth is a little out of my range.
Did you know that your duet with Michael on “I Just Can’t Stop Loving You” was to be the first single off the album?
They didn’t tell me until a couple of days later. Quincy said he listened to the song with his eyes closed and he couldn’t tell who was who – me and Michael. He said that made him a little nervous. So I went back and changed my parts a little bit. I didn’t plan to sound like him, you know. I wanted to sound like me !
When you and Glen wrote “Man In The Mirror,” did you grasp how important, how special, it was?
Yes. I knew it was special. So did Glen. You kind of know. But I wasn’t sure that anybody else would like it. That’s where politics and timing all come in.
But I had a very good feeling about it the day we wrote it. When I left Glen’s house the day we wrote it, we hugged each other and we said, “Man, there’s something about this one.” We knew it.
[…] Originally Posted by TheSophisticate Well, Ms. Garrett looks like you got your breath taken away there sweety..lol You know, the duet is a very serious love song. And when I was doing my verse, Michael was making these faces at me so that I would mess up. SIEDAH GARRETT: Behind the Man In The Mirror * Working with Michael Jackson bluerailroad […]
The ladies of Michael's life... - Page 1509 said this on October 23, 2009 at 5:04 am |
[…] song. And when I was doing my verse, Michael was making these faces at me so that I would mess up. SIEDAH GARRETT: Behind the Man In The Mirror * Working with Michael Jackson bluerailroad Very interesting article. Man in the Mirror is my absolute favorite song by him. […]
The ladies of Michael's life... - Page 1510 said this on October 23, 2009 at 5:11 am |
[…] Posted by mosaic SIEDAH GARRETT: Behind the Man In The Mirror * Working with Michael Jackson bluerailroad Why was she expecting to be alone with Michael at the studio? Michael got a kick out of […]
The ladies of Michael's life... - Page 1511 said this on October 23, 2009 at 5:30 am |
[…] Posted by mosaic SIEDAH GARRETT: Behind the Man In The Mirror * Working with Michael Jackson bluerailroad Why was she expecting to be alone with Michael at the studio? Michael got a kick out of […]
The ladies of Michael's life... - Page 1514 said this on October 23, 2009 at 8:02 am |
True words, some unadulterated words dude. Totally made my day.
Tagsadvedge said this on December 12, 2009 at 4:41 am |
did you guys meet at 1987 or some other time?!?!?!?!?!?!?!?!?
Felicia said this on June 28, 2010 at 11:11 pm |
This is Lenard Randall from Milwaukee,WI
I just wanted to say this song is truly a blessing I wanted to say to siedah garrett you are truly gifted. I do have some material to show and share with you if that is okay please email me at: mrlenard27@gmail.com
Lenard Randall said this on August 30, 2011 at 5:40 pm |
Intervista a Siedah Garrett:Dietro a "Man In The Mirror" - 1987 said this on October 31, 2011 at 11:45 pm |
Great line up. We will be linking to this great article on our site. Keep up the good writing.
Suzi Capener said this on January 7, 2012 at 11:23 am |
[…] Her story is very amusing. Don’t miss it!Also, don’t miss this interview that Paul Zollo did with Siedah, where she shared more of her story about writing and performing with and for […]
Meet Siedah Garrett: The Woman Who Wrote 'Man in the Mirror' | MJJ-777 said this on May 7, 2012 at 6:45 am |
[…] https://bluerailroad.wordpress.com/siedah-garrett-behind-the-man-in-the-mirror-working-with-michael-j… Rate this:Share this:RedditStumbleUponDiggFacebookTwitterTumblrLike this:LikeBe the first to like this. […]
SIEDAH GARRETT: Behind the Man In The Mirror * Working with Michael Jackson « ALL THINGS MICHAEL! ♥ said this on July 6, 2012 at 7:15 pm |
I LOVE YOU MICHAEL!
Marie Cane said this on April 25, 2013 at 9:42 am |
Thanks for the good writeup. It in reality was a entertainment account it.
Glance complex to more introduced agreeable from you! By the way,
how can we be in contact?
Lloyd Irvin said this on May 2, 2013 at 10:30 pm |
I really enjoyed watching her make the song, “I Just Can’t Stop Loving You”, with Michael in the “Bad 25” documentary….it was awesome. I wish Spike Lee had included more footage. Thank you Siedah!
tom383838 said this on August 11, 2013 at 2:13 pm |
I seldom leave a response, however after browsing a lot of responses here
SIEDAH GARRETT: Behind the Man In The Mirror * Working with Michael Jackson | bluerailroad.
I do have some questions for you if it’s allright. Is it just me or does it look like a few of these comments appear as if they are written by brain dead visitors?😛 And, if you are writing on other online sites, I’d like to follow
you. Could you list of every one of your shared pages like your linkedin profile, Facebook
page or twitter feed?
green tea for weight loss said this on August 20, 2013 at 9:43 am |
Hi – yes there is much that shows proof of brain death… You can also find me on facebook: https://www.facebook.com/paul.zollo.142 and on flickr, where there are thousands of photos I took: http://www.flickr.com/photos/zollo and photos here too: http://zollovisions.wordpress.com/
All best with thanks.
bluerailroad said this on August 29, 2013 at 10:12 am |

Question: i just ca n 't stop loving you is the opening line of which song by

The singer told me that Jones suddenly invited her to the studio.

She thought she would be asked to help finish “Man in the Mirror” and was very surprised when the producer gave her the text “I Just Can’t Stop Loving You.”

i just ca n 't stop loving you is the opening line of which song by

Question: who wrote i just ca n 't stop loving you

who wrote i just ca n 't stop loving you

Question: what was the song i just ca n 't stop loving you about

what was the song i just ca n 't stop loving you about

Question: who wrote i just can't stop loving you

Question: i just ca n 't stop loving you lyrics

Question: what is the title of the song by jones called ‘man in the mirror

what is the title of the song by jones called ‘man in the mirror

Question: i just ca n 't stop what

The singer told me that Jones suddenly invited her to the studio .

She thought she would be asked to help finish “ Man in the Mirror ” and was very surprised when the producer gave her the text “ I Just Ca n’t Stop Loving You . ”

Певица рассказала, что Джонс неожиданно пригласил её в студию. Она думала, что её попросят помочь закончить «Man in the Mirror» и была очень удивлена, когда продюсер дал ей текст «I Just Can’t Stop Loving You».

Певица рассказала, что Джонс неожиданно пригласил её в студию.

Она думала, что её попросят помочь закончить «Man in the Mirror» и была очень удивлена, когда продюсер дал ей текст «I Just Can’t Stop Loving You».

The singer told me that Jones suddenly invited her to the studio. She thought she would be asked to help finish “Man in the Mirror” and was very surprised when the producer gave her the text “I Just Can’t Stop Loving You.”

The singer told me that Jones suddenly invited her to the studio.

She thought she would be asked to help finish “Man in the Mirror” and was very surprised when the producer gave her the text “I Just Can’t Stop Loving You.”

In addition to the English version, Jackson and Garrett recorded the song in Spanish and French: “Todo Mi Amor Eres Tu” and “Je Ne Veux Pas La Fin De Nos” respectively.

соответственно

Seven is considered a divine number. Perhaps that’s why it was Michael Jackson’s favorite number. It’s fitting that Jackson’s BAD album was his seventh studio album, a project which ultimately solidified his megastar power in the ’80s. This would also be the album to feature the tune “Man in the Mirror,” one of the few songs Jackson didn’t write himself. This would also be the album to feature his first ever duet, “I Just Can’t Stop Loving You.” The warm ballad is performed with Siedah Garrett, who also penned “Man in the Mirror.”
Today marks the 25th anniversary of the album BAD and Jackson’s musical genius is being commemorated with BAD 25, a special edition reissue featuring three CDs, two collectible booklets and an authorized DVD of a concert from the BAD Tour. Spike Lee is producing and directing a BAD 25 documentary that is tentatively slated to debut in November on ABC. EBONY recently spoke with Grammy award winning singer and songwriter Garrett about making studio magic with the King of Pop.
EBONY: You were instrumental in being a part of this historic album. What kinds of thoughts are going through your mind its re-release?
SIEDAH GARRETT: Oh my God. Probably just be remembering our gang on tour. You know, me watching him do his thing on stage and then learning of his humanitarian efforts the next day in the newspaper in whatever country we were in. I’ll just be remembering my time with him and the process of recording that record. I’m sure I’ll go back and check my journal and refresh myself with my thoughts and feelings at the time.
EBONY: How soon after the album was released did the tour take place?
SIEDAH GARRETT: We toured a couple years after the album came out. I was on the Dangerous Tour. It was the tour that followed the BAD Tour. I was rehearsed for [the BAD Tour] for literally a week before I decided that I wanted to make my own record. The duet [“I Just Can’t Stop Loving You”] was out and I knew “Man in the Mirror” was forthcoming. So, I backed out of the BAD Tour and enter Sheryl Crow, who replaced me.
EBONY: “Man in the Mirror” is such a passionate and powerful song. I would have sworn that Michael wrote it himself. How did the song come about? I understand that he actually changed some lyrics and wanted some things done differently. Is this true?
SIEDAH GARRETT: Well, he did not change any lyrics. What happened was I was a songwriter on Quincy Jones’ publishing company, Qwest, for two and a half years before I gave him the song for Michael. He had a meeting with the songwriters. I think there were about six of us on the West Coast and we all had a meeting at his house where he sort of gave us an outline of what he wanted. To finish this BAD album [Jones] needed one more song to round out the album. I took notes and then I then took my notes to my writing partner Glen Ballard. It was like a Wednesday afternoon where we sat down to start writing. Glen asked me to give him details from the notes. I gave him the parameters and he said, “Let’s just see what we come up with.” He gets up. He goes over to his keyboard. He turns on the keyboard and he starts playing this chord progression for the song.
EBONY: I love the song’s title, “Man in the Mirror.” How did that come about and what was Quincy’s initial response?
SIEDAH GARRETT: Two years earlier, I’m in a songwriting session with my dear friend John Beasley. We’re writing and his phone rings. Instead of letting the machine pick it up, he answers the phone and begins this conversation. “Oh, I’m not doing nothing. I’m just hanging out, you know.” I’m flipping through my lyric book thinking to myself, “No, he didn’t say he wasn’t doing nothing. No, he didn’t say he’s just hanging out.” I’m thinking to myself that we’re writing here. Then I hear him say, “The man? What man? Oh, the ‘Man in the Mirror.’” I wrote down the phrase the man in the mirror. Two years later, I tell him what he said. He gets up and turns on the keyboard and starts playing this chord progression. I was flipping through my lyric book again. The phrase man in the mirror just popped out at me. At that point, I could not write fast enough. Like, I couldn’t get it all out quickly enough. I mean, it was just like a mad rush just trickled down the idea and literally 10 or 15 minutes we had the first verse and the first chorus of “Man in the Mirror.” Glen said, “Okay, you go finish the lyrics and I’ll finish the music.” It was Wednesday. He said, “We’ll meet on Friday and we’ll do the demo.” So, on Friday, by the time we finished the actual demo, the Qwest Publishing office was closed for the weekend. I could not wait until Monday. I mean, I’ve never done this since and I have never done it before. I called Quincy and said, “Dude, I have this song that Glen and I wrote for Michael. I think it’s a really good song. I would love if you could hear it.” He said, “Okay. Just take it to the Qwest Publishing on Monday and I’ll hear it and I’ll get back to you.” I said, “Dude, can we just — let me just drop it off.” He’s like, “I’m in a meeting. I have 12 people here in a meeting. I can’t right now.” I tell him again,“Let me just drop it off.” He said, “Alright.” Then he hung up. So, I go to Quincy’s house and I knock on the door. He comes to the door. He opens the front door and I see a view of the dining room from the front door and there are 12 suits sitting at his dining room table. They’re all looking up at me like, “This better be good because you’re interrupting some big business here. This really better be good.” So, I’m getting all their vibes, right? Quincy comes to the door and I hand him the cassette. I said, “Dude, all I ask is just let me know what you think.” He says, “Alright. Alright.”
EBONY: What happened next?
SIEDAH GARRETT: A couple hours later, the phone rings and Quincy goes, “Siedah, this is the best song I’ve heard in 10 years.” So, I’m like grooving. The fact that Quincy’s telling me the best song in 10 years. Yes! Then he says, “But — then I hear that Charlie Brown teacher voice, “Wha, wha, wha, wha.” Because I really don’t want to know what is coming after but because I don’t really care. I’m just bubbling in the best song in 10 years. Let me just live in that for a moment. Then I hear Quincy say something like, “Michael has been in the studio with him for two and a half years. He has yet to record a song that he didn’t write. I don’t know. I don’t know if he’s going to record it.” I just had to let it go. I said, “Okay. Whatever. Just let it go. I’m going to release that.” Four or five days later I get a call from Quincy and he’s in the studio. He comes on the phone and he says, “Well, we’re in the studio recording your old piece of song.” I’m like, “Yes!” He says, “Michael wants the chorus to be twice as long. He really wants you to — then he says, “Hold on a minute.” Then I hear [him talking to Michael in the background]. Of course, he said, “He really wants you to bring home the idea of — hold on Siedah.” Then I hear [him talking to Michael in the background]. Then Quincy says, “Hold on a minute.” Quincy Jones puts Michael on the phone.
EBONY: What was it like talking to him for the first time?
SIEDAH GARRETT: Okay, my whole childhood when I was growing up, Michael was my husband. My cousins had Jackie and my sister had Jermaine. We all had the brothers, but Michael was my husband. So, to me, in my little 6-year-old or 13-year-old brain I’m talking to my husband. I don’t want to get over excited. I don’t want to sound too much like a screaming fan. I went strictly into telephone operator [mode]. I said, “Hello? How can I help you?” He says, “I love your voice. I love the song.” Then he starts telling me what he wants the next four lines of lyrics to say. So, the next day I write six different stanzas for him to choose from. What he ended up choosing was, “You got to get it right while you got the time. When you close your heart then you close your mind.” Those four, that stanza, those four lines were not in the original demo. He asked me to come up with more lines to make the chorus twice as long and I did. The rest, as they say, is history.
EBONY: That was the beginning of your work relationship with Michael?
SIEDAH GARRETT: Yeah.
EBONY: The demo they heard was actually you singing what he would ultimately record?
SIEDAH GARRETT: That’s right. When we recorded the song, my vocal range is a little higher than Michael’s range. The song demo was in a key one step higher than he was comfortable singing it. He had me re-sing the demo in the new key. Then doing that he filmed me singing this demo in the new key. I actually said, “What are you doing? Why are you filming this?” He said to me, “Because I want to sing it like you. You sound so great and I want to sing it just like you.” I said, “Oh, great, Mike, my friends are really going to believe me when I tell them that Michael Jackson wanted to sing this song just like me.” We laughed about that. Actually, Spike [Lee] found that footage and he put it in [his BAD] documentary. I haven’t seen it. I can’t wait to see it.
EBONY: When he recorded “Man in the Mirror,” were you in the studio with him?
SIEDAH GARRETT: Yeah, the whole first two-thirds of the song is just he and I. He’s singing lead and I’m doing all the harmonies and we’re both singing all the background. We’re singing all the choruses until the choir comes in. We were the first two-thirds of the song.
EBONY: After hearing your demo for “Man in the Mirror,” I understand that he loved your voice so much he wanted to do a duet. How did he come to ask you?
SIEDAH GARRETT: He didn’t ask while I was in the room. We had recorded the “Man in the Mirror” with this huge choir and it was just a long, long day of recording. But I wasn’t sure that we finished the song. So, Quincy called me back a couple days later. I thought we were going to finish “Man in the Mirror.” I go in the studio and there’s no choir. The song isn’t even up yet. There’s only four people in the studio. It’s me, Quincy, the fabulous engineer, Bruce Swedien, and Michael. This other song was playing. I was behind the console, behind the mixing board sitting, thinking that maybe they’re running behind. Maybe I’m late. Then Quincy yells back at me, “Siedah, you like this song?” I’m like, “Yeah. Yeah.” He said, “Well, can you sing it?” I’m like, “Yeah.” He said, “Well, go on in there and sing it. Michael, go on in there with Siedah.” So, this moment for me right now is so real. I’m walking into the studio and behind me is Michael. I get in the studio and there are two stands with music sheets on each. On the music sheet it says, “I Just Can’t Stop Loving You.” Michael. Siedah. Each of us get a verse and a chorus. At that moment, in that instant, I realized, “Oh my God, I’m going to do a duet with the King of Pop. I can’t believe it. I’m just busy trying to do the best that I can do so that they would want to keep me on this. I’m like seriously trying to sing and watch Michael do his side of the verse. When my verse comes in, I close my eyes and step up to the mic and I start bemoaning these lyrics. I start feeling this stuff flying in my face. Michael is throwing popcorn at me while I’m trying my best to do this perfect vocal for him and Quincy. He’s cracking up because Quincy’s like, “Siedah, you’re wasting studio time. Come on. I don’t have time.” Quincy just heard that I kept messing up. He didn’t know that Michael was throwing stuff at my face. Michael was cracking up. He thought that was the funniest thing while I was getting reprimanded for something that he thought was hilarious. Quincy just thought I was messing up.
EBONY: Aside from his sister Janet, aren’t you the only female to ever perform a duet with him?
SIEDAH GARRETT: Well, darling, I was a question on a game show. [She chuckles] I think it was Jeopardy. The question was, “Who is the only person in the world, only female in the world unrelated to Michael Jackson, to ever do a duet with him?”
EBONY: Did he ever say why he never recorded a duet with anybody else?
SIEDAH GARRETT: No, I didn’t ask. I didn’t care. He was doing a duet with me and that’s all I cared about.
EBONY: Is it true that “I Just Can’t Stop Loving You” was originally intended for either Barbara Streisand or Whitney Houston?
SIEDAH GARRETT: Yeah, I heard that. I did talk to Quincy and Mike about that and they told me that, but I didn’t care. It wasn’t intended for anybody, but me evidently. It makes no difference, because I’m the one on it. Even before Barbara said, “No,” even before Whitney says, “I don’t think so,” it was meant for me just like the BAD Tour was meant for Sheryl. I had to live with that. I had to get with that. Evidently that was not meant for me. The Dangerous Tour was meant for me.
EBONY: What was his work ethic like on that tour?
SIEDAH GARRETT: Michael was a constant perfectionist. He loved watching other people do what they did best and then taking that and adding his own little twist to it. He loved to pull the best from the best and make it his own. He loved studying the greats. He felt that they could only add to what he did naturally. He was absolutely right. I mean, he studied James Brown for years when he was 10 years old, because the Jackson 5 would open for James. He studied him. He studied Fred Astaire. He loved to watch Fred’s movies. We were in the studio recording some work on “Man in the Mirror” or the duet. I can’t remember which it was. We did the duet in three languages: English, French and Spanish. So, I spent like a week with him in the studio doing the three songs in different languages. It was just an awesome experience recording with him.
EBONY: Michael enjoyed playing jokes. When it came to rehearsing for a tour, was he all fun and games at times?
SIEDAH GARRETT: No. It was no joke. When it came time to rehearse, there was no popcorn throwing at that moment. He was all business.
EBONY: Michael really loved to laugh. I understand he was quite a practical joker.
SIEDAH GARRETT: He was a joker to his core. He loved a good joke especially if it’s displayed on somebody else.
EBONY: Michael wrote “I Just Can’t Stop Loving You.” He wrote most of his own songs.
SIEDAH GARRETT: He is an underappreciated songwriter and an underappreciated singer. I think the world only gives him the most recognition for his dancing. He was an awesome singer and an amazing songwriter.
EBONY: Did he tell you how he came to write “I Just Can’t Stop Loving You?”
SIEDAH GARRETT: No. You know, I never asked. That’s a good question. I should have asked him that question. Now we’ll never know.
EBONY: Tell me about your new single?
SIEDAH GARRETT: It’s called “Keep On Loving You.” It is an answer to our duet “I Just Can’t Stop Loving You.” The new song tells the story of how we met and how I felt meeting him. He really turns my life and changed my creative process as well. It really honors him and honors my relationship with him so much so that the family, the estate and Sony Music gave me permission to use footage from our time on tour together in my new video. I am just so, so honored that they sought to do that because they didn’t have to do that at all. It’s a brilliant gesture because they realized how much he meant to me. When you hear the song and watch the video, you’ll get that too.
EBONY: Did you do this song shortly after he passed or was it something you did recently because of BAD’s 25th anniversary?
SIEDAH GARRETT: It took a minute. I think I wrote this song like late last year. I have to live with the idea that he is no more. He lives in my mind and in my heart in a spiritual sense. That takes a little bit of time to get your head around it. I have to really stress out my feelings about his being gone from my life from now on. I guess that took a minute.
EBONY: Where were you when you first heard that Michael passed away?
SIEDAH GARRETT: I was in my kitchen making lunch. I happened to be talking to Don Boyette, the bass player that I toured with on the BAD Tour. It was on the news that there was an ambulance that went to Michael’s house. Then his wife called and she sounded urgent. So he hung up with me and took the call from his wife. When I hung up the phone, I turned on the radio, turned on the TV and that’s when it all kind of hit me. By the time Don called me back, I was a pile of blob on the floor. I was just a mess heaving and crying my heart out. It was so unbelievable. So unbelievable. I was a wreck for a while. It was not good.
EBONY: Do you listen to the duet anymore? Some artists say, “Oh, I never listen to my music.” Do you listen to it?
SIEDAH GARRETT: I can’t help it. I can be driving down the street minding my own business and somebody will pull up next to me and Michael is on the radio. I could be shopping until my heart’s content, rolling through a boutique, and he’s on the speaker in the store. I can be going to an appointment with my attorney or my dentist in the elevator and his music is in the elevator. He’s everywhere. I can’t not listen to what we did because it’s everywhere. I listen to it all the time whether I want to or not.
EBONY: Is it still difficult for you to listen to it?
SIEDAH GARRETT: No, no, no, no. I cherish that time we had together. It just makes me smile. It makes me happy and sad at the same time. Just sad because I’ll never repeat it, but happy that I got to experience it in the first place.
EBONY: What would people be surprised to find out about him that they might not know or wouldn’t think?
SIEDAH GARRETT: Here’s the thing. This is what you should take away. Whenever you were in his presence, I mean, he’s the King of Pop and the most recognized face on the planet second only to Muhammad Ali. I was often surprised to find out that he felt he had as much to learn from you as you did from him. So he treated you accordingly. Everyone was a teacher to him. He had something to learn from everybody. If he appreciated your creative artistry, he was that much more into you.
EBONY: So there’s the tribute song, “Keep On Loving You,” to your dear friend. What other things are you doing?
SIEDAH GARRETT: I’m just mostly focused on the re-release of this record and talking about my love for Michael and promoting my single that describes my relationship with him. There’s so many good things I have to look forward to in life and new opportunities that arise every day because of my association with him. I mean, he is the gift that keeps on giving.
NOTE: Michael Jackson’s memorial service on July 7, 2009, at the Staples Center ended with an empty, darkened platform illuminated by a spotlight beaming on a microphone placed center stage as an instrumental version of “Man in the Mirror” softly played in the background.
Margena A. Christian is Senior Writer for EBONY. Follow her on Twitter @MargenaXan

Question: i just ca n 't stop loving you song

In addition to the English version, Jackson and Garrett recorded the song in Spanish and French: “Todo Mi Amor Eres Tu” and “Je Ne Veux Pas La Fin De Nos” respectively.

Question: what languages did jackson and garrett sing bad in

испанском и французском

what languages did jackson and garrett sing bad in

Question: who sings i just ca n 't stop loving you

who sings i just ca n 't stop loving you

Question: who sings the song i just ca n 't stop loving you

Джексон и Гарретт

who sings the song i just ca n 't stop loving you

Question: who sings i just ca n 't stop loving you in the mirror

who sings i just ca n 't stop loving you in the mirror

In addition to the English version , Jackson and Garrett recorded the song in Spanish and French : “ Todo Mi Amor Eres Tu ” and “ Je Ne Veux Pas La Fin De Nos ” respectively .

Она думала, что её попросят помочь закончить «Man in the Mirror» и была очень удивлена, когда продюсер дал ей текст «I Just Can’t Stop Loving You». Помимо версии на английском языке Джексон и Гарретт записали песню на испанском и французском: «Todo Mi Amor Eres Tu» и «Je Ne Veux Pas La Fin De Nous» соответственно.

Помимо версии на английском языке Джексон и Гарретт записали песню на испанском и французском: «Todo Mi Amor Eres Tu» и «Je Ne Veux Pas La Fin De Nous» соответственно.

She thought she would be asked to help finish “Man in the Mirror” and was very surprised when the producer gave her the text “I Just Can’t Stop Loving You.” In addition to the English version, Jackson and Garrett recorded the song in Spanish and French: “Todo Mi Amor Eres Tu” and “Je Ne Veux Pas La Fin De Nos” respectively.

In addition to the English version, Jackson and Garrett recorded the song in Spanish and French: “Todo Mi Amor Eres Tu” and “Je Ne Veux Pas La Fin De Nos” respectively.

They were released on the re-editions of the singer's album.

соответственно

переизданиях

Question: what languages did jackson and garrett sing bad

испанском и французском

They were released on the re-editions of the singer's album.

what languages did jackson and garrett sing bad

Question: what language is bad by jackson and garrett

what language is bad by jackson and garrett

Question: what language did jackson and garrett sing bad in

what language did jackson and garrett sing bad in

Question: when did bad by jackson and garrett come out

переизданиях альбома

when did bad by jackson and garrett come out

Question: how did jackson and garrett sing bad

на испанском и французском

They were released on the re - editions of the singer 's album .

Помимо версии на английском языке Джексон и Гарретт записали песню на испанском и французском: «Todo Mi Amor Eres Tu» и «Je Ne Veux Pas La Fin De Nous» соответственно. Они были выпущены на переизданиях альбома певца.

Они были выпущены на переизданиях альбома певца.

In addition to the English version, Jackson and Garrett recorded the song in Spanish and French: “Todo Mi Amor Eres Tu” and “Je Ne Veux Pas La Fin De Nos” respectively. They were released on the re-editions of the singer's album.

They were released on the re-editions of the singer's album.

“Dirty Diana”

“Dirty Diana” is a song about the love triangle between the artist, his girlfriend and a persistent group fan.

треугольнике

POP: MICHAEL JACKSON'S 'BAD,' FOLLOW-UP TO A BLOCKBUSTER
By JON PARELES
Published: August 31, 1987
WHAT could Michael Jackson do to follow up the best-selling album to date? That's been the question since 1983, when sales of ''Thriller'' took off - and the answers in the last few years were peculiar indeed. Instead of recording, Mr. Jackson made a film for Disneyland; he had a cleft implanted in his chin; he offered a British hospital a million dollars to buy the remains of the Elephant Man. The wait between albums stretched to four and a half years. Today, two days after Mr. Jackson's 29th birthday, the long-delayed ''Bad'' (Epic EK 40600) arrives in record stores, and it's a gleaming, high-tech dance record that's just a little eccentric at the edges.
The promotional machinery that helped ''Thriller'' sell 38.5 million copies worldwide is already clanking away. ''I Just Can't Stop Loving You,'' a plush ballad, was released as a single in July. Radio stations started playing other songs from the album as early as last Thursday.
The new-look Michael Jackson is also on view. Tonight at 8, CBS, which owns Epic Records, will broadcast a 30-minute special, ''Michael Jackson - The Magic Returns,'' which will introduce the music video of ''Bad,'' directed by Martin Scorsese. Tapes were not available to critics in advance. One sign of the merchandising to come is ''Michael's Pets,'' a toy menagerie based on Mr. Jackson's private zoo. And he begins a world tour in Tokyo on Sept. 12; the tour should arrive in the United States next year.
The hype and anticipation ought to boost ''Bad'' into the Top 10. And for a little while its smooth surface -sculpted no less carefully than the singer's face - should keep it there. ''Bad'' sounds up-to-the-minute. Mr. Jackson and his longtime producer Quincy Jones have concocted synthesizer-driven arrangements that are clear but that carry a solid kick. Amid the modern electronics, there's a taste of older soul music, with the rolling groove and blues harmonies of ''The Way You Make Me Feel'' and the gospelly lift of ''Man in the Mirror''; although Mr. Jackson appears to be lightening his skin, he hasn't turned away from black music.
There are also, of course, echoes of ''Thriller.'' A melody line from ''Billie Jean'' reappears in ''Liberian Girl,'' while ''Dirty Diana,'' a song about a groupie who latches onto the narrator, mixes the sexual fears of ''Billie Jean'' with the hard-rock lead guitar of ''Beat It.'' The low-slung riff in ''Bad'' recalls the one from the song ''Thriller.'' And where Paul McCartney and Mr. Jackson argued over a romance in ''The Girl Is Mine'' on ''Thriller,'' on ''Bad'' Stevie Wonder and Mr. Jackson do the same in ''Just Good Friends.''
For the first time, Mr. Jackson has written most of the songs for an album - 8 of the 10 songs on the ''Bad'' LP and cassette, 9 of 11 on the compact disk. (He wrote four out of nine songs on ''Thriller.'') But ''Bad'' is an even less revealing album.
Mr. Jackson's lyrics on ''Thriller'' testified to overwhelming fear and paranoia; ''They're out to get you, better leave while you can,'' he warned in ''Beat It.'' On ''Bad,'' there are still a few signs of that fearfulness. ''Dirty Diana'' reduces the singer to a terrified whimper; in ''Smooth Criminal,'' the singer finds a bloodstained carpet and an unconscious body, and asks, obsessively, ''Annie are you O.K.?'' when, clearly, she's not. But Mr. Jackson generally stays away from psychological danger zones. He portrays himself in conventional pop terms, as a lover and as a rather tame outlaw; when he insists he's ''really, really bad'' in ''Bad,'' he's not too believable.
Beyond those poses, he seems isolated and glad of it. ''Man in the Mirror,'' written by Siedah Garrett and Glen Ballard, declares that the way to ''make the world a better place'' is to ''take a look at yourself and then make that change''; it's activism for hermits. The compact disk of ''Bad'' has an extra, closing song with an unmistakable message: ''Leave Me Alone.'' The oddest lyrics show up in ''Another Part of Me,'' cosmic tidings delivered by a messianic ''we.''
While the lyrics on ''Bad'' are largely impersonal, the music revolves around Mr. Jackson's singular voice. He has taken his vocal mannerisms even further - the intakes of breath, the hesitations, the whoops -and they add up to lead singing that finds percussion in every consonant and cross rhythms with every ''hoo hoo!'' and ''aaow!'' Although Mr. Jackson will never be a shouter, he can summon timbres from a soul singer's raspy exhortations to his androgynous alto.
And as Mr. Jackson croons and growls, dance grooves carry him along. Nothing on ''Bad'' compares with ''Wanna Be Startin' Somethin' '' from ''Thriller,'' but the rhythms are crisp and irresistible.
Blockbuster pop albums capture a cultural moment. For ''Thriller,'' that moment involved not only the mixed messages of the songs themselves - exuberant music linked to suspicion and paranoia - but also the symbiosis of rock video clips and Mr. Jackson's screen presence as singer, dancer and icon. Now, rock video is no longer a novelty; ''Bad'' doesn't aim for as many emotional extremes as ''Thriller.'' It's a well-made, catchy dance record by an enigmatic pop star. And its commercial fate depends on whether Mr. Jackson's audience wants shadows along with smooth surfaces.
Photo of Michael Jackson

Question: what is the name of the song about diana and his girlfriend

“Dirty Diana”

“Dirty Diana” is a song about the love triangle between the artist, his girlfriend and a persistent group fan.

what is the name of the song about diana and his girlfriend

Question: what is the name of the song about the love triangle between diana and a persistent

“Dirty Diana”

what is the name of the song about the love triangle between diana and a persistent

Question: what is the song dirty diana about

любовном треугольнике

“Dirty Diana”

Question: who is the girl in dirty diana about

настойчивой поклонницей - групи

“Dirty Diana”

Question: who is the song dirty diana about

his girlfriend and a persistent group fan

его девушкой и настойчивой поклонницей - групи

“Dirty Diana”

his girlfriend and a persistent group fan

“ Dirty Diana ” is a song about the love triangle between the artist , his girlfriend and a persistent group fan .

«Dirty Diana». «Dirty Diana» — песня о любовном треугольнике между артистом, его девушкой и настойчивой поклонницей-групи.

«Dirty Diana» — песня о любовном треугольнике между артистом, его девушкой и настойчивой поклонницей-групи.

“Dirty Diana” “Dirty Diana” is a song about the love triangle between the artist, his girlfriend and a persistent group fan.

“Dirty Diana” is a song about the love triangle between the artist, his girlfriend and a persistent group fan.

The result of the work was a composition held in pop rock, hard rock and metal genres.

"Dirty Diana" sounds darker and sharper than other songs from the album, it has become one of Jackson's experiments with sound.

“Smooth Criminal”

"Результатом

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Michael Jackson
Bad 25 [Deluxe Edition]
(Sony Legacy)
US: 18 Sep 2012
UK: 17 Sep 2012
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?”
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Question: what genres were the songs on bad written for

поп - рока , хард - рока и метала

The result of the work was a composition held in pop rock, hard rock and metal genres.

"Dirty Diana" sounds darker and sharper than other songs from the album, it has become one of Jackson's experiments with sound.

“Smooth Criminal”

what genres were the songs on bad written for

Question: what is the name of the song on bad by jackson

“Smooth Criminal”

what is the name of the song on bad by jackson

Question: what genre of music is bad by jackson

“Smooth Criminal”

Question: who wrote the song dirty diana

“Smooth Criminal”

Question: what is the title of the second album of bad by jackson

“Smooth Criminal”

what is the title of the second album of bad by jackson

The result of the work was a composition held in pop rock , hard rock and metal genres .

" Dirty Diana " sounds darker and sharper than other songs from the album , it has become one of Jackson 's experiments with sound .

Результатом работы стала композиция, выдержанная в жанрах поп-рока, хард-рока и метала. «Dirty Diana» звучит мрачнее и острее других песен из альбома, она стала одним из экспериментов Джексона со звуком. «Smooth Criminal».

Результатом работы стала композиция, выдержанная в жанрах поп-рока, хард-рока и метала.

«Dirty Diana» звучит мрачнее и острее других песен из альбома, она стала одним из экспериментов Джексона со звуком.

The result of the work was a composition held in pop rock, hard rock and metal genres. "Dirty Diana" sounds darker and sharper than other songs from the album, it has become one of Jackson's experiments with sound. “Smooth Criminal”

The result of the work was a composition held in pop rock, hard rock and metal genres.

"Dirty Diana" sounds darker and sharper than other songs from the album, it has become one of Jackson's experiments with sound.

According to sound director Matt Forger, the song may have become a push to create another composition on the gangster theme – “Al Capone”.

In turn, the song, a source of inspiration for which the real historical figure, Al Capone, served, became the foundation of the next composition - the fan "Smooth Criminal".

звукорежиссёра

гангстерскую

историческая

“Chicago 1945 was done prior to Al Capone”, Matt Forger: the secrets of BAD 25 (EN)
Matt Forger speaks: The secrets of BAD 25
Listening to Michael Jackson’s music is always some kind of a unique experience. Not only because the vocals and the music are good, but also because his songs are really like a tapestry with so many layers that you always find yourself discovering new details each time you listen to them. With BAD 25, the Estate of MJ and Sony shed light on several unreleased tracks from the BAD sessions. Of course, there are still more songs from that era to discover, but the tracks that are released this year give an interesting and genuine glimpse of Jackson’s often underestimated creative process.
This time around, BAD 25 delivers the goods: all the unreleased tracks on it are presented unenhanced or overdubbed, as explains sound engineer and longtime MJ collaborator Matt Forger: “It was decided that anything that was going to be included in the release and presented to the public had to be exactly at that stage of production that existed in 1987. No additional recording, no additional elements… I was very happy to hear that the direction was ‘we can only use the elements that were recorded up to 1987. It must be the work of this period’.”
Forger worked with Jackson for his studio albums (from Thriller down to HIStory) and also assisted him in the production of other projects such as Captain E.O., plus the opening soundtrack for the Jacksons’ 1984 Victory Tour. In the 2000’s, he worked on the 2001 Special Edition series and the 2004 Ultimate Collection box set. Forger was also part of the team that developed the Thriller 25 project in late 2007. So, quite logically, he has found himself involved in the making of the BAD 25 release: “I was asked by Sony and the Estate to participate in this because this was work that very much I was involved in during the recording of many of these songs. (…) I’m the person who has been called many times as a consultant, to help them when they have questions about older material from the archives, or when someone need to understand a particular point.”
Digging into the MJ archives is, of course, one of the best jobs in the world. But the way the songs and tapes have been handled demand expertise that very few people have. Forger was there when it all happened, so he is able to track things that papers and notes may have overlooked. “When I review notes or tape boxes, all these memories come back to me. I can remember the situation that the song was recorded in, who were the participants and the musicians, and some of the particular things that we did like the style and the sound of the recording or the equipment that we used. All of this information is just from my memory bank, because I was there working with Michael Jackson at that time. “
It of course shows how comprehensive and full of surprises Jackson’s works in the studio can be. What has to be kept in mind is that since the Off the Wall album (1979), Michael Jackson gradually had taken control over his music and all aspects of his career. The pinnacle of this process took place during the BAD era. As the final and last episode of the trilogy he started with Quincy Jones in the very late 70’s, the album was also an important transition for Jackson, who would head to new directions and collaborations in the early 90’s when he released Dangerous. And, on many occasions, BAD 25 hints at these changes to come.
Michael Jackson entered the music world as probably the last true Motowner of his generation. After a record-breaking career with his brothers, The Jackson 5 and The Jacksons, he stepped into adulthood with a collection of songs that not only proved he had made the hard transition from childhood, but also generated tracks that since then have become instant club classics. On BAD, he showed that he could still make it in clubs, but also leant to other styles and genre. The global image of the album is a dramatic evolution of the tough image he developed in the Beat It short film (1983). Songs like Man in the Mirror also shows he comes with a message, and that the music is always a matter of sound, but also of melody and lyrics.
On BAD, Jackson penned 9 of the 11 tracks presented to the public. As Quincy Jones puts it in the 2001 bonus interviews of the first re-release of BAD, his songs “are always somehow autobiographical”. So, somewhere down the road there may be a thin line between I Just Can’t Stop Loving You and Dirty Diana: here is a fascinating definition of love and hate that he also developed in further works.
BAD is known for the 11 tracks that made it on the album. But it is also known for being a project with some 60 plus tracks to have been considered. Some of them have Jackson’s vocals on it, at different stage of productions. Some of them are just instrumental tracks and song ideas that were not eventually developed any further. BAD 25 humbly focuses on the BAD sessions with a series of 6 unreleased tracks that document Jackson’s creative process. So, as a little bit more than 10% of the recorded material has been presented to the public, these unfinished and yet sometimes experimental works give an idea of how the sounds were crafted.
Don’t Be Messin’ ‘Round
(Recorded by Brent Averill and Bruce Swedien)
Don’ Be Messin’ ‘Round was released this June as the flip side of the re-issued single, I Just Can’t Stop Loving You. It definitely sounds like a raw sketch Jackson throws on the soundboard, just to see how the different elements meld and eventually match. With light pop accents and a definite Bossa Nova influence, Don’t Be Messin’ ‘Round is also reminiscent of Stevie Wonder’s Don’t You Worry ‘Bout a Thing. Jackson often cited Wonder as one of his masters and major influence in music. On many occasions, he also praised some of his works. In 2003, he gave a special interview to Brett Ratner for Interview (published in early 2004) and talked about Wonder’s 1973 Innervisions album (which includes Don’t You Worry ‘Bout a Thing): “Hearing this music made me say to myself, ‘I can do this, and I think I can do this on an international level’ ».
Michael first recorded the song with sound engineer Brent Averill in the early 80’s. “This is one of the songs that was recorded very early, potentially for the Thriller album”, explains Matt Forger. “For whatever reason, it was not developed any further at this point in time. Michael brought it back and we did more work on it in the period of the BAD album. Some additional recording was done at that time with Bruce Swedien at Westlake. I did some additional work and mixes at that time for evaluation for Michael. “
The version released for BAD 25 is an attempt to give the best representation of the 1987 version of the track, the one that was left in the studio at that time: “Many of the elements that were worked on in the BAD era were some of the very basic elements from these earlier demos. Selected elements were transferred and then additional work was recorded for the BAD album. And then it was decided it wasn’t to be included on the album, and at that point no additional work was done. And for BAD 25 I had to go back to many multi track tapes because the elements of the recording were on different tapes: some were recorded at Westlake, and some at Hayvenhurst and I had to make sure that all these representative elements could be assembled in a single version, and a single mix of the song”.
Forger also confirms that other versions of the song were done later that were more refined than the earlier recordings. Don’t Be Messin’ ‘Round, an unfinished song that is now presented to the public as is and on purpose, shows Jackson’s spontaneity at his best: “I understood what the feeling of the song should be. What is interesting in the song is that you can hear Michael giving directions like “bridge” or “guitar” and he actually sings the parts himself. That was of course a work in progress session”.
Emotion is something that has always been very important in Jackson’s songs. In the 2004 The One documentary, Jill Scott explains she realized the importance of such emotional input in his work: “but it’s the choices that he makes when singing a song, he emotes. That’s a gift”. So even when he sings random lyrics on demos, one can feel he is looking for the best spots and moments in the melody to introduce genuine and heartfelt emotion. “Michael was experimenting and testing elements and styles”, says Forger. “He would evaluate the best way to approach. But emotion is the thing that is very much at the forefront”.
I’m So Blue
(Recorded by Matt Forger and Bill Bottrell)
Quite surprisingly, depression is a theme Michael Jackson showcased very early on in his career as a songwriter when he released Blues Away on the Jacksons’ 1976 eponymous album. At 17, he already was into quite mature themes that he would develop on later works. I’m So Blue is about a love story with a sad ending, and Michael singing his loneliness out.
The ballad is wrapped with sweet arrangements. The intro riffs instantly sets up the stage and the mood of the track. The chords are grooving and mellowing down, and Jackson’s voice in the first lines reflects the sadness of the story.
The bridge section of the song has this great harmonica solo, or actually an instrument that sounds like a harmonica: “That was in fact a synthesizer harmonica”, reveals Forger. “And that was actually John Barnes. He is a very talented keyboard musician. And he could play many instruments like horns and brasses. So he could understand how a musician who plays the actual instrument and how the notes had to be attacked and that is one of the things he was very versatile and very talented at”.
I’m So Blue is included on BAD 25 as a demo recording. Its sophistication of some of its polished arrangements actually put the song in another category. What most artists would consider finalized recordings, Michael Jackson would call them demos.
Song Groove (AKA Abortion Papers)
(Recorded by Brian Malouf and Gary O)
In Song Groove, Michael Jackson addresses a social issue that still fuel debates today. This is a theme that has been developed by many Pop artists before. And quite unexpectedly, Jackson wrote a song on the subject, trying not to offend women who may face such situation.
The title of the song, Song Groove, is followed by another title: Abortion Papers. It sounds as if the two titles hardly match: in a way, how can a title like Song Groove be used for a song about abortion? One of Jackson’s abilities was to craft uptempo and catchy songs with deep and dark themes. Billie Jean may be the best example, as it tells the story of a woman who claims to have Jackson’s child. In Abortion Papers, Jackson also uses an uptempo musical theme to spread his message. The story of this double title reflects Jackson’s way of working on song ideas: “When we did the research there were two tapes and each tape is a multi track analog tape saying Song Groove”, recalls Forger. “But we didn’t realize that Abortion Papers was recorded in two halves. Half of the song was one tape, half of the song was another tape. And while listening I said “this tape is half of another tape that we have”. And then we did more research and we found another tape and we had to put the two halves together to get the complete recording”.
So it takes people like Matt Forger to fully understand what is in the archives. Some songs had working titles that changed in the process. On BAD, The Way You Make Me Feel very first title was Hot Fever. This working song title surfaced only once, on a rare 2001 US Promo CD of the Special Edition of BAD.
Musically, Song Groove hints at sound textures and designs that would be developed on Dangerous: the subdued yet tensed atmosphere, the machine and metallic sounds: they are already there. “In Song Groove there is an aggressive quality of the music that he was developing and writing”, says Forger. “This was the time when, at Quincy’s encouragements Michael wrote all the songs of the Bad album, as much as he could. I worked with Michael along with Bill Bottrell, John Barnes and Chris Currell. We were working with him at Hayvenhurst studios that Michael called the Laboratory. My job was to work with Michael and to get all these song ideas that Michael was working on and developing: his production style, his writing style, his arrangement style. Everything about that was Michael developing this, which was fascinating for me to be able to observe. Much of these styles you can hear in the songs included in BAD 25 are developed in later albums”.
Free
(Recorded by Bill Bottrell)
Once again, Stevie Wonder’s influence is highly palpable in this song. From the aforementioned 1976 Blues Away down to later works such as Beautiful Girl (released on the 2004 Ultimate Collection box set), Jackson’s self penned ballads often bear signature harmonies inspired by Wonder. Free also sounds fresh like some of the Jacksons’ late 70’s work as a group. Jackson’s love for sweet melodies may have been the source of mockery over the years, but like French composer and one of Celine Dion’s collaborators, Jean Jacques Goldman, told RTL radio in 2009: “He is a great composer. We Are the World may sound easy stuff, but it takes some talent to come with such a melody. He is a musician and an arranger.”
Free is Jackson the balladeer at his best: soulful, happy and so into the moment. “This is one of my favorite songs here because you can hear Michael’s emotion, and his spirit, you can hear his happiness and his joy”, confirms Forger. “And this is the feeling that we had in the studio. The atmosphere in the studio would always be exciting. He would be happy and enjoy so much the work. When you hear Michael’s voice it makes you smile and feel so good that you can feel the joy. Anytime I hear the song Free, it makes me feel so good inside”.
Price of Fame
(Recorded by Bill Bottrell and Matt Forger)
Here is a song that has a long history in the MJ fan community. Price of Fame was scheduled to be the main theme of a Pepsi campaign. The song was not released and was eventually replaced by a special version of BAD with new Pepsi lyrics. Matt Forger remembers: “there was a special version of The Price of Fame with different lyrics for Pepsi. I don’t think a lot of people ever heard it. But this is the original version of The Price of Fame on BAD 25, and it was recorded at Hayvenhurst”.
As it sounds like a sequel to Billie Jean and a prequel to Who Is It, Price of Fame also has its own identity and originality. It is built around a smooth Ska / Reggae beat, one of Jackson’s scarce incursion into this genre (he also recorded background vocals for Joe King Carrasco’s 1982 Don’t Let A Woman (Make a Fool out of You)).
The lyrics perfectly reflect the state of mind Jackson may have been in as soon Thriller reached heights that to this day remain untouchable: “This is Michael talking about very personal experiences”, explains Forger. “It is about the kind of things that happened in his life especially after the success of Thriller. His popularity was so extreme that he was not able to go out in public at all without attention”.
Al Capone
(Recorded by Matt Forger and Bill Bottrell)
Another song title known for years by MJ fans and experts. Described as the very early demo or incarnation of what was to become Smooth Criminal, Al Capone reflects Jackson’s love for storytelling. Of course, cinema and films had a huge impact on his work and his vision as an artist. Starting with the epic video to Can You Feel It (The Triumph, 1981), Jackson always pushed the limits to innovate and present pieces of music with a strong cinematographic edge. The song was recorded at Hayvenhurst and Matt Forger remembers the original angle of the track: “Al Capone was written around an actual historical figure. It sets the groundwork for the song that became Smooth Criminal. Michael used many of the same themes and similar ideas to create Smooth Criminal”.
As Al Capone was about a historical figure, Jackson refined his vision and opted for another totally different story: “In Smooth Criminal he wrote a story and made it unique. It was not about a historical figure like Al Capone. He made his own story and this was something new and fresh in his vision”.
Just like ideas and elements from Streetwalker were reworked to create the very first version of the song Dangerous, Al Capone and Smooth Criminal were crafted with the same kind of elements. And actually, both songs seem to be derived from another song that Jackson recorded earlier and that has been widely talked about by MJ music fans: “Chicago 1945 was done prior to Al Capone”, explains Matt Forger. “It spoke about an era in time, about what was happening at that time in Chicago, that year. It was almost as if you were reading the newspapers at that time. It was a song that maybe Michael used as the idea for Al Capone, and Al Capone was the idea for Smooth Criminal. So maybe there were some similarities but this is a different song. Al Capone was a definite new approach and Smooth Criminal was much more refined”.
Je ne veux pas la fin de nous
Leaked on the internet in 2001, Je Ne Veux Pas La Fin De Nous is Jackson’s sole attempt to sing in French. He chose to adapt his song I Just Can’t Stop Loving You in Spanish and French to reach out to new audiences. Other singers also went in that direction, and quite simply the goal was to enhance their image in specific markets.
As the Spanish version, Todo Mi Amor Eres Tu, was co-written by Ruben Blades (Jackson would also work with him on the Spanish version of his all-star internet 2003 single What More Can I Give), the French one was penned by Belgian writer Christine Decroix, one former Quincy Jones protégée. Decroix remembers the track was recorded quite in a rush, shortly before Jackson left for Japan to kick off the BAD Tour. It took her like a night to write the lyrics and she was in the studio with him to coach him and give him directions so that he could get the right accent.
The mix of the song presented on BAD 25 is the final one that was done in 1987: “This is not a new mix”, confirms Matt Forger. “The mix existed at that time. I only knew there were a Spanish version and a French one. There was a lot of research and an interest to release the song. I was told to mix it for BAD 25. However the people I worked with and I said we have to research this completely and we knew something was done in 1987. My entire philosophy is: every time I could find a very good mix representative of what the song should be and the way Michael would want the song from that era, my choice is: that’s the one that should be used. We did a lot of research and we found the mix and we were so happy we were able to find it. It was so authentic”.
During the BAD sessions, Michael Jackson considered many songs that finally were discarded. Songwriter Rod Temperton, who was part of the A-Team behind Off the Wall and Thriller, submitted a few songs for BAD, one of them being Groove of Midnight. This song was eventually recorded by Siedah Garrett and was released on her debut album KISS of Life on Qwest Records (1988). “Rod Temperton had some songs”, remembers Matt Forger. “Quincy asked him to have songs ready. Groove of Midnight is one of these songs. However we searched and we could not find a version with Michael’s vocals. It wasn’t a song that they considered for the BAD album eventually”.
BAD was the final collaboration between Michael Jackson and Quincy Jones. Both artists would part ways after the release of the album. Jones stepped away from the music business and dived into the multimedia age, most notably with the launch of his acclaimed urban publication: Vibe Magazine. Jackson stepped into the 90’s by acknowledging Hip Hop culture as he worked with New Jack Swing mogul Teddy Riley, and crafted ever more ambitious works as a songwriter, arranger and producer. A lot has been said about Michael’s and Quincy’s respective and actual role and responsibility in the success of the music they made together. Matt Forger feels debates may have gone a little bit too far: “I’ve read all these discussions about Quincy and Michael on the internet. They fight and argue about Quincy’s or Michael’s actual involvement in the production of the music. One of these things we see now 25 years later is the amazing work Michael did. Quincy encouraged Michael as a songwriter, arranger and producer. There were some differences of opinion like when Quincy told about Streetwalker versus Another Part of Me in the 2001 Special Edition interviews, and of course these things happen”.
During the We Are the World sessions, Quincy had a sign at the entrance of the studio, stating: “check your ego at the door”. What should be remembered about records like BAD is that when such songs were released to the public, the word “album” had a meaning and the concept was to develop great imagery around songs. This is something that may have been altered or gradually overlooked throughout the years. It is no coincidence that 9 of the 11 songs were released as singles and were widely acclaimed. These were the days when albums would not be about fillers but, and just like how Thriller was geared, a collection of songs that could all be considered for single release. With BAD, Michael Jackson reached new heights that very people of his age ever dared and managed to reach. And 25 years later, the music and the vision are reaching out to a new generation: BAD 25 is topping the charts worldwide. As he tried to surpass Thriller, Michael Jackson actually delivered an album that eventually can also be played as a collection of his biggest hits that reflect his fantasies, vision of life, and also spread a very strong message in the anthem Man In The Mirror: “If you want to make the world a better place, take a look at yourself, and then make change”. This is what the “BAD days” were all about.
Richard Lecocq, author of Michael Jackson: KING
Additional editing by Chris Cadman and Craig Halstead, authors of Michael Jackson: For the Record
One thought on ““Chicago 1945 was done prior to Al Capone”, Matt Forger: the secrets of BAD 25 (EN)”

Question: who wrote the theme song to bad

Мэтта Форджера

According to sound director Matt Forger, the song may have become a push to create another composition on the gangster theme – “Al Capone”.

In turn, the song, a source of inspiration for which the real historical figure, Al Capone, served, became the foundation of the next composition - the fan "Smooth Criminal".

Question: who is the theme song to bad

Question: who wrote the song bad by al capone

Question: who is the song smooth criminal about

Question: what is the theme song of bad

гангстерскую

Question: what is the name of the fan that inspired the song bad

what is the name of the fan that inspired the song bad

According to sound director Matt Forger , the song may have become a push to create another composition on the gangster theme – “ Al Capone ” .

In turn , the song , a source of inspiration for which the real historical figure , Al Capone , served , became the foundation of the next composition - the fan " Smooth Criminal " .

По словам звукорежиссёра Мэтта Форджера, песня, возможно, стала толчком для создания другой композиции на гангстерскую тематику — «Al Capone». В свою очередь, песня, источником вдохновения для которой послужила реальная историческая фигура, Аль Капоне, стала основой следующей композиции — фанковой «Smooth Criminal».

По словам звукорежиссёра Мэтта Форджера, песня, возможно, стала толчком для создания другой композиции на гангстерскую тематику — «Al Capone».

В свою очередь, песня, источником вдохновения для которой послужила реальная историческая фигура, Аль Капоне, стала основой следующей композиции — фанковой «Smooth Criminal».

According to sound director Matt Forger, the song may have become a push to create another composition on the gangster theme – “Al Capone”. In turn, the song, a source of inspiration for which the real historical figure, Al Capone, served, became the foundation of the next composition - the fan "Smooth Criminal".

According to sound director Matt Forger, the song may have become a push to create another composition on the gangster theme – “Al Capone”.

In turn, the song, a source of inspiration for which the real historical figure, Al Capone, served, became the foundation of the next composition - the fan "Smooth Criminal".

According to the critics, listening to “Al Capone” can track her evolution into “Smooth Criminal”.

историческая

In celebration of Cirque du Soleil's premiere of their newest Las Vegas show, Michael Jackson ONE, Legacy Recordings has released nearly 270 Michael Jackson tracks on two iTunes anthologies, including The Ultimate Fan Extras Collection, which pairs rarities and demos with live versions, remixes and alternate takes. Here are five tracks you should download now.
"Don't Stop 'til You Get Enough (Original Demo)"
When "Don't Stop 'til You Get Enough" was released for public consumption in 1979, it served as the first single from Michael Jackson's Off the Wall album and quickly shot to No. 1 on the charts. But the song didn't come out of nowhere. It started as a melody that Jackson allegedly couldn't get out of his head. When he first gave birth to it in song form, he had his family members accompany him on percussion and keyboards, providing the basic sketch of what it would ultimately sound like. But the original demo is still light years away from the horn-laced disco-pop classic that the song became. With just an elementary sketch of the lyrics – and none of the musical bells and whistles of the song as you know it – this demo of "Don't Stop 'til You Get Enough" may not be a frequent listen, but it's still a must-hear for Jackson diehards.
"I'll Be There (Immortal Version)"
Whereas the original "I'll Be There" became a No. 1 hit for the Jackson 5 in 1970, this version, taken from Cirque du Soleil's Michael Jackson: The Immortal World Tour, features little Mike accompanied only by a minimalist piano part. Jackson sang this song on virtually all of his tours and co-opted it for various uses throughout his career. This stripped-down version is a powerful reminder of MJ's early years as a child star, and hearing it stirred up emotions for his brothers – who sang on the original version – when they saw the Cirque production in Las Vegas. "That was very touching to me," Jackie Jackson told Rolling Stone at the recent premiere of Cirque's newest resident show, Michael Jackson ONE. "That song brings back a lot of memories."
"Rock with You (Live)" (The Jacksons)
As an entertainer, Jackson had the whole package. So while we remember his sugar-sweet vocals and criminally smooth dance moves on songs like "Rock With You," a track from 1979's Off the Wall, he brought just as much power and verve to its live performance. He performed various takes of the disco-influenced song on different tours throughout his career and was reportedly planning on keeping it in the set list for his ill-fated "This Is It" concerts. For this version, recorded live with his brothers (touring under the name "The Jacksons"), the song absolutely pops with MJ's enthusiasm, conviction and unmatched showmanship.
"Al Capone"
The real-life gangster was perhaps the ultimate smooth criminal, so it doesn't seem all unnatural that Jackson's "Al Capone" eventually became the song "Smooth Criminal." The relationship between the two different tracks is both immediate and overt. Sure, "Smooth Criminal" is the better of the two, but it's that very evolution – or transformation – that makes "Al Capone" such a compelling listen. Originally released in 2012 as part of the bonus material found on Bad 25, a special 25th anniversary edition, "Al Capone" is an absolute must for completists.
"We Are Here to Change the World"
"We Are Here to Change the World" served as an anthem for Disney theme parks around the world. Jackson wrote the song specifically for the movie Captain EO, which was shown in special "4-D" movie theaters inside Disney parks (including Disneyland and Epcot) beginning in 1986. Jackson also starred in the film, which was produced by George Lucas and featured Francis Ford Coppola in the director's chair. The only other original MJ song used in the film was "Another Part of Me," which Jackson then included on his 1987 mega-hit album Bad. Had "We Are Here to Change the World" made it on that album, it may well have been another chart-topping single. It finally saw a wide release in 2004 as part of The Ultimate Collection box set, but it never had the chance to become the stand-alone hit that it could have been. Regardless, it's a classic Jackson track from one of his peak creative periods.
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Question: who was the inspiration for the song bad

Аль Капоне , стала основой

According to the critics, listening to “Al Capone” can track her evolution into “Smooth Criminal”.

who was the inspiration for the song bad

Question: what was the name of al capone's next composition

what was the name of al capone's next composition

Question: what is the name of al capone's next song

what is the name of al capone's next song

Question: what is the fan track of bad

Question: what was the name of al capone's next song

what was the name of al capone's next song

Question: what is the name of al capone's fan

Question: what does the fan track on al capone

According to the critics , listening to “ Al Capone ” can track her evolution into “ Smooth Criminal ” .

В свою очередь, песня, источником вдохновения для которой послужила реальная историческая фигура, Аль Капоне, стала основой следующей композиции — фанковой «Smooth Criminal». По мнению критиков, слушая «Al Capone», можно проследить её эволюцию в «Smooth Criminal».

По мнению критиков, слушая «Al Capone», можно проследить её эволюцию в «Smooth Criminal».

In turn, the song, a source of inspiration for which the real historical figure, Al Capone, served, became the foundation of the next composition - the fan "Smooth Criminal". According to the critics, listening to “Al Capone” can track her evolution into “Smooth Criminal”.

According to the critics, listening to “Al Capone” can track her evolution into “Smooth Criminal”.

The visual attributes of a jacket, decorated with police signs, and a metal belt — these items of the jacket Jackson wore at the Bad World Tour Concerts Creating a new album, Jackson thought of a new image that would visually complement the sound of the plate.

The songwriter Michael Bush recalled: “As Bad was filled with street music, was held in urban style, he was looking for something like it in clothes.”

полицейскими

металлический

TourСоздавая

The military style, the sparkling white glove, the black pants and the bunched-up socks: These were Michael Jackson's legendary trademarks. And the team behind them? For 25 years, Michael Bush, together with his partner Dennis Tompkins, who passed away in 2011, created most of Michael Jackson's personal and concert tour wardrobes, designing the costumes, apparel, shoes and accessories.
Some time ago, I spoke with Michael Bush, and we looked back at the golden era that lasted nearly a quarter of a century.
Luka Neskovic: You started working with Michael on the set of "Captain Eo," right?
Michael Bush: Yes! I was first hired to start making the clothes for the cast: the dancers, the characters... and then when the clothes were made I was hired to dress him in his outfit. That was 1985 and then after that job I worked with him ever since.
LN: What was your first impression about him?
MLB: He was very shy. I think he was looking -- because we were the same age -- for someone that he can have fun with, so he was a very big practical joker. He liked to play jokes on people. He made me laugh, and I could make him laugh, and I think that was the biggest part of the job -- to have a good time.
LN: What do you think about his style before you started working with him?
MLB: He was looking for his own style, because when I started with him he was still with his brothers, after the Victory tour, and he started going off on his own for the BAD tour. He was looking for something that fit his style of music, which in the Bad album was very street music, very urban, and he was looking for something that fit the visual of the sound he was producing. So that's what we were doing: a lot of police badges and a lot of street fashion.
LN: He was making a new image for a new album?
MLB: Yes, he did for every album. He changed a little bit for each album, especially for each tour, but it still had a very strong military influence.
LN: How performing would it affect him?
MLB: Michael loved to perform live as his was in his best. He always gave a 100 per cent. So he would lose a lot of water and weight as he was performing and it took a couple of days for him to recuperate to be able to do it again. He was very athletic, and very strong with what he did. Michael would dance every day to rehearse, to be strong enough to do the shows.
LN: Do you think that the second leg of the tour was better than the first one?
MLB: For me the best was when we started in Japan, because that was new, that was Michael's first solo tour. I mean, for me it was the same... The fans in Germany, France, and England, for example, are very aggressive, but a lot of audiences in Asia are very quiet. Michael liked self-expression. He liked to have the audience to express how have happy they were when he would perform.
LN: At that time did you know about vitiligo, his skin disease that he was trying to cover?
MLB: No, Michael told me in '87, in the middle of a Bad tour. It was very private for Michael, I mean his personal life. He was very afraid people would not like him for something that he could not control. He was very sensitive about people's feelings.
LN: I think somewhere in Bad period he started wearing an armband?
MLB: He wore a little bit before, but it mostly became dominant in the "Smooth Criminal" video with the white suite, with the blue armband. That's when it became pretty well established Michael's trademark in his clothes. He also wore the one in the Pepsi commercial, a red one, but after "Smooth Criminal" there was pretty much an armband on everything.
LN: What was the meaning of that?
MLB: It was Michael's. It was something that he wanted his audiences to identify with. If a jacket had an armband on, that it was Michael.
LN: And what was the meaning of a number 777?
MLB: Michael was the seventh child in his family and he was born in 1958. And if you had 1958 together you get 77. It didn't mean anything. Michael was like: "If I do something like that, people would wonder what that means and they'll remember it." So it was like education, why it was there?
LN: And the CTE?
MLB: CTE. It was just three letters that came out of a hat, to put on his clothes. When we made his first shirts, there were no letter on it, and he said: "We need some detail" and these CTE letters came out.
LN: What about a gold outfit that he wore on History tour. Was it designed by Versace or by you?
MLB: By us -- me and Dennis Tompkins.
LN: But why all the credits went to Versace?
MLB: Because it looked like something Versace would do. And Versace would not tell anybody that he didn't do it. So he became famous for something that he didn't do. Me and my partner -- we knew we did it, the fans knew we did it, and we don't need to tell anybody.
LN: Did Michael have any collaboration with Versace?
MLB: Versace came to the show we did in Milan, on Dangerous tour, and that was it.
LN: What do you think about the work of Ruska Bergman who was Michael's stylist?
MLB: The one that did the Italian Vogue? She did something different. She brought a bunch of clothes -- stuff that anyone could buy, and bring to Michael. I never do that. I only make custom-made for Michael.
LN: Do you think that she changed his trademark style?
MLB: No, because it's somebody else's style. It's pretty easy to go to a store and buy bunch of clothes and bring somebody. It's just a different type of job, and she gave Michael someone else's style, not Michael's style. She gave barman style, not Michael's personal style. That's what she does. All the job she does, that's what she does.
LN: I think her work was very interesting. What about the Ebony cover?
MLB: Oh, very nice, beautiful. Ebony showed Michael as a fashion model, as my job with Michael was to show him as an entertainer, dancer.
LN: How you prepared him for the court during the 2005 trial?
MLB: Every day he looked different. We had Dennis, my partner. He would stay at the studio and make the clothes for the next day, so I can put it in the car at the three o'clock in the morning, I leave my house to drive to Neverland, to meet Michael at six in the morning. His makeup artist Karen [Faye] would finish. He would finish his eating and then we would sit and talk a little bit, and then he would make sure that everything was on him, his tie, details, and then he would go to the court.
LN: What he would talk about?
MLB: He would talk about anything other than the trial to me. He would talk about like the sun outside, or how beautiful the flowers were at Neverland, or what I was doing when I got home. You know, stuff like that, not about what was happening in court. That was too hard for him.
LN: Did you have contacts with Michael after the trial?
MLB: A little bit, because Michael went to Bahrain and I didn't have as much contact with him, because of the time differences. He wanted to be with his family. I created the wardrobe for his personal use that nobody ever saw, because it's his private life.
LN: Was he exited about the comeback?
MLB: Oh, very excited. He wanted to show his children what he did for a living.
LN: What was your last memory of Michael [the night before his death]?
MLB: I told Michael when he was sitting in the car, I said: "Thank you for changing my life again," cause I'm going on a tour, and my whole life has changed, and Michael said: "Oh Burst," --that's what he called me Burst -- "you are changing mine," and I'll never forget our bear hug.
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Question: who wrote the song as bad by jackson

The visual attributes of a jacket, decorated with police signs, and a metal belt — these items of the jacket Jackson wore at the Bad World Tour Concerts Creating a new album, Jackson thought of a new image that would visually complement the sound of the plate.

The songwriter Michael Bush recalled: “As Bad was filled with street music, was held in urban style, he was looking for something like it in clothes.”

Question: what is the name of the belt on the bad jacket

металлический пояс — эти предметы гардероба Джексон надевал на концертах Bad World TourСоздавая новый альбом , Джексон задумывался и о новом образе , который визуально дополнил бы звучание пластинки .

what is the name of the belt on the bad jacket

Question: what item of clothing did jackson wear at the bad world tour

what item of clothing did jackson wear at the bad world tour

Question: what kind of signs are on the jacket by jackson

полицейскими значками , и металлический пояс — эти предметы гардероба Джексон надевал на концертах Bad World TourСоздавая новый альбом , Джексон задумывался и о новом образе , который визуально дополнил

what kind of signs are on the jacket by jackson

Question: what are the visual attributes of the bad jacket

полицейскими значками , и металлический пояс — эти предметы гардероба Джексон надевал на концертах Bad World TourСоздавая новый альбом , Джексон задумывался и о новом образе , который визуально дополнил бы звучание пластинки .

what are the visual attributes of the bad jacket

Question: what was the inspiration for the cover of bad

звучание пластинки

what was the inspiration for the cover of bad

Question: what was the name of the tour that jackson wore a metal belt on his jacket

what was the name of the tour that jackson wore a metal belt on his jacket

The visual attributes of a jacket , decorated with police signs , and a metal belt — these items of the jacket Jackson wore at the Bad World Tour Concerts Creating a new album , Jackson thought of a new image that would visually complement the sound of the plate .

The songwriter Michael Bush recalled : “ As Bad was filled with street music , was held in urban style , he was looking for something like it in clothes . ”

Визуальная атрибутика Куртка, украшенная полицейскими значками, и металлический пояс — эти предметы гардероба Джексон надевал на концертах Bad World TourСоздавая новый альбом, Джексон задумывался и о новом образе, который визуально дополнил бы звучание пластинки. Костюмер певца Майкл Буш вспоминал: «Поскольку Bad был наполнен уличной музыкой, был выдержан в стиле урбан, он искал что-то подобное в одежде».

Визуальная атрибутика Куртка, украшенная полицейскими значками, и металлический пояс — эти предметы гардероба Джексон надевал на концертах Bad World TourСоздавая новый альбом, Джексон задумывался и о новом образе, который визуально дополнил бы звучание пластинки.

Костюмер певца Майкл Буш вспоминал: «Поскольку Bad был наполнен уличной музыкой, был выдержан в стиле урбан, он искал что-то подобное в одежде».

The visual attributes of a jacket, decorated with police signs, and a metal belt — these items of the jacket Jackson wore at the Bad World Tour Concerts Creating a new album, Jackson thought of a new image that would visually complement the sound of the plate. The songwriter Michael Bush recalled: “As Bad was filled with street music, was held in urban style, he was looking for something like it in clothes.”

The visual attributes of a jacket, decorated with police signs, and a metal belt — these items of the jacket Jackson wore at the Bad World Tour Concerts Creating a new album, Jackson thought of a new image that would visually complement the sound of the plate.

The songwriter Michael Bush recalled: “As Bad was filled with street music, was held in urban style, he was looking for something like it in clothes.”

The release and promotion of the album and the promotion to it took Jackson and Jones 18 months.

промокампании

Question: how long did it take jackson and jones to promote bad

The release and promotion of the album and the promotion to it took Jackson and Jones 18 months.

how long did it take jackson and jones to promote bad

Question: who made the album bad by jackson and jones

Джексона и Джонса

who made the album bad by jackson and jones

Question: who wrote the lyrics to bad by jackson

Question: how long did it take to promote bad

Джексона и Джонса ушло 18 месяцев

The release and promotion of the album and the promotion to it took Jackson and Jones 18 months .

Релиз и промо На подготовку альбома и промокампании к нему у Джексона и Джонса ушло 18 месяцев.

Релиз и промо На подготовку альбома и промокампании к нему у Джексона и Джонса ушло 18 месяцев.

The release and promotion of the album and the promotion to it took Jackson and Jones 18 months.

The release and promotion of the album and the promotion to it took Jackson and Jones 18 months.

The dollars.

The release of Bad took place on August 31, 1987, with vinyl plates, compact cassettes and compact disks for sale.

Question: when did the first bad album come out

31 августа 1987 года , в продажу поступили виниловые

The dollars.

The release of Bad took place on August 31, 1987, with vinyl plates, compact cassettes and compact disks for sale.

Question: what kind of music was bad made out of

компакт - кассеты и компакт - диски

The dollars.

Question: what kind of music was bad on

компакт - кассеты

The dollars.

Question: what was the name of the 1987 album released with vinyl plates, compact cassettes and

The dollars.

what was the name of the 1987 album released with vinyl plates, compact cassettes and

Question: what kind of plates were in bad

виниловые пластинки

The dollars.

The release of Bad took place on August 31 , 1987 , with vinyl plates , compact cassettes and compact disks for sale .

долларов. Релиз Bad состоялся 31 августа 1987 года, в продажу поступили виниловые пластинки, компакт-кассеты и компакт-диски.

Релиз Bad состоялся 31 августа 1987 года, в продажу поступили виниловые пластинки, компакт-кассеты и компакт-диски.

The dollars. The release of Bad took place on August 31, 1987, with vinyl plates, compact cassettes and compact disks for sale.

The release of Bad took place on August 31, 1987, with vinyl plates, compact cassettes and compact disks for sale.

In the first week after the release, 350,000 copies were sold – Bad is one of the fastest-selling albums in the world.

"Коммерческий

1
We love a good list on NME.COM. You may have noticed. And today we’re looking at the fastest selling albums ever – kicking off with Westlife’s ‘Face To Face’ (2005), which sold 216,879 copies in its very first week of release. The figures that follow are all for first-week sales.
2
49. Madonna, ‘Confessions On A Dance Floor’ (2005). Sold: 217, 610. Madonna’s tenth studio album earned her a Grammy Award for “Best Dance/Electronic Album” in 2007, as well as the “International Female Solo Artist” award at the 2006 BRIT Awards.
3
48. Westlife, ‘The Love Album’ (2006). Sold: 219, 622. The boy band’s eighth album, and second cover album. All the songs were about love, and featured covers of artists including Bette Midler, Bonnie Tyler, O-Town and The Carpenters.
4
47. Kings Of Leon, ‘Only By The Night’ (2008). Sold: 220, 879. KOL’s fourth studio album impressively reached the the top ten in more than ten different countries, and it was nominated for a Grammy for “Best Rock Album”. Track ‘Sex On Fire’ received two nominations, as well.
5
46. Keane, ‘Under The Iron Sea’ (2006). Sold: 222, 297. Keane’s second studio album was an enhanced CD that came along with original demos, live recordings and video footage, a free ringtone, wallpaper and screensaver. It also came with a DVD of special video footage.
6
45. Craig David, ‘Born To Do It’ (2000). Sold: 225, 320. Craig David’s debut album was voted number two in MTV’s ‘Greatest Albums of All Time’ in April 2009.
7
44. Take That, ‘Greatest Hits’ (1996). Sold: 226, 107. As the title reveals, this was their greatest hits collection, released following the announcement of their split in 1996. It contained the band’s final single – their cover of The Bee Gees’ ‘How Deep Is Your Love’.
8
43. Arctic Monkeys, ‘Favourite Worst Nightmare’ (2007). Sold: 227, 922. This was their second studio album, and it has reached 2x platinum in the UK. The album was also nominated for the 2007 Mercury Prize and it won “Best British Album” at the 2008 BRIT Awards.
9
42. Eminem, ‘The Eminem Show’ (2002). Sold: 228, 297. This was the rapper’s fourth album – and the first to be released through Shady Records. It was also his first album that was largely self-produced.
10
41. Oasis, ‘Heathen Chemistry’ (2002). Sold: 230, 551. The fifth studio album from the Gallagher bros was the last one to feature Alan White on drums. When he left the band in 2004, he was replaced by Ringo Starr’s son, Zak Starkey.
11
40. Westlife, ‘Coast To Coast’ (2000). Sold: 234, 767. The boyband’s second album was the third best-selling album of 2000 in the UK. It also serves as the sixth best-selling boyband record ever in the UK.
12
35. JLS, ‘JLS’ (2009). Sold: 239, 644. Their first studio album debuted at number one in the UK and Ireland, and has been certified 4x platinum in the UK.
13
33. Frankie Goes To Hollywood, ‘Welcome To The Pleasuredome’ (1984). Sold: 250,000. Another debut album to make this list, this one was originally issued as a vinyl double album only. It also peaked at number one in the New Zealand Albums Chart.
14
32. Phil Collins, ‘…But Seriously’ (1989). Sold: 250,000. His fourth album spent 15 non-consecutive weeks at at the top of the UK chart, including the entire Christmas season. It was the UK’s best-selling album of 1990.
15
31. The Verve, ‘Urban Hymns’ (1997). Sold: 250, 054. The Verve’s third studio album was their best-selling release. The album was nominated for “Best British Album of the Last 30 Years” at 2010 BRIT Awards, but it lost to Oasis’s ‘(What’s The Story) Morning Glory?’
16
28. The Killers, ‘Sam’s Town’ (2006). Sold: 268, 946. Their second offering has sold more than 4.5 million copies worldwide. Brandon Flowers told Entertainment Weekly that it would be “the album that keeps rock & roll afloat.”
17
26. George Michael, ‘Patience’ (2004). Sold: 274, 816. This one debuted at the top of the UK Albums Chart, and has sold approximately ten million copies worldwide.
18
24. Scissor Sisters, ‘Ta-Dah’ (2006). Sold: 288, 167. These guys collaborated with Elton John, Carlos Alomar and Paul Williams for their second studio album, which reached the top of the charts in the UK, Ireland and Australia.
19
21. Coldplay, ‘Viva La Vida Or Death And All His Friends’ (2008). Sold: 302, 074. Coldplay’s fourth album debuted at number one in 36 countries. In the UK, it sold 125,000 copies in its first day alone.
20
20. Hear’Say, ‘Popstars’ (2001). Sold: 306, 631. This pop group was created on the TV show Popstars – and their debut album cleverly shared the same title. It peaked at number one in the UK, and spent 27 weeks on the chart.
21
19. Oasis, ‘Standing On The Shoulder Of Giants’ (2000). Sold: 311, 265. Their fourth studio album was certified double platinum by the British Phonographic Industry. Despite being commercially successful, it was the band’s lowest-selling album.
22
16. The Beatles, ‘1’ (2000). Sold: 319, 126. The fab four’s compilation album with almost every number one single of theirs (from ’62-’70) was released on the 30th anniversary of their break-up. It was their first compilation album to be released on one CD.
23
14. Boyzone, ‘By Request’ (1999). Sold: 329, 176. This was another greatest hits album, and it was the second best-selling album of 1999 in the UK, earning a certification of 6x Platinum. As if that’s not enough of an accomplishment, ‘By Request’ was the fifth best-selling boyband album in the UK.
24
13. Madonna, ‘The Immaculate Collection’ (1990). Sold: 340,000. Her very first greatest hits album featured 15 hits from ’82 to ’90, as well as two new tracks (‘Justify My Love’ and ‘Rescue Me’). It was the best-selling album from a female in the UK, and spent nine of consecutive weeks on the top of the chart in the UK – a record broken by Adele, who was at the top of the chart for ten weeks.
25
11. Michael Jackson, ‘Bad’ (1987). Sold: 350,000. The King Of Pop’s seventh studio album sold more than 30 million copies worldwide. It received six Grammy nominations and two wins. Stateside, it’s the only album to have five of its singles peak at number one on the Billboard 100 consecutively.
26
10. U2, ‘Rattle And Hum’ (1988). Sold: 360,000. Their sixth album came along with a companion documentary film, as well – both containing live recordings, covers and new songs. Upon its release, it had the highest first-week sales of any album to date.
27
7. Leona Lewis, ‘Spirit’ (2007). Sold: 375, 872. Leona’s debut album debuted at number one in nine countries (including the UK, USA and Germany) and reached the top five in eight other countries. The album also broke a record as the best-selling digital album in one week for a new artist.
28
5. Susan Boyle, ‘I Dreamed A Dream’ (2009). Sold: 411, 820. Her debut album featured 11 covers and one original song (‘Who I Was Born to Be’). It was the biggest selling album of 2009, worldwide, and has sold nearly nine million copies across the globe.
29
3. Coldplay, ‘X&Y’ (2005). Sold: 464, 471. Making it into third place is Coldplay’s third studio album, which gave the band their third consecutive number one debut in the UK. With an 8x platinum certification in the UK, it won “Best British Album” at the BRIT Awards, a Mercury Prize nomination and Grammy nominations for “Best Rock Album” (losing to U2).
30
2. Take That, ‘Progress’ (2010). Sold: 518, 601. In second place we have Take That’s ‘Progress’ – the band’s first album with Robbie Williams since 1995. It debuted the top of the UK Albums Chart, becoming the fastest-selling album of the century and the second fastest-selling album of all-time.

Question: how many copies of bad were sold in the first week

In the first week after the release, 350,000 copies were sold – Bad is one of the fastest-selling albums in the world.

how many copies of bad were sold in the first week

Question: what is the name of the fastest selling album in the world

what is the name of the fastest selling album in the world

Question: why is bad so popular in the music world

быстро продаваемых альбомов в мире

why is bad so popular in the music world

Question: how does bad compare to the rest of the world

one of the fastest-selling albums in the world

одним из самых быстро продаваемых альбомов в мире

one of the fastest - selling albums in the world

how does bad compare to the rest of the world

Question: how does bad compare to other albums in the world

быстро продаваемых

how does bad compare to other albums in the world

Question: why is bad so popular in the 90s

самых быстро продаваемых альбомов в мире

the fastest - selling albums in the world

In the first week after the release , 350,000 copies were sold – Bad is one of the fastest - selling albums in the world .

Коммерческий успех За первую неделю после релиза было продано 350 тыс. экземпляров — Bad является одним из самых быстро продаваемых альбомов в мире.

Коммерческий успех За первую неделю после релиза было продано 350 тыс. экземпляров — Bad является одним из самых быстро продаваемых альбомов в мире.

In the first week after the release, 350,000 copies were sold – Bad is one of the fastest-selling albums in the world.

In the first week after the release, 350,000 copies were sold – Bad is one of the fastest-selling albums in the world.

Bad is one of the fastest-selling albums in the world.

In September, the album debuted at the top of the American hit parade Billboard 200 and the UK Albums Chart.

дебютировала

американского

Billboard 200 - 1987 Archive
|Issue Date||Album Title||Artist|
|January 03||Bruce Springsteen & The E Street Band 1975-1985||Bruce Springsteen|
|January 10|
|January 17||Slippery When Wet||Bon Jovi|
|January 24|
|January 31|
|February 07|
|February 14|
|February 21|
|February 28|
|March 07||Licensed To Ill||Beastie Boys|
|March 14|
|March 21|
|March 28|
|April 04|
|April 11|
|April 18|
|April 25||The Joshua Tree||U2|
|May 02|
|May 09|
|May 16|
|May 23|
|May 30|
|June 06|
|June 13|
|June 20|
|June 27||Whitney||Whitney Houston|
|July 04|
|July 11|
|July 18|
|July 25|
|August 01|
|August 08|
|August 15|
|August 22|
|August 29|
|September 05|
|September 12||La Bamba||Soundtrack|
|September 19|
|September 26||Bad||Michael Jackson|
|October 03|
|October 10|
|October 17|
|October 24|
|October 31|
|November 07||Tunnel Of Love||Bruce Springsteen|
|November 14||Dirty Dancing||Soundtrack|
|November 21|
|November 28|
|December 05|
|December 12|
|December 19|
|December 26|

Question: when did the album bad come out

Bad is one of the fastest-selling albums in the world.

In September, the album debuted at the top of the American hit parade Billboard 200 and the UK Albums Chart.

Question: what chart is bad in in the uk

Question: where did the album bad come from

Question: what chart is bad on in america

Question: where does the song bad come from

американского хит - парада

Bad is one of the fastest - selling albums in the world .

In September , the album debuted at the top of the American hit parade Billboard 200 and the UK Albums Chart .

экземпляров — Bad является одним из самых быстро продаваемых альбомов в мире. В сентябре пластинка дебютировала на вершинах американского хит-парада Billboard 200 и британского UK Albums Chart.

экземпляров — Bad является одним из самых быстро продаваемых альбомов в мире.

В сентябре пластинка дебютировала на вершинах американского хит-парада Billboard 200 и британского UK Albums Chart.

Bad is one of the fastest-selling albums in the world. In September, the album debuted at the top of the American hit parade Billboard 200 and the UK Albums Chart.

Bad is one of the fastest-selling albums in the world.

In September, the album debuted at the top of the American hit parade Billboard 200 and the UK Albums Chart.

All Bad headed the charts of the 25 countries in the world.

дебютировала

американского

Question: when did all bad come out in the us

All Bad headed the charts of the 25 countries in the world.

Question: who topped the charts of the 25 countries in the world in september 2009

who topped the charts of the 25 countries in the world in september 2009

Question: how many countries are all bad in the world

how many countries are all bad in the world

Question: what chart is all bad in

Question: where did all bad come in the charts

Question: where did the album all bad come from

Question: where does all bad go in the charts

All Bad headed the charts of the 25 countries in the world .

В сентябре пластинка дебютировала на вершинах американского хит-парада Billboard 200 и британского UK Albums Chart. Всего Bad возглавил чарты 25-ти стран мира.

Всего Bad возглавил чарты 25-ти стран мира.

In September, the album debuted at the top of the American hit parade Billboard 200 and the UK Albums Chart. All Bad headed the charts of the 25 countries in the world.

All Bad headed the charts of the 25 countries in the world.

Between 1987 and 1989, Jackson released nine of the eleven songs from the album as singles, five of which led the hit parade Billboard Hot 100 — thus the singer set a record on the number of singles No. 1 from one album in the American chart.

американском

July 2, 1988: Michael Jackson Scores Fifth Hot 100 No. 1 From 'Bad'
Today marks the 25th anniversary of the King of Pop setting a record that only one artist has matched since
Twenty-five years ago today (July 2, 1988), Michael Jackson made history as the first act to achieve five No. 1 singles on the Billboard Hot 100 from one album. On that date, his "Dirty Diana" climbed from No. 2 to No. 1, giving Jackson his fifth and final leader from his album "Bad," his follow-up to 1982's "Thriller," the all-time best selling studio album (29-times Platinum, according to the RIAA).
"Dirty Diana" followed four prior chart-toppers from "Bad": "I Just Can't Stop Loving You" (with Siedah Garrett), the title track, "The Way You Make Me Feel" and "Man in the Mirror."
Since then, only one other act has matched the five-fold feat. Katy Perry notched five No. 1s from her 2010 album "Teenage Dream": "California Gurls" (featuring Snoop Dogg), the title cut, "Firework," "E.T." (featuring Kanye West) and "Last Friday Night (T.G.I.F.)." (Perry has since claimed another No. 1 on the Hot 100 with "Part of Me," the first single from the "Dream" expanded deluxe re-issue "The Complete Confection." While Perry has tallied six Hot 100 No. 1s from "Dream" and its re-released version, she remains tied with Jackson for the most toppers from an album over one release.)
Jackson's "Bad" album debuted at No. 1 on the Billboard 200 dated Sept. 26, 1987, and spent six weeks atop the list. It was reissued in an expanded 25th anniversary edition in 2012, adding a robust amount of extra material and previously unreleased tracks.

Question: how many singles did jackson release from all bad

Between 1987 and 1989, Jackson released nine of the eleven songs from the album as singles, five of which led the hit parade Billboard Hot 100 — thus the singer set a record on the number of singles No. 1 from one album in the American chart.

how many singles did jackson release from all bad

Question: how many countries were all bad in the 90s

how many countries were all bad in the 90s

Question: how many of jackson's albums were hit singles

how many of jackson's albums were hit singles

Question: how many songs from all bad by jackson

Question: what was the name of jackson's first number one album

what was the name of jackson's first number one album

Question: how many songs did jackson release as singles

девять из одиннадцати

how many songs did jackson release as singles

Question: what was jackson's first number one hit in the us

what was jackson's first number one hit in the us

Question: when did jackson release all bad album

Between 1987 and 1989 , Jackson released nine of the eleven songs from the album as singles , five of which led the hit parade Billboard Hot 100 — thus the singer set a record on the number of singles No . 1 from one album in the American chart .

Всего Bad возглавил чарты 25-ти стран мира. В период с 1987 по 1989 год Джексон выпустил девять из одиннадцати треков из альбома в качестве синглов, пять из них возглавили хит-парад Billboard Hot 100 — таким образом певец установил рекорд по количеству синглов № 1 из одной пластинки в американском чарте.

В период с 1987 по 1989 год Джексон выпустил девять из одиннадцати треков из альбома в качестве синглов, пять из них возглавили хит-парад Billboard Hot 100 — таким образом певец установил рекорд по количеству синглов № 1 из одной пластинки в американском чарте.

All Bad headed the charts of the 25 countries in the world. Between 1987 and 1989, Jackson released nine of the eleven songs from the album as singles, five of which led the hit parade Billboard Hot 100 — thus the singer set a record on the number of singles No. 1 from one album in the American chart.

Between 1987 and 1989, Jackson released nine of the eleven songs from the album as singles, five of which led the hit parade Billboard Hot 100 — thus the singer set a record on the number of singles No. 1 from one album in the American chart.

Bad is ranked 9th in the list of best-selling albums of all time in the UK.

американском

Великобритании

Queen's Greatest Hits has become the first album to sell over 6 million copies in the UK... Ever! Plus: The Official Top 40 Biggest Selling Albums Of All Time revealed!
Legendary British band Queen have made chart history by becoming the first act ever to reach 6 million UK sales of an album, the Official Charts Company can confirm.
Queen have broken chart records after surpassing the 6 million sales milestone with their 1981 Greatest Hits album. Britain’s best-selling album of all time, a staggering one in four British households now own a copy of the iconic act’s original bestof collection featuring such classic tracks as We Will Rock You, Another One Bites The Dust and their top-selling hit, Bohemian Rhapsody.
“Great news, AMAZING news from the Official Charts Company!“ guitarist Brian May told OfficialCharts.com. “Queen’s Greatest Hits which was released in 1981 has passed the 6 million mark in sales, which is incredible. I just want to say thanks to everyone who has supported us through the years, we hope to continue to serve you.”
Queen drummer Roger Taylor adds: "Wonderful. Who would have thought it! And all due to the Great British public. Thank you. A great honour!"
“Becoming the first album to pass 6 million sales is a quite incredible achievement by Queen and their iconic Greatest Hits album,” comments Martin Talbot, Chief Executive of the Official Charts Company. “Ever since it was first released in 1981, this package of classic pop and rock tracks has been an indispensable item in every music fan’s record collection – perhaps THE definitive greatest hits album!”
A true, enduring classic, the British public continue to buy Queen’s Greatest Hits in their droves; some 33 years after its original release, the album regularly sells several thousand copies per week, particularly around the Christmas gifting period, a trusted stocking filler for British music fans.
Sales of the album digitally are also now racking up, having been downloaded 124,000 times in the UK to date, though Queen’s Greatest Hits is evidently still very much an essential collectors’ favourite that music lovers demand to own a coveted physical copy of.
Queen’s Greatest Hits leads the way, some 900,000 copies ahead of ABBA Gold as the UK’s best-selling album of all time. ABBA last year overtook The Beatles‘ Sgt Pepper’s Lonely Hearts Club Band to take second place in the list.
The Beatles’ 1967 album, Sgt Pepper's Lonely Hearts Club Band, is in third place with 5.1 million sales, while Adele’s 21 (4.7 million sales) and Oasis’ What's the Story Morning Glory (4.6 million sales) complete the Top 5.
And if 6 million sales isn’t enough for them, Queen’s follow-up, Greatest Hits II, which was release in October 1991 – a month before lead singer Freddie Mercury’s untimely death - also rides high at Number 10 in the all-time Official Albums Chart, having notched up a further 3.9 million UK sales to date.
The Official Top 40 Biggest Selling Albums Of All Time are as follows:
The Official Top 40 Biggest Selling Albums Of All Time
|1||GREATEST HITS||QUEEN||1981|
|2||GOLD - GREATEST HITS||ABBA||1992|
|3||SGT PEPPER'S LONELY HEARTS CLUB BAND||BEATLES||1967|
|4||21||ADELE||2011|
|5||WHAT'S THE STORY MORNING GLORY||OASIS||1995|
|6||THRILLER||MICHAEL JACKSON||1982|
|7||THE DARK SIDE OF THE MOON||PINK FLOYD||1973|
|8||BROTHERS IN ARMS||DIRE STRAITS||1985|
|9||BAD||MICHAEL JACKSON||1987|
|10||GREATEST HITS II||QUEEN||1991|
|11||THE IMMACULATE COLLECTION||MADONNA||1990|
|12||RUMOURS||FLEETWOOD MAC||1977|
|13||BACK TO BLACK||AMY WINEHOUSE||2006|
|14||STARS||SIMPLY RED||1991|
|15||COME ON OVER||SHANIA TWAIN||1997|
|16||BACK TO BEDLAM||JAMES BLUNT||2004|
|17||URBAN HYMNS||VERVE||1997|
|18||LEGEND||BOB MARLEY & THE WAILERS||1984|
|19||BAT OUT OF HELL||MEAT LOAF||1977|
|20||BRIDGE OVER TROUBLED WATER||SIMON & GARFUNKEL||1970|
|21||SPIRIT||LEONA LEWIS||2007|
|22||DIRTY DANCING||ORIGINAL SOUNDTRACK||1987|
|23||NO ANGEL||DIDO||2000|
|24||1||BEATLES||2000|
|25||CRAZY LOVE||MICHAEL BUBLE||2009|
|26||WHITE LADDER||DAVID GRAY||1998|
|27||TALK ON CORNERS||CORRS||1997|
|28||SPICE||SPICE GIRLS||1996|
|29||THE FAME||LADY GAGA||2008|
|30||LIFE FOR RENT||DIDO||2003|
|31||A RUSH OF BLOOD TO THE HEAD||COLDPLAY||2002|
|32||BEAUTIFUL WORLD||TAKE THAT||2006|
|33||ONLY BY THE NIGHT||KINGS OF LEON||2008|
|34||HOPES AND FEARS||KEANE||2004|
|35||THE JOSHUA TREE||U2||1987|
|36||SCISSOR SISTERS||SCISSOR SISTERS||2004|
|37||BUT SERIOUSLY||PHIL COLLINS||1989|
|38||X&Y||COLDPLAY||2005|
|39||THE WAR OF THE WORLDS||JEFF WAYNE||1978|
|40||JAGGED LITTLE PILL||ALANIS MORISSETTE||1995|
© 2014 Official Charts Company. All rights reserved.

Question: how many number one hits did jackson have with bad

Bad is ranked 9th in the list of best-selling albums of all time in the UK.

how many number one hits did jackson have with bad

Question: how many of jackson's albums were singles

how many of jackson's albums were singles

Question: where does bad rank in the best selling albums of all time

where does bad rank in the best selling albums of all time

Question: how many songs did jackson have on bad

Question: when did jackson release the album bad

Question: what was jackson's first uk number one hit single

what was jackson's first uk number one hit single

Bad is ranked 9th in the list of best - selling albums of all time in the UK .

В период с 1987 по 1989 год Джексон выпустил девять из одиннадцати треков из альбома в качестве синглов, пять из них возглавили хит-парад Billboard Hot 100 — таким образом певец установил рекорд по количеству синглов № 1 из одной пластинки в американском чарте. Bad занимает 9 место в списке самых продаваемых альбомов всех времён в Великобритании.

Bad занимает 9 место в списке самых продаваемых альбомов всех времён в Великобритании.

Between 1987 and 1989, Jackson released nine of the eleven songs from the album as singles, five of which led the hit parade Billboard Hot 100 — thus the singer set a record on the number of singles No. 1 from one album in the American chart. Bad is ranked 9th in the list of best-selling albums of all time in the UK.

Bad is ranked 9th in the list of best-selling albums of all time in the UK.

The video was released on July 22, 1987 with the first single from Bad – “I Just Can’t Stop Loving You.”

The song was headed by Billboard Hot 100, R&B Singles, Hot Adult Contemporary Tracks, UK Singles Chart and received gold certification from RIAA.

сертификацию

Question: when did i just ca n 't stop loving you come out

22 июля 1987 года состоялся релиз первого сингла из Bad — « I Just Can’t Stop Loving You » .

The video was released on July 22, 1987 with the first single from Bad – “I Just Can’t Stop Loving You.”

The song was headed by Billboard Hot 100, R&B Singles, Hot Adult Contemporary Tracks, UK Singles Chart and received gold certification from RIAA.

when did i just ca n 't stop loving you come out

Question: what was the first song from bad

Question: what certification did bad get from the riaa

what certification did bad get from the riaa

Question: what was the first single from bad

Question: where did i just ca n 't stop loving you come from

where did i just ca n 't stop loving you come from

Question: what did bad get from the riaa

золотую сертификацию

Question: who gave bad a gold certification in 1987

who gave bad a gold certification in 1987

The video was released on July 22 , 1987 with the first single from Bad – “ I Just Ca n’t Stop Loving You . ”

The song was headed by Billboard Hot 100 , R&B Singles , Hot Adult Contemporary Tracks , UK Singles Chart and received gold certification from RIAA .

Синглы и видеоклипы Видеоклипы 22 июля 1987 года состоялся релиз первого сингла из Bad — «I Just Can’t Stop Loving You». Песня возглавила Billboard Hot 100, R&B Singles, Hot Adult Contemporary Tracks, UK Singles Chart и получила золотую сертификацию от RIAA.

Синглы и видеоклипы Видеоклипы 22 июля 1987 года состоялся релиз первого сингла из Bad — «I Just Can’t Stop Loving You».

Песня возглавила Billboard Hot 100, R&B Singles, Hot Adult Contemporary Tracks, UK Singles Chart и получила золотую сертификацию от RIAA.

The video was released on July 22, 1987 with the first single from Bad – “I Just Can’t Stop Loving You.” The song was headed by Billboard Hot 100, R&B Singles, Hot Adult Contemporary Tracks, UK Singles Chart and received gold certification from RIAA.

The video was released on July 22, 1987 with the first single from Bad – “I Just Can’t Stop Loving You.”

The song was headed by Billboard Hot 100, R&B Singles, Hot Adult Contemporary Tracks, UK Singles Chart and received gold certification from RIAA.

The second single from the album was the title track “Bad”.

The song was accompanied by a 18-minute short film directed by Martin Scorsese.

сопровождалась

короткометражным

Question: who directed the short film ‘bad’

Мартина Скорсезе

The second single from the album was the title track “Bad”.

The song was accompanied by a 18-minute short film directed by Martin Scorsese.

Question: how long is the short film bad

Question: how long was the short film bad

Question: how long is the movie bad by martin scorsese

how long is the movie bad by martin scorsese

Question: how long was the movie bad by martin scorsese

18-минутным короткометражным фильмом

how long was the movie bad by martin scorsese

The second single from the album was the title track “ Bad ” .

The song was accompanied by a 18 - minute short film directed by Martin Scorsese .

Вторым синглом из пластинки стал титульный трек «Bad». Песня сопровождалась 18-минутным короткометражным фильмом режиссёра Мартина Скорсезе.

Вторым синглом из пластинки стал титульный трек «Bad».

Песня сопровождалась 18-минутным короткометражным фильмом режиссёра Мартина Скорсезе.

The second single from the album was the title track “Bad”. The song was accompanied by a 18-minute short film directed by Martin Scorsese.

The second single from the album was the title track “Bad”.

The song was accompanied by a 18-minute short film directed by Martin Scorsese.

The story is partly related to the story of the murder of a black teenager who inspired the singer to create a song.

сопровождалась

короткометражным

перекликается

Question: how old was the song bad when it was made

The story is partly related to the story of the murder of a black teenager who inspired the singer to create a song.

how old was the song bad when it was made

Question: who is the song bad about in the movie

чернокожего подростка

Question: why did the song bad come from

убийства чернокожего подростка

The story is partly related to the story of the murder of a black teenager who inspired the singer to create a song .

Песня сопровождалась 18-минутным короткометражным фильмом режиссёра Мартина Скорсезе. Сюжет частично перекликается с историей убийства чернокожего подростка, которая вдохновила певца на создание песни.

Сюжет частично перекликается с историей убийства чернокожего подростка, которая вдохновила певца на создание песни.

The song was accompanied by a 18-minute short film directed by Martin Scorsese. The story is partly related to the story of the murder of a black teenager who inspired the singer to create a song.

The story is partly related to the story of the murder of a black teenager who inspired the singer to create a song.

The video, by which the singer tries to attract the girl’s attention on the dark street, accompanied the third single from the album Bad – “The Way You Make Me Feel”.

Michael Jackson: A Life in Film
Michael Jackson's impact on the art of the music video is as indisputable as his impact on the art of popular music. But the two media are of course not separate from each other; as compelling as his videos often are aesthetically, the insights they provide into his music, his personae, his world view go beyond what can be gleaned from the music itself. The videos comment on the music, and, considered chronologically in the context of his albums, paint an appropriately complex picture of one of music's most complex figures.
Off the Wall
Released pre-MTV, Off the Wall became a sensation when the music video was still a cultural trifle. The two videos from the album, "Rock With You" and "Don't Stop 'Til You Get Enough," are reminiscent of Jackson's later work only in that they feature spectacle beyond that of Jackson's dancing. Later videos would be principally narrative-driven, starting as soon as the first single off his next album, but at first Jackson simply offered impassioned lip synchs of the hit tunes, augmented by surprisingly effective blue-screen and split-screen effects. From a technological perspective, what's notable here is how good they look and how well they use special effects compared to other artists' later, early-MTV travesties like "Mickey."
Jackson dances exquisitely in both videos, particularly "Don't Stop." These are disco tracks, and like everything else that was ever associated with disco, they're heavy on the sexuality ("And we're gonna ride that boogie/ Share that beat of love"), but Jackson's dancing in both videos stops far short of the overt gestures the crotch-grabbing, et al that would come to typify him. He simply exudes the carnal energy of a young man out on the dance floor, and that's plenty.
Thriller
The most important video from Thriller isn't the title track; it's "Billie Jean," one of the masterpieces of the form. The Off the Wall videos introduced the basic ideas of performance and dance to Jackson's film palette, as well as that can't-be-neglected formalwear these elements all appear in "Billie Jean." This video's most significant additions to the mix are supernatural trickster-god mischief; the surprise or shock ending, which will pop up time and again in these short films; supernarrative a video story that's separate from the song's story; and cats.
"Billie Jean" also has the privilege of being attached to perhaps Jackson's very best song, and so the video's power includes that weight, along with the magnetism of Jackson's still-daunting, surgically unenhanced physical presence. But over the song's narrative of Jackson insisting (or, more accurately, trying to convince himself) that an acquaintance's child is not his son, the video tells the story of a paparazzi pursuing, but failing to capture, Jackson, who glides through the video turning everything he touches into a source of white light and then disappearing without warning. The climax of the video is when he gets into and disappears from Billie Jean's bed, leaving the paparazzi without a story and with the attention of two policemen who frown on peeping into bedroom windows.
More fascinating than all of that, however, is the video's technique, courtesy director Steve Barron, which today would seem like an overeager film student's foray into Eisensteinian montage but then was appropriately forward-thinking and groundbreaking. The video's chronology collapses in on itself, whether you're considering its presentation of the same moment through excellent split-screen work, the manner in which footage is repeated and recontextualized throughout the video (think of the white cat turning into the tabby) or the way that freeze-frames are flashed on the screen in advance of the shot that contains them. While Jackson would have equally technically intricate videos later, only one approached "Billie Jean's" innovation, and none surpassed its artistry.
The other two significant videos from Thriller "Thriller" and "Beat It" would fully flesh out Jackson's bag of tricks; these three videos are the touchstone for almost all of Jackson's later video work. "Beat It" is his first treatment of black youth and the streets; it's also the first to suggest that dancing together is tantamount to getting along. And both "Beat It" and "Thriller" became famous for their mass choreography, another Jackson trademark.
"Thriller," directed by John Landis, changed the landscape of the music video, cementing in viewers' minds the potential of videos to be both short films and major media events. In terms of how it contributes to our understanding of Jackson, however, "Thriller" only really innovated in two ways: its expense and its introduction of The Girl (also featured in "The Girl Is Mine," a very minor work that's only worth mentioning because it has more levity than any prior video, although the subsequent "Thriller" has its share of laughs.) The most instructive part of "Thriller" is how it puts a finer point on the matter of Jackson's interest in the trickster: Over the course of the video, Michael goes from a serious, clean-cut teenager to a were-creature (it may be a wolf, but it has cat eyes); then, from a slightly rougher-edged, comic youth to a zombie; and, finally, from a safe, trustworthy beau back into his cat-eyed self. The triple feint is crucial to Jackson: He repeatedly asks you not to limit him to the blandest persona he presents. The last shot of the cat eyes is a joke in "Thriller," but he'll do something very similar nine years later and won't be kidding.
Bad
Bad features two masterpieces of Jackson's video repertoire, a handful of great entertainments and one genuine car wreck of a short film.
One of the masterpieces, "Leave Me Alone," was actually a late addition to Bad; Jackson had penned a diatribe against tabloid culture (his first of many) and had animator Jim Blashfield create the accompanying video. The video brilliantly conceives of Jackson as a passenger on an amusement park ride, and that ride, you realize, turns out to be built in and on the sleeping body of Jackson himself, tied down Gulliver-style by dogs in suits. (Jackson really harps on the cat/dog thing.) When Jackson awakes, the construct built around him is crushed the video seems to be warning gossipmongers of the singer's pending wrath against them, but time would prove that promise empty, unless you count a series of increasingly acerbic songs.
The other masterpiece is "Bad." The most interesting thing about "Bad" is how out of context the video proper is from the short film that surrounds it. "Bad" is directed by Martin Scorsese, with his technical dream team: Michael Chapman behind the camera and Thelma Schoonmaker in the editing bay. Having brought us Raging Bull earlier in the decade, they now offer up another tale of how violence divides two brothers, shot in glorious black and white. It's basically about how a prep-school attendee, played by Jackson, returns to the inner city and is ragged on over Christmas break by his brother (Wesley Snipes) and their friends, a group for whom any high school whatsoever was not necessarily in the picture. (They think Jackson's character is attending college.) Tired of the harassment, Jackson agrees to prove his worth and help stage a mugging, but has a last-minute change of heart which causes his brother to insist that Jackson defend his clearly dubious "badness."
The film switches to color now and the traditional video begins, with Jackson who had been wearing a hooded sweatshirt but now re-appears in a leather jacket surrounded by tough-looking hangers-on now going to great lengths to explicate his badness quotient as he and the other dancers strut across the subway floor. The group choreography here lends itself more to leaping and sweeping group movements than earlier Jackson videos old-fashioned musical stuff no doubt attributable to Scorsese's interests and it is, please pardon the expression, a little gay. (The falsetto back-up singers intoning "He's bad, bad/ Really, really bad" doesn't help.) But it's still a powerhouse, particularly considered as a fantasy expression in the context of its bookends. Where the traditional video leaves off is when Jackson breaks into an a capella rendition of select lines from the song, which redistribute the emphasis of the lyrics, explaining that while his brother does bad things and is likely to bring down the law on him, Jackson has an indefatigable inner badness that's disassociated from the victimization of others. Having said his piece, Jackson and his brother clasp hands and walk their separate ways. As the film closes, Jackson, back in his hooded sweatshirt, doesn't seem any more settled or self-confident than he did when his brother first questioned his machismo.
The long version of the video doesn't give you the unassailable sense of Jackson's toughness that the short version does, but the short version is the only one that gets airplay anymore. Similarly, the circulated version of "The Way You Make Me Feel," which is basically a high-energy catcall, excises an opening portion that shows a group of black men taunting women and cajoling one another in the street one night; Jackson is trying to keep up, but he's not seasoned enough. Dejectedly splitting from the crowd, he's called on by an older man who, basically, encourages Jackson to "be himself."
Those are significant words, because it offers a different meaning for Jackson's album persona the leather jacket; the throaty growl on some tracks; the hard, guitar-driven rock. There's a toughness, but it's not really a street toughness; Jackson fully expects to be able to dance away. The short form of the "Bad" video only gives you the dancing and the bragging, and suggests that the badness Jackson is calling down upon himself is a thuggish, leather-jacket kind of badness just what he's trying to eschew in the long version, which is really another reiteration of how artistic expression can smooth over potentially violent personal differences a la "Beat It." But, again, if the goal is to make Jackson seem more macho as he enters the hair-rock era, then the short version does that more expediently than the long. Who's zooming who, however? I suspect Jackson the artist prefers the long version and the complete story it tells, whereas Jackson the master marketeer is happy to drop "Bad's" subtext; ditto the removal of the emasculating part of "The Way You Make Me Feel" for mass audiences. (The long versions of both videos are not available on any major Jackson video collections, but can be seen online.)
Other notable Bad videos include "Dirty Diana," a concert-type video accompanying a song about the wiles and easy virtue of a groupie it's the "Billie Jean" prequel that plays up a sort of Prince-ish sexuality and ends with the stinger of Jackson leaving the stage and being surprised to find Diana in his car. "Speed Demon" is Jackson at his most tricksterish; the long version has him escaping from rabid, Claymation-created fans on a studio tour before launching into the short verion, which is Jackson as a Claymation rabbit on a motorcycle chase through city streets. The Jackson rabbit switches identities throughout the video, including becoming Tina Turner and Pee-Wee Herman, and at the end of the video the rabbit persona gets the best of Jackson by forcing him to give away at least one autograph. It's a clever video on the fringes of the Jackson canon, but it definitely reinforces the supernatural-mischief motif.
Bad's 800-lb. gorilla, however, is "Moonwalker," the central feature on the Moonwalker tape. In brief: Three kids are looking for Michael one night when they spot him coming out of his brownstone but he's instantly fired upon by minions of Mr. Big (Joe Pesci). Flashback to when Jackson and the three kids were out playing in the woods one day when a search for a stray dog led them to Mr. Big's lair, where they overheard a plot to get drugs into the veins of every kid everywhere forever. Once discovered, Michael and the kids flee, but flashback over Mr. Big has found him, and so Jackson runs for a very long time; finally cornered and out of resources, Jackson remembers he can turn into a super-car and zooms away in a ball of fire. Jackson meets the kids outside of The '30s Club; once Jackson enters the club, it's "Smooth Criminal" a fun video with Jackson rasp-singing in an almost Godfather-y voice as he works his way through patrons indulging in the club's various vices (gambling, brawling, whoring) before Mr. Big reappears and kidnaps one of the kids, ending the video. Drawn to Mr. Big's lair, both Jackson and the kidnaped child are assaulted until Jackson remembers he can turn into a super-robot that can turn into a super-spaceship. Deus ex machina ensues; having defeated everyone, Jackson-as-spaceship flies off, leaving the kids teary and disillusioned until Jackson-as-pop-star re-emerges from the fog one night, and takes the kids to a concert at which he gives them back their dog and launches into a head-scratching performance of The Beatles' "Come Together."
This is Jackson at his most out-of-control; it's a kid's movie with a quasi-orgy in its center (that's an interesting moment in the "Smooth Criminal" video, which had a different director than the rest of the film) that's made with all the discipline of a 6-year-old. ("Oh, and he can turn into a car, too! With rocket engines!") It really is drudgery to watch, although the camera loves Jackson. As much as anything, it reinforces the need for Jackson to have strong (and strong-willed) collaborators; without them, he gets away with stuff like "Moonwalker."
Part Two >>>

Question: what album is the way you make me feel on

The video, by which the singer tries to attract the girl’s attention on the dark street, accompanied the third single from the album Bad – “The Way You Make Me Feel”.

what album is the way you make me feel on

Question: what is the title of the third single from the album bad

what is the title of the third single from the album bad

Question: what is the title of the third single from bad

what is the title of the third single from bad

Question: where does the video bad video take place

тёмной улице

where does the video bad video take place

Question: where does the way you make me feel come from

where does the way you make me feel come from

The video , by which the singer tries to attract the girl ’s attention on the dark street , accompanied the third single from the album Bad – “ The Way You Make Me Feel ” .

Видеоклип, по сюжету которого певец пытается привлечь внимание девушки на тёмной улице, сопровождал третий сингл из альбома Bad — «The Way You Make Me Feel».

Видеоклип, по сюжету которого певец пытается привлечь внимание девушки на тёмной улице, сопровождал третий сингл из альбома Bad — «The Way You Make Me Feel».

The video, by which the singer tries to attract the girl’s attention on the dark street, accompanied the third single from the album Bad – “The Way You Make Me Feel”.

The video, by which the singer tries to attract the girl’s attention on the dark street, accompanied the third single from the album Bad – “The Way You Make Me Feel”.

The song was released as a single on November 9, 1987, and in January 1988, the song reached the top of Billboard Hot 100.

Question: where does the video of bad take place

тёмной улице

The song was released as a single on November 9, 1987, and in January 1988, the song reached the top of Billboard Hot 100.

The song was released as a single on November 9 , 1987 , and in January 1988 , the song reached the top of Billboard Hot 100 .

Видеоклип, по сюжету которого певец пытается привлечь внимание девушки на тёмной улице, сопровождал третий сингл из альбома Bad — «The Way You Make Me Feel». Песня была выпущена в качестве сингла 9 ноября 1987 года, а в январе 1988 песня достигла вершины Billboard Hot 100.

Песня была выпущена в качестве сингла 9 ноября 1987 года, а в январе 1988 песня достигла вершины Billboard Hot 100.

The video, by which the singer tries to attract the girl’s attention on the dark street, accompanied the third single from the album Bad – “The Way You Make Me Feel”. The song was released as a single on November 9, 1987, and in January 1988, the song reached the top of Billboard Hot 100.

The song was released as a single on November 9, 1987, and in January 1988, the song reached the top of Billboard Hot 100.

In January 1988, the fourth single from the album was decided to release the composition "Man in the Mirror".

14. Smooth Criminal (1988) 'Smooth Criminal' from album 'Bad' is probably best known for the 1988 movie adaptation 'Moonwalker' which starred Jackson and Joe Pesci ('Goodfellas' star). It was the main theme song throughout, though the movie version where Jackson performed the dance routine at the nightclub was considerably longer than the album version. It was particularly well-received in Spain, topping the charts in 1988 and re-entering at number one in 2006 for a total of 6 weeks. Jackson's famous anti-gravity lean also made its debut with this song with the star patenting a complicated mechanism that allowed him to perform it. The most popular cover version of this song is by Alien Ant Farm, though violinist David Garrett recorded a classical instrumental version for his 'Encore' album. 13. Man in the Mirror (1988) One of the reasons Michael Jackson was such an important figure in entertainment was his penchant for writing deep and meaningful songs with timeless messages and global significance. 'Man in the Mirror' is a fine example of this and became one of his most critically acclaimed singles, even being nominated for Record of the Year at the Grammys and remaining at number one in the US for 2 weeks. His use of a Gospel choir on the track makes it all the more special and his inspiration for the song is put across on the video which features clips of various events in history including Ethiopian famine, Live Aid, the Kennedy assassinations and the Vietnam War as well as various important figures from Adolf Hitler and the Ku Klux Klan to Martin Luther King and Mahatma Ghandi. Cover versions of the song include renditions from James Morrison, 'Glee' and acoustic guitarist Tuck Andress. 12. Don't Stop 'Til You Get Enough (1979) From the early 'Off the Wall' album, this track is one of Jackson's first major solo hits earning him his first Grammy since leaving his brothers and introducing most of the characteristic Jackson vocals such as vocal 'hiccups' and his falsetto. The accompanying music video was his first since going it alone and the song earned a number one spot on the US chart for a week as well as a further 3 weeks in Australia. It has since been covered numerous times with a version being recorded by Chris Tucker and Adrienne Bailon for the film 'Rush Hour 2' and such artists as Westlife, U2, Prince and Usher performing the seminal track on their various tours. 11. I Just Can't Stop Loving You [ft. Siedah Garrett] (1987) The 'Bad' album's hit single 'I Just Can't Stop Loving You' was originally meant to feature vocals from Barbra Streisand or Whitney Houston but neither were available to record which is when Quincy Jones suggested Siedah Garrett who had previously co-written 'Man in the Mirror'. It was another one of Jackson's romance hits and remained atop of the UK charts for 2 weeks (one week more than the US); it even reached number one on its re-release in 2012. The song was performed by Gloria Estefan and James Ingram during the Michael Jackson 30th Anniversary Special and has also been covered by jazz artist Chuck Loeb and 'Glee' in a 2012 tribute episode. 10. Blood on the Dance Floor (1997) 'Blood on the Dance Floor' served as the first song to be released from his 1997 remix record 'Blood on the Dance Floor: HIStory in the Mix'. It is one of a handful of songs by Jackson with a chilling and somewhat grisly storyline with the video focusing on a salsa dancer called Susie who seduces the star by table-dancing above him before producing a switchblade. It had limited popularity in the US which contrasted massively to the reception in Europe. The song was at number one for 7 weeks in Spain, plus 1 week in the UK. Next page: 'Beat It', 'Earth Song' and others
Watch the video for Smooth Criminal
Watch the video for Man In The Mirror
Watch the video for Don't Stop Til You Get Enough
Watch the video for I Just Can't Stop Loving You
Watch the video for Blood On The Dance Floor
14. Smooth Criminal (1988)
'Smooth Criminal' from album 'Bad' is probably best known for the 1988 movie adaptation 'Moonwalker' which starred Jackson and Joe Pesci ('Goodfellas' star). It was the main theme song throughout, though the movie version where Jackson performed the dance routine at the nightclub was considerably longer than the album version. It was particularly well-received in Spain, topping the charts in 1988 and re-entering at number one in 2006 for a total of 6 weeks. Jackson's famous anti-gravity lean also made its debut with this song with the star patenting a complicated mechanism that allowed him to perform it. The most popular cover version of this song is by Alien Ant Farm, though violinist David Garrett recorded a classical instrumental version for his 'Encore' album.
13. Man in the Mirror (1988)
One of the reasons Michael Jackson was such an important figure in entertainment was his penchant for writing deep and meaningful songs with timeless messages and global significance. 'Man in the Mirror' is a fine example of this and became one of his most critically acclaimed singles, even being nominated for Record of the Year at the Grammys and remaining at number one in the US for 2 weeks. His use of a Gospel choir on the track makes it all the more special and his inspiration for the song is put across on the video which features clips of various events in history including Ethiopian famine, Live Aid, the Kennedy assassinations and the Vietnam War as well as various important figures from Adolf Hitler and the Ku Klux Klan to Martin Luther King and Mahatma Ghandi. Cover versions of the song include renditions from James Morrison, 'Glee' and acoustic guitarist Tuck Andress.
12. Don't Stop 'Til You Get Enough (1979)
From the early 'Off the Wall' album, this track is one of Jackson's first major solo hits earning him his first Grammy since leaving his brothers and introducing most of the characteristic Jackson vocals such as vocal 'hiccups' and his falsetto. The accompanying music video was his first since going it alone and the song earned a number one spot on the US chart for a week as well as a further 3 weeks in Australia. It has since been covered numerous times with a version being recorded by Chris Tucker and Adrienne Bailon for the film 'Rush Hour 2' and such artists as Westlife, U2, Prince and Usher performing the seminal track on their various tours.
11. I Just Can't Stop Loving You [ft. Siedah Garrett] (1987)
The 'Bad' album's hit single 'I Just Can't Stop Loving You' was originally meant to feature vocals from Barbra Streisand or Whitney Houston but neither were available to record which is when Quincy Jones suggested Siedah Garrett who had previously co-written 'Man in the Mirror'. It was another one of Jackson's romance hits and remained atop of the UK charts for 2 weeks (one week more than the US); it even reached number one on its re-release in 2012. The song was performed by Gloria Estefan and James Ingram during the Michael Jackson 30th Anniversary Special and has also been covered by jazz artist Chuck Loeb and 'Glee' in a 2012 tribute episode.
10. Blood on the Dance Floor (1997)
'Blood on the Dance Floor' served as the first song to be released from his 1997 remix record 'Blood on the Dance Floor: HIStory in the Mix'. It is one of a handful of songs by Jackson with a chilling and somewhat grisly storyline with the video focusing on a salsa dancer called Susie who seduces the star by table-dancing above him before producing a switchblade. It had limited popularity in the US which contrasted massively to the reception in Europe. The song was at number one for 7 weeks in Spain, plus 1 week in the UK.
Next page: 'Beat It', 'Earth Song' and others
Since no one will ever see the epic show, the next best thing is this...

Question: what was the title of the 1988 hit single from bad

In January 1988, the fourth single from the album was decided to release the composition "Man in the Mirror".

what was the title of the 1988 hit single from bad

Question: when did man in the mirror come out

Question: what was the title of bad's 1988 hit single

what was the title of bad's 1988 hit single

Question: when does man in the mirror come out

Question: what number was man in the mirror on

In January 1988 , the fourth single from the album was decided to release the composition " Man in the Mirror " .

В январе 1988 года четвёртым синглом из альбома было решено выпустить композицию «Man in the Mirror».

В январе 1988 года четвёртым синглом из альбома было решено выпустить композицию «Man in the Mirror».

In January 1988, the fourth single from the album was decided to release the composition "Man in the Mirror".

In January 1988, the fourth single from the album was decided to release the composition "Man in the Mirror".

The video for the song shows pictures of mass hunger, wars and manifestations of racism.

The composition received a platinum certification from the BPI.

демонстрирует

сертификацию

Question: what is the song bad about in the video

The video for the song shows pictures of mass hunger, wars and manifestations of racism.

The composition received a platinum certification from the BPI.

Question: what platinum certification is bad by the bpi

what platinum certification is bad by the bpi

Question: who gave bad a platinum certification

Question: what are the pictures in bad video

mass hunger, wars and manifestations of racism

массового голода , войны и проявлений расизма .

mass hunger , wars and manifestations of racism

Question: what are the main things in bad video

hunger, wars and manifestations of racism

голода , войны и проявлений расизма .

hunger , wars and manifestations of racism

Question: what is the meaning of bad in bad

массового голода

Question: what did bad get from the bpi

платиновую сертификацию

The video for the song shows pictures of mass hunger , wars and manifestations of racism .

The composition received a platinum certification from the BPI .

Видеоклип на песню демонстрирует картины массового голода, войны и проявлений расизма. Композиция получила платиновую сертификацию от BPI.

Видеоклип на песню демонстрирует картины массового голода, войны и проявлений расизма.

Композиция получила платиновую сертификацию от BPI.

The video for the song shows pictures of mass hunger, wars and manifestations of racism. The composition received a platinum certification from the BPI.

The video for the song shows pictures of mass hunger, wars and manifestations of racism.

The composition received a platinum certification from the BPI.

In addition, according to the British company Official Charts Company for 2014, "Man in the Mirror" is Jackson's most sold single in digital format in the UK.

сертификацию

Великобритании

It’s been five years since we lost The King Of Pop. As a tribute to Michael Jackson, here’s the Top 10 songs his British fans have been buying since his tragic death in 2009.
On July 13, 2009, Michael Jackson was set to kick off his This Is It series of comeback concerts at London’s O2 Arena.
These 50 shows would see him play to an estimated audience of more than one million fans during a nine month residency at the iconic London venue. It would set new world records for the biggest audience to ever see an artist in one city, and the most amount of people to attend a series of arena shows. However, three weeks before the first show was due to take place, tragedy struck.
At 12:21PM on June 25, 2009 paramedics were called to Michael Jackson’s home in the Holmby Hills of Los Angeles after receiving a 911 call; the singer had suffered a heart attack. A little over two hours later, Michael was pronounced dead at the Ronald Reagan UCLA Medical Center. He was just 50 years old.
His children - Michael Jr., who was 12-years-old at the time, Paris (11) and Blanket (7) – had lost their father, and the world lost The King Of Pop.
Man In The Mirror
Michael Jackson may have been gone for five years now, but his legacy lives on through his music.
Since his death, his estate have released two posthumous albums; 2010’s Michael, which peaked at Number 4 on the Official Albums Chart, and Xscape, which earned the singer his tenth UK Number 1 album last month. Coupled with his previous studio releases, compilations, soundtracks and live albums, more than 3.8 million copies of Michael’s albums have been purchased in the UK in the last five years.
But fans have not just been buying up Michael’s albums since his passing: his British fans have downloaded nearly four million copies of his singles since that fateful week in 2009, too.
MORE: Michael Jackson's full Official Charts history
Michael’s most downloaded track of the last five years is Man In The Mirror. Originally released in 1988 as the fourth single from his Bad album, it peaked at Number 21 on the Official Singles Chart. Co-written by Michael, Glen Ballard and Siedah Garrett, the song’s autobiographical lyrics struck a chord with his fans, and following his death, it re-entered the Top 40 at Number 2 along with 12 other of his classic songs. Since this day in 2009, Man In The Mirror has been downloaded 413,000 times.
Thriller, the title track of Michael’s 1982 album, is at Number 2 in our countdown, with over 244,000 digital downloads. Originally peaking at Number 10 upon its UK release in 1983, Thriller re-entered at Number 12 the week after Michael’s death.
At Number 3, with 224,000 downloads, is Billie Jean. Also taken from Thriller, the track became Michael’s second UK Number 1 solo single in January, 1983. The Top 5 is completed by Smooth Criminal (189,000 downloads) and Beat It (171,000 downloads).
But it’s not just classic tracks in the Top 10, more recently released singles such as Hold My Hand and Love Never Felt So Good, make an appearance, too. Hold My Hand, which is taken from 2010’s Michael album and features US R&B star Akon, is at Number 6 with 162,000 downloads. While, Love Never Felt So Good FT Justin Timberlake, from this year’s Xscape, is at Number 7 with 140,000 downloads.
Check out Michael Jackson’s Top 10 most downloaded songs since his death below:
|1||MAN IN THE MIRROR||MICHAEL JACKSON|
|2||THRILLER||MICHAEL JACKSON|
|3||BILLIE JEAN||MICHAEL JACKSON|
|4||SMOOTH CRIMINAL||MICHAEL JACKSON|
|5||BEAT IT||MICHAEL JACKSON|
|6||HOLD MY HAND||MICHAEL JACKSON FT AKON|
|7||LOVE NEVER FELT SO GOOD||MICHAEL JACKSON FT JUSTIN TIMBERLAKE|
|8||DIRTY DIANA||MICHAEL JACKSON|
|9||THE WAY YOU MAKE ME FEEL||MICHAEL JACKSON|
|10||BLACK OR WHITE||MICHAEL JACKSON|
© 2014 Official Charts Company. All rights reserved.

Question: what is the title of jackson’s most successful single in the uk

In addition, according to the British company Official Charts Company for 2014, "Man in the Mirror" is Jackson's most sold single in digital format in the UK.

what is the title of jackson’s most successful single in the uk

Question: what is the title of jackson's most successful single in the uk

what is the title of jackson's most successful single in the uk

Question: what kind of platinum is bad by jackson

Question: who wrote the song man in the mirror

Question: who certified man in the mirror by jackson

Official Charts Company на 2014 год , « Man in the Mirror » — самый продаваемый сингл Джексона в цифровом формате

who certified man in the mirror by jackson

Question: who said man in the mirror is bad

Official Charts Company на 2014 год , « Man in the Mirror » — самый продаваемый сингл Джексона в цифровом формате

In addition , according to the British company Official Charts Company for 2014 , " Man in the Mirror " is Jackson 's most sold single in digital format in the UK .

Композиция получила платиновую сертификацию от BPI. Кроме того, по данным британской компании Official Charts Company на 2014 год, «Man in the Mirror» — самый продаваемый сингл Джексона в цифровом формате на территории Великобритании.

Кроме того, по данным британской компании Official Charts Company на 2014 год, «Man in the Mirror» — самый продаваемый сингл Джексона в цифровом формате на территории Великобритании.

The composition received a platinum certification from the BPI. In addition, according to the British company Official Charts Company for 2014, "Man in the Mirror" is Jackson's most sold single in digital format in the UK.

In addition, according to the British company Official Charts Company for 2014, "Man in the Mirror" is Jackson's most sold single in digital format in the UK.

“Another Part of Me” is the sixth single from the album.

The song became the 11th in the Billboard Hot 100 and rose to the top of Hot R&B/Hip-Hop Songs.

Question: where did another part of me rank in the billboard hot 100

“Another Part of Me” is the sixth single from the album.

The song became the 11th in the Billboard Hot 100 and rose to the top of Hot R&B/Hip-Hop Songs.

where did another part of me rank in the billboard hot 100

Question: what is the 6th song off bad

Question: where does another part of me come from

Question: what is the title of the sixth single from bad

what is the title of the sixth single from bad

Question: what genre of music is another part of me

what genre of music is another part of me

Question: where did another part of me come from

в Billboard Hot 100 и поднялась на вершину

“ Another Part of Me ” is the sixth single from the album .

The song became the 11th in the Billboard Hot 100 and rose to the top of Hot R&B / Hip - Hop Songs .

«Another Part of Me» — шестой сингл из пластинки. Песня стала 11-й в Billboard Hot 100 и поднялась на вершину Hot R&B/Hip-Hop Songs.

«Another Part of Me» — шестой сингл из пластинки.

Песня стала 11-й в Billboard Hot 100 и поднялась на вершину Hot R&B/Hip-Hop Songs.

“Another Part of Me” is the sixth single from the album. The song became the 11th in the Billboard Hot 100 and rose to the top of Hot R&B/Hip-Hop Songs.

“Another Part of Me” is the sixth single from the album.

The song became the 11th in the Billboard Hot 100 and rose to the top of Hot R&B/Hip-Hop Songs.

The single “Smooth Criminal” was released on October 5, 1988.

In the video for the song, the musician demonstrated several elements that became his visitor cards: "antigravitation inclination", sealed with a white plaque of the finger and a bond on the hand.

продемонстрировал

антигравитационный

Question: when did smooth criminal come out

5 октября 1988 года .

The single “Smooth Criminal” was released on October 5, 1988.

In the video for the song, the musician demonstrated several elements that became his visitor cards: "antigravitation inclination", sealed with a white plaque of the finger and a bond on the hand.

Question: what is the meaning of visitor cards in bad

антигравитационный наклон

what is the meaning of visitor cards in bad

Question: what was the title of the 1988 hit single by bad

what was the title of the 1988 hit single by bad

Question: what did smooth criminal use to make his cards

визитными карточками

what did smooth criminal use to make his cards

Question: what are the visitor cards on bad

белым пластырем

The single “ Smooth Criminal ” was released on October 5 , 1988 .

In the video for the song , the musician demonstrated several elements that became his visitor cards : " antigravitation inclination " , sealed with a white plaque of the finger and a bond on the hand .

Сингл «Smooth Criminal» был выпущен 5 октября 1988 года. В видеоклипе на песню музыкант продемонстрировал несколько элементов, ставших его визитными карточками: «антигравитационный наклон», заклеенные белым пластырем пальцы руки и повязку на рукаве.

Сингл «Smooth Criminal» был выпущен 5 октября 1988 года.

В видеоклипе на песню музыкант продемонстрировал несколько элементов, ставших его визитными карточками: «антигравитационный наклон», заклеенные белым пластырем пальцы руки и повязку на рукаве.

The single “Smooth Criminal” was released on October 5, 1988. In the video for the song, the musician demonstrated several elements that became his visitor cards: "antigravitation inclination", sealed with a white plaque of the finger and a bond on the hand.

The single “Smooth Criminal” was released on October 5, 1988.

In the video for the song, the musician demonstrated several elements that became his visitor cards: "antigravitation inclination", sealed with a white plaque of the finger and a bond on the hand.

The compositions "Leave Me Alone" and "Liberian Girl" were released as single only in Australia and European countries, both releases were accompanied by videos.

сопровождались

видеоклипами

Question: what was liberian girl and leave me alone accompanied by

видеоклипами

The compositions "Leave Me Alone" and "Liberian Girl" were released as single only in Australia and European countries, both releases were accompanied by videos.

what was liberian girl and leave me alone accompanied by

Question: where did the song leave me alone come from

Австралии и странах Европы

where did the song leave me alone come from

Question: what is the name of the song that was a no 1 in australia in

what is the name of the song that was a no 1 in australia in

Question: what is the name of liberian girl

Question: what is the name of the song that was a hit single for liberian girl

what is the name of the song that was a hit single for liberian girl

The compositions " Leave Me Alone " and " Liberian Girl " were released as single only in Australia and European countries , both releases were accompanied by videos .

Композиции «Leave Me Alone» и «Liberian Girl» были выпущены в качестве синглов лишь в Австралии и странах Европы, оба релиза сопровождались видеоклипами.

Композиции «Leave Me Alone» и «Liberian Girl» были выпущены в качестве синглов лишь в Австралии и странах Европы, оба релиза сопровождались видеоклипами.

The compositions "Leave Me Alone" and "Liberian Girl" were released as single only in Australia and European countries, both releases were accompanied by videos.

The compositions "Leave Me Alone" and "Liberian Girl" were released as single only in Australia and European countries, both releases were accompanied by videos.

The single headed the hit parade of Ireland and entered the first five charts of Britain, Belgium and the Netherlands.

The video “Liberian Girl” was invited by more than 30 celebrities: Stephen Spielberg, Wuppy Goldberg, John Travolta and many others.

Великобритании

знаменитостей

Question: what was the name of the song that was a hit in ireland and the net

The single headed the hit parade of Ireland and entered the first five charts of Britain, Belgium and the Netherlands.

The video “Liberian Girl” was invited by more than 30 celebrities: Stephen Spielberg, Wuppy Goldberg, John Travolta and many others.

what was the name of the song that was a hit in ireland and the net

Question: who starred in the movie bad movie

Джон Траволта

Question: which three european countries did bad enter the charts

Великобритании , Бельгии и

which three european countries did bad enter the charts

Question: how many celebrities were invited to the liberty girl video

30-ти знаменитостей : Стивен Спилберг

how many celebrities were invited to the liberty girl video

Question: how many celebrities were in the video liberian girl

how many celebrities were in the video liberian girl

Question: who was the liberian girl video invited by

Stephen Spielberg, Wuppy Goldberg, John Travolta

Стивен Спилберг , Вупи Голдберг , Джон Траволта

Stephen Spielberg , Wuppy Goldberg , John Travolta

who was the liberian girl video invited by

Question: how many number one hits did bad have

The single headed the hit parade of Ireland and entered the first five charts of Britain , Belgium and the Netherlands .

The video “ Liberian Girl ” was invited by more than 30 celebrities : Stephen Spielberg , Wuppy Goldberg , John Travolta and many others .

Сингл возглавил хит-парад Ирландии и вошёл в первую пятёрку чартов Великобритании, Бельгии и Нидерландов. На съёмки видеоклипа «Liberian Girl» были приглашены более 30-ти знаменитостей: Стивен Спилберг, Вупи Голдберг, Джон Траволта и многие другие.

Сингл возглавил хит-парад Ирландии и вошёл в первую пятёрку чартов Великобритании, Бельгии и Нидерландов.

На съёмки видеоклипа «Liberian Girl» были приглашены более 30-ти знаменитостей: Стивен Спилберг, Вупи Голдберг, Джон Траволта и многие другие.

The single headed the hit parade of Ireland and entered the first five charts of Britain, Belgium and the Netherlands. The video “Liberian Girl” was invited by more than 30 celebrities: Stephen Spielberg, Wuppy Goldberg, John Travolta and many others.

The single headed the hit parade of Ireland and entered the first five charts of Britain, Belgium and the Netherlands.

The video “Liberian Girl” was invited by more than 30 celebrities: Stephen Spielberg, Wuppy Goldberg, John Travolta and many others.

The Moon Walk and the Game of Michael Jackson's Moonwalker Parallel to the preparation of the album, Jackson worked with several directors on the music film Moon Walk.

The full movie was planned to be shown in the US cinemas for Christmas in 1988, but, for some reason, the plan was reversed.

"Полнометражную

Michael Jackson’s short-film anthology “Moonwalker” may finally get a debut theatrical screening in the United States more than 20 years after it was released.
Back in 1988, MJ first unveiled the ambitious project, which contained several long-form videos for songs off his then-just-released Bad album, including his famous 25-minute clip for “Smooth Criminal.” The film had been scheduled to be released in U.S. theaters that Christmas, but for whatever reason, that plan was scrapped. The movie was released on VHS early in 1989, and — surprise, surprise — became a massive success. But now, more than two decades after its debut, one theater is planning to give “Moonwalker”
a proper premiere here in the States.
According to TMZ, Hollywood’s Arclight Cinemas is actively searching for a print of the film, with plans to show it on the big screen … for one night only.
The idea came after Jackson fans flooded Arclight’s Facebook page with requests to show “Moonwalker,” and the theater is now on the hunt for a copy of the flick. Even if the search is successful, there’s no word on when the premiere would occur. The theater had not responded to MTV News’ e-mail seeking a comment by press time.
However, Jackson fans might not want to hold their breath. In a follow-up story, TMZ reported that the late singer’s estate had blocked Arclight’s attempts to secure a print of the film, with a spokesperson for the theater telling the website: “We contacted the film’s directors and producers and were finally directed to MJ’s estate attorney [who] let us know the estate has the [film’s] rights but have no plans to make … prints available for rent at this time.”
“Moonwalker” features videos for Jackson tracks like “Speed Demon” (directed by Claymation innovator Will Vinton), “Leave Me Alone” (which was released as a promo and won Jackson a 1989 Grammy for Best Music Video, Short Form) and, as mentioned, the iconic “Criminal,” which features Jackson battling a group of mobsters led by Joe Pesci.
The flick also served as the inspiration for the super-awesome Sega game “Moonwalker, which featured a digital MJ morphing into a laser-blasting robot with the aid of his chimpanzee pal, Bubbles.
Would you go see a theatrical screening of Jackson’s “Moonwalker” film? Tell us in the comments.

Question: when did the movie bad come out

The Moon Walk and the Game of Michael Jackson's Moonwalker Parallel to the preparation of the album, Jackson worked with several directors on the music film Moon Walk.

The full movie was planned to be shown in the US cinemas for Christmas in 1988, but, for some reason, the plan was reversed.

Question: what was the title of michael jackson’s 1988 album ‘bad

what was the title of michael jackson’s 1988 album ‘bad

Question: when was the movie bad released in the us

when was the movie bad released in the us

Question: what was the title of michael jackson’s 1988 film ‘bad

what was the title of michael jackson’s 1988 film ‘bad

Question: who wrote the 1988 album ‘bad’

Question: what is the title of the 1988 michael jackson film about the moon walk

what is the title of the 1988 michael jackson film about the moon walk

Question: what is the title of michael jackson's 1988 film about the moonwalker

The Moon Walk and the Game of Michael Jackson

"Фильм « Лунная походка » и игра Michael Jackson

The Moon Walk and the Game of Michael Jackson

what is the title of michael jackson's 1988 film about the moonwalker

The Moon Walk and the Game of Michael Jackson 's Moonwalker Parallel to the preparation of the album , Jackson worked with several directors on the music film Moon Walk .

The full movie was planned to be shown in the US cinemas for Christmas in 1988 , but , for some reason , the plan was reversed .

Фильм «Лунная походка» и игра Michael Jackson’s Moonwalker Параллельно с подготовкой альбома Джексон работал с несколькими режиссёрами над музыкальным фильмом «Лунная походка». Полнометражную ленту планировали показать в кинотеатрах США на Рождество 1988 года, но, по каким-то причинам, план был свёрнут.

Фильм «Лунная походка» и игра Michael Jackson’s Moonwalker Параллельно с подготовкой альбома Джексон работал с несколькими режиссёрами над музыкальным фильмом «Лунная походка».

Полнометражную ленту планировали показать в кинотеатрах США на Рождество 1988 года, но, по каким-то причинам, план был свёрнут.

The Moon Walk and the Game of Michael Jackson's Moonwalker Parallel to the preparation of the album, Jackson worked with several directors on the music film Moon Walk. The full movie was planned to be shown in the US cinemas for Christmas in 1988, but, for some reason, the plan was reversed.

The Moon Walk and the Game of Michael Jackson's Moonwalker Parallel to the preparation of the album, Jackson worked with several directors on the music film Moon Walk.

The full movie was planned to be shown in the US cinemas for Christmas in 1988, but, for some reason, the plan was reversed.

The band is opened with a video, sounded from Jackson's several performances with the song "Man in the Mirror" at Bad World Tour and an autobiographical compilation of the singer's concert performances, solo and with the band The Jackson 5.

смонтированным

автобиографической

Moonwalker (1988)
Plot
Summaries
Anthology movie by, and starring, Michael Jackson in his prime, combining a number of music videos from his bestselling "Bad" album with a fantasy tale of Michael's confrontation with a ruthless drug dealer known as Mr. Big.
A movie that starts out with the "Man in the Mirror" music video, it then changes to a montage of video clips of Michael's career. Next comes a parody of his Bad video by children, and then Michael is chased by fans in a fantasy sequence. 2 more videos are shown, and then a movie in which Michael plays a hero with magical powers. In it he is chased by drug dealer Mr. Big and saves three children. Videos included in the movie are "Smooth Criminal" and "Come Together".
Starting with the caring "Man In The Mirror" and ending with the hymnal "The Moon Is Walking", Moonwalker is a informative anthological film, featuring music videos based off of "Bad", all ending with the ebony tale of a drug dealer whose goal is to get kids hooked.
Anthology means a published collection of poems or other pieces of writing. This is not a whole movie with a plot. So dont expect one. It starts with "Man in the mirror", A fantastic song urging the crowds to make a change .. followed by other MJ music videos including a Bad parody. In other words its a thrill ride, with beatiful dancing snd singing. Smooth Criminal has a movie like video at the end, where MJ's wishes from a wishing star comes true. The villain and his actions can also act as a metaphor to Michael Jackson's experience with the media.
Spoilers
Synopsis
- The movie starts with Michael Jackson singing his hit song "Man in the Mirror." After that song is over a montage starts of Michael as a kid and works it's way up to present day. After the montage is over, the music video for "Bad" is being remade by various child performers with the name "Badder." After the video is over, the young Michael is walking out of the builiding he is in. Outside, a claymation tourbus pulls up to the builiding. A large cloud of mist is seen on both sides of the builiding and when young Michael walks through, he turns back into present day Michael. The people in the tourbus spots him and begin to chase him.
After awhile of chasing, Michael accidently runs into an area where they are filming a movie. The director yells at him and the two actors decide to chase him as well. Michael manages to hide in a wardrobe room and sneak out dressed as a bunny, riding away on a bicycle. The paparazzi soon realize what happened and begin to chase Michael again. Michael's bike shifts into a Harley-Davidson motorcycle and the music video for "Speed Demon" begins. After Michael is sure he has lost his fans he stops in the desert and take off his bunny suit and sets in on a rock. He starts to walk away when something taps him on the shoulder. The bunny suit has come alive and it seems to challenge Michael to a dance contest. After a little dancing, a police officer taps Michael on the shoulder and gives him a ticket, Michael also noticed that the bunny has vanished. Michael gets on his motercycle and just before he rides away, the mountain in front of him takes shape of the bunny and winks at him. Michael smiles back and drives away. Then the music video for "Leave Me Alone" starts.
Once the "Leave Me Alone" segment is over, the quite rare, very long "Smooth Criminal" video begins. We see a full moon and three little kids on a rooftop looking at a builiding. Sean (Sean Lennon), Katie (Kellie Parker), and Zeke (Brandon Quintin Adams). Michael steps out of the builiding they are looking at and looks up at the sky. Then we see someone cracking a peanut in his hands, and Michael looks over to them and dodges quickly as henchmen start shooting at him. The two boys in fright, run away, and Katie stays behind frozen. She starts shouting Michael's name and then we go to a flashback.
We see Katie, Sean, and Zeke playing in a field with a soccer ball and along with Katie's dog Skipper. Someone kicks the ball and Skipper runs over, picks it up with his mouth and runs into the woods. Michael goes to look for him and Katie comes along with him. They call out to Skipper who is no where to be seen. They soon find a section of the woods covered with nothing but spiderwebs and locate a secret tunnel inside a rock. They both follow it trying to be as quiet as possible. When they see people, they stop on a staircase and look to see what they are talking about. They overhear someone who plans to get every child in the world hooked on drugs. The villan identifies himself as Franky LiDeo (Joe Pesci). Named Mr. Big for short. Katie sees a spider about to crawl on her arm and starts to scream. Mr. Big sees them and sends his gunmen after them.
We go back to the building where Michael is trying to dodge the bullets being shot at him. After the gunmen stop shooting, we see that Michael has gotten away and is running for his life. Katie notices this and runs off the building to find her two friends. After a while of running, Michael is cornered in a dead end and Mr. Big and his guards go to kill him when Michael's lucky star goes by. His lucky star can make him do anything or turn into anything. Michael turns himself into a super fast car and speeds past his enemies, escaping.
We now see Katie entering an abandoned club, and Sean and Zeke are both hiding there and greet her. They all claim Michael told them to meet him there earlier. They leave the club to make sure they are at the right place, and they run behind a fence when they hear someone coming. Katie looks over and sees Michael transforming back into human form. She is in shock and after she gets better, they all look up and see him entering the club. A burst of white light flashes and Michael enters. It turns out to be a lively, crowded, gangster-infested 1930s American nightclub. Michael is surprised by this, and everyone in there is surprised to see him. Michael feels it is his job to entertain them, and so, he performs his hit song, "Smooth Criminal". Despite the fact that the song "Smooth Criminal" is four minutes and seventeen seconds, this scene is dragged out to be about ten minutes long. Towards the end of Michael's exciting performance, Katie is kidnapped by Mr. Big while Sean and Zeke are still hiding behind the fence. Michael runs out to find what happened and they all go looking for her.
They find Mr. Big's lair and enter trying to be as quiet as possible. Sean and Zeke stop while Michael goes ahead. Then a metal door closes behind him, separating them. Michael runs to the center of the room and the boys go to the roof. A spotlight hits Michael and follows him until he is cornered. Then all the gunmen come out and point their guns at him, and two guards go infront of him. We hear Katie screaming as she is coming up an elevator. Mr. Big has a hold of her and is hitting her several times. Michael tries to go to her but the guards hold him back. Mr. Big reveals that he "just wants to get everybod high, " and is about to inject Katie with a drug when she scratches his face and runs to Michael. At the same time, the guard takes the back of his gun, hits Michael once in the stomach and once in the face. Giving him a concussion. Mr. Big catches Katie and pulls her back, turns Michael over and kicks him once in the chest. Michael is on the floor in pain and Katie tries to crawl away but is stoppped, Mr. Big orders the men to kill her first. Michael screams at him to leave her alone when his lucky star flies by and he transforms into a giant robot! Mr. Big manages to escape after Michael has killed all of the guards. Including the guard that was keeping Sean and Zeke on the roof. Michael then turns himself into a space ship and kills Mr. Big when he tries to kill him with a cannon. The kids are confused as to why they were left behind and say goodbye to Michael as he flies away thinking they would never see him again.
We then see the kids sitting on a bench in the street saying how much they miss him. Katie gets up to sit in a corner and she says to herself that she wishes he would come back. Just then we see mist and Michael appears out of nowhere. They all see him and run to him in happiness. He tells them to follow him and he leads them to the club, informing them that there is a surprise in store. Once again, a burst of white light flashes when they enter. It is at this point, when the quite rare, very long "Smooth Criminal" video ends, and the "Come Together" sequence begins. This is where the kids get Skipper back, and Michael performs his closing song "Come Together."

Question: when did jackson 5 release man in the mirror

The band is opened with a video, sounded from Jackson's several performances with the song "Man in the Mirror" at Bad World Tour and an autobiographical compilation of the singer's concert performances, solo and with the band The Jackson 5.

when did jackson 5 release man in the mirror

Question: who wrote the song bad by jackson 5

Question: what is the title of the first song by jackson 5 at bad world tour

what is the title of the first song by jackson 5 at bad world tour

Question: what is the opening song of bad

Question: what kind of music is bad by jackson 5

Question: who sings man in the mirror by jackson 5

who sings man in the mirror by jackson 5

The band is opened with a video , sounded from Jackson 's several performances with the song " Man in the Mirror " at Bad World Tour and an autobiographical compilation of the singer 's concert performances , solo and with the band The Jackson 5 .

Лента открывается роликом, смонтированным из нескольких выступлений Джексона с песней «Man in the Mirror» на Bad World Tour и автобиографической компиляцией из концертных выступлений певца, сольных и с группой The Jackson 5.

Лента открывается роликом, смонтированным из нескольких выступлений Джексона с песней «Man in the Mirror» на Bad World Tour и автобиографической компиляцией из концертных выступлений певца, сольных и с группой The Jackson 5.

The band is opened with a video, sounded from Jackson's several performances with the song "Man in the Mirror" at Bad World Tour and an autobiographical compilation of the singer's concert performances, solo and with the band The Jackson 5.

The band is opened with a video, sounded from Jackson's several performances with the song "Man in the Mirror" at Bad World Tour and an autobiographical compilation of the singer's concert performances, solo and with the band The Jackson 5.

The following are a few videos: “Badder” (signed specifically for the film parody on “Bad”, in which all the roles were played by children), “Speed Demon” and “Leave Me Alone”.

The film’s central story line was the 40-minute episode “Smooth Criminal”, filmed by Colin Chilvers, with a budget of $8 million.

The film ends with Jackson's performance in front of a live audience with a cover version of the Beatles' song "Come Together".

"Центральной

"Завершается

выступлением

Twenty-five years ago, Michael Jackson’s feature film Moonwalker, released in October 1988, furthered his life-long dream of becoming a movie star.
Jackson’s fantasy was one he shared with thousands of others in Hollywood. It was his aspiration, and one that remained unachieved until the day he died: June 25th, 2009. Self-penned notes, found after his death, reveal he felt that by becoming a film star and director, he’d secure immortalisation. Climbing to the pinnacle of the music industry in the 1980s, as well as redefining – and revolutionising – the music video as an art form hadn’t fulfilled his appetite. He was desperate to innovate in his favourite medium: film.
Not surprisingly, being in the music industry since the 1960s meant Jackson had an unquenchable thirst for new challenges. Prior to 1988, though, film success had eluded the then-30-year-old star – his only real experience at that time was his dexterous performance as Scarecrow in The Wiz, Motown’s commercially unsuccessful 1978 remake of The Wizard Of Oz. (Unless you’re to count Captain EO, made for Disney’s theme parks in 1986. Maybe it’s best we don’t.)
Jackson’s star power was so colossal in the 1980s that showbiz compatriots clamoured to collaborate with him. He had already ‘gone to school’ for his directorial education, working alongside two of the most successful directors of the 1980s: John Landis on ‘Thriller’ and Martin Scorsese on ‘Bad’. According to accounts of the directors and producers who’d worked with him, Jackson had shown great promise as an actor and director.
- - -
Michael Jackson, ‘Thriller’ (1983)
- - -
Michael Jackson, ‘Bad’ (1987)
- - -
And so, eager to achieve his breakthrough in film, a workaholic Jackson began shooting Moonwalker – before his multi-platinum ‘Bad’ album was even completed, his aim to coincide the releases. Writing and financing the 93-minute film himself – reportedly to the sum of $20 million – permitted him to monopolise the project from concept and, significantly, secure its production.
Worldwide touring commitments meant Moonwalker – named after Jackson’s backwards-slide dance and alluding to the stratospheric fame he’d accomplished – was released in UK cinemas in 1988. Domestically it became a box-office success, yet was only released to the US market on home video. Even so, Moonwalker became a phenomenon on VHS, generating millions of dollars in sales.
Aside from the obvious – and seemingly pointless – opening autobiographical segments featuring solo and Jackson 5 performances, the film is essentially a series of short music videos woven together. Rightly criticised for its narrative deficiencies, Moonwalker nevertheless succeeds as a superb visual interpretation to the fantasy themes found within the ‘Bad’ album. A glorified long-play music video, Moonwalker reaffirms Jackson’s status as a master of the form.
The film visually contextualises the subject matters found in ‘Bad’ through a tapestry of music videos. ‘Speed Demon’ features the artist transformed, in then-cutting-edge claymation style, into a leather-clad motorcyclist rabbit who frantically attempts to escape a bunch of crazed fans. It’s pure ‘80s filmmaking that brings humour to the tragic reality of Jackson’s day-to-day reclusive lifestyle and his desire to discover a sense of normality away from a destructive media spotlight, whose magnitude would forever change the public’s perception of him.
‘Leave Me Alone’ is the most obviously autobiographical moment of Moonwalker, a refreshingly frank message addressing Jackson’s growing anti-media feelings. Its revolutionary video, directed by Jim Blashfield, took nine months to make. Parading as a paradoxical glimpse into Jackson’s psyche, it symbolises his life as voyeuristic entertainment. With Jackson portrayed as Gulliver trapped amongst rollercoasters, the film ends by showing him breaking free of the theme park, metaphorically escaping the shackles stifling his life.
- - -
Michael Jackson, ‘Speed Demon’
- - -
Michael Jackson – ‘Leave Me Alone’
- - -
‘Leave Me Alone’ broke new boundaries, winning a Grammy in 1990. Director Blashfield recalls: “Conceptually, what we started out with, working with Jerry Kramer, Michael's producer for the video, was an idea that the video would be about Michael’s ‘idiosyncrasies’. Michael was at a stage in his career where he was starting to be the subject of some negative press, because of his propensity for plastic surgery and other enthusiasms, as well as rumours that he made up about himself for publicity purposes. Jerry and Michael thought it would be good to do a video that recognised and had fun with these things.”
Injecting humour into his soon-to-be life-long battle against tabloid rumours, Jackson can be seen dancing with a ball and chain alongside animations of the Elephant Man’s bones, cruising on a rocket through a shrine to Elizabeth Taylor, and sleeping in the infamous hyperbaric oxygen chamber. Brilliantly, Blashfield helped Jackson offer the audience a unique glimpse into the mind of the world’s most-scrutinised star.
Musically, Jackson had begun to juxtapose fantasy themes alongside social and political commentary, as well as his ever-present personal paranoia prevalent in much of his solo work. Jackson’s self-penned story to the extraordinary ‘Smooth Criminal’ video – which was the catalyst to the whole Moonwalker project – tells the tale of three homeless children, one played by Sean Lennon, who discover a drug lord named Frankie ‘Mr. Big’ LiDeo (an anagram of Jackson’s then manager, Frank DiLeo). To Jackson’s horror, Mr. Big, played by Joe Pesci, has an evil plan to hook the world’s children on drugs. Jackson and the kids are caught earwigging, and so Michael becomes the prey as Big hunts him.
After tracking him using soldiers and dogs, Big finally traps Michael. In ‘Thriller’, Jackson famously evolved into a werecat (not a werewolf, obviously; he was a zombie for a while, too) – but here, he magically transforms into a futuristic-looking car (actually the 1970 Lancia Stratos Zero), a robot, and finally a spaceship in order to escape his enemy, demonstrating a proclivity for chameleonic themes that would continue in future projects.
Arriving at a 1930s nightclub, Jackson metamorphoses back to human form, before the scene cuts to the opening of what is his most memorable short film of the ‘Bad’ era: ‘Smooth Criminal’, directed by Colin Chilvers. As the sounds of Jackson’s own heartbeat pulsate, he flicks a coin into the jukebox – the cue for his most-recognised bassline since ‘Billie Jean’ to kick in.
“Michael called me up and asked me if I would come over to his music studio,” says choreographer Vincent Paterson, who worked with Jackson for 17 years. “He played ‘Smooth Criminal’ for me. It had no lyrics – he didn’t know what the lyrics were going to be. It was not in its final stage at all, but there was a groove and it was really cool. He played it and told me he wanted me to take it and let the music talk to me, and let me know what it wants to be. He asked me to put the short film together and choreograph it.”
- - -
Michael Jackson, ‘Smooth Criminal’
- - -
Moonwalker trailer
- - -
Originally, Jackson had the idea for about 10 dancers, all wearing top hats and tuxedos. “I knew he had a penchant for movies of the ‘30s and ‘40s, and he loved that film noir stuff,” Vincent continues. “I had suggested that rather than it be 10 guys in tuxedos, it can be in an underground club in the ‘30s – and he loved the idea.”
Donning the trademark white suit, fedora and spats, Jackson effortlessly executes a wide array of dance steps, all choreographed by Paterson (except Jackson’s solo dancing, which he choreographed himself). Jackson’s dancing was so formidable that even film legends such as Gregory Peck and Robert De Niro came to the set for a glimpse at rehearsals.
“He would stand in front of a mirror for hours, and just do one section for hours, until it was so specific and so refined and so in his body that when he did it, it felt organic and almost improvisatory,” reveals Paterson.
‘Smooth Criminal’ is a masterpiece that rivals ‘Thriller’ as Jackson’s greatest short film. “Michael always said, and not just to me, that ‘Smooth Criminal’ was his favourite piece,” says Paterson. “To me, Michael saying it’s his favourite piece is kind of evidenced by so many things that originated in ‘Smooth Criminal’, you know: the band around the arm, that kind of hat, the white coat. He took on that persona of the ‘Smooth Criminal’ character and carried it on for almost the rest of his life.”
Moonwalker is light-years away from being Jackson’s greatest legacy, but it went some way to satisfying his craving for stardom in the movie market. “We all had an incredible time, and I know, for him, in terms of the experience, it certainly had to be one of the most amazing and fulfilling experiences that he ever had, and in a whole different way as an artist,” recalls Paterson.
Scandals about Jackson’s private life, rather than his acting and directing ability, ultimately diminished his dream of ‘making it’ as an actor. Instead, it’s his unparalleled pop music that has immortalised him. But with his eldest son, Prince, now taking tentative steps into the film industry, it is perhaps the heir to the Jackson Estate who will realise the one artistic goal that his father never quite achieved.
- - -
Words: David Aaron
This article is taken from Clash’s special Pop Issue, at all good newsagents now and available directly from us – click here to find out more.

Question: who was the guy that filmed smooth criminal

Колином Чилверсом

The following are a few videos: “Badder” (signed specifically for the film parody on “Bad”, in which all the roles were played by children), “Speed Demon” and “Leave Me Alone”.

The film’s central story line was the 40-minute episode “Smooth Criminal”, filmed by Colin Chilvers, with a budget of $8 million.

The film ends with Jackson's performance in front of a live audience with a cover version of the Beatles' song "Come Together".

who was the guy that filmed smooth criminal

Question: how much did it cost to make the movie bad

8 миллионов долларов

how much did it cost to make the movie bad

Question: who played speed demon in the movie bad

Question: what are the names of the children in bad

what are the names of the children in bad

Question: what beatles song does jackson sing in bad

what beatles song does jackson sing in bad

Question: who was the guy that filmed the movie bad

Colin Chilvers, with a budget of $8 million

40-минутный эпизод « Smooth Criminal » , снятый Колином Чилверсом , бюджет съёмок составил 8 миллионов долларов .

Colin Chilvers , with a budget of $ 8 million

who was the guy that filmed the movie bad

Question: what are the names of the songs in bad

The following are a few videos : “ Badder ” ( signed specifically for the film parody on “ Bad ” , in which all the roles were played by children ) , “ Speed Demon ” and “ Leave Me Alone ” .

The film ’s central story line was the 40 - minute episode “ Smooth Criminal ” , filmed by Colin Chilvers , with a budget of $ 8 million .

The film ends with Jackson 's performance in front of a live audience with a cover version of the Beatles ' song " Come Together " .

Затем следуют несколько видеоклипов: «Badder» (снятая специально для фильма пародия на «Bad», в которой все роли сыграли дети), «Speed Demon» и «Leave Me Alone». Центральной сюжетной линией ленты стал 40-минутный эпизод «Smooth Criminal», снятый Колином Чилверсом, бюджет съёмок составил 8 миллионов долларов. Завершается фильм выступлением Джексона перед живой аудиторией с кавер-версией на песню группы The Beatles «Come Together».

Затем следуют несколько видеоклипов: «Badder» (снятая специально для фильма пародия на «Bad», в которой все роли сыграли дети), «Speed Demon» и «Leave Me Alone».

Центральной сюжетной линией ленты стал 40-минутный эпизод «Smooth Criminal», снятый Колином Чилверсом, бюджет съёмок составил 8 миллионов долларов.

Завершается фильм выступлением Джексона перед живой аудиторией с кавер-версией на песню группы The Beatles «Come Together».

The following are a few videos: “Badder” (signed specifically for the film parody on “Bad”, in which all the roles were played by children), “Speed Demon” and “Leave Me Alone”. The film’s central story line was the 40-minute episode “Smooth Criminal”, filmed by Colin Chilvers, with a budget of $8 million. The film ends with Jackson's performance in front of a live audience with a cover version of the Beatles' song "Come Together".

The following are a few videos: “Badder” (signed specifically for the film parody on “Bad”, in which all the roles were played by children), “Speed Demon” and “Leave Me Alone”.

The film’s central story line was the 40-minute episode “Smooth Criminal”, filmed by Colin Chilvers, with a budget of $8 million.

The film ends with Jackson's performance in front of a live audience with a cover version of the Beatles' song "Come Together".

From 1989 to 1990, the video game Michael Jackson’s Moonwalker was released.

Question: what was the name of michael jackson's first video game

From 1989 to 1990, the video game Michael Jackson’s Moonwalker was released.

what was the name of michael jackson's first video game

Question: moonwalker was the first video game released by which famous artist

moonwalker was the first video game released by which famous artist

Question: when was michael jackson's moonwalker released

when was michael jackson's moonwalker released

Question: what was the name of the first michael jackson video game

what was the name of the first michael jackson video game

From 1989 to 1990 , the video game Michael Jackson ’s Moonwalker was released .

По мотивам фильма в период с 1989 по 1990 год была выпущена видеоигра Michael Jackson’s Moonwalker.

По мотивам фильма в период с 1989 по 1990 год была выпущена видеоигра Michael Jackson’s Moonwalker.

From 1989 to 1990, the video game Michael Jackson’s Moonwalker was released.

From 1989 to 1990, the video game Michael Jackson’s Moonwalker was released.

As a soundtrack for the game were used Jackson's songs from the albums Thriller and Bad.

использованы

Question: what was the name of the michael jackson video game released in 1989

As a soundtrack for the game were used Jackson's songs from the albums Thriller and Bad.

what was the name of the michael jackson video game released in 1989

Question: which michael jackson albums were used as the soundtrack for moonwalker

which michael jackson albums were used as the soundtrack for moonwalker

Question: what was the name of the video game released from 1989 to 1990

what was the name of the video game released from 1989 to 1990

Question: what was the first michael jackson album to feature moonwalker

what was the first michael jackson album to feature moonwalker

As a soundtrack for the game were used Jackson 's songs from the albums Thriller and Bad .

По мотивам фильма в период с 1989 по 1990 год была выпущена видеоигра Michael Jackson’s Moonwalker. В качестве саундтрека к игре были использованы песни Джексона из альбомов Thriller и Bad.

В качестве саундтрека к игре были использованы песни Джексона из альбомов Thriller и Bad.

From 1989 to 1990, the video game Michael Jackson’s Moonwalker was released. As a soundtrack for the game were used Jackson's songs from the albums Thriller and Bad.

As a soundtrack for the game were used Jackson's songs from the albums Thriller and Bad.

The singer gave 123 concerts in 15 countries, the show was visited by 4.4 million people, cash fees amounted to $125 million, making the Bad World Tour the most profitable concert tour of solo performers in the 1980s.

Question: how much did the bad world tour cost

125 миллионов

The singer gave 123 concerts in 15 countries, the show was visited by 4.4 million people, cash fees amounted to $125 million, making the Bad World Tour the most profitable concert tour of solo performers in the 1980s.

Question: how many concerts did bad give in 15 countries

how many concerts did bad give in 15 countries

Question: how many people visited the bad world tour

4,4 миллиона

how many people visited the bad world tour

Question: how many countries did bad tour in the 1980s

how many countries did bad tour in the 1980s

Question: what was the name of the most profitable concert tour of solo artists in the 1980s

what was the name of the most profitable concert tour of solo artists in the 1980s

Question: when did the bad world tour start

Question: how many countries did the bad world tour take place

how many countries did the bad world tour take place

The singer gave 123 concerts in 15 countries , the show was visited by 4.4 million people , cash fees amounted to $ 125 million , making the Bad World Tour the most profitable concert tour of solo performers in the 1980s .

Певец дал 123 концерта в 15 странах, шоу посетили 4,4 миллиона человек, кассовые сборы составили 125 миллионов долларов, что сделало Bad World Tour самым прибыльным концертным турне сольного исполнителя в 1980-х гг. Первое шоу состоялось 12 сентября 1987 года в Японии, последнее — 27 января 1989 года в США.

Певец дал 123 концерта в 15 странах, шоу посетили 4,4 миллиона человек, кассовые сборы составили 125 миллионов долларов, что сделало Bad World Tour самым прибыльным концертным турне сольного исполнителя в 1980-х гг. Первое шоу состоялось 12 сентября 1987 года в Японии, последнее — 27 января 1989 года в США.

The singer gave 123 concerts in 15 countries, the show was visited by 4.4 million people, cash fees amounted to $125 million, making the Bad World Tour the most profitable concert tour of solo performers in the 1980s.

The singer gave 123 concerts in 15 countries, the show was visited by 4.4 million people, cash fees amounted to $125 million, making the Bad World Tour the most profitable concert tour of solo performers in the 1980s.

Jackson gave seven concerts at the Wembley Stadium in London, tickets for them were completely sold, these shows visited 504,000.

Question: how many people saw jackson's bad at wembley stadium

Jackson gave seven concerts at the Wembley Stadium in London, tickets for them were completely sold, these shows visited 504,000.

how many people saw jackson's bad at wembley stadium

Question: how many times did jackson play at wembley stadium

how many times did jackson play at wembley stadium

Question: in which london stadium did jackson play seven concerts in 2009

стадионе « Уэмбли » в Лондоне

in which london stadium did jackson play seven concerts in 2009

Question: where did jackson play at wembley stadium

where did jackson play at wembley stadium

Question: where did jackson play the first bad concert

стадионе « Уэмбли » в Лондоне

where did jackson play the first bad concert

Question: where did jackson play his first show in london

стадионе « Уэмбли » в Лондоне

where did jackson play his first show in london

Question: which singer gave seven concerts at wembley stadium in london in 1989

which singer gave seven concerts at wembley stadium in london in 1989

Jackson gave seven concerts at the Wembley Stadium in London , tickets for them were completely sold , these shows visited 504,000 .

Джексон дал семь концертов на стадионе «Уэмбли» в Лондоне, билеты на них были полностью распроданы, эти шоу посетили 504 тыс.

Джексон дал семь концертов на стадионе «Уэмбли» в Лондоне, билеты на них были полностью распроданы, эти шоу посетили 504 тыс.

Jackson gave seven concerts at the Wembley Stadium in London, tickets for them were completely sold, these shows visited 504,000.

Jackson gave seven concerts at the Wembley Stadium in London, tickets for them were completely sold, these shows visited 504,000.

The achievement remained unbeatable, in 2003 the stadium was removed.

One of the London concerts was attended by representatives of the royal family of Britain: Princess Diana and Prince Charles.

представители

Великобритании

Twenty-five years ago in the late summer of 1987, Michael Jackson released his long-anticipated follow-up to Thriller, the Bad album. Bad went on to produce five No. 1 hits, several classic short films, and a record-setting world tour. To date, it has sold an estimated 30-45 million copies. To celebrate the milestone, the Estate of Michael Jackson and Epic/Legacy Recordings will release a three-CD package (Bad 25, out September 18), which includes the remastered original album, an album of bonus tracks, including demos and remixes, and a live album from his Bad World Tour.
Along with the new songs, the highlight of the Bad 25 box set is undoubtedly the "Live at Wembley" full concert DVD. This is a remarkable piece of history that might have been lost if not for a fortuitous discovery among Jackson's belongings. 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.
Unfortunately, in spite of an extensive search through the pop star's storage archives, Jackson's estate was unable to locate the original Umatic master tapes for the Wembley shows. Perhaps one of these days, they will show up somewhere. What they did find was a personal VHS copy of the concert from the singer's own video collection. "Even finding this VHS felt like a miracle to us," says estate co-executor John Branca.
A consummate perfectionist, Jackson often watched tapes like this of his shows to ascertain whether the "magic" was being captured and what could be improved not only in his own performance, but that of the rest of the crew. This was his viewing copy for the legendary July 16, 1988 performance, attended by 72,000 people, including Princess Diana and Prince Charles.
Picture Courtesy of © MJJ Productions
While the sourced footage remains "pre-HD, 1988 videotape quality," it has been restored by a team that has also treated recovered footage for NASA. The result isn't a perfect high definition picture, but for me, at least, took little away from the enjoyment of the experience. Watching the DVD is like being transported in time. It feels like the era it comes from. Generally, it seems the closer and mid-range shots are much sharper, while the distant shots can sometimes be a bit blurry. Fortunately, because the camera work is so good, we get many brilliant close-ups of Jackson that might almost be mistaken for high-definition. Add to that that the original audio was captured on multi-track and presented in 5.1 audio, and it is hard to complain about the results.
The Bad World Tour began in September 1987 in Japan and concluded nearly sixteen months later in January 1989 in Los Angeles. It became the highest-grossing and most attended concert series in history. Jackson played to an estimated 4.4 million fans in fifteen countries. It was also his first and last solo tour in North America.
The London shows came in the midst of the second leg of the tour. Michael-mania was sweeping through Europe. In Vienna, Austria, the Associated Press reported that over 130 people passed out during the concert. By the time he reached London excitement had reached a fever pitch. All seven concerts at Wembley Stadium sold out, shattering a record previously held by Madonna and Bruce Springsteen.
Picture Courtesy of © MJJ Productions
Watching the July 16 show on DVD 24 years later one can still feel that visceral energy and excitement in the stadium. When Jackson finally appears out of the smoke and starts into the opening number, "Wanna Be Startin' Somethin,'" the crowd erupts. This is Michael Jackson at the height of his performing powers.
Yet part of what makes the performance so enjoyable is how stripped down and spontaneous it is (by Jackson's standards), from the stage design, to the costumes, lighting and overall presentation. Music director Greg Phillinganes heads up a dynamic band, elevated just behind the stage, while Jackson is flanked, on many of the choreographed numbers, with a talented group of androgynous, Blade Runner-esque dancers (including Lavelle Smith).
The minimalist approach allows Jackson's talent -- as a dancer, singer and performer -- to shine through. He is loose and exuberant, like he's simply having a great time, and we're there to watch in. Jackson sings live throughout most of the show, and improvises to brilliant effect in certain parts. At the conclusion of "I'll Be There," for example, he begins ad libbing like a gospel preacher possessed by the spirit. He does call and response with his backup singers and with the audience. "Can you feel it!" he exclaims. Dripping with sweat, the music pulsing through him, he begins rhythmically tapping his foot, then scatting, before launching into the next number.
Other highlights abound. Jackson's locking, popping, miming rendition of "Human Nature" and its ethereal cries directed outward to the audience. The intro to "Smooth Criminal," in smoky silhouette, which gives way to the now-famous, but still captivating high-art choreography. The extended drum-solo postlude to "Billie Jean" that allows Jackson to improvise to the beat -- gyrating, kicking, tapping and gliding. Part of what makes Jackson so compelling as a performer is how his body is constantly in motion and completely in-sync with the music. For the entirety of the show, he becomes, as he often said, "the medium through which the music flows."
One of the most enjoyable moments actually comes at the end as Jackson playfully introduces his backup singers, guitarists and band. It gives a sense of his humor and joy in being a part of a creative collaboration. He also allows a group of children on stage, who earnestly try to imitate their idol's dance moves.
The show concludes with a breathtaking encore performance of "Man in the Mirror." As Spike Lee (who ended up using the performance to conclude his Bad25 documentary) says, "If you look at that performance, he's somewhere else. That's one of the great performances ever. You see the way Michael's singing that song -- he's not of this world. He's somewhere else."
Jackson played a total of seven shows in London to an estimated 500,000 people. Ticket demand was so strong it was estimated he could have done at least 10 more sold-out Wembley concerts if he had desired. Everyone wanted to witness the phenomenon that was Michael Jackson.
On September 18, after years of gathering dust in storage, the world will finally have the chance to experience the magic again.

Question: which royal family attended a london concert in 2003

принцесса Диана и принц Чарльз

The achievement remained unbeatable, in 2003 the stadium was removed.

One of the London concerts was attended by representatives of the royal family of Britain: Princess Diana and Prince Charles.

which royal family attended a london concert in 2003

Question: when was the bad stadium removed from london

when was the bad stadium removed from london

Question: which member of the royal family attended a london concert in 2003

принц Чарльз

which member of the royal family attended a london concert in 2003

Question: who attended a london concert in 2003

королевской семьи Великобритании

Question: who attended one of the london concerts

representatives of the royal family of Britain

королевской семьи Великобритании

representatives of the royal family of Britain

Question: what was removed from a london concert in 2003

what was removed from a london concert in 2003

The achievement remained unbeatable , in 2003 the stadium was removed .

One of the London concerts was attended by representatives of the royal family of Britain : Princess Diana and Prince Charles .

Достижение так и осталось не побитым, в 2003 году стадион был снесён. Один из лондонских концертов посетили представители королевской семьи Великобритании: принцесса Диана и принц Чарльз.

Достижение так и осталось не побитым, в 2003 году стадион был снесён.

Один из лондонских концертов посетили представители королевской семьи Великобритании: принцесса Диана и принц Чарльз.

The achievement remained unbeatable, in 2003 the stadium was removed. One of the London concerts was attended by representatives of the royal family of Britain: Princess Diana and Prince Charles.

The achievement remained unbeatable, in 2003 the stadium was removed.

One of the London concerts was attended by representatives of the royal family of Britain: Princess Diana and Prince Charles.

After learning about this, Jackson excluded the song "Dirty Diana" from the network list, believing that the composition of "Dirty Diana" could offend the princess.

представители

Великобритании

Ten things you didn’t know about Michael Jackson’s Bad
Click on the picture for a behind-the-scenes gallery of the making of Bad and its videos
1/ In his dressing rooms on tour, Jackson would write the words “100 million albums” on his mirror to remind him of his sales target. Bad sold 30-45 million copies worldwide, still enough to make it the fifth bestselling album in history (Thriller is No 1).
2/ Jackson removed his song Dirty Diana — about groupies — from his set list when he learnt that Diana, Princess of Wales, was due at his Wembley show, but when they met backstage she asked him to reinstate it.
3/ At the time of Bad Jackson would disguise himself in public, in outfits that incorporated wigs, crooked teeth, glasses and fat suits. A Bad musician described him as looking like “Sly Stone on crack”.
4/ Bad was

Question: who sang the song dirty diana at a london concert

принцесса Диана и принц Чарльз

After learning about this, Jackson excluded the song "Dirty Diana" from the network list, believing that the composition of "Dirty Diana" could offend the princess.

who sang the song dirty diana at a london concert

Question: which song was excluded from the network list because it offended princess diana

Diana » считая , что композиция о « распутной Диане » может оскорбить принцессу

which song was excluded from the network list because it offended princess diana

Question: what song did jackson exclude from the network list because it could offend princess diana

what song did jackson exclude from the network list because it could offend princess diana

Question: who sang dirty diana at the london show

королевской семьи Великобритании

Question: who attended the london concerts that included dirty diana

representatives of the royal family of Britain

королевской семьи Великобритании

representatives of the royal family of Britain

who attended the london concerts that included dirty diana

Question: which member of the royal family sang dirty diana at a london concert

принц Чарльз

which member of the royal family sang dirty diana at a london concert

Question: who excluded dirty diana from the network list

who excluded dirty diana from the network list

After learning about this , Jackson excluded the song " Dirty Diana " from the network list , believing that the composition of " Dirty Diana " could offend the princess .

Один из лондонских концертов посетили представители королевской семьи Великобритании: принцесса Диана и принц Чарльз. Узнав об этом, Джексон исключил из сет-листа песню «Dirty Diana» считая, что композиция о «распутной Диане» может оскорбить принцессу.

Узнав об этом, Джексон исключил из сет-листа песню «Dirty Diana» считая, что композиция о «распутной Диане» может оскорбить принцессу.

One of the London concerts was attended by representatives of the royal family of Britain: Princess Diana and Prince Charles. After learning about this, Jackson excluded the song "Dirty Diana" from the network list, believing that the composition of "Dirty Diana" could offend the princess.

After learning about this, Jackson excluded the song "Dirty Diana" from the network list, believing that the composition of "Dirty Diana" could offend the princess.

But the singer was unable to fulfill the request of the princess, as a few minutes remained before the show began.

In 2012, in honor of the 25th anniversary of the album, this concert was released on DVD.

Michael Jackson – Live At Wembley July 16, 1988
|Label:||Epic – 88725401069, MJJ Productions – 88725401069, Legacy – 88725401069|
|Format:|
|Country:||UK, Europe & US|
|Released:|
|Genre:||Electronic, Rock, Funk / Soul, Pop|
|Style:||Pop Rock, House, Disco, Rhythm & Blues, Dubstep, Synth-pop, Ballad|
Tracklist
|1||Wanna Be Startin' Something||6:32|
|2||This Place Hotel||4:43|
|3||Another Part Of Me||4:24|
|4||I Just Can't Stop Loving You||4:55|
|5||She's Out Of My Life|
Written-By – Tom Bahler
|3:53|
|6||I Want You Back / The Love You Save / I'll Be There|
Written-By – Berry Gordy Jr.*
Written-By [I Want You Back / The Love You Save] – Deke Richards, Alphonso Mizell*, Frederick Perren*
Written-By [I'll Be There] – Bob West, Hal Davis, Willie Hutchinson
|7:17|
|7||Rock With You||4:23|
|8||Human Nature|
Written-By – John Bettis, Steve Porcaro
|5:12|
|9||Smooth Criminal||6:24|
|10||Dirty Diana||6:24|
|11||Thriller||5:29|
|12||Bad Groove (Band Jam)|
Written-By [Band Jam] – Greg Phillinganes
Written-By [Don't Stop 'til You Get Enough] – Michael Jackson
Written-By [Layla] – Eric Clapton, Jim Gordon
Written-By [Sussudio] – Phil Collins
Written-By [You Win Again] – Robin Gibb, Barry Gibb & Maurice Gibb
|13:55|
|13||Working Day And Night||7:59|
|14||Beat It||6:45|
|15||Billie Jean||8:36|
|16||Bad||10:06|
|17||Man In The Mirror (Encore)|
Written-By – Glen Ballard, Siedah Garrett
|9:24|
|DVD Bonus Features|
|18||The Way You Make Me Feel (From Wembley Stadium, July 15th, 1988)||5:22|
|19||I Just Can't Stop Loving You / Bad (From Yokohama Stadium, September, 1987)||11:23|
Companies, etc.
- Phonographic Copyright ℗ – MJJ Productions
- Copyright © – MJJ Productions
- Manufactured By – Epic Records
Barcode and Other Identifiers
- Barcode: 8 87254-01069 2
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|Title (Format)||Label||Cat#||Country||Year|
New Submission
|Live At Wembley July 16, 1988 (DVD, DVD-Video, NTSC)||Epic||EIBP-130||Japan||2012|
New Submission
|Live At Wembley July 16, 1988 (DVD, DVD-Video, NTSC, PAL, Amaray Case)||Epic, MJJ Productions, Legacy||88725 43885 9, 88725438859||Europe||2012|
New Submission
|Live At Wembley July 16, 1988 (DVD, DVD-Video, Compilation, NTSC, Unofficial Release, Digipack)||Epic (2), MJJ Productions (2), Legacy (3)||363 GR-CV M||Russia||2012|
|Live At Wembley July 16, 1988 (DVD, DVD-Video, NTSC, Copy Protected, Cardbox Sleeve)||Epic, MJJ Productions, Legacy||88725401069||Europe||2012|
New Submission
|Live At Wembley July 16, 1988 (DVD, DVD-Video, NTSC)||Epic, MJJ Productions, Legacy||88725401069||USA & Canada||2012|
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Question: when did bad album come out on dvd

But the singer was unable to fulfill the request of the princess, as a few minutes remained before the show began.

In 2012, in honor of the 25th anniversary of the album, this concert was released on DVD.

Question: what kind of movie is bad on

Question: who was the singer in the bad movie

Question: what is the anniversary of the bad album

what is the anniversary of the bad album

Question: what is the anniversary of bad album

25-летия альбома , этот концерт был выпущен

Question: who was the singer in the bad concert

Question: how long did it take for bad to start

считанные минуты

But the singer was unable to fulfill the request of the princess , as a few minutes remained before the show began .

In 2012 , in honor of the 25th anniversary of the album , this concert was released on DVD .

Но певец так и не смог выполнить просьбу принцессы, поскольку до начала шоу оставались считанные минуты. В 2012 году, в честь 25-летия альбома, этот концерт был выпущен на DVD .

Но певец так и не смог выполнить просьбу принцессы, поскольку до начала шоу оставались считанные минуты.

В 2012 году, в честь 25-летия альбома, этот концерт был выпущен на DVD .

But the singer was unable to fulfill the request of the princess, as a few minutes remained before the show began. In 2012, in honor of the 25th anniversary of the album, this concert was released on DVD.

But the singer was unable to fulfill the request of the princess, as a few minutes remained before the show began.

In 2012, in honor of the 25th anniversary of the album, this concert was released on DVD.

On March 2, 1988, at the 30th Grammy award ceremony, Jackson performed the songs "The Way You Make Me Feel" and "Man in the Mirror".

Question: which song by jackson was nominated for the 1988 grammy for best song

On March 2, 1988, at the 30th Grammy award ceremony, Jackson performed the songs "The Way You Make Me Feel" and "Man in the Mirror".

which song by jackson was nominated for the 1988 grammy for best song

Question: at which grammy award ceremony did jackson sing the song man in the mirror

at which grammy award ceremony did jackson sing the song man in the mirror

Question: what song did jackson sing at the 1988 grammy awards

what song did jackson sing at the 1988 grammy awards

Question: what song did jackson sing about the way you make me feel

what song did jackson sing about the way you make me feel

Question: who sang the song man in the mirror

Question: which song did jackson sing at the 1988 grammy awards

which song did jackson sing at the 1988 grammy awards

On March 2 , 1988 , at the 30th Grammy award ceremony , Jackson performed the songs " The Way You Make Me Feel " and " Man in the Mirror " .

2 марта 1988 года на 30-й церемонии вручения премии «Грэмми» Джексон исполнил песни «The Way You Make Me Feel» и «Man in the Mirror».

2 марта 1988 года на 30-й церемонии вручения премии «Грэмми» Джексон исполнил песни «The Way You Make Me Feel» и «Man in the Mirror».

On March 2, 1988, at the 30th Grammy award ceremony, Jackson performed the songs "The Way You Make Me Feel" and "Man in the Mirror".

On March 2, 1988, at the 30th Grammy award ceremony, Jackson performed the songs "The Way You Make Me Feel" and "Man in the Mirror".

Despite the fact that the musician himself did not receive any statuette, his perfomance was at the center of public attention.

Rolling Stone wrote: “This performance is as great and significant as the moon walk he performed on Motown Records’ 25th anniversary.”

Question: who wrote about bad on motown records

Despite the fact that the musician himself did not receive any statuette, his perfomance was at the center of public attention.

Rolling Stone wrote: “This performance is as great and significant as the moon walk he performed on Motown Records’ 25th anniversary.”

Question: why did bad get a statuette

Question: which record label did bad signed to

Question: when did bad walk on the moon

Question: what was the name of bad's performance on motown's 25th anniversary

походка , исполненная им на 25-летии Motown Records » .

what was the name of bad's performance on motown's 25th anniversary

Question: what did bad not get for his performance

одной статуэтки

what did bad not get for his performance

Question: what did bad get for his performance on the moon walk

what did bad get for his performance on the moon walk

Despite the fact that the musician himself did not receive any statuette , his perfomance was at the center of public attention .

Rolling Stone wrote : “ This performance is as great and significant as the moon walk he performed on Motown Records ’ 25th anniversary . ”

Несмотря на то, что сам музыкант не получил ни одной статуэтки, его перфоманс оказался в центре всеобщего внимания. В Rolling Stone писали: «Это выступление настолько же грандиозно и значительно, насколько и лунная походка, исполненная им на 25-летии Motown Records».

Несмотря на то, что сам музыкант не получил ни одной статуэтки, его перфоманс оказался в центре всеобщего внимания.

В Rolling Stone писали: «Это выступление настолько же грандиозно и значительно, насколько и лунная походка, исполненная им на 25-летии Motown Records».

Despite the fact that the musician himself did not receive any statuette, his perfomance was at the center of public attention. Rolling Stone wrote: “This performance is as great and significant as the moon walk he performed on Motown Records’ 25th anniversary.”

Despite the fact that the musician himself did not receive any statuette, his perfomance was at the center of public attention.

Rolling Stone wrote: “This performance is as great and significant as the moon walk he performed on Motown Records’ 25th anniversary.”

The critic noted that Bad was rather a transitional record of the musician between Thriller and Dangerous: in songs like "Bad", "Speed Demon" and "Smooth Criminal" you can track Jackson's movement towards the new-jack swing - a musical style in which the next album of the singer was held.

NPR radio journalists, on the contrary, seemed that the musician lost his independence, and the album was recorded under the too strong influence of Queensy Jones.

музыкального

"Журналистам

независимость

'Bad': Jackson's New Album is Overproduced
'Bad': Jackson's New Album is Overproduced
Michael Jackson: Full NPR Music Archive
This review originally aired on Weekend Edition on September 6, 1987. Geylin Polivka was the author of a regular music column for the Tower Times the newspaper of White Fish Bay High School in Milwaukee, Wisc., where Polivka was then a senior.
In the ephemeral world of pop music, five years add up to light years. The musical question is whether Michael Jackson's star still shines. Is Bad the new album, bad or good?
A few years ago it seemed millions of Michael Jackson fans would do anything to hear one of the songs from their dynamic hero. Now, record executives might not be too sure. Five years is a long time to go between albums. People's musical tastes change along with musical trends.
Now we have Bad, the long-awaited follow up album to the mega smash record Thriller. Like Thriller, producer Quincy Jones was brought in to collaborate. But unlike Thriller, Jones goes overboard on production, saturating most of the album with layer after layer of synthesizer and drum programming. The horn arrangements, apparently thrown in for spontaneity, become predictable and out of context. It's truly a shame that Jackson's often soulful, unique voice must be buried by this heavy-handed production.
The song "Speed Demon" is a prime example of this problem: too much microchip wizardry, too little Michael Jackson.
On Thriller, Jackson wrote the two major hits, "Beat It" and "Billie Jean." Jackson writes everything except two songs on the new album. But this time, his songwriting is far from great. The love songs, most notably, "I Just Can't Stop Loving You" and "The Way You Make Me Feel" are syrupy and cliched.
However, this record is not completely void of merit: Michael's voice shines on the song "Liberian Girl." This time, the synthesizers add to Michael's voice rather than detract from it. It flows nicely and has atmosphere.
And just when you think Michael is taking himself too seriously, the song "Just Good Friends" kicks in.
But in the end, it seems Jackson has lost his independence. Producer Quincy Jones could have taken any other pop singer today and substituted him or her for Jackson on this album and it probably wouldn't have made a considerable difference. There's just too much synthesizer mumbo jumbo. Michael Jackson is a charismatic and talented performer, but unfortuneatly, Bad has more valley's than peaks.
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Question: who sang the song bad by jackson jackson

Куинси Джонса

The critic noted that Bad was rather a transitional record of the musician between Thriller and Dangerous: in songs like "Bad", "Speed Demon" and "Smooth Criminal" you can track Jackson's movement towards the new-jack swing - a musical style in which the next album of the singer was held.

NPR radio journalists, on the contrary, seemed that the musician lost his independence, and the album was recorded under the too strong influence of Queensy Jones.

who sang the song bad by jackson jackson

Question: who thought jackson lost his independence

"Журналистам радио NPR

who thought jackson lost his independence

Question: what was the name of jackson's first two albums

what was the name of jackson's first two albums

Question: speed demon and smooth criminal are songs on which jackson album

speed demon and smooth criminal are songs on which jackson album

Question: what type of music is bad by jackson

- джек - свинга

Question: """bad"" and ""smooth criminal"" are songs from which musical genre?"

"""bad"" and ""smooth criminal"" are songs from which musical genre?"

Question: "which american singer had hits with ""bad"" and ""smooth criminal""

"which american singer had hits with ""bad"" and ""smooth criminal""

The critic noted that Bad was rather a transitional record of the musician between Thriller and Dangerous : in songs like " Bad " , " Speed Demon " and " Smooth Criminal " you can track Jackson 's movement towards the new - jack swing - a musical style in which the next album of the singer was held .

NPR radio journalists , on the contrary , seemed that the musician lost his independence , and the album was recorded under the too strong influence of Queensy Jones .

Критик отметил, что Bad был скорее переходной записью музыканта между Thriller и Dangerous: в таких песнях как «Bad», «Speed Demon» и «Smooth Criminal» можно отследить движение Джексона в сторону нью-джек-свинга — музыкального стиля, в котором и была выдержана следующая пластинка певца. Журналистам радио NPR, напротив, показалось, что музыкант потерял свою независимость, и альбом был записан под слишком сильным влиянием Куинси Джонса.

Критик отметил, что Bad был скорее переходной записью музыканта между Thriller и Dangerous: в таких песнях как «Bad», «Speed Demon» и «Smooth Criminal» можно отследить движение Джексона в сторону нью-джек-свинга — музыкального стиля, в котором и была выдержана следующая пластинка певца.

Журналистам радио NPR, напротив, показалось, что музыкант потерял свою независимость, и альбом был записан под слишком сильным влиянием Куинси Джонса.

The critic noted that Bad was rather a transitional record of the musician between Thriller and Dangerous: in songs like "Bad", "Speed Demon" and "Smooth Criminal" you can track Jackson's movement towards the new-jack swing - a musical style in which the next album of the singer was held. NPR radio journalists, on the contrary, seemed that the musician lost his independence, and the album was recorded under the too strong influence of Queensy Jones.

The critic noted that Bad was rather a transitional record of the musician between Thriller and Dangerous: in songs like "Bad", "Speed Demon" and "Smooth Criminal" you can track Jackson's movement towards the new-jack swing - a musical style in which the next album of the singer was held.

NPR radio journalists, on the contrary, seemed that the musician lost his independence, and the album was recorded under the too strong influence of Queensy Jones.

Rankings and lists Publishing Ranking/List Source Q List of recordings of the year, 1987 Rolling Stone 500 Greatest Albums of All Time New Musical Express 500 Greatest Albums of All Time VH1 Greatest Albums of All Time Slant Magazine 100 Best Albums of the 1980s Book 1001 album that you must listen to as long as you live

Please Note! - These Pages are NOT maintained by
Q Maazine. It is
an archive of their end of year and best of lists.
Q Lists - End Of Year
1986
• Anita Baker - Rapture
• Billy Bragg - Talking with the taxman about poetry
• The Bhundu boys - Shabini
• Cameo - Word up
• Sam Cooke - The man and his music
• Robert Cray - String Persuader
• Albert Collins, Robert Cray, Johnny Copeland - Showdown!
• Elvis Costello - Blood and Chocolate
• Miles Davis - Tutu
• The fabulous thunderbirds - Tuff Enuff
• 5-Star - Silk and Steel
• Frankie goes to Hollywood - Liverpool
• Peter Gabriel - so
• Sophia George - Fresh
• Ted Hawkins - Watch your step
• The Housemartins - London 0 Hull 4
• Billy Idol - Whiplash smile
• Janet Jackson - Control
• Little feat - As time goes by: The best of Little Feat
• Le mystere des voix bulgres - Same
• Branford Marsalis - Royal garden blues
• Madonna - True blue
• Ennio Morricone - The mission soundtrack
• New order - Brotherhood
• Youssou N’Dour - Nelson Mandella
• The Oyster Band - Step outside
• Pet shop boys - Please
• The pretenders - get close
• Prince - Parade
• Stan Ridgway - The big heat
• REM - Lifes Rich Pageant
• Lionel Richie - Dancing on the ceiling
• Run DMC - Raising hell
• Bessie Smith - Jazz classics in digital stereo
• The Smiths - The Queen is dead
• Paul Simon - Graceland
• Ricky Skaggs - Love’s gonna get ya!
• Bruce Springsteen & the E street band - Live 1975 - 85
• Talking heads - True stories
• The Triffids - Born*Sandy*Devotional
• Trouble Funk - Say What!
• Richard Thompson - Daring adventures
• Randy Travis - Storms of life
• Various artists - Hip-Hop Electro 13
• Various artists - Atlantic rhythm & Blues 1947-74
• Various artists - The house sound of Chicago
• Van Halen - 5150
• Steve Winwood - Back in the high life
• Dwight Yoakam - Guitars Cadillacs Etc. etc...
• XTC - Skylarking
Skip
To Top
1987
Q magazine Recordings Of The Year
• Anthrax - Among the living
• The Beatles - Revolver
• Regina Belle - All by myself
• The Christians - same
• Creedence Clearwater Revival - Chronicle
• The Cure - Kiss me, Kiss me, Kiss me
• Def Leppard - Hysteria
• Joe Ely - Lord of the Highway
• Eurythmics - Savage
• The Fabulous Thunderbirds - Portfolio
• Fleetwood Mac - Tango in the night
• John Hiatt - Bring the family
• Husker Du - Warehouse (songs and stories)
• Chris Isaak - Same
• Joe Jackson - Will power
• Michael Jackson - Bad
• Jesus and Mary chain - Darklands
• New Order - Substance
• Randy Newman - Lonely at the top
• Alexander O’Neal - Hearsay
• Dolly Parton, Linda Ronstadt, Emmylou Harris - Trio
• Penguin Cafe Orchestra - Signs of life
• Lee ‘Scratch’ Perry - Time boom X de devil dead
• Salif Keita - Soro
• LL Cool J - Bigger and Deffer
• Marillion - Clutching at straws
• Mel & Kim - F.L.M.
• Van Morrison - Poetic champions compose
• Najma - Qareeb
• Pet shop boys - Actually
• Pop will eat itself - Box frenzy
• Elvis Presley - The all time greatest hits
• Maxi Priest - Maxi
• Prince - Sign ‘o’ the times
• Chris Rea - Dancing with strangers
• REM - Document
• The Replacements - Pleased to meet me
• Robbie Robertson - Same
• Marta Sebestyen - Same
• Shirati jazz - Benga beat
• Simply red - Men and woman
• The Smiths - Strangeways here we come
• Bruce Springsteen - Tunnel of love
• 10,000 Maniacs - In my tribe
• That petrol emotion - Babble
• ‘Till Tuesday - Welcome home
• Trouble Funk - Trouble over here, trouble over there
• U2 - The Joshua tree
• Jennifer Warnes - Famous Blue Raincoat
• Stevie Wonder - Characters
Skip
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1988
Q magazine Recordings Of The Year
• Joan Armatrading - The shouting stage
• Eric B & Rakim - Follow the leader
• Bon Jovi - New Jersey
• Boogie down productions - By all means necessary
• Billy Bragg - Workers playtime
• Cameo - Machismo
• Tracy Chapman - same
• Toni Childs - Union
• Leonard Cohen - I’m your man
• The Robert Cray Band - Don’t be afraid of the dark
• Crowded house - Temple of low men
• Toumani Diabate - Kaira
• Gail Ann Dorsey - The corporate world
• Fairground attraction - The first of a million kisses
• Fingers inc. - Another side
• Nanci Griffith - Little love affairs
• A.R. Kane - Sixty Nine
• K. D. Lang - Shadowland
• Living Colour - Vivid
• Loose Tubes - Open letter
• Mahlathini and the Mahotella queens - Thokozile
• Bobby McFerrin - Simple pleasures
• Michelle Shocked - Short sharp shocked
• Van Morrison & the Chieftains - Irish heartbeat
• Morrissey - Viva hate
• Randy Newman - Land of dreams
• The Nits - In the Dutch mountains
• Pet shop boys - Introspective
• The Pogues - If I should fall from grace with god
• Prefab Sprout - From Langley park to Memphis
• Prince - Lovesexy
• Public Enemy - It will take a nation of millions to hold us back
• REM - Green
• Keith Richards - Talk is cheap
• Kevin Rowlands - The Wanderer
• Johannes Schmoelling - The zoo of tranquillity
• Siouxsie and the banshees - Peep show
• The Smiths - Rank
• The Sugercubes - Life’s too good
• Talk talk - Spirit of eden
• Tanita Tikaram - Ancient heart
• Traveling Wilburys - Volume one
• U2 - Rattle and hum
• Was(not was) What up, dog?
• Brian Wilson - Same
• Steve Winwood - Roll with it
• Richard Thompson - Amnesia
• Ali Farka Toure - Same
• Neil Young - This note’s for you
• John Zorn - Spillane
Skip
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1989
Q magazine Recordings Of The Year
• Adeva - Adeva!
• Aerosmith - Pump
• The Beautiful South - Welcome to ...
• The Blue Nile - Hats
• David Byrne - Rei Momo
• Tracy Chapman - Crossroads
• Neneh Cherry - Raw like sushi
• Eric Clapton - Journeyman
• Elvis Costello - Spike
• Deacon Blue - When the world knows your name
• De La Soul - 3 Feet high and rising
• Bob Dylan - Oh mercy
• Erasure - Wild!
• Eurythmics - We too are one
• Fine young cannibals - The raw and the cooked
• Peter Gabriel - Passion
• The gipsy kings - Mosaique
• John Lee Hooker - The healer
• Lenny Kravitz - Let love rule
• Daniel Lanois - Acadie
• Paul McCartney - Flowers in the dirt
• Kirsty Maccoll - Kite
• Madonna - Like a prayer
• Van Morrison - Avalon Sunset
• Les Negresses - Mlah
• Neville Brothers - Yellow moon
• Roy Orbison - Mystery Girl
• Tom Petty - Full moon fever
• Pixies - Doolittle
• The Pogues - Peace and Love
• Prefab Sprout - Protest songs
• Prince - Batman
• Chris Rea - The road to hell
• Dan Reed Network - Slam
• Lou Reed - New York
• Rolling Stones - Steel Wheels
• S’Express - Original soundtrack
• Simple minds - Street fighting years
• Simply red - A new flame
• Soul II Soul - Club classics Vol I
• The stone roses - same
• Tears for fears - The seeds of love
• Tin Machine - same
• Tone loc - Loc’ed after dark
• The triffids - The black swan
• Various artists - Italia: Dance music from Italy
• Wet wet wet - Holding back the river
• Loudon Wainwright III - Therapy
• The wonder stuff - Hup
• Neil Young - Freedom
Skip
To Top
1990
Q magazine Recordings Of The Year
• Aztec Camera - Stray
• Pet sounds - The Beach Boys
• Beats International - Let them eat bingo
• The beautiful South - Choke
• The beloved - Happiness
• Clint Black - Killin’ time
• Tim Buckley - Dream letter live in London 1968
• The Christians - Colour
• Cocteau Twins - Heaven or Las Vegas
• Lloyd Cole - Same
• Julee Cruise - Floating into the night
• Deee-lite - World clique
• Depeche mode - Violator
• 808 state - Ninety
• Bob Geldof - The vegetarians of love
• Happy Mondays - Pills ‘n’ thrills and bellyaches
• Inxs - X
• The La’s - same
• Living colour - Time’s up
• Nick Lowe - Party of one
• Jeff Lynne - Armchair theatre
• Madonna - The immaculate collection
• George Michael - Listen without whinging Vol 1
• Midnight oil - Blue sky mining
• Gary Moore - Still got the blues
• Van Morrison - Enlightenment
• Sinead O’ Connor - I do not want what I haven’t got
• Pet shop boys - Behaviour
• Pixies - Bossanova
• Prefab sprout - Jordan: The comeback
• The Pretenders - Packed!
• Prince - Graffiti bridge
• Public Enemy - Fear of a black planet
• The pursuit of happiness - On sided story
• Queen Latifah - All hail the queen
• Quireboys - A bit of what you fancy
• Lou Reed/John Cale - Songs for Drella
• Jonathan Richman - Jonathan goes country
• Paul Simon - The rhythm of the saints
• The sisters of mercy - Vision thing
• The soup dragons - Lovegod
• Sonny Southon - Falling through a cloud
• Martin Stephenson and the daintees - Salvation road
• They might be giants - Flood
• Traveling Wilburys - Vol 3
• Randy Travis - Heroes and friends
• Was(not was) - Are you okay?
• World Party - Goodbye jumbo
• Neil Young - Ragged Glory
• ZZ Top - Recycler
Skip
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1991
Q magazine Recordings Of The Year
• Blur - Leisure
• Billy Bragg - Don’t try this at home
• Gary Clail/On-U Sound System - The Emotional Hooligan
• Julian Cope - Peggy Suicide
• Elvis Costello - Mighty like a rose
• Crowded House - Woodface
• Dire Straits - On every street
• The Dream Warriors - And now the legacy begins
• EG and Alice - 24 years of hunger
• 808 State - Ex.El
• Electronic - Same
• EMF - Schubert dip
• Erasure - Chorus
• Flowered up - A life with Brian
• Guns N’ Roses - Use your illusion II
• John Lee Hooker - Mr Lucky
• Ice T - Original Gangster
• Jellyfish - Bellybutton
• Jesus Jones - Doubt
• The KLF - White Room
• Kraftwerk - The mix
• Lenny Kravitz - Mama said
• Metallica - Same
• The milltown brothers - Slinky
• Nirvana - Nevermind
• Omar - There’s Nothing like this
• Alexander O’Neil - All true man
• Tom Petty - Into the great wide open
• P.M. Dawn - Of the heart, of the soul and of the cross..
• Primal Scream - Screamadelica
• Prince - Diamonds and pearls
• Bonnie Raitt - Luck of the draw
• Chris Rea - Auberge
• REM - Out of time
• Runrig - The big wheel
• Seal - Seal
• Simply Red - Stars
• Slowdive - Just for a day
• Squeeze - Play
• St Etienne - Fox Base Alpha
• Sting - The soul Cages
• Teenage fanclub - Bandwagonesque
• Richard Thompson - Rumor and sigh
• U2 - Achtung baby
• Various artists - I’m your fan
• Various artists - Where the pyramid meets the eye: A tribute to Roky
Erickson
• Voice of the beehive - Honey lingers
• Chris Whitley
• The wonder stuff - Never loved Elvis
• Neil Young - Arc weld
Skip
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1992
Q magazine Recordings Of The Year
For this year they listed a top 10 (In alphabetical order)
• Tori Amos - Little earthquakes
• The Cure - Wish
• Inxs - Welcome to wherever you are
• Michael Jackson - Dangerous
• The Orb - U.F.Orb
• REM - Automatic for the people
• Spiritualized - Lazer guided melodies
• Sugar - Copper blue
• Neil Young - Harvest moon
• Warren Zevon - Mr bad example
The rest!
• Arrested Development - 3 years, 5 months & 2 days in the life of...
• The Black Crows - The Southern Harmony and the musical Companion
• Mary - Chapin Carpenter - Come on come on
• Nick Cave - Henry’s dream
• Neneh Cherry - Homebrew
• dc Basehead - Play with toys
• Def leppard - Adrenalize
• Del Amitri - Change Everything
• Del tha funkee homosapien - I wish my brother George was here
• Disposable heroes of hiphoprisy - Hypocrisy is the greatest luxury
• Bob Dylan - Good as I been to you
• EMF - Stigma
• Faith no more - Angel dust
• The Fall - Code:selfish
• The 4 of us - Man alive
• The Frank and Walters - Trains, boats and planes
• Peter Gabriel - Us
• Juliana Hatfield - Hey babe
• Joe Henderson - Lush Life
• K.D. Lang - Ingenue
• Lemonheads - It’s a shame about Ray Groves
• Annie Lennox - Diva
• Los Lobos - Kiko
• Baaba Maal - Lam Toro
• Manic street preachers - Generation Terrorists
• Loreena McKennit - The Viset
• Morrissey - Your Arsenal
• Pavement - Slanted and enchanted
• PJ Harvey - Dry
• Pearl Jam - Ten
• Prince - OI+>
• Chris Rea - God’s great banana skin
• Lou Reed - Magic and loss
• The Rockingbirds
• Sonic youth - Dirty
• Bruce Springsteen - Human Touch/Lucky Town
• Matthew Sweet - Girlfriend
• Thunder - Laughing on judgement day
• Suzanne Vega - 99.9 F
Skip
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1993
Q magazine Recordings Of The Year
Top 10
• The Auteurs - New wave
• Cypress hill - Black Sunday
• Aimee Mann - Whatever
• Meat Loaf - Bat out of hell IV
• New order - Republic
• Nirvana - In Utero
• The spin doctors - Pocket full of Kryptonite
• Sting - Ten Summoner’s tales
• UB40 - Promises and lies
• Neil Young - Unplugged
The rest
• A-Ha - Memorial Beach
• Geri Allen - Maroons
• Altan - Island
• The Aphex twin - selected ambient recordings 1985 - 1992
• David Baerwald - Triage
• Bjork - Debut
• Frank Black - Same
• Blur - Modern life is rubbish
• The boo radleys - Giant steps
• David Bowie - Black tie white noise
• Jackson Browne - I’m Alive
• Buzzcocks - Trade test transmissions
• The Cranberries - Everybody else is doing it, So why can’t we?
• Sheryl Crow - Tuesday night music club
• Crowded house - Together alone
• Terence Trent D’Obolicle - Symphony or damn: bla bla bla...
• Chaka Demus and Torque wrench - Tease me
• Depeche mode - Songs of faith and devotion
• Dr Dre - The Chronic
• Donald Fagen - Kamakiriad
• Grant Lee Buffalo - Fuzzy
• John Hiatt - Perfectly good guitar
• The Lemonheads - Come on feel the lemonheads
• Willie Nelson - Across the borderline
• Geoggrey Oryema - Beat the border
• Liz Phair - Exile in Guyville
• PJ Harvy - Rid of me
• Robert Plant - Fate of nations
• Smashing Pumpkins - Siamese dream
• Suede - Same
• Teenage Fanclub - Thirteen
• Tont Toni tone - Sons of soul
• U2 - Zooropa
• Sven Vath - Accident in paradise
• Paul Weller - Wild Wood
• Paul Westerberg - 14 songs
• The wildhearts - Earth versus the wildhearts
• The wonderstuff - Construction for the modern idiot
• World Party - Bang
• Warren Zevon - Learning to flinch
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1994
Q magazine Recordings Of The Year
Top 10
• Blur - Park life
• Jackie Leven - The mystery of love is greater than the mystery of
death
• Morrissy - Vauxhall and I
• Soundtrack (Various artists) - Natural born killers
• Oasis - Definitely maybe
• Orbital - Snivilation
• Pink Floyd - The division bell
• Soundgarden - Superunknown
• Suede - Dog man star
• Therapy? - Troublegum
The rest.
• Above the rim - The soundtrack
• Beastie Boys - ill Communication
• Beck - Mellow gold
• Boston - Walk on
• Jeff - Buckley - Grace
• Johnny Cash - American recordings
• Vic Chesnut - Drunk
• Eric Clapton - From the cradle
• Colour me bad - Time and chance
• Elvis Costello - Brutal Youth
• Counting crows - August and everything after
• The Cranberries - No need to argue
• Crash test dummies - God shuffled his feet
• The divine comedy - Promenade
• Warren G - Regulate...G funk era
• Green day - Dookie
• Hole - Live through this
• Ice cube - Lethal injection
• Lightning seeds - Jollification
• Nick Lowe - The impossible bird
• Baaba Maal - Firin’ in fouta
• Shane MacGowan & The Popes - The Snake
• Machine Head - Burn my eyes
• Manic street preachers - The Holy Bible
• Massive attack - Protection
• Ian McNabb - Head like a rock
• Nirvana - Unplugged in New York
• Sinead O’Connor - Universal mother
• Jimmy Page and Robert Plant - No Quarter: Unledded
• Liz Phair - Whip-Smart
• The Prodigy - Music for a jilted generation
• Pulp - His ‘N’ hers
• REM - Monster
• Danny Red - Riddimwize
• David Sanchez - The departure
• Snoop Doggy dog - Doggystyle
• Sparks - Gratuitous sax and senseless violins
• Strangelove - Time for the rest of your life
• Terrorvision - How to make friends and influence people
• Neil Young - Sleeps with angels
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1995
Q magazine Recordings Of The Year
Top 10
• Blur - The great escape
• Bon Jovi - These days
• The Chemical Brothers - Exit planet dust
• Del Amitri - Twisted
• PJ Harvey - To bring you my love
• Oasis - (What’s the story)Morning glory?
• Radiohead - The bends
• Ron Sexsmith - same
• Teenage Fanclub - Grand Prix
• Paul Weller - Stanley Road
The rest
• Guy Baker - Into the blue
• Black Grape - It’s great when you’re straight... Yeah
• Bomb the bass - Clear
• The boo radleys - Wake up!
• Ali Campbell - Big love
• The Cardigans - Life
• The Charlatans - Same
• The dogg pound - Dogg food
• Steve Earle - Train a comin’
• Enya - The memory of trees
• Finn - Finn
• Stevie Forbert - Mission of the crossroads palms
• Emmylou Harris - Wrecking ball
• Salif Keita - Folon
• K.D. Lang - All you can eat
• Leftfield - Leftism
• Marillion - Afraid of light
• Method man - Tical
• Keb’ Mo’ - same
• Morphine - Yes
• Van Morrison - Days like this
• Alanis Morissette - Jagged little Pill
• Morrissey - Southpaw grammar
• Paradise lost - Draconian times
• Passengers - Original soundtracks 1
• Pulp - Different Class
• Red hot chili peppers - One hot minute
• Rolling Stones - Stripped
• Smashing pumpkins - Mellon collie and the infinite sadness
• Jill Sobule - Same
• Bruce Springsteen - The ghost of Tom Joad
• Stereolab - Music for the amorphous body study centre
• Supergrass - I should coco
• Therapy? - Infernal love
• TLC - CrazySexyCool
• Tricky - Maxinquaye
• Various - The help album
• The Verve - A northern soul
• Wet wet wet - Picture this
• The Wildhearts - P.H.U.Q.
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1996
Q magazine Recordings Of The Year
The top 10 - In alphabetical order.
• Ash - 1977
• Ben folds five - Ben folds five
• Def leppard - Slang
• Fugees - The score
• Manic street preachers - Everything must go
• Ocean colour scene - Moseley shoals
• REM - New adventures in hi fi
• Sting - Mercury falling
• Suede - Coming up
• Underworld - Second toughest in the infants
The rest...
• The auteurs - After murder park
• Baby bird - Ugly Beautiful
• Babylon zoo - The boy with the X-ray eyes
• The beautiful south - Blue is the colour
• Beck - Odelay
• The blue nile - Peace at last
• Billy Bragg
• The cardigans - First band on the moon
• The divine comedy - Casanova
• DJ Shadow - Endtroducing..
• Dodgy - Free peace sweet
• Earl Brutus - Your majesty..we are here
• Everything but the girl - Walking wounded
• Genius/Gza - Liquid swords
• Joe Henry - Trampoline
• Iona - Journey to the moon
• Kris Kristofferson - A moment forever
• Kula shaker - K
• Chikhlo - Ne la thass
• Lightning seeds - Dizzy heights
• Longpigs - The sun is often out
• Metalheads - Metalheads presents platinum breakz
• George Michael - Older
• Nas - It is written
• New edition - Home again
• Nirvana - From the muddy banks of the Wishkah
• Orbital - In sides
• Pearl jam - No code
• Pet shop boys - Bilingual
• Tom Petty and the heartbreakers - Songs & music from She’s the one
• Courtney Pine - Modern day jazz stories
• Lou Reed - Set the twilight reeling
• The Tony Rich project - Words
• Patti Rothberg - Between the 1 and the 9
• Screaming trees - Dust
• Patti Smith - Gone again
• Sparklehorse - Vivadixiesubmarinetransmissionplot
• Super furry animals - Fuzzy logic
• Terrorvision - Regular urban survivors
• Norma Waterson - Norma Waterson
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1997
Q magazine Recordings Of The Year
No ranking – No Top 10 This year - Alphabetical order.
• Erykah Badu ~ Baduizm
• Belle And Sebastian ~ If You’re Feeling Sinister
• Blur ~ Blur
• David Bowie ~ Earthling
• Bush ~ Razorblade Suitcase
• Nick Cave And The Bad Seeds ~ The Boatman’s Call
• The Charlatans ~ Tellin’ Stories
• The Chemical Brothers ~ Dig Your Own Hole
• Chumbawamba – Tubthumper
• Common ~ One Day It Will All Make Sense
• Ry Cooder, Ibrahim Ferrer ~ Buena Vista Social Club
• Daft Punk ~ Homework
• Etienne De Crecy ~ Super Discount
• Depeche Mode ~ Ultra
• Bob Dylan ~ Time Out Of Mind
• Ben Folds Five ~ Whatever And Ever Amen
• Fountains Of Wayne ~ Fountains Of Wayne
• Gravediggaz ~ The Pick, The Sickle & The Shovel
• Hanson ~ Middle Of Nowhere
• Hurricane #1 ~ Hurricane #1
• James ~ Whiplash
• The Jayhawks ~ Sounds Of Lies
• Khaled ~ Sahra
• Lighthouse Family ~ Postcards From Heaven
• Charles Lloyd ~ Canto
• Mansun ~ Attack Of The Grey Lantern
• Paul McCartney ~ Flaming Pie
• Van Morrison ~ The Healing Game
• U-Ziq ~ Lunatic Harness
• The Notorious B.I.G. ~ Life After Death
• Oasis ~ Be Here Now
• Ocean Colour Scene ~ Marchin’ Already
• Portishead ~ Portishead
• Primal Scream ~ Vanishing Point
• The Prodigy ~ The Fat Of The Land
• Finley Quaye ~ Maverick A Strike
• Radiohead ~ Ok Computer
• Reef ~ Glow
• Roni Size Reprazent ~ New Forms
• Sleeper ~ Pleased To Meet You
• Spiritualized ~ Ladies And Gentlemen We Are Floating In Space
• Stereophonics ~ Word Gets Around
• Supergrass ~ In It For The Money
• Texas ~ White On Blond
• Tindersticks ~ Curtains
• Travis ~ Good Feeling
• U2 ~ Pop
• The Verve ~ Urban Hymns
• Simon Warner ~ Waiting Rooms
• Wilco ~ Being There
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1998
Q magazine Recordings Of The Year
No Ranking Just In Alphabetical Order.
• Air – Moon Safari
• Tori Amos – From The Choirgirl Hotel
• Ash – Nu-Clear Sounds
• Buju Banton – Inna Heights
• Beastie Boys – Hello Nasty
• The Beautiful South – Quench
• Belle & Sebastian – The Boy With The Arab Strap
• Belly Bragg & Wilco – Mermaid Avenue
• Michael Brecker Quartet – Two Blocks From The Edge
• Jeff Buckley – Sketches For (My Sweetheart The Drunk)
• Bernard Butler – People Move On
• Canibus – Can-I-Bus
• Catatonia – International Velvet
• The Corrs – Talk On Corners
• Elvis Costello & Burt Bacharach – Painted From Memory
• Sheryl Crow – The Globe Sessions
• Embrace – The Good Will Out
• Fatboy Slim – You’ve Come A Long Way Baby
• Neil Finn – Try Whistling This
• Garbage – Version 2.0
• Philip Glass – Kundun
• Gomez – Bring It On
• Lauryn Hill – The Miseducaction Of Lauryn Hill
• Hole – Celebrity Skin
• Ifang Bondi – Gis Gis
• Madonna – Ray Of Light
• Manic Street Preachers – This Is My Truth, Tell Me Yours
• Marilyn Manson – Mechanical Animals
• Massive Attack – Mezzanine
• Maxwell – Embrya
• Mercury Rev – Deserters Songs
• Alanis Morissette – Supposed Former Infatuation Junkie
• Willie Nelson – Teatro
• Page And Plant – Walking Into Clarksdale
• Placebo – Without You I’m Nothing
• Propellerheads – Decksanddrumsandrockandroll
• Pulp – This Is Hardcore
• Rae & Christian – Northern Sulphuric Soul
• R.E.M. – Up
• Semisonic – Feeling Strangely Fine
• Smashing Pumpkins – Adore
• Elliot Smith – Xo
• Space – Tin Planet
• Usher – My Way
• Robbie Williams – I’ve Been Expecting You
Reissues
• The Beta Band – The 3 EP’s
• Bob Dylan – Bootleg Series Vol. 4 & 5 – The Royal Albert Hall Concert
• James – The Best Of
• Derrick May – Innovator
• Oasis – The Masterplan
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1999
Q magazine Recordings Of The Year
Album of the year
The Chemical Brothers – Surrender
The rest in alphabetical order…
• Basement Jaxx – Remedy
• Beck – Midnight Vultures
• Ben & Jerry – Emoticons
• The Beta Band – The Beta Band
• The Black Crows – By Your Side
• Mary J Blige – Mary
• Blur – 13
• David Bowie – …Hours
• Catatonia – Equally Cursed And Blessed
• The Charlatans – Us And Us Only
• Death In Vegas – The Contino Sessions
• Missy Elliott – Da Real World
• Eminem – The Slim Shady Lp
• The Flaming Lips – The Soft Bulletin
• Gomez – Liqued Skin
• Macy Gray – On How Life Is
• Groove Armada – Vertigo
• James – Millionaires
• Jamiroquai – Synkronized
• Lightning Seeds – Tilt
• Shelby Lynne – I Am Shelby Lynne
• Taj Mahal & Toumani Diabate – Kulanjan
• Moby – Play
• New Radicals – Maybe You’ve Been Brainwashed Too
• Orbital – The Middle Of Nowhere
• Pavement – Terror Twilight
• Pet Shop Boys – Nightlife
• Re Hot Chilli Peppers – Californication
• Linda Ronstat & Emmylou Harris – Western Wall/The Tucson Sessions
• The Roots – Things Fall Apart
• Kate Rusby – Sleepless
• Scritti Politti – Anomie & Bonhomie
• Shack – Hms Fable
• Stereophonics – Performance & Cocktails
• Sting – Brand New Day
• Suede – Head Music
• Supergrass – Supergrass
• Texas – The Hush
• TLC – Fanmail
• Travis – The Man Who
• Tom Waits – Mule Variations
• Wilco – Summerteeth
• Casandra Wilson – Travelling Miles
• Witness – Before The Calm
Re Issues..
• Air – Premiers Symptoms
• The Clash – From Here To Eternity
• Dean Martin – The Very Best Of.. The Capitol Years/Reprise Years
• Bruce Springsteen – Tracks
• Talking Heads – Stop Making Sense
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2000
Q magazine Recordings Of The Year
Readers Choice
• Coldplay – Parachutes
Writers Choice
Alphabetical order
• AC/DC – Stiff Upper Lip
• Badly Drawn Boy – The Hour Of Bewilderbeast
• Beautiful South – Painting It Red
• Black Box Recorder – The Facts Of Life
• Bloodhound Gang – Hooray For Boobies
• Brothers In Sound – Family Is For Sharing
• Johnny Cash – American III: Solitary Man
• Coldplay – Parachutes
• D’Angelo – Voodoo
• The Dandy Warhols – Thirteen Tales From Urban Bohemia
• Craig David – Born To Do It
• Doves – Lost Souls
• Dr Dre – 2001
• Eels – Daisies Of The Galaxy
• Eminem – The Marshall Matherd Lp
• Fatboy Slim – Halfway Between The Gutter And The Stars
• Foo Fighters – There Is Nothing Left To Lose
• Goldfrapp – Felt Mountain
• Ruben Gonzalez – Chanchullo
• Granddaddy – The Sophtware Slump
• David Gray – White Ladder
• Guru’s Jazzmatazz – Streetsoul
• Emmylou Harris – Red Dirt Girl
• PJ Harvey – Stories From The City, Stories From The Sea
• Graham Haynes – Bpm
• JJ72 – JJ72
• Kelis – Kaleidoscope
• Lambchop – Nixon
• Madonna – Music
• Tom Mcrae – Tom Mcrae
• Moloko – Things To Make And Do
• Monster Magnet – God Says No
• Muse – Showbiz
• Nelly – Country Grammar
• Oasis – Standing On The Shoulder Of Giants
• Primal Scream – Exterminator
• Q-Tip – Amplified
• Queens Of The Stone Age – Rated R
• Radiohead – Kid A
• Jill Scott – Who The Fuck Is Jill Scott? Words And Sounds Vol 1
• Paul Simon – You’re The One
• Sisqo – Unleash The Dragon
• Elliott Smith – Figure 8
• Angie Stone – Black Diamond
• Toploader – Onka’s Big Moka
• U2 – All That You Can’t Leave Behind
• Kathryn Williams – Little Black Number
• Robbie Williams – Sing When You’re Winning
• Wookie – Wookie
• Neil Young – Silver And Gold
Best Re Issues
• Blur – Greatest Hits
• David Bowie – Bowie At The Beeb
• Dexy’s Midnight Runners – Searching For The Young Soul Rebels
• Nick Drake – Bryter Later
• Stevie Wonder – At The Close Of The Century
Best Compilations
• New Orleans Funk
• Romeo Must Die – The Album
• Sasha & John Digweed Communicate
• The Complete UK Upsetter Singles Collection Vol.3
• Zed Bias: Sound Of The Pirates
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2001
Q magazine Recordings Of The Year
Readers choice
Travis - The invisible band
Writers choice
• Ryan Adams – Gold
• Air – 100000 Hz Legend
• Andrew W.K. – I Get Wet
• Ash – Free All Angels
• The Avalanches – Since I Left You
• Basement Jaxx – Rooty
• The Charlatans – Wonderland
• Cosmic Rough Riders – Enjoy The Melodic Sunshine
• Daft Punk – Discovery
• Dido – No Angel
• Bob Dylan – Love And Theft
• Elbow – Asleep At The Back
• Missy Elliott – Miss E…. So Addictive
• Nelly Furtado – Whoa, Nelly
• Gorillaz – Gorillaz
• John Hammond – Wicked Grin
• Ed Hardcourt – Here Be Monsters
• Jamiroquai – A Funk Odyssey
• Jimmy Eat World – Bleed American
• Alicia Keys – Songs In A Minor
• Baaba Maal – Missing You (Mi Yeewnii)
• Mercury Rev – All Is Dream
• Mull Historical Society – Loss
• Muse – Origin Of Symmetry
• N*E*R*D – In Search Of
• New Order – Get Ready
• Outkast – Stankonia
• Oxide & Neutrino – Execute
• Playgroup – Playgroup
• Radiohead – Amnesiac
• R.E.M. – Reveal
• Roots Manuva – Run Come Save Me
• Semisonic – All About Chemistry
• Spritualized – Let It Come Down
• Starsailor – Love Is Here
• Stereophonics – Just Enough Education To Perform
• The Stroks – Is This It
• Super Furry Animals – Rings Around The World
• Tool – Lateralus
• Travis – The Invisible Band
• Turin Breaks – The Optimist LP
• Rufus Wainwright – Poses
• Weezer – The Green Album
• The White Stripes – White Blood Cells
• Lucinda Williams – Essence
Compilations
• Various – Rough Trade Shops – 25 Years
• Various – Death Row Greatest Hits
• Various – The Stax Story
Re-Releases
• Marvin Gaye – What’s Going On
• The La’s – The La’s
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2002
Q magazine Recordings Of The Year
Readers Choice
• Coldplay – A Rush Of Blood To The Head
In Alphabetical Order..
• Badly Drawn Boy – About A Boy
• Be Good Tanyas – Blue House
• Beck – Sea Change
• David Bowie – Heathen
• Black Rebel Motorcycle Club – BRMC
• Coldplay – A Rush Of Blood To The Head
• The Coral – The Coral
• Cornershop – Handcream For A Generation
• The Datsuns – The Datsuns
• Doves – The Last Broadcast
• Steve Earle – Jerusalem
• Electric Soft Parade – Holes In The Wall
• Eminem – The Eminem Show
• Feeder – Comfort In Sound
• The Flaming Lips – Yoshimi Battles The Pink Robots
• Leaves – Breathe
• Lemon Jelly – Lost Horizons
• Timo Maas – Loud
• Ms Dynamite – A Little Deeper
• Moby – 18
• Gemma Hayes – Night On My Side
• The Hives – Your New Favourite Band
• Hundred Reasons – Ideas Above Our Station
• Idlewild – The Remote Part
• Jay-Z – The Blueprint
• Nickleback – Silver Side Up
• Orchestra Baobab – Specialist In All Styles
• The Polyphonic Spree – The Beginning Stages Of……
• Queens Of The Stoneage – Songs For The Deaf
• Radiohead – I Might Be Wrong
• Red Hot Chilli Peppers – By The Way
• Soundtrack Of Our Lives – Behind The Music
• Bruce Springsteen – The Rising
• The Streets – Original Pirate Material
• Sugerbabes – Angels With Dirty Faces
• The Vines – Highly Evolved
• Weezer – Maladroit
• Paul Weller – Illumination
• Cassandra Wilson – Belly Of The Sun
• Pete Yorn – Music For The Morning After
Compilations
• 2 Many Dj’s – As Herd On Radio Soulwax Pt2
• Futureism
• David Holms – Oceans Eleven Soundtrack
• Orbital – All Back To Mine
• 24 Hour Party People – OST
Re- Releases
• Ash – Intergalactic Sonic 7’s
• Elvis Presley – Elv1s
• U2 – Best Of 1990 – 2000
• Velvet Underground And Nico – Velvet Underground And Nico
• The Who – My Generation
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2003
Q magazine Recordings Of The Year
1. The White Stripes – Elephant
2. Blur – Think Tank
3. The Mars Volta – De-Loused In The Comatorium
4. Kings Of Leon – Youth And Young Manhood
5. Justin Timberlake – Justified
6. 50 Cent – Get Rich Or Die Tryin’
7. The Strokes – Room On Fire
8. Outkast – Speakerboxxx/The Love Below
9. The Darkness – Permission To Land
10. Janes’s Addiction – Strays
11. Radiohead – Hail To The Thief
12. Elbow – Cast Of Thousand
13. Dizzee Rascal – Boy In Da Corner
14. Muse – Absolution
15. Yeah Yeah Yeahs – Fever To Tell
16. Johnny Cash – The Man Comes Around
17. Sean Paul – Dutty Rock
18. The Thrills – So Much For The City
19. The Roots – Phrenology
20. The Distillers – Coral Fang
21. The Coral – Magic And Medicine
22. Zwan – Mary Star Of The Sea
23. Afi – Sing The Sorrow
24. Super Furry Animals – Phantom Power
25. Basement Jaxx – Kish Kash
26. The Sleepy Jackson – Lovers
27. The Rapture - Echoes
28. Audioslave – Audioslave
29. Beth Gibbons & Rustin’ Man – Out Of Season
30. Electric Six – Fire
31. The Black Keys – Thickfreakness
32. Athlete – Vehicles & Animals
33. Dave Gahn – Paper Monsters
34. The Dandy Wahols – Welcome To The Monkey House
35. Goldfrapp – Black Cherry
36. Iggy Pop – Skull Rising
37. Four Tet – Rounds
38. My Morning Jacket – It Still Moves
39. Tom McRae – Just Like Blood
40. Hot Hot Heat – Make Up The Breakdown
41. Stereophonics – You Gotta Go There To Come Back
42. Bubba Sparxxx – Deliverance
43. Fountains Of Wayne – Welcome Interstate Managers
44. Pink – Try This
45. Audio Bullys – Ego War
46. Ryan Adams – Rock N’ Roll
47. British Sea Power – The Decline Of British Sea Power
48. Calexico – Feast Of Wine
49. Peaches – Fatherfucker
50. Kylie Minogue – Body Language
Re-Releases
Led Zeppelin – How The West Was Won
Neil Young – On The Beach
Lou Reed – Nyc Man
Television – Marquee Moon
Diana Ross - Diana
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2004
Q magazine Recordings Of The Year
1. The Streets – A Grand Don’t Come For Free
2. Keane – Hopes And Fears
3. Franz Ferdinand – Franz Ferdinand
4. U2 – How To Dismantle An Atomic Bomb
5. Razorlight – Up All Night
6. The Libertines – The Libertines
7. Nick Cave And The Bad Seeds – Abattoir Blues/The Lyre Of Orpheus
8. The Killers – Hot Fuss
9. Mylo – Destroy Rock & Roll
10. Interpol – Antics
11. Snow Patrol – Final Straw
12. Dizzee Rascal – Showtime
13. Wilco – A Ghost Is Born
14. Scissor Sisters – Scissor Sisters
15. Danger Mouse – The Grey Album
16. Kasabain – Kasabain
17. Kings Of Leon – Aha Shake Heartbreak
18. Prince – Musicology
19. Gwen Stefani – Love Angel Music Baby
20. The Zutons – Who Killed The Zutons
21. Green Day – American Idiot
22. Graham Coxon – Happiness In Magazines
23. Elliott Smith – From A Basement On The Hill
24. The Blue Nile – High
25. Ryan Adams – Love Is Hell
26. Mark Lanegan – Bubblegum
27. Norah Jones – Feels Like Home
28. Usher – Confessions
29. Kanye West – The Collage Dropout
30. Eminem – Encore
31. The Walkman – Bows + Arrows
32. Lost Prophets – Start Something
33. George Michael – Patience
34. Sufjan Stevens – Seven Swans
35. The Futureheads – The Futureheads
36. Secret Machines – Now Here Is Nowhere
37. !!! [Chik Chik Chik] – Louden Up Now
38. Devendra Banhart – Rejoicing In The Hands
39. Estelle – The 18th Day…
40. Joss Stone – Mind Body And Soul
41. Modest Mouse – Good News For People Who Love Bad News
42. Brian Wilson – Smile
43. Loretta Lynn – Van Lear Rose
44. Jamelia – Than You
45. The Von Bondies – Pawn Shoppe Heart
46. My Chemical Romance – Three Cheers For Sweet Revenge
47. Goldie Lookin’ Chain – Greatest Hits
48. Cee-Lo Green – Cee-Lo Green Is The Soul Machine
49. Red Hot Chilli Peppers – Live In Hyde Park
50. The Bees – Free The Bees
Reissues
• Jeff Buckley – Grace
• The Clash – London Calling
• The Kinks – The Kinks Are The Village Green Preservation Society
• Nirvana – With The Lights Outs
• Pixies – Best Of The Pixies
Tracks That Q Thinks You Should Have Been Listening To In 2004
• Cannibal’s Hymn – Nick Cave
• Chicken Playback – The Bees
• Cuts Across The Land – Duke Sprit
• Diabollc Scheme – The Hives
• (Don’t Go Back To) Dalston – Razorlight
• Don’t Make Fun Of Daddy’s Voice – Morrissey
• Drill Sergeant – Nerd
• Empty Souls – Manic Street Preachers
• Glamorous Indie Rock & Roll – The Killers
• If Eye Was He Man In Your Life – Prince
• Little House Of Savages – The Walkman
• Little Thoughts – Block Party
• One Hundred Days – Mark Lanegan
• Pistol On Fire – Kings Of Leon
• Reason Is Treason – Kasabain
• Take Me Out (Daft Punk Remix) – Franz Ferdinand
• Electro Blue – R.E.M.
• Fond Farewell – Elliott Smith
• I Started A Joke – Kathryn Williams
• Steve Mcqueen – Lambchop
• Still Iris – Faultline
• Devil In Me – 20-20’s
• Enemies/Friends – Hope Of The States
• Hounds Of Love – Futureheads
• Lost The Plot – The Dears
• My Way - Kanye West
• Narc – Interpol
• Shit Scheisse Merde - !!!
• Warm Night – The Concreats
• Better Luck – Scissor Sisters
• My Elusive Drug – Elton John
• Not-A-Lot-To-Do – The Zutons
• Original Of The Species – U2
• Shame – Pj Harvey
• What Are You? – Bonny ‘Prince’ Billy
• The Body Breaks – Devendra Banhart
Readers Best Tracks Of The Year
1. Take Me Out – Franz Ferdinand
2. Dry Your Eyes – The Streets
3. Run – Snow Patrol
4. Golden Touch – Razorlight
5. Mr Brightside – The Killers
6. Fit But You Know It – The Streets
7. Can’t Stand Me Now – The Libertines
8. Comfortably Numb – Scissor Sisters
9. First Of The Gang To Die – Morrissey
10. Laura – Scissor Sisters
11. Irish Blood, English Heart – Morrissey
12. Matinee – Franz Ferdinand
13. Somewhere Only We Know – Keane
14. Float On – Modest Mouse
15. Spitting Games – Snow Patrol
16. Everybody Changing – Keane
17. Take Your Mama – Scissor Sisters
18. Are You Gonna Be My Girl – Jet
19. Chocolate – Snow Patrol
20. For Lovers – Wolfman Ft Pete Doherty
21. Walk Idiot Walk – The Hives
22. Sing For Absolution – Muse
23. Reptilla – The Strokes
24. Bedshaped – Kene
25. Talk Talk Talk – The Ordanery Boys
26. Cannonball – Damien Rice
27. This Love – Maroon 5
28. Somebody Told Me –The Killers
29. You Will You Won’t – The Zutons
30. Trick Me – Kelis
31. Bittersweet Bundle Of Misery – Graham Coxon
32. Michael – Franz Ferdinand
33. Toxic – Britney Spears
34. Good Luck – Basement Jaxx
35. Ch-Check It Out – Beastie Boys
36. Milkshake – Kellis
37. I Love You ‘Cause I Have To – Dogs Die In Hot Cars
38. The Letter – Pj Harvy
39. End Of The World – The Cure
40. My Band – D12
41. 99 Problems – J-Z
42. Yeah – Usher
43. Lola’s Theme – Shapeshifters
44. I Miss You – Blink 182
45. The Rat – The Walkman
46. The Red The White The Black & The Blue – Hope Of The States
47. Roses - Outkast
48. Mass Destruction – Faithless
49. Long Time Coming – Delays
50. Starcrossed – Ash
51. Darts Of Pleasure – Franz Ferdinand
52. All The Things I’ve Done – The Killers
53. Orpheus – Ash
54. Shut Up – Black Eyed Peas
55. C’mon C’mon – The Von Bondies
56. See It In The Boys Eyes – Jamelia
57. Guns Don’t Kill People, Rappers Do – Goldie Lookin’ Chain
58. Decent Days And Night – The Futureheads
59. Step Into My Office – Belle & Sebastian
60. Assessment – The Beta Band
61. Year Of The Rat – Badly Drawn Boy
62. Girls – Prodigy
63. Rip It Up – Razorlight
64. Vice – Razorlight
65. Up At The Lake – The Charlitans
66. Spiders – Wilco
67. 2000 Places – The Polyphonic Spree
68. American Idiot – Green Day
69. Slither – Velvet Revolver
70. Home – Zero 7
71. Wash The Rain – The Bees
72. Some Girls – Rachael Stevens
73. Five Colours In Her Hair – Mcshit
74. She Wants To Move – Nerd
75. Lsf – Kasabain
76. Jesus Walks – Kanye West
77. Strict Machine – Goldfrapp
78. Gravity – Embrace
79. You Lot – Orbital
80. Whatever Happened To Cory Haim? – The Thrills
81. Blinded By The Lights – The Streets
82. Last Summer – Lostprophets
83. Through The Wire – Kanye West
84. Remember Me – The Zutons
85. Nearer To Heaven – Delays
86. Ride – The Vines
87. Harder To Breathe – Maroon 5
88. Leaving New York – R.E.M.
89. Stumble And Fall – Razorlight
90. Clb Foot – Kasabain
91. Single – Natasha Bedingfield
92. Our Mutual Friend – The Divine Comedy
93. Amazing – George Michael
94. My Happy Ending – Avril Lavigne
95. Followed The Waves – Auf Der Maur
96. Triple Trouble – The Beastie Boys
97. Slow Hands – Interpol
98. All Falls Down – Kanye West
99. Fell In Love With A Boy – Joss Stone
100. 1980 – Estelle
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To Top
2005
Q magazine Recordings Of The Year
1. Coldplay – X & Y
2. Gorillaz – Demon Days
3. Kaiser Chiefs - Employment
4. Oasis – Don’t Believe The Truth
5. Bright Eyes – I’m Wide Awake, It’s Morning
6. James Runt – Back To Boredom
7. Franz Ferdinand – You Could Have It So Much Better With…
8. Arcade Fire – Funeral
9. Kt Tunstall – Eye To The Telescope
10. Hard-Fi – Stars Of CCTV
11. Goldfrapp – Supernature
12. Kanye West – Late Registration
13. The White Stripes – Get Behind Me Satan
14. The Magic Numbers – The Magic Numbers
15. Antony And The Johnsons – I Am A Bird Now
16. Neil Young – Prairie Wind
17. Paul Weller – As Is Now
18. Jem – Finally Woken
19. Eels – Blinking Lights And Other Revelations
20. Bruce Springsteen – Devils And Dust
21. Rufus Wainwright – Want Two
22. The Darkness – One Way Ticket To Hell..And Back
23. Kate Bush – Aerial
24. David Grey – Life In The Slow Lane
25. Bloc Party – Silent Alarm
26. Madonna – Confessions On A Dance Floor
27. Doves – Some Cities
28. Ryan Adams – 29
29. LCD Soundsystem – LCD Soundsystem
30. The Go-Betweens – Oceans Apart
31. Athlete – Tourist
32. Richard Hawley – Coles Corner
33. Elbow – Leaders Of The Free World
34. Depeche Mode – Playing The Angel
35. My Morning Jacket – Z
36. Josh Rouse – Nashville
37. Queens Of The Stoneage – Lullabies To Paralyze
38. Nine Inch Nails – With Teeth
39. Feeder – Pushing The Senses
40. Devendra Banheart – Cripple Crow
41. Rilo Kiley – More Adventurous
42. Common – Be
43. Willy Mason – Where The Humans Eat
44. Jamiroquai – Dynamite
45. Roisin Murphy – Ruby Blue
46. Stereophonics – Language. Sex. Violence. Other?
47. Texas – Red Book
48. The Stands – Horse Fabulous
49. M.I.A. – M.I.A.
50. Joseph Arthur – Our Shadows Will Remain
Readers 100 Greatest Tracks Of 2005
1. The Importance Of Being Idle – Oasis
2. Fix You – Coldplay
3. I Predict A Riot – Kaiser Chiefs
4. Oh My God – Kaiser Chiefs
5. Black Horse And The Cherry Tree – Kt Tunstall
6. Lyla – Oasis
7. Do You Want To – Franz Ferdinand
8. Dakota – Stereophonics
9. Speed Of Sound – Coldplay
10. Hard To Beat – Hard-Fi
11. Feel Good Inc. – Gorillaz
12. Best Of You – Foo Fighters
13. Somewhere Else – Razorlight
14. Forever Lost – The Magic Numbers
15. Banquet – Bloc Party
16. Holiday – Greenday
17. Somebody Told Me – The Killers
18. Rebellion (Lies) – Arcade Fire
19. Wires – Athlete
20. You’re Beautiful – James Blunt
21. Everyday I Love You Less And Less - Kaiser Chiefs
22. Wake Me Up When September Comes - Greenday
23. Club Foot – Kasabian
24. An Honest Mistake – The Bravery
25. My Doorbell – The White Stripes
26. American Idiot – Greenday
27. All These Things That I’ve Done – The Killers
28. Blue Orchid – The White Stripes
29. Black And White Town - Doves
30. Dare – Gorillaz
31. Hounds Of Love – Futureheads
32. Killamangiro – Babyshambles
33. Apply Some Pressure – Maximo Park
34. Vertigo – U2
35. Smile Like You Mean It – Killers
36. Sometimes You Can’t Make It On Your Own – U2
37. Let There Be Love – Oasis
38. Boulevard Of Broken Dreams – Greenday
39. Gold Digger – Kanye West
40. Oxygen – Willy Mason
41. Fuck Forever – Babyshambles
42. City Of Blinding Lights – U2
43. Helicopter – Blockparty
44. Helena – My Chemical Romance
45. Galvanise – The Chemical Brothers
46. Going Missing – Maximo Park
47. Decent Days And Nights - Futureheads
48. What You Waiting For? – Gwen Stefani
49. Little Sister – Queens Of The Stoneage
50. Living For The Week-End – Hard-Fi
51. Graffiti – Maximo Park
52. Bullets – Editors
53. Turn Up The Sun – Oasis
54. In The Morning – The Coral
55. The Meaning Of Soul – Oasis
56. Neighbourhood #1 – Arcade Fire
57. White Shadows – Coldplay
58. Half Light – Athlete
59. The One I Love – David Grey
60. What If – Coldplay
61. Krafty – New Order
62. The Ghost Of You – My Chemical Romance
63. I Bet You Look Good On The Dancefloor – Arctic Monkeys
64. Hope There’s Someone – Antony & The Johnsons
65. Suddenly I See – Kt Tunstall
66. So Here We Are – Block Party
67. Cash Machine – Hard-Fi
68. The First Day Of My Life – Bright Eyes
69. Diamonds From Sierra Leone – Kanye West
70. Neighbourhood #2 (Laika) – Arcade Fire
71. Superman - Stereophonics
72. Goodnight Goodnight – Hot Hot Heat
73. They – Jem
74. Love Me Like You – The Magic Numbers
75. Pioneers – Block Party
76. Other Side Of The World – Kt Tunstall
77. Bad Day – Daniel Powter
78. Processed Beats – Kasabian
79. Shiver – Natalie Imbruglia
80. Mucky Fingers – Oasis
81. Beverly Hills – Weezer
82. Two More Years – Block Party
83. Tied Up Too Tight – Hard-Fi
84. Girl – Beck
85. Who Put The Weight Of The World On My Shoulders? – Oasis
86. This Morning Love – Block Party
87. Munich – Editors
88. Why Do You Love Me – Garbage
89. Evil – Interpol
90. Byob – System Of A Down
91. I’m Not Ok (I Promise) – My Chemical Romance
92. Hey Scenesters! – The Cribs
93. Doa – Foo Fighters
94. Forget Myself – Elbow
95. E-Pro – Beck
96. Welcome To Jamrock – Damian ‘Jr Gong’ Marley
97. All Because Of You – U2
98. Feeling A Movement – Feeder
99. Good People – Jack Johnson
100. Push The Button – Sugarbabes
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To Top
2006
Q magazine Recordings Of The Year
1. Artic Monkeys – Whetever People Say I Am, That’s What I’m Not
2. Muse – Black Holes & Revelations
3. Razorlight – Razorlight
4. Red Hot Chilli Peppers – Stadium Arcadium
5. The Killers – Sam’s Town
6. Keane – Under The Iron Sea
7. Bob Dylan – Modern Times
8. Kasabian – Empire
9. Scissor Sisters – Ta Da
10. Gnarles Barkley – St Elsewhere
11. The Kooks – Inside In/Inside Out
12. Corinne Bailey Rae – Corinne Bailey Rae
13. The Raconteurs – Broken Boy Soldiers
14. The Feeling – Twelve Stops And Home
15. Shack – The Corner Or Miles And Gil
16. Bruce Springsteen – We Shall Overcome: The Seeger Sessions
17. Thom Yorke – The Eraser
18. Snow Patrol – Eye Open
19. Neil Diamond – 12 Songs
20. Guillemots – Through The Window Pain
21. Midlake – The Trials Of Van Occupanther
22. Johnny Cash – American V: A Hundred Highways
23. Pet Shop Boys – Fundamental
24. Jarvis – Jarvis
25. Damien Rice – 9
26. James Morrison – Undercovered
27. Jenny Lewis With The Watson Twins – Rabbit Fur Coat
28. Elton John – The Captain And The Kid
29. Jet – Shine On
30. Outkast – Idlewild
31. Paul Simon – Surprise
32. My Chemical Romance – The Black Parade
33. Yeah Yeah Yeahs – Show Your Bones
34. The Flaming Lips – At War With The Mystics
35. Orson – Bright Idea
36. Justin Timberland – Futuresex/Lovesounds
37. Cat Power – The Greatest
38. Neil Young – Living With War
39. Tv On The Radio – Return To Cookie Mountain
40. The Strokes – First Impressions Of Earth
41. The Automatic – Not Accepted Anywhere
42. The Zutons – Tired Of Being Alone
43. Lambchop – Damaged
44. Hot Chip – The Warning
45. David Gilmore – On An Island
46. Afx – Chosen Lords
47. Morrissey – Ringleader Leader Of The Tormenters
48. Christina Aguliera – Back To Basics
49. John Legend – Once Again
50. The Twilight Singers – Powder Burns
51. Graham Coxon – Love Travels At Illegal Speed
52. Scritti Politti – White Bread Black Beer
53. The Beatles – Love
54. Tom Waits – Orphans…
55. Nelly Furtado – Loose
56. Jack Johnson & Friends – Sing-A-Long And Lullabies..
57. Lilly Allen – Alright, Still
58. Badly Drawn Boy – Born In The Uk
59. Sparklehorse – Dreamt For Light Years In The Belly Of A Mountain
60. Joan As Police Woman – Joan As Police Woman
61. Sway – This Is My Demo
62. Jamelia – Walk With Me
63. Lostprophets – Liberation Transmission
64. Plan B – Who Needs Actions When You Got Words
65. Soloman Burke – Nashville
66. Fiona Apple – Extraordinary Machine
67. Shakira – Oral Fixation Vol.2
68. The Vines – Vision Valley
69. The Sleepy Jackson – Personality…..
70. Primal Scream – Riot City Blues
71. Secret Machines – Ten Silver Drops
72. Beyonce – B’day
73. Willy Nelson – Songbird
74. Belle & Sabastian – The Life Pursuit
75. Junior Boys – So This Is Goodbye
76. Ghostface Killah – Fishscale
77. Burial - Burial
78. Espers – Espers II
79. Get Cape, Wear Cape. Fly – Chronicles Of A Bohemian Teenager
80. Vetiver – To Find Me Gone
81. Tom Petty – Highway Companion
82. Regina Spektor – Begin To Hope
83. Wolfmother – Wolfmother
84. Meatloaf – Bat Out Of Hell Iii: The Monster Is Loose
85. Anthony Hamilton – Ain’t Nobody Worryin’
86. Mogwai – Mr Beast
87. The Magic Numbers – Those The Brokes
88. The Young Knives – Voices Of Animals And Men
89. Css – Cansei De Ser Sexy
90. Adrian Sherwood – Becoming A Cliché
91. David Kitt – Not Fade Away
92. Elvis Costello & Allen Toussaint – The River In Reverse
93. Iron Maiden – A Matter Of Life And Death
94. Duke Special – Songs From The Deep Forrest
95. Clap Your Hands Say Yeah – Clap Your Hands Say Yeah
96. Broken Social Scene – Broken Social Scene
97. Boy Kill Boy – Civilian
98. The Like – Are You Thinking What I’m Thinking
99. The Concretes – In Colour
100. Matisyahu – Youth
Re Issues
1. The Clash – The Singles
2. Queen – A Night At The Opera
3. Bruce Springsteen – Born To Run
4. Pulp – Different Class
5. Talking Heads – Remain In Light
6. Depeche Mode – Violator
7. George Michael – Twentyfive
8. The Jam – All Mod Cons
9. The La’s – Bbc In Session
10. Oasis – Stop The Clocks
100 Great Undiscovered Tracks Of 2006
1. Kasabian - Sun/Rise/Light/Files
2. Arcade Fire – Age Of Concent
3. Gnarls Barkley – Transformer
4. David Gray – The One I Love (Live From London)
5. Neil Young – Flags Of Freedom
6. The Bluetones – My Neighbour’s House
7. Secret Machines – Alone, Jealous And Stoned
8. Kris Kristofferson – Chase The Feeling
9. Sparklehorse – Ghost In The Sky
10. The Flaming Lips – Pompeii Am Gotterdammerung
11. Regina Spektor – Fidelity
12. Sparks – Dick Around
13. Bob Dylan – Ain’t Talkin’
14. Lambchop – Paperback Bible
15. Prince – Fury
16. Michael Stipe Ft. Joseph Arthur – In The Sun
17. Bat For Lashes – What’s A Girl To Do
18. Fall Out Boy – Snitches And Talkers Get Stitches And Walkers
19. Morrissey – Life Is A Pigsty
20. The Fratellis – Henrietta
21. Jack Johnson – We’re Going To Be Friends
22. Richard Ashcroft – Sweet Brother Malcolm
23. Jenny Lewis With The Watson Twins – Rise Up With Fists!!
24. Midlake – Rosco
25. Nouvelle Vague – The Killing Moon
26. Candi Staton – His Hands
27. Brian Ferry And Antony – Lowlands Low
28. Eels – Girl From The North Country
29. The Killers – Bling (Confession Of A King)
30. Tom Waits – Road To Peace
31. Tom Petty – Square One
32. Neil Diamond – I’m On To You
33. Cat Power – Where Is My Love
34. Outkast – The Train
35. Lindsey Buckingham – Down On Rodeo
36. Mika – Relax, Take It Easy
37. Elton John – Blues Never Fade Away
38. Ray Lamontange – Forever My Friend
39. Graham Coxon – I Can’t Look At Your Skin
40. Lilly Allen – Knock ‘Em Out
41. Paul Simon – How Can I Live In The Northeast?
42. Beck – Strange Apparition
43. Kanye West – Touch The Sky
44. My Robot Friend – One More Try
45. Plan B – No Good
46. Joan As Police Woman – Eternal Flame
47. The Young Knives – Tremblings Of Trails
48. Bruce Springsteen – Froggie Went A-Courtin’
49. Amy Winehouse – Love Is A Game
50. Scissor Sisters – Might Tell You Tonight
51. Jarvis – Running The World
52. Pharrell Ft. Snoop Dogg – That Girl
53. Arcade Fire & David Bowie – Five Years
54. Thom Yorke – Cymbal Rush
55. Snow Patrol – You Could Be Happy
56. Richard Hawley – Some Candy Talking
57. The View – Posh Boys
58. Dirty Pretty Things – Wondering
59. The Who – Endless Wire
60. The Walkman – Louisiana
61. Jamelia – Do Me Right
62. Primal Scream – Sometimes I Feel So Lonely
63. The Strokes – Ask Me Anything
64. Hot Chip – And I Was A Boy From School
65. Nelly Furtado – All Good Things (Come To An End)
66. Barbarossa – Aeroplanes
67. Hope Of The States – Industry
68. Camera Obscura – Lloyd, I’m Ready To Be Heartbroken
69. Rekid – Lost Star 6
70. Pet Shop Boys – Luna Park
71. Scream – Midnight Request Line
72. Dj Shadow – Seein’ Things
73. Red Hot Chilli Peppers – Animal Bar
74. Sebastian Teller – La Ritournelle
75. Scritti Politti – The Boom Boom Bap
76. Tortoise & Bonnie ‘Prince’ Billy
77. Afx – Crying In Your Face
78. M Word – Poison Cup
79. Lee ‘Scratch’ Perry – Panic In Babylon
80. Boards Of Canada – Chromakey Dreamcoat
81. Mastodon – Colony Of Birchmen
82. Muse – Map Of The Problematique
83. Matisyahu - Youth
84. Wolfmother – Minds Eye
85. Css – Let’s Make Love And Listen To Death From Above
86. Isobel Campbell & Mark Lanegan – Black Mountain
87. Justice Vs Simian – We Are Your Friends
88. Keane – The Frog Prince
89. E-40 – Tell Me When To Go
90. The Raconteurs – Intimate Secretary
91. The Sleepy Jackson – I Understand What You Want, But I Just Don’t
Agree
92. Easy Star All*Stars – Exit Music
93. Robbie Williams – Summertime
94. Van Hunt – No Sense Of Crime
95. We Are Scientists – Lousy Reputation
96. Coldcut Feat. Roots Manuva – True Skool
97. Tv On The Radio – Tonight
98. The Horrors – Sheena Is A Parasite
99. The Like – June Gloom
100. Shack – Butterfly
Readers’ 100 Greatest Tracks of the Year
1. Razorlight - America
2. Gnarls Barkley - Crazy
3. Muse - Supermassive Black Hole
4. Killers - When You Were Young
5. Snow Patrol - Chasing Cars
6. Muse - Starlight
7. Kooks - Naïve
8. Raconteurs - Steady, as She Goes
9. Red Hot Chili Peppers - Dani California
10. Scissor Sisters - I Don’t Feel Like Dancin’
11. Fratellis - Chelsea Dagger
12. Razorlight - In the Morning
13. Arctic Monkeys - When the Sun Goes Down
14. My Chemical Romance - Welcome to the Black Parade
15. Keane - Is it Any Wonder?
16. Lily Allen - Smile
17. Feeling - Sewn
18. Kasabian - Empire
19. Zutons - Valerie
20. Guillemots - Made Up Love Song #43
21. Arctic Monkeys - View from the Afternoon
22. James Morrison - You Give Me Something
23. Automatic - Monster
24. Orson - No Tomorrow
25. Corrine Bailey Rae - Put Your Records On
26. Dirty Pretty Things - Bang Bang Your Dead
27. José González - Heartbeat
28. Yeah Yeah Yeahs - Gold Lion
29. Morrissey - You Have Killed Me
30. Arctic Monkeys - Mardy Bum
31. Madonna - Sorry
32. Kooks - She Moves in Her Own Way
33. Gnarls Barkley - Smiley Faces
34. Nelly Furtado - Maneater
35. OutKast - Morris Brown
36. Paolo Nutini - Last Request
37. Corinne Bailey Rae - Like a Star
38. Franz Ferdinand - Eleanor Put Your Boots On
39. Strokes - Jukebox
40. Muse - Knights of Cydonia
41. Placebo - Because I Want You
42. Lostprophets - A Town Called Hypocrisy
43. Kasabian - Shoot the Runner
44. Rhianna - SOS
45. Beck - Cell Phone’s Dead
46. Fratellis - Creepin’ Up the Backstairs
47. Killers - Read My Mind
48. Franz Ferdinand - L Wells
49. Arctic Monkeys - Fake Tales of San Francisco
50. View - Wasted Little DJs
51. Editors - All Sparks
52. Lily Allen - LDN
53. Hot Chip - Over & Over
54. Seth Lakeman - White Hare
55. Gorillaz - El Mañana
56. Beyoncé featuring Jay-Z - Déjà Vu
57. Primal Scream - Country Girl
58. Streets - Never Went to Church
59. Evanescence - Call Me When You’re Sober
60. Keane - Nothing in My Way
61. Justin Timberlake - SexyBack
62. Nerina Pallot - Everybody’s Gone to War
63. Feeling - Never be Lonely
64. Delays - Valentine
65. Embrace - Nature’s Law
66. Robbie Williams - Lovelight
67. Pearl Jam - World Wide Suicide
68. Christina Aguilera - Ain’t no Other Man
69. Flaming Lips - It Overtakes Me
70. Orson - Bright Idea
71. Magic Numbers - Take a Chance
72. Badly Drawn Boy - Born in the UK
73. Ray LaMontagne - Trouble
74. Nelly Furtado - Promiscuous
75. Belle & Sebastian - Funny Little Frog
76. Jack Johnson - Better Together
77. Amy Winehouse - Rehab
78. Richard Ashcroft - Break the Night with Colour
79. Feeder - Lost & Found
80. Jet - Shine On
81. Red Hot Chili Peppers - Snow (Hey Oh)
82. Young Knives - She’s Attracted To
83. Vines - Don’t Listen to the Radio
84. Sugababes - Easy
85. OK Go - Here it Goes Again
86. Bob Dylan - Workingman’s Blues #2
87. Shakira featuring Wyclef - Hips Don’t Lie
88. Strokes - Heart in a Cage
89. Automatic - Raoul
90. Thom Yorke - Harrowdown Hill
91. Massive Attack - Live with Me
92. Wolfmother - Woman
93. Pet Shop Boys - I’m with Stupid
94. Prince - Black Sweat
95. Jenny Lewis with the Watson Twins - Handle with Care
96. Madonna - Jump
97. Who - Wire & Glass
98. Sandi Thom - I Wish I Was a Punk Rocker
99. Fall Out Boy - Dance Dance
100. Peter, Bjorn & John - Young Folks
Worst Albums
o Tony Bennett - Duets: An American Classic
o Def Leppard - Yeah!
o Milburn - Well, Well, Well
o Towers of London - Blood, Sweat & Towers
o Wicked Wisdom - Wicked Wisdom
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To Top
2007
Q magazine Recordings Of The Year
1. Arcade Fire - Neon Bible
2. The White Stripes - Icky Thump
3. Arctic Monkeys - Favourite Worst Nightmare
4. Radiohead - In Rainbows
5. The Good, The Bad & The Queen - The Good, The Bad & The Queen
6. Bruce Springsteen - Magic
7. Kings of Leon - Because of the Times
8. The Shins - Wincing the Night Away
9. The Hold Steady - Boys and Girls in America
10. Rufus Wainwright - Release the Stars
11. Modest Mouse - We Were Dead Before the Ship Even Sank
12. Foo Fighters - Echoes, Silence, Patience & Grace
13. Kaiser Chiefs - Yours Truly, Angry Mob
14. Cherry Ghost - Thirst for Romance
15. Interpol - Our Love to Admire
16. Manic Street Preachers - Send Away the Tigers
17. Rilo Kiley - Under the Blacklight
18. LCD Soundsystem - Sound of Silver
19. Björk - Volta
20. The Rumble Strips - Girls and Weather
21. Cold War Kids - Robbers & Cowards
22. The Coral - Roots & Echoes
23. Bright Eyes - Cassadaga
24. PJ Harvey - White Chalk
25. Spoon - Ga Ga Ga Ga Ga
26. Beirut - The Flying Club Cup
27. Ryan Adams - Easy Tiger
28. The Decemberists - The Crane Wife
29. Roìsìn Murphy - Overpowered
30. The National - Boxer
31. Soulsavers - It's Not How Far You Fall, It's the Way You Land
32. Klaxons - Myths of the Near Future
33. Neil Young - Chrome Dreams II
34. M.I.A. - Kala
35. Hard-Fi - Once upon a Time in the West
36. Common - Finding Forever
37. Robyn - Robyn
38. Fall Out Boy - Infinity on High
39. Joni Mitchell - Shine
40. Field Music - Tones of Town
41. Keren Ann - Keren Ann
42. The Enemy - We'll Live and Die in These Towns
43. Patrick Watson - Close to Paradise
44. Gogol Bordello - Super Taranta!
45. Lucinda Williams - West
46. Sigur Ròs - Hvarf-Heim
47. Kate Nash - Made of Bricks
48. Justice - †
49. Jamie T - Panic Prevention
50. Stereophonics - Pull the Pin
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To Top
2008
Q magazine Recordings Of The Year
1. Kings of Leon - Only By The Night
2. Fleet Foxes - Fleet Foxes
3. Coldplay - Viva la Vida
4. Vampire Weekend - Vampire Weekend
5. Glasvegas - Glasvegas
6. Duffy - Rockferry
7. TV On the Radio - Dear, Science
8. Elbow - Seldom Seen Kid
9. Raconteurs - Consolers of the Lonely
10. Nick Cave & the Bad Seeds - Dig!!! Lazarus, Dig!!!
11. Sigur Rós - Með Suð í Eyrum Við Spilum Endalaust
12. Keane - Perfect Symmetry
13. MGMT - Oracular Spectacular
14. Kaiser Chiefs - Off With Their Heads
15. Lil Wayne - Tha Carter III
16. Hot Chip - Made In the Dark
17. Adele - 19
18. British Sea Power - Do You Like Rock Music?
19. Goldfrapp - Seventh Tree
20. Gaslight Anthem - ‘59 Sound
21. Razorlight - Slipway Fires
22. Killers - Day & Age
23. Beck - Modern Guilt
24. Last Shadow Puppets - Age of the Understatement
25. Metallica - Death Magnetic
26. Conor Oberst - Conor Oberst
27. Neil Diamond - Before Home
28. Paul Weller - 22 Dreams
29. AC/DC - Black Ice
30. Portishead - Third
31. Black Mountain - In the Future
32. Oasis - Dig Out Your Soul
33. Hercules & Love Affair - Hercules & Love Affair
34. Bon Iver - For Emma, Forever Ago
35. Hold Steady - Stay Positive
36. REM - Accelerate
37. Lykke Li - Youth Novels
38. John Mellencamp - Life, Love, Death & Freedom
39. Santogold - Santogold
40. My Morning Jacket - Evil Urges
41. Lindsey Buckingham - Gift of Screws
42. Liam Finn - I’ll Be Lightning
43. Joan As Police Women - To Survive
44. Black Kids - Partie Traumatic
45. Jack Johnson - Sleep Through Static
46. Jenny Lewis - Acid Tongue
47. Verve - Forth
48. Randy Newman - Harps & Angels
49. Emmylou Harris - All I Intended To Be
50. Dido - Safe Trip Home
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To Top
2009
Q magazine Recordings Of The Year
1. Kasabian – West Ryder Pauper Lunatic Asylum
2. Florence And The Machine – Lungs
3. Yeah Yeah Yeahs – It’s Blitz
4. Animal Collective – Merriweather Post Pavilion
5. Manic Street Preachers – Journal For Plague Lovers
6. Arctic Monkeys – Humbug
7. Muse – The Resistance
8. Lilly Allen – It’s Not Me, It’s You
9. U2 – No Line On The Horizon
10. Phoenix – Woulgang Amadeus Phoenix
11. Doves – Kingdom Of Rust
12. Jack Penate – Everything Is New
13. Grizzly Bear – Veckatimest
14. Devendra Banhart – What Will We Be
15. Dizzee Rascal – Tongue ‘N Cheek
16. Empire F The Sun – Walking On A Dream
17. Green Day – 21st Century Breakdown
18. Mika – The Boy Who Knew Too Much
19. Monsters Of Folk – Monsters Of Folk
20. Fever Ray – Fever Ray
21. Jamie T – Kings And Queens
22. The Low Anthem – Oh My Gad, Charlie Darwin
23. The Prodigy – Invaders Must Die
24. Mos Def – The Ecstatic
25. Noah And The Whale – The First Days Of Spring
26. Bat For Lashes – Two Suns
27. The Dead Weather – Horehound
28. Bruce Springsteen – Working On A Dream
29. Wilco – Wilco (The Album)
30. La Roux – La Roux
31. Biffy Clyro – Only Revolutions
32. Paolo Nutini – Sunny Side Up
33. Dirty Projectors – Bitte Orca
34. White Lies – To Lose My Life
35. Pearl Jam – Backspacer
36. Sonic Youth – The Eternal
37. Fuck Buttons – Tarot Sport
38. Richard Hawley
39. The Horrors – Primary Colours
40. Cheryl Cole – 3 Words
41. Wild Beasts – Two Dancers
42. Mariachi El Bronx – Mariachi El Bronx
43. Tinariwen – Imidiwan Companions
44. The View – Which Bitch
45. Conor Oberst And The Mystic Valley Band – Outer South
46. Golden Silvers – True Romance
47. Madness – The Liberty Of Norton Folgate
48. Ian Brown – My Way
49. Bob Dylan – Together Through Life
50. Jarvis Cocker – Further Complication
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2010
Q magazine Recordings Of The Year
1. Arcade Fire – The Suburbs
2. Robert Plant – Band Of Joy
3. Plan B – The Defamation Of Strickland Banks
4. Laura Marling – I Speak Because I Can
5. Vampire Weekend – Contra
6. John Grant – Queen Of Denmark
7. Gorillaz – Plastic Beach
8. The National – High Violet
9. Paul Weller – Wake Up The Nation
10. Mgmt – Congratulations
11. The Black Keys – Brothers
12. Gil Scott-Heron – I’m New Here
13. Beach House – Teen Dream
14. Hot Chip – One Life Stand
15. Yeasayer – Odd Blood
16. Foals – Total Life Forever
17. John Legend And The Roots – Wake Up!
18. Manic Street Preachers – Postcards From A Young Man
19. Grinderman – Grindaman 2
20. Take That – What Progress
21. Band Of Horses – Infinite Arms
22. Corinne Bailey Rae – The Sea
23. Lcd Soundsystem – This Is Happening
24. Bryan Ferry – Olympia
25. Kings Of Leon – Come Around Sundown
26. Klaxons – Surfing The Void
27. Midlake – The Courage Of Others
28. Avi Buffalo – Avi Buffalo
29. Interpol – Interpol
30. Brandon Flowers – Flamingo
31. The Chemical Brothers – Further
32. The Drums – The Drums
33. Tricky – Mixed Race
34. The Dead Weather – Sea Of Cowards
35. Everything Everything – Man Alive
36. The Roots – How I Got Over
37. The Coral – Butterfly House
38. Janelle Monae – The Archandroid
39. I Am Kloot – Sky At Night
40. Peter Gabriel – Scratch My Back
41. Belle And Sebastian – Write About Love
42. Tom Jones – Praise And Blame
43. Scream – Outside The Box
44. Villagers – Becoming A Jackal
45. Cherry Ghost – Beneath This Burning Shoreline
46. Joanna Newsome – Have One On Me
47. Two Door Cinema Club – Tourist History
48. Edwyn Collins – Loosing Sleep
49. Deerhunter – Halcyon Digest
50. Steve Mason – Boys Outside
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2011
Q Magazine Albums Of 2011
1. Florence And The Machine – Ceremonials
2. PJ Harvey – Let England Shake
3. Adele – 19
4. Bon Iver – Bon Iver
5. Coldplay – Mylo Xyloto
6. Jay-Z & Kanye West – Watch The Thorne
7. Arctic Monkeys – Suck It And See
8. St Vincent – Strange Mercy
9. Wu Lyf – Go Tell Fire To The Mountain
10. Elbow – Build A Rocket Boys!
11. The Horrors – Skying
12. Laura Marling – A Creature I Don’t Know
13. Bombay Bicycle Club – A Different Kind Of Fix
14. The Weekend – House Of Ballons
15. Baxter Dury – Happy Soup
16. Kurt Vile – Smoke Ring For My Halo
17. Metronomy – The English Riviera
18. Anna Calvi – Anna Calvi
19. Cass Mccombs – Wit’s End
20. The Weekend – Thursday
21. Noel Gallagher’s High Flying Birds – Noel Gallaghers High Flying
Birds
22. White Lies – Ritual
23. Bjork – Biophilla
24. Real Estate – Days
25. Wild Beasts – Smother
26. Lykke Li – Wounded Rhymes
27. Ed Sheeran - +
28. Gillian Welch – The Harrow & The Harvest
29. Kasabian – Velociraptor!
30. Lady Gagagagag – Born This Way
31. Beastie Boys – Hot Sauce Committee Part Two
32. Radiohead – The King Of Limbs
33. Tune-Yards – Whokill
34. Gruff Ryhs – Hotel Shampoo
35. Cass Mccombs – Humor Risk
36. Katy B – On A Mission
37. Washed Out – Within And Washed Out
38. Feist – Metals
39. James Blake – James Blake
40. Dangermouse & Daniele Luppi – Rome
41. Girls – Farther, Son, Holy Ghost
42. Josh T Pearson – Last Of The Country Gentlemen
43. King Creosote & Jon Hopkins – Diamond Mine
44. Death In Vegas – Trans Love Energies
45. Miles Kane – The Colour Of The Trap
46. Sbtkt – Sbtrkt
47. Mastodon – The Hunter
48. Noah And The Whale – Last Night On Earth
49. Frank Ocean – Nostalgia, Ultra
50. Justice – Audio, Video, Disco
Q magazine Tracks Of 2011
1. Adel – Someone Like You
2. Lana Del Rey – Video Games
3. Kreayshawn – Gucci Gucci
4. Foster The People – Pumped Up Kids
5. Lady Gagagagagag – The Edge Of Glory
6. The Vaccines – If You Wanna
7. Aloe Blacc – I Need A Dollar
8. Tyler The Creator – Yonkers
9. The Strokes – Under Cover Of Darkness
10. Lykke Li – Get Some
11. Jack White – Love Is Blindness
12. Chase & Status – Blind Faith
13. Rihanna – Man Down
14. Fleet Foxes – Helplessness Blues
15. Florance & The Machine – Shake It Out
16. Ghostpoet – Cash And Carry Me Home
17. Wretch 32 – Traktor
18. Cat’s Eyes – Best Person I Know
19. Example – Changed The Way You Kissed Me
20. Beady Eye – The Morning Son
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2012
The 50 Best Albums Of 2012
Q Album Of The Year - Bobby Womack - The Bravest Man In The Universe
• 2Bears – Be Strong
• Alabama Shakes – Boys & Girls
• Alt-J – An Awesome Wave
• Paul Banks – Banks
• Bat For Lashes – The Haunted Man
• Beach House – Bloom
• Jake Bugg – Bloom
• David Byrne & St Vincent – Love This Giant
• Cat Power – Sun
• Leonard Cohen – Old Ideas
• Daphni – Jiaolong
• Lana Del Rey – Born To Die
• Dirty Projectors – Swing Low Magellan
• Django Django – Django Django
• Bob Dylan – Tempest
• El-P – Cancer4cure
• Field Music – Plumb
• Go-Kart Mozart – On The Hot Dog Streets
• Grimes – Visions
• Grizzly Bear – Shields
• Ren Harveieu – Through The Night
• Richard Hawley – Standing At The Sky’s Edge
• Here We Go Magic – A Different Ship
• Hot Chip – In Our Heads
• Elton John Vs. Pnau – Good Morning To The Night
• Josephine – Portrait
• The Killers – Battle Born
• Kindness – World, You Need A Change Of Mind
• Mark Lanegan Band – Blues Funeral
• The Maccabees – Given To The Wild
• Mala In Cuba – Mala In Cuba
• Mumford And Sons – Babel
• Muse – The 2nd Law
• Frank Ocean – Channel Orange
• Orbital – Wonky
• Peaking Lights – Lucifer
• Plan B – Ill Manors
• Emeli Sande – Our Version Of Events
• Saint Etienne – Words And Music By Saint Etienne
• School Of Seven Bells – Ghostory
• Bruce Springsteen – Wrecking Ball
• Tame Impala – Lonerism
• Teed – Trouble
• The Vaccines – Come Of Age
• Sharon Van Etten – Tramp
• The Walkmen – Heaven
• Jessie Ware – Devosion
• Paul Weller – Sonic Kicks
• Jack White – Blunderbuss
• Bobby Womack – The Bravest Man In The Universe
Plus…Ten Great Albums You Might Have Missed…
• Allah-Las – Allah-Las
• Cornershop – Urban Turban
• Dues – Following Sea
• DIIV – Oshin
• Kendrick Lamar – Good Lid m.A.A.d City
• Ian Mcnabb – Little Episodes
• Oh No – Ohnomite
• Pulled Apart By Horses – Tough Love
• Taken By Trees – Other Worlds
• Ty Segall – Twins
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2013
Q Magazine Albums The Year
1. Arctic Monkeys – AM
2. Vampire Weekend – Modern Vampires Of The City
3. David Bowie – The Next Day
4. Daft Punk – Random Access Memories
5. Jon Hopkins – Immunity
6. Manic Street Preachers – Rewind The Film
7. Cass Mccombs – Big Wheel And Others
8. Bill Ryder-Jones – A Bad Wind Blows In My Heart
9. John Grant – Pale Green Ghosts
10. Haim – Days Are Gone
11. Jagwar Ma – Howlin’
12. My Bloody Valentine – m b v
13. Steve Mason – Monkey Minds In Devil Time
14. Queens Of The Stoneage - …Like Clockwork
15. Foals – Holy Fire
16. Laura Mvula – Sing To The Moon
17. Matthew E White – Big Inner
18. Laura Marling – Once I Was An Eagle
19. Factory Floor – Factory Floor
20. Biffy Clyro – Opposites
21. Palma Violets – 180
22. Suede – Bloodsports
23. Disclosure – Settle
24. Empire Of The Sun – Ice On The Dune
25. Boards Of Canada – Tomorrow’s Harvest
26. Kanye West – Yeezus
27. Bill Callahan – Dream River
28. Franz Ferdinand – Right Thoughts, Right Words, Right Action
29. Daniel Avery – Drone Logic
30. Pet Shop Boys – Electric
31. Janelle Monae – The Electric Lady
32. Savages – Silence Yourself
33. Parquet Courts – Light Up Gold
34. Prefab Sprout – Crimson/Red
35. Devandra Banheart – Mala
36. Kurt Vile – Wakin On A Daze
37. The National – Trouble Will Find Me
38. Goldfrapp – Tales Of Us
39. Alunageorge – Body Music
40. Run The Jewels – Run The Jewels
41. Neon Neon – Praxis Makes Perfect
42. These New Puritans – Fields Of Reeds
43. The Knife – Shaking The Habitual
44. Pearl Jam – Lightning Bolt
45. Sigur Ros – Kveikur
46. James Blake – Overgrown
47. The Strokes – Comedown Machine
48. Cate Le Bon – Mug Museum
49. Primal Scream – More Light
50. Mazzy Star – Seasons Of Your Day
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2014
Q Magazine Albums The Year
1. The War On Drugs – Lost In The Dream
2. Alt-J – This Is All Yours
3. Damon Albarn – Everyday Robots
4. Manic Street Preachers – Futureology
5. Beck – Morning Phase
6. St Vincent – St Vincent
7. Sharon Van Etten – Are We There
8. FKA Twigs – LP1
9. Future Islands – Singles
10. Aphex Twin – Syro
11. Elbow – The Takeoff And Landing Of Everything
12. Interpol – El Pintor
13. Sam Smith – In The Lonely Hour
14. Hamilton Leithauser – Black Hours
15. The Horrors – Luminous
16. Royal Blood – Royal Blood
17. Mac Demarco – Salad Days
18. Paolo Nutini – Caustic Love
19. Lana Del Rey - Ultraviolance
20. Sleaford Mods – Divide And Exit
21. East India Youth – Total Strife Forever
22. Caribou – Our Love
23. Jack White – Lazaretto
24. Kate Tempest – Everybody Down
25. Ed Sheeran – X
26. Neneh Cherry – Blank Project
27. Morrissey – Word Peace Is None Of Your Business
28. Kasabian – 48:13
29. Jamie T – Carry On The Grudge
30. Gruff Rhys – American Interior
31. Mogwai – Rave Tapes
32. The Bug – Angels & Devils
33. Sky Farreira – Night Time My Time
34. Wild Beasts – Present Tense
35. Real Estate – Atlas
36. Temples – Sun Structures
37. Baxter Dury – It’s A Pleasure
38. Johnny Marr – Playland
39. Ty Segall – Manipulator
40. Grumbling Fur – Preternaturals
41. The Black Keys – Turn Blue
42. Robert Plant – Lullaby And… The Ceaseless Roar
43. Leonard Cohen – Popular Problems
44. U2 – Songs Of Inconvenience
45. Warpaint – Warpaint
46. Thom Yorke – Tomorrow’s Modern Boxes
47. Spoon – They Want My Soul
48. La Roux – Trouble In Paradise
49. Shabazz Palaces – Lese Majesty
50. Jungle – Jungle
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2015
Q Magazine Albums The Year
1. Tame Impala - Currents
2. Julia Holter - Have You In My Wilderness
3. Jamie Xx - In Colour
4. Blur - The Magic Whip
5. New Order - Music Complete
6. Courtney Barnett - Sometimes I Sit And Think, Sometime I Just Sit
7. Kurt Vile - B'lieve I'm Going Down…
8. Laura Marling - Short Movie
9. Kendrick Lamar - To Pimp A Butterfly
10. Florance + The Machine - How Big, How Blue How Beautiful
11. Father John Misty - I Love You Honeybear
12. Foals - What Went Down
13. Joanna Newsom - Divers
14. Sleaford Mods - Key Markets
15. Django Django - Dorn Under Saturn
16. Miguel - Wildheart
17. Noel Gallagher's High Flying Birds - Chasing Yesterday
18. Four Tet - Morning/Evening
19. Dr Dre - Compton
20. Everything Everything - Get To Heaven
21. The Fall - Sub-Lingual Tablet
22. Gaz Coombes - Matador
23. Lonelady - Hinterland
24. Sun Kil Moon - Universal Themes
25. Paul Weller - Saturnes Pattern
26. The Chemical Brothers - Born In The Echoes
27. The Maccabees - Marks To Proove It
28. Chvrches - Every Open Eye
29. John Grant - Grey Tickles, Black Pressure
30. Ezra Furman - Perpetual Motion People
31. Wire - Wire
32. Muse - Drones
33. Natalie Prass - Natalie Prass
34. FFS - FFS
35. Sleater/Kinney - No Cities Left
36. Jessica Pratt - On Your Own Love Again
37. Bill Ryder-Jones - West Kirby County Primary
38. Leon Bridges - Coming Home
39. Roisin Murphy - Hairless Toys
40. Sufjan Stevens - Carrie & Lowell
41. Wilco - Star Wars
42. Slaves - Are You Satisfied?
43. Years & Years - Communion
44. Wolf Alice - My Love Is Cool
45. The Prodigy - The Day Is My Enemy
46. Palma Violets - Danger In The Club
47. Gwenno - Y Dydd Olaf
48. Mbongwana Star - From Kinshasa
49. Hooton Tennis Club - Highest Point In Cliff Town
50. Mac Demarco - Another One
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2016
Q Magazine Albums The Year
1. David Bowie – Blackstar
2. Leonard Cohen – You Want It Darker
3. PJ Harvey – The Hope Six Demolition Project
4. A Tribe Called Quest – We Got It From Here….Thank You 4 Your Service
5. Nick Cave And The Bad Seeds – Skeleton Tree
6. Radiohead – A Moon Shaped Pool
7. Cass McCombs – Mangy Love
8. Angel Olson – My Woman
9. The 1975 – I Like It When You Sleep, For You Are So Beautiful…
10. Christine And The Queens – Chaleur Humaine
11. Skepta – Konnichiwa
12. Goat – Requiem
13. Beyonce – Lemonade
14. Michael Kiwanuka – Love & Hate
15. Dexys – Let The Record Show: Dexys Do Irish And Country Soul
16. Cate Le Bon – Crab Day
17. Frank Ocean
18. The Avalanches – Wildflower
19. Parquet Courts – Human Performance
20. Anohni – Hopelessness
21. Iggy Pop – Post Pop Depression
22. Steve Mason – Meet The Humans
23. Pet Shop Boys – Super
24. Julia Jacklin – Don’t Let The Kids Win
25. Wild Beasts – Boy King
26. The Lemon Twigs – Do Hollywood
27. Underworld – Barbra, Barbra, We Face A Shining Future
28. Anna Meredith – Vermints
29. Let’s Eat Grandma – I, Gemini
30. Jamie T – Trick
31. Kate Tempest – Let Them Eat Chaos
32. Bat For Lashes – The Bride
33. Kendrick Lamar – Untitled Unmastered
34. Lady Gagaga – Joanne
35. Savages – Adore Life
36. Biffy Clyro – Ellipsis
37. Brian Eno – The Ship
38. Fat White Family – Songs For Our Mothers
39. Thee Oh Sees – A Weird Exits
40. Bastille – Wild World
41. Kevin Morby – Singing Saw
42. Solange – A Seat At The Table
43. The Coral – Distance Inbetween
44. The Last Shadow Puppets – Everything You’ve Come To Expect
45. Kanye West – The Life Of Pablo
46. Peter Doherty – Hamburg Demonstrations
47. Blossoms – Blossoms
48. Drake – Views
49. Richard Ashcroft – These People
50. Primal Scream – Chaosmosis
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The 100 Greatest British Albums Ever
This list was put together by the writers and staff of Q magazine and
first published in the June 2000 issue (#165). Qualifying albums had to
be made with the major artist being British – so for example albums by
The Jimi Hendrex Experience were excluded.
1. Revolver – The Beatles
2. Ok Computer – Radiohead
3. Exile On Main Street – The Rolling Stones
4. London Calling – The Clash
5. A Hard Days Night – The Beatles
6. Astral Weeks – Van Morrison
7. The Beatles – The Beatles
8. (What’s The Story) Morning Glory – Oasis
9. Blue Lines – Massive Attack
10. Never Mind The Bollocks… Sex Pistols
11. Dark Side Of The Moon – Pink Floyd
12. Sticky Fingers – The Rolling Stones
13. Sgt. Pepper’s… - The Beatles
14. Low – David Bowie
15. Mezzanine – Massive Attack
16. Hunky Dory – David Bowie
17. Abby Road – The Beatles
18. Screamadellica – Primal Scream
19. Unknown Pleasures – Joy Division
20. Hounds Of Love – Kate Bush
21. Rubber Soul – The Beatles
22. Park Life – Blur
23. Bryter Later – Nick Drake
24. Definitely Maybe – Oasis
25. …Ziggy Stardust – David Bowie
26. Led Zeppelin IV – Led Zeppelin
27. The Queen Is Dead – The Smiths
28. Let It Bleed – The Rolling Stones
29. The Stone Roses – The Stone Roses
30. Scary Monsters & Super Creeps – David Bowie
31. Pills ’N’ Thrills & Bellyaches – Happy Mondays
32. Physical Graffiti – Led Zeppelin
33. For Your Pleasure – Roxy Music
34. Leftism – Leftfield
35. The Bends – Radiohead
36. Maxinquaye – Tricky
37. Led Zeppelin II – Led Zeppelin
38. The Specials – The Specials
39. Everything Must Go – Manic Street Preachers
40. The Lexicon Of Love – ABC
41. A Night At The Opera – Queen
42. Dig Your Own Hole – Chemical Brothers
43. Wish You Were Here – Pink Floyd
44. Hatful Of Hollow – The Smiths
45. Armed Forces – Elvis Costello & The Attractions
46. Different Class – Pulp
47. The Fat Of The Land – Prodigy
48. The Clash – The Clash
49. Club Classics Vol. One – Soul To Soul
50. All Mod Cons – The Jam
51. Brothers In Arms – Dire Straits
52. Connected – Stereo MC’s
53. Peter Gabriel III – Peter Gabriel
54. The Man Who – Travis
55. Piper At The Gates Of Dawn – Pink Floyd
56. Quadrophenia – The Who
57. In It For The Money – Supergrass
58. Urban Hymns – The Verve
59. Ogdon’s Nut Gone Flake – The Small Faces
60. Vol.4 – Black Sabbath
61. Dummy – Portishead
62. Plastic Ono Band – John Lennon/Plastic Ono Band
63. Metalheads Presents Platinum Breaks – Various
64. Everything’s Coming Up Dusty – Dusty Springfield
65. Seventeen Seconds – The Cure
66. New Boot And Panties – Ian Dury
67. Solid Air – John Martyn
68. When I Was Born For The 7th Time – Cornershop
69. Dare – The Human League
70. Anokha, Sounds Of The Asian Underground – Various
71. Unplugged – Eric Clapton
72. Grand Prix – Teenage Fanclub
73. Radiator – Super Furry Animals
74. 3 EP’s – The Beta Band
75. Band On The Run – Wings
76. Ghost In The Machine – Police
77. Wildwood – Paul Weller
78. In Rock – Deep Purple
79. Unhalfbricking – Fairport Convention
80. Stars – Simply Red
81. You’ve Come A Long Way Baby – Fatboy Slim
82. This Years Model – Elvis Costello & The Attractions
83. Signing Off – Ub40
84. Goodbye Yellow Brick Road – Elton John
85. Searching For The Young Soul Rebels – Dexy’s Midnight Runners
86. The Yes Album – Yes
87. Brewing Up With Billy Bragg – Billy Bragg
88. Psycocandy – The Jesus And Mary Chain
89. The White Room – The KLF
90. The Undertones – The Undertones
91. Very – The Pet Shop Boys
92. Hats – The Blue Nile
93. Rum Sodomy And The Lash – The Pogues
94. Goodbye Jumbo – World Party
95. Kilimanjaro – The Teardrop Explodes
96. Coming Up – Suede
97. Low Life – New Order
98. Rio – Duran Duran
99. Infected – The The
100. Number Of The Beast – Iron Maiden
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NOT from Q magazine but a US equivalent list...
Top 100 American Albums – from Blender magazine Feb/March 2002 issue.
We Americans have the best music in the world. Nothing like a bit of
arrogance to get people to talk and write bollocks! JW
In alphabetical order, according to artist:
A Tribe Called Quest, The Low End Theory
Aerosmith, Rocks
Tori Amos, Under the Pink
Louis Armstrong, The Complete Hot Five and Hot Seven Recordings
The B-52’s, The B-52’s
Beach Boys, Pet Sounds
Beastie Boys (twice), Paul’s Boutique and Licensed to Ill
Beck, Odelay
Chuck Berry, The Great Twenty-Eight
Mary J. Blige, My Life
Blondie, Parallel Lines
James Brown, Sex Machine
Carpenters, The Singles 1969–1981
Johnny Cash, At Folsom Prison
Ray Charles, Modern Sounds in Country and Western Music
Chic, Risque
The Coasters, 50 Coastin’ Classics
Miles Davis, Kind of Blue
De La Soul, 3 Feet High and Rising
DJ Shadow, Endtro-ducing
The Doors, The Doors
Dr. Dre, The Chronic
Bob Dylan (three times), The Basement Tapes, Blonde on Blonde and
Highway 61 Revisited
Eagles, Hotel California
Eminem, The Slim Shady LP
Aretha Franklin (twice), I Never Loved a Man the Way I Love You and Lady
Soul
Marvin Gaye, Let’s Get It On
Grateful Dead, American Beauty
Al Green, Call Me
Guns N’ Roses, Appetite for Destruction
Woody Guthrie, Dustbowl Ballads
Jimi Hendrix, Electric Ladyland
Lauryn Hill, The Miseducation of Lauryn Hill
Hole, Live Through This
Billie Holiday, Lady in Satin
Buddy Holly, Greatest Hits
Michael Jackson, Off the Wall
Jane’s Addiction, Nothing’s Shocking
Robert Johnson, King of the Delta Blues Singers
Kid Rock, Devil Without A Cause
Kiss, Destroyer
Little Richard, Grooviest 17 Original Hits!
LL Cool J, Radio
Lynyrd Skynyrd, (Pronounced Leh-Nerd Skin-Nerd)
Madonna, The Immaculate Collection
Curtis Mayfield, Superfly
Metallica, Metallica
The Minutemen, Double Nickels on the Dime
Joni Mitchell (twice), Court and Spark and Blue
Modern Lovers, Modern Lovers
Willie Nelson, Red Headed Stranger
Randy Newman, 12 Songs
Harry Nilsson, Nilsson Schmilsson
Nine Inch Nails, The Downward Spiral
Nirvana (twice), In Utero and Nevermind
Notorious B.I.G., Life After Death
Parliament, Mothership Connection
Gram Parsons, Grievous Angel
Pavement, Slanted and Enchanted
Pearl Jam, Vs.
Pixies, Surfer Rosa
Elvis Presley (twice), From Elvis in Memphis and The Sun Sessions
Prince, Sign “O” The Times
Prince and the Revolution, Purple Rain
Public Enemy, It Takes a Nation of Millions to Hold Us Back
Rage Against the Machine, Evil Empire
Ramones, Ramones
Otis Redding, Otis Blue — Otis Redding Sings Soul
R.E.M. (twice), Automatic for the People and Murmur
The Replacements, Let It Be
Run-DMC, Raising Hell
Paul Simon, Graceland
Frank Sinatra, In the Wee Small Hours
Sly & the Family Stone, There’s a Riot Goin’ On
Patti Smith, Horses
Phil Spector, Back to Mono (1958-69)
Bruce Springsteen, Darkness on the Edge of Town
Steely Dan, Katy Lied
Talking Heads, Remain in Light
TLC, Crazysexycool
Van Halen, Van Halen
Various Artists, Nuggets: 1965–1968
The Velvet Underground, The Velvet Underground & Nico
Muddy Waters, At Newport 1960
Weezer, Weezer
Hank Williams, 40 Greatest Hits
Lucinda Williams, Lucinda Williams
Stevie Wonder (twice), Fulfillingness’ First Finale and Innervisions
Wu-Tang Clan, Enter the Wu-Tang (36 Chambers)
Neil Young (twice), After the Gold Rush and Rust Never Sleeps
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50 Greatest British Tracks
Q – National Anthems
Q 231 – Oct 2004
1. The Beatles – A Day In The Life
2. The Kinks – Waterloo Sunset
3. Oasis – Wonderwall
4. Sex Pistols – God Save The Queen
5. Queen – Bohemian Rhapsody
6. The Who - My Generation
7. Robbie Williams – Angels
8. David Bowie – Life On Mars
9. The Rolling Stones – Sympathy For The Devil
10. Massive Attack – Unfinished Sympathy
11. Oasis – Live Forever
12. The Beatles – Help!
13. The Smiths – There Is A Light That Never Goes Out
14. The Clash – London Calling
15. Blur – This Is A Low
16. The Jam – Going Underground
17. The Small Faces – All Or Nothing
18. Pink Floyd – Comfortably Numb
19. The Kinks – You Really Got Me
20. Coldplay – The Scientist
21. Kate Bush – Hounds Of Love
22. Madness – Baggy Trousers
23. Dexys Midnight Runners – Come On Eileen
24. The Stone Roses – Fools Gold
25. The Streets – Dry Your Eyes
26. Blur – Girls And Boys
27. The La’s – There She Goes
28. Pet Shop Boys – West End Girls
29. Joy Division – Love Will Tear Us Apart
30. Ian Dury – Sex And Drugs And Rock And Roll
31. The Verve – Bitter Sweet Symphony
32. The Specials – Ghost Town
33. Led Zeppelin – Stairway To Heaven
34. Franz Ferdinand – Take Me Out
35. The Prodigy – Firestarter
36. Pulp – Common People
37. Slade – Cum On Feel The Noise
38. Soul II Soul – Back To Life
39. Morrissey – Everyday Is Like Sunday
40. Radiohead – Karma Police
41. Happy Mondays – Step On
42. The Libertines – Time For Heroes
43. Kaiser Chiefs – I Predict A Riot
44. New Order – Blue Monday
45. Spice Girls – Wannabe
46. Rod Stewart – Maggie May
47. Keane – Everybody’s Changing
48. Elvis Costello – (I Don’t Want To Go To) Chelsea
49. Cornershop – Brimful Of Asha
50. The Undertones – Teenage Kicks

Question: who published the 100 best albums of the 1980s

Rankings and lists Publishing Ranking/List Source Q List of recordings of the year, 1987 Rolling Stone 500 Greatest Albums of All Time New Musical Express 500 Greatest Albums of All Time VH1 Greatest Albums of All Time Slant Magazine 100 Best Albums of the 1980s Book 1001 album that you must listen to as long as you live

who published the 100 best albums of the 1980s

Question: when did the rolling stone 500 greatest albums of all time come out

when did the rolling stone 500 greatest albums of all time come out

Question: how many albums must you listen to as long as you live

how many albums must you listen to as long as you live

Question: "which record label released ""500 greatest albums of all time""?"

"which record label released ""500 greatest albums of all time""?"

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how long can you listen to the book 1001

Question: what is the name of the list of all the greatest albums of all time published by

Q Список записей года , 1987 Rolling Stone 500 величайших альбомов всех времён New Musical Express 500 величайших альбомов всех времён VH1 Величайшие альбомы всех времён Slant Magazine 100 лучших альбомов 1980-х Книга 1001 альбом , которые вы должны прослушать ,

what is the name of the list of all the greatest albums of all time published by

Question: which band released the best albums of the 1980s book 1001

which band released the best albums of the 1980s book 1001

Question: in which decade were the 100 greatest albums of all time published

in which decade were the 100 greatest albums of all time published

Rankings and lists Publishing Ranking / List Source Q List of recordings of the year , 1987 Rolling Stone 500 Greatest Albums of All Time New Musical Express 500 Greatest Albums of All Time VH1 Greatest Albums of All Time Slant Magazine 100 Best Albums of the 1980s Book 1001 album that you must listen to as long as you live

Рейтинги и списки Издание Рейтинг/Список Источник Q Список записей года, 1987 Rolling Stone 500 величайших альбомов всех времён New Musical Express 500 величайших альбомов всех времён VH1 Величайшие альбомы всех времён Slant Magazine 100 лучших альбомов 1980-х Книга 1001 альбом, которые вы должны прослушать, пока живы

Рейтинги и списки Издание Рейтинг/Список Источник Q Список записей года, 1987 Rolling Stone 500 величайших альбомов всех времён New Musical Express 500 величайших альбомов всех времён VH1 Величайшие альбомы всех времён Slant Magazine 100 лучших альбомов 1980-х Книга 1001 альбом, которые вы должны прослушать, пока живы

Rankings and lists Publishing Ranking/List Source Q List of recordings of the year, 1987 Rolling Stone 500 Greatest Albums of All Time New Musical Express 500 Greatest Albums of All Time VH1 Greatest Albums of All Time Slant Magazine 100 Best Albums of the 1980s Book 1001 album that you must listen to as long as you live

Rankings and lists Publishing Ranking/List Source Q List of recordings of the year, 1987 Rolling Stone 500 Greatest Albums of All Time New Musical Express 500 Greatest Albums of All Time VH1 Greatest Albums of All Time Slant Magazine 100 Best Albums of the 1980s Book 1001 album that you must listen to as long as you live

1986
Q magazine Recordings Of The Year
• Anita Baker - Rapture
• Billy Bragg - Talking with the taxman about poetry
• The Bhundu boys - Shabini
• Cameo - Word up
• Sam Cooke - The man and his music
• Robert Cray - String Persuader
• Albert Collins, Robert Cray, Johnny Copeland - Showdown!
• Elvis Costello - Blood and Chocolate
• Miles Davis - Tutu
• The fabulous thunderbirds - Tuff Enuff
• 5-Star - Silk and Steel
• Frankie goes to Hollywood - Liverpool
• Peter Gabriel - so
• Sophia George - Fresh
• Ted Hawkins - Watch your step
• The Housemartins - London 0 Hull 4
• Billy Idol - Whiplash smile
• Janet Jackson - Control
• Little feat - As time goes by: The best of Little Feat
• Le mystere des voix bulgres - Same
• Branford Marsalis - Royal garden blues
• Madonna - True blue
• Ennio Morricone - The mission soundtrack
• New order - Brotherhood
• Youssou N’Dour - Nelson Mandella
• The Oyster Band - Step outside
• Pet shop boys - Please
• The pretenders - get close
• Prince - Parade
• Stan Ridgway - The big heat
• REM - Lifes Rich Pageant
• Lionel Richie - Dancing on the ceiling
• Run DMC - Raising hell
• Bessie Smith - Jazz classics in digital stereo
• The Smiths - The Queen is dead
• Paul Simon - Graceland
• Ricky Skaggs - Love’s gonna get ya!
• Bruce Springsteen & the E street band - Live 1975 - 85
• Talking heads - True stories
• The Triffids - Born*Sandy*Devotional
• Trouble Funk - Say What!
• Richard Thompson - Daring adventures
• Randy Travis - Storms of life
• Various artists - Hip-Hop Electro 13
• Various artists - Atlantic rhythm & Blues 1947-74
• Various artists - The house sound of Chicago
• Van Halen - 5150
• Steve Winwood - Back in the high life
• Dwight Yoakam - Guitars Cadillacs Etc. etc...
• XTC - Skylarking
Skip To Top
1987
Q magazine Recordings Of The Year
• Anthrax - Among the living
• The Beatles - Revolver
• Regina Belle - All by myself
• The Christians - same
• Creedence Clearwater Revival - Chronicle
• The Cure - Kiss me, Kiss me, Kiss me
• Def Leppard - Hysteria
• Joe Ely - Lord of the Highway
• Eurythmics - Savage
• The Fabulous Thunderbirds - Portfolio
• Fleetwood Mac - Tango in the night
• John Hiatt - Bring the family
• Husker Du - Warehouse (songs and stories)
• Chris Isaak - Same
• Joe Jackson - Will power
• Michael Jackson - Bad
• Jesus and Mary chain - Darklands
• New Order - Substance
• Randy Newman - Lonely at the top
• Alexander O’Neal - Hearsay
• Dolly Parton, Linda Ronstadt, Emmylou Harris - Trio
• Penguin Cafe Orchestra - Signs of life
• Lee ‘Scratch’ Perry - Time boom X de devil dead
• Salif Keita - Soro
• LL Cool J - Bigger and Deffer
• Marillion - Clutching at straws
• Mel & Kim - F.L.M.
• Van Morrison - Poetic champions compose
• Najma - Qareeb
• Pet shop boys - Actually
• Pop will eat itself - Box frenzy
• Elvis Presley - The all time greatest hits
• Maxi Priest - Maxi
• Prince - Sign ‘o’ the times
• Chris Rea - Dancing with strangers
• REM - Document
• The Replacements - Pleased to meet me
• Robbie Robertson - Same
• Marta Sebestyen - Same
• Shirati jazz - Benga beat
• Simply red - Men and woman
• The Smiths - Strangeways here we come
• Bruce Springsteen - Tunnel of love
• 10,000 Maniacs - In my tribe
• That petrol emotion - Babble
• ‘Till Tuesday - Welcome home
• Trouble Funk - Trouble over here, trouble over there
• U2 - The Joshua tree
• Jennifer Warnes - Famous Blue Raincoat
• Stevie Wonder - Characters
Skip To Top
1988
Q magazine Recordings Of The Year
• Joan Armatrading - The shouting stage
• Eric B & Rakim - Follow the leader
• Bon Jovi - New Jersey
• Boogie down productions - By all means necessary
• Billy Bragg - Workers playtime
• Cameo - Machismo
• Tracy Chapman - same
• Toni Childs - Union
• Leonard Cohen - I’m your man
• The Robert Cray Band - Don’t be afraid of the dark
• Crowded house - Temple of low men
• Toumani Diabate - Kaira
• Gail Ann Dorsey - The corporate world
• Fairground attraction - The first of a million kisses
• Fingers inc. - Another side
• Nanci Griffith - Little love affairs
• A.R. Kane - Sixty Nine
• K. D. Lang - Shadowland
• Living Colour - Vivid
• Loose Tubes - Open letter
• Mahlathini and the Mahotella queens - Thokozile
• Bobby McFerrin - Simple pleasures
• Michelle Shocked - Short sharp shocked
• Van Morrison & the Chieftains - Irish heartbeat
• Morrissey - Viva hate
• Randy Newman - Land of dreams
• The Nits - In the Dutch mountains
• Pet shop boys - Introspective
• The Pogues - If I should fall from grace with god
• Prefab Sprout - From Langley park to Memphis
• Prince - Lovesexy
• Public Enemy - It will take a nation of millions to hold us back
• REM - Green
• Keith Richards - Talk is cheap
• Kevin Rowlands - The Wanderer
• Johannes Schmoelling - The zoo of tranquillity
• Siouxsie and the banshees - Peep show
• The Smiths - Rank
• The Sugercubes - Life’s too good
• Talk talk - Spirit of eden
• Tanita Tikaram - Ancient heart
• Traveling Wilburys - Volume one
• U2 - Rattle and hum
• Was(not was) What up, dog?
• Brian Wilson - Same
• Steve Winwood - Roll with it
• Richard Thompson - Amnesia
• Ali Farka Toure - Same
• Neil Young - This note’s for you
• John Zorn - Spillane
Skip To Top
1989
Q magazine Recordings Of The Year
• Adeva - Adeva!
• Aerosmith - Pump
• The Beautiful South - Welcome to ...
• The Blue Nile - Hats
• David Byrne - Rei Momo
• Tracy Chapman - Crossroads
• Neneh Cherry - Raw like sushi
• Eric Clapton - Journeyman
• Elvis Costello - Spike
• Deacon Blue - When the world knows your name
• De La Soul - 3 Feet high and rising
• Bob Dylan - Oh mercy
• Erasure - Wild!
• Eurythmics - We too are one
• Fine young cannibals - The raw and the cooked
• Peter Gabriel - Passion
• The gipsy kings - Mosaique
• John Lee Hooker - The healer
• Lenny Kravitz - Let love rule
• Daniel Lanois - Acadie
• Paul McCartney - Flowers in the dirt
• Kirsty Maccoll - Kite
• Madonna - Like a prayer
• Van Morrison - Avalon Sunset
• Les Negresses - Mlah
• Neville Brothers - Yellow moon
• Roy Orbison - Mystery Girl
• Tom Petty - Full moon fever
• Pixies - Doolittle
• The Pogues - Peace and Love
• Prefab Sprout - Protest songs
• Prince - Batman
• Chris Rea - The road to hell
• Dan Reed Network - Slam
• Lou Reed - New York
• Rolling Stones - Steel Wheels
• S’Express - Original soundtrack
• Simple minds - Street fighting years
• Simply red - A new flame
• Soul II Soul - Club classics Vol I
• The stone roses - same
• Tears for fears - The seeds of love
• Tin Machine - same
• Tone loc - Loc’ed after dark
• The triffids - The black swan
• Various artists - Italia: Dance music from Italy
• Wet wet wet - Holding back the river
• Loudon Wainwright III - Therapy
• The wonder stuff - Hup
• Neil Young - Freedom
Skip To Top
1990
Q magazine Recordings Of The Year
• Aztec Camera - Stray
• Pet sounds - The Beach Boys
• Beats International - Let them eat bingo
• The beautiful South - Choke
• The beloved - Happiness
• Clint Black - Killin’ time
• Tim Buckley - Dream letter live in London 1968
• The Christians - Colour
• Cocteau Twins - Heaven or Las Vegas
• Lloyd Cole - Same
• Julee Cruise - Floating into the night
• Deee-lite - World clique
• Depeche mode - Violator
• 808 state - Ninety
• Bob Geldof - The vegetarians of love
• Happy Mondays - Pills ‘n’ thrills and bellyaches
• Inxs - X
• The La’s - same
• Living colour - Time’s up
• Nick Lowe - Party of one
• Jeff Lynne - Armchair theatre
• Madonna - The immaculate collection
• George Michael - Listen without whinging Vol 1
• Midnight oil - Blue sky mining
• Gary Moore - Still got the blues
• Van Morrison - Enlightenment
• Sinead O’ Connor - I do not want what I haven’t got
• Pet shop boys - Behaviour
• Pixies - Bossanova
• Prefab sprout - Jordan: The comeback
• The Pretenders - Packed!
• Prince - Graffiti bridge
• Public Enemy - Fear of a black planet
• The pursuit of happiness - On sided story
• Queen Latifah - All hail the queen
• Quireboys - A bit of what you fancy
• Lou Reed/John Cale - Songs for Drella
• Jonathan Richman - Jonathan goes country
• Paul Simon - The rhythm of the saints
• The sisters of mercy - Vision thing
• The soup dragons - Lovegod
• Sonny Southon - Falling through a cloud
• Martin Stephenson and the daintees - Salvation road
• They might be giants - Flood
• Traveling Wilburys - Vol 3
• Randy Travis - Heroes and friends
• Was(not was) - Are you okay?
• World Party - Goodbye jumbo
• Neil Young - Ragged Glory
• ZZ Top - Recycler
Skip To Top
1991
Q magazine Recordings Of The Year
• Blur - Leisure
• Billy Bragg - Don’t try this at home
• Gary Clail/On-U Sound System - The Emotional Hooligan
• Julian Cope - Peggy Suicide
• Elvis Costello - Mighty like a rose
• Crowded House - Woodface
• Dire Straits - On every street
• The Dream Warriors - And now the legacy begins
• EG and Alice - 24 years of hunger
• 808 State - Ex.El
• Electronic - Same
• EMF - Schubert dip
• Erasure - Chorus
• Flowered up - A life with Brian
• Guns N’ Roses - Use your illusion II
• John Lee Hooker - Mr Lucky
• Ice T - Original Gangster
• Jellyfish - Bellybutton
• Jesus Jones - Doubt
• The KLF - White Room
• Kraftwerk - The mix
• Lenny Kravitz - Mama said
• Metallica - Same
• The milltown brothers - Slinky
• Nirvana - Nevermind
• Omar - There’s Nothing like this
• Alexander O’Neil - All true man
• Tom Petty - Into the great wide open
• P.M. Dawn - Of the heart, of the soul and of the cross..
• Primal Scream - Screamadelica
• Prince - Diamonds and pearls
• Bonnie Raitt - Luck of the draw
• Chris Rea - Auberge
• REM - Out of time
• Runrig - The big wheel
• Seal - Seal
• Simply Red - Stars
• Slowdive - Just for a day
• Squeeze - Play
• St Etienne - Fox Base Alpha
• Sting - The soul Cages
• Teenage fanclub - Bandwagonesque
• Richard Thompson - Rumor and sigh
• U2 - Achtung baby
• Various artists - I’m your fan
• Various artists - Where the pyramid meets the eye: A tribute to Roky Erickson
• Voice of the beehive - Honey lingers
• Chris Whitley
• The wonder stuff - Never loved Elvis
• Neil Young - Arc weld
Skip To Top
1992
Q magazine Recordings Of The Year
For this year they listed a top 10 (In alphabetical order)
• Tori Amos - Little earthquakes
• The Cure - Wish
• Inxs - Welcome to wherever you are
• Michael Jackson - Dangerous
• The Orb - U.F.Orb
• REM - Automatic for the people
• Spiritualized - Lazer guided melodies
• Sugar - Copper blue
• Neil Young - Harvest moon
• Warren Zevon - Mr bad example
The rest!
• Arrested Development - 3 years, 5 months & 2 days in the life of...
• The Black Crows - The Southern Harmony and the musical Companion
• Mary - Chapin Carpenter - Come on come on
• Nick Cave - Henry’s dream
• Neneh Cherry - Homebrew
• dc Basehead - Play with toys
• Def leppard - Adrenalize
• Del Amitri - Change Everything
• Del tha funkee homosapien - I wish my brother George was here
• Disposable heroes of hiphoprisy - Hypocrisy is the greatest luxury
• Bob Dylan - Good as I been to you
• EMF - Stigma
• Faith no more - Angel dust
• The Fall - Code:selfish
• The 4 of us - Man alive
• The Frank and Walters - Trains, boats and planes
• Peter Gabriel - Us
• Juliana Hatfield - Hey babe
• Joe Henderson - Lush Life
• K.D. Lang - Ingenue
• Lemonheads - It’s a shame about Ray Groves
• Annie Lennox - Diva
• Los Lobos - Kiko
• Baaba Maal - Lam Toro
• Manic street preachers - Generation Terrorists
• Loreena McKennit - The Viset
• Morrissey - Your Arsenal
• Pavement - Slanted and enchanted
• PJ Harvey - Dry
• Pearl Jam - Ten
• Prince - OI+>
• Chris Rea - God’s great banana skin
• Lou Reed - Magic and loss
• The Rockingbirds
• Sonic youth - Dirty
• Bruce Springsteen - Human Touch/Lucky Town
• Matthew Sweet - Girlfriend
• Thunder - Laughing on judgement day
• Suzanne Vega - 99.9 F
Skip To Top
1993
Q magazine Recordings Of The Year
Top 10
• The Auteurs - New wave
• Cypress hill - Black Sunday
• Aimee Mann - Whatever
• Meat Loaf - Bat out of hell IV
• New order - Republic
• Nirvana - In Utero
• The spin doctors - Pocket full of Kryptonite
• Sting - Ten Summoner’s tales
• UB40 - Promises and lies
• Neil Young - Unplugged
The rest
• A-Ha - Memorial Beach
• Geri Allen - Maroons
• Altan - Island
• The Aphex twin - selected ambient recordings 1985 - 1992
• David Baerwald - Triage
• Bjork - Debut
• Frank Black - Same
• Blur - Modern life is rubbish
• The boo radleys - Giant steps
• David Bowie - Black tie white noise
• Jackson Browne - I’m Alive
• Buzzcocks - Trade test transmissions
• The Cranberries - Everybody else is doing it, So why can’t we?
• Sheryl Crow - Tuesday night music club
• Crowded house - Together alone
• Terence Trent D’Obolicle - Symphony or damn: bla bla bla...
• Chaka Demus and Torque wrench - Tease me
• Depeche mode - Songs of faith and devotion
• Dr Dre - The Chronic
• Donald Fagen - Kamakiriad
• Grant Lee Buffalo - Fuzzy
• John Hiatt - Perfectly good guitar
• The Lemonheads - Come on feel the lemonheads
• Willie Nelson - Across the borderline
• Geoggrey Oryema - Beat the border
• Liz Phair - Exile in Guyville
• PJ Harvy - Rid of me
• Robert Plant - Fate of nations
• Smashing Pumpkins - Siamese dream
• Suede - Same
• Teenage Fanclub - Thirteen
• Tont Toni tone - Sons of soul
• U2 - Zooropa
• Sven Vath - Accident in paradise
• Paul Weller - Wild Wood
• Paul Westerberg - 14 songs
• The wildhearts - Earth versus the wildhearts
• The wonderstuff - Construction for the modern idiot
• World Party - Bang
• Warren Zevon - Learning to flinch
Skip To Top
1994
Q magazine Recordings Of The Year
Top 10
• Blur - Park life
• Jackie Leven - The mystery of love is greater than the mystery of death
• Morrissy - Vauxhall and I
• Soundtrack (Various artists) - Natural born killers
• Oasis - Definitely maybe
• Orbital - Snivilation
• Pink Floyd - The division bell
• Soundgarden - Superunknown
• Suede - Dog man star
• Therapy? - Troublegum
The rest.
• Above the rim - The soundtrack
• Beastie Boys - ill Communication
• Beck - Mellow gold
• Boston - Walk on
• Jeff - Buckley - Grace
• Johnny Cash - American recordings
• Vic Chesnut - Drunk
• Eric Clapton - From the cradle
• Colour me bad - Time and chance
• Elvis Costello - Brutal Youth
• Counting crows - August and everything after
• The Cranberries - No need to argue
• Crash test dummies - God shuffled his feet
• The divine comedy - Promenade
• Warren G - Regulate...G funk era
• Green day - Dookie
• Hole - Live through this
• Ice cube - Lethal injection
• Lightning seeds - Jollification
• Nick Lowe - The impossible bird
• Baaba Maal - Firin’ in fouta
• Shane MacGowan & The Popes - The Snake
• Machine Head - Burn my eyes
• Manic street preachers - The Holy Bible
• Massive attack - Protection
• Ian McNabb - Head like a rock
• Nirvana - Unplugged in New York
• Sinead O’Connor - Universal mother
• Jimmy Page and Robert Plant - No Quarter: Unledded
• Liz Phair - Whip-Smart
• The Prodigy - Music for a jilted generation
• Pulp - His ‘N’ hers
• REM - Monster
• Danny Red - Riddimwize
• David Sanchez - The departure
• Snoop Doggy dog - Doggystyle
• Sparks - Gratuitous sax and senseless violins
• Strangelove - Time for the rest of your life
• Terrorvision - How to make friends and influence people
• Neil Young - Sleeps with angels
Skip To Top
1995
Q magazine Recordings Of The Year
Top 10
• Blur - The great escape
• Bon Jovi - These days
• The Chemical Brothers - Exit planet dust
• Del Amitri - Twisted
• PJ Harvey - To bring you my love
• Oasis - (What’s the story)Morning glory?
• Radiohead - The bends
• Ron Sexsmith - same
• Teenage Fanclub - Grand Prix
• Paul Weller - Stanley Road
The rest
• Guy Baker - Into the blue
• Black Grape - It’s great when you’re straight... Yeah
• Bomb the bass - Clear
• The boo radleys - Wake up!
• Ali Campbell - Big love
• The Cardigans - Life
• The Charlatans - Same
• The dogg pound - Dogg food
• Steve Earle - Train a comin’
• Enya - The memory of trees
• Finn - Finn
• Stevie Forbert - Mission of the crossroads palms
• Emmylou Harris - Wrecking ball
• Salif Keita - Folon
• K.D. Lang - All you can eat
• Leftfield - Leftism
• Marillion - Afraid of light
• Method man - Tical
• Keb’ Mo’ - same
• Morphine - Yes
• Van Morrison - Days like this
• Alanis Morissette - Jagged little Pill
• Morrissey - Southpaw grammar
• Paradise lost - Draconian times
• Passengers - Original soundtracks 1
• Pulp - Different Class
• Red hot chili peppers - One hot minute
• Rolling Stones - Stripped
• Smashing pumpkins - Mellon collie and the infinite sadness
• Jill Sobule - Same
• Bruce Springsteen - The ghost of Tom Joad
• Stereolab - Music for the amorphous body study centre
• Supergrass - I should coco
• Therapy? - Infernal love
• TLC - CrazySexyCool
• Tricky - Maxinquaye
• Various - The help album
• The Verve - A northern soul
• Wet wet wet - Picture this
• The Wildhearts - P.H.U.Q.
Skip To Top
1996
Q magazine Recordings Of The Year
The top 10 - In alphabetical order.
• Ash - 1977
• Ben folds five - Ben folds five
• Def leppard - Slang
• Fugees - The score
• Manic street preachers - Everything must go
• Ocean colour scene - Moseley shoals
• REM - New adventures in hi fi
• Sting - Mercury falling
• Suede - Coming up
• Underworld - Second toughest in the infants
The rest...
• The auteurs - After murder park
• Baby bird - Ugly Beautiful
• Babylon zoo - The boy with the X-ray eyes
• The beautiful south - Blue is the colour
• Beck - Odelay
• The blue nile - Peace at last
• Billy Bragg
• The cardigans - First band on the moon
• The divine comedy - Casanova
• DJ Shadow - Endtroducing..
• Dodgy - Free peace sweet
• Earl Brutus - Your majesty..we are here
• Everything but the girl - Walking wounded
• Genius/Gza - Liquid swords
• Joe Henry - Trampoline
• Iona - Journey to the moon
• Kris Kristofferson - A moment forever
• Kula shaker - K
• Chikhlo - Ne la thass
• Lightning seeds - Dizzy heights
• Longpigs - The sun is often out
• Metalheads - Metalheads presents platinum breakz
• George Michael - Older
• Nas - It is written
• New edition - Home again
• Nirvana - From the muddy banks of the Wishkah
• Orbital - In sides
• Pearl jam - No code
• Pet shop boys - Bilingual
• Tom Petty and the heartbreakers - Songs & music from She’s the one
• Courtney Pine - Modern day jazz stories
• Lou Reed - Set the twilight reeling
• The Tony Rich project - Words
• Patti Rothberg - Between the 1 and the 9
• Screaming trees - Dust
• Patti Smith - Gone again
• Sparklehorse - Vivadixiesubmarinetransmissionplot
• Super furry animals - Fuzzy logic
• Terrorvision - Regular urban survivors
• Norma Waterson - Norma Waterson
Skip To Top
1997
Q magazine Recordings Of The Year
No ranking – No Top 10 This year - Alphabetical order.
• Erykah Badu ~ Baduizm
• Belle And Sebastian ~ If You’re Feeling Sinister
• Blur ~ Blur
• David Bowie ~ Earthling
• Bush ~ Razorblade Suitcase
• Nick Cave And The Bad Seeds ~ The Boatman’s Call
• The Charlatans ~ Tellin’ Stories
• The Chemical Brothers ~ Dig Your Own Hole
• Chumbawamba – Tubthumper
• Common ~ One Day It Will All Make Sense
• Ry Cooder, Ibrahim Ferrer ~ Buena Vista Social Club
• Daft Punk ~ Homework
• Etienne De Crecy ~ Super Discount
• Depeche Mode ~ Ultra
• Bob Dylan ~ Time Out Of Mind
• Ben Folds Five ~ Whatever And Ever Amen
• Fountains Of Wayne ~ Fountains Of Wayne
• Gravediggaz ~ The Pick, The Sickle & The Shovel
• Hanson ~ Middle Of Nowhere
• Hurricane #1 ~ Hurricane #1
• James ~ Whiplash
• The Jayhawks ~ Sounds Of Lies
• Khaled ~ Sahra
• Lighthouse Family ~ Postcards From Heaven
• Charles Lloyd ~ Canto
• Mansun ~ Attack Of The Grey Lantern
• Paul McCartney ~ Flaming Pie
• Van Morrison ~ The Healing Game
• U-Ziq ~ Lunatic Harness
• The Notorious B.I.G. ~ Life After Death
• Oasis ~ Be Here Now
• Ocean Colour Scene ~ Marchin’ Already
• Portishead ~ Portishead
• Primal Scream ~ Vanishing Point
• The Prodigy ~ The Fat Of The Land
• Finley Quaye ~ Maverick A Strike
• Radiohead ~ Ok Computer
• Reef ~ Glow
• Roni Size Reprazent ~ New Forms
• Sleeper ~ Pleased To Meet You
• Spiritualized ~ Ladies And Gentlemen We Are Floating In Space
• Stereophonics ~ Word Gets Around
• Supergrass ~ In It For The Money
• Texas ~ White On Blond
• Tindersticks ~ Curtains
• Travis ~ Good Feeling
• U2 ~ Pop
• The Verve ~ Urban Hymns
• Simon Warner ~ Waiting Rooms
• Wilco ~ Being There
Skip To Top
1998
Q magazine Recordings Of The Year
No Ranking Just In Alphabetical Order.
• Air – Moon Safari
• Tori Amos – From The Choirgirl Hotel
• Ash – Nu-Clear Sounds
• Buju Banton – Inna Heights
• Beastie Boys – Hello Nasty
• The Beautiful South – Quench
• Belle & Sebastian – The Boy With The Arab Strap
• Belly Bragg & Wilco – Mermaid Avenue
• Michael Brecker Quartet – Two Blocks From The Edge
• Jeff Buckley – Sketches For (My Sweetheart The Drunk)
• Bernard Butler – People Move On
• Canibus – Can-I-Bus
• Catatonia – International Velvet
• The Corrs – Talk On Corners
• Elvis Costello & Burt Bacharach – Painted From Memory
• Sheryl Crow – The Globe Sessions
• Embrace – The Good Will Out
• Fatboy Slim – You’ve Come A Long Way Baby
• Neil Finn – Try Whistling This
• Garbage – Version 2.0
• Philip Glass – Kundun
• Gomez – Bring It On
• Lauryn Hill – The Miseducaction Of Lauryn Hill
• Hole – Celebrity Skin
• Ifang Bondi – Gis Gis
• Madonna – Ray Of Light
• Manic Street Preachers – This Is My Truth, Tell Me Yours
• Marilyn Manson – Mechanical Animals
• Massive Attack – Mezzanine
• Maxwell – Embrya
• Mercury Rev – Deserters Songs
• Alanis Morissette – Supposed Former Infatuation Junkie
• Willie Nelson – Teatro
• Page And Plant – Walking Into Clarksdale
• Placebo – Without You I’m Nothing
• Propellerheads – Decksanddrumsandrockandroll
• Pulp – This Is Hardcore
• Rae & Christian – Northern Sulphuric Soul
• R.E.M. – Up
• Semisonic – Feeling Strangely Fine
• Smashing Pumpkins – Adore
• Elliot Smith – Xo
• Space – Tin Planet
• Usher – My Way
• Robbie Williams – I’ve Been Expecting You
Reissues
• The Beta Band – The 3 EP’s
• Bob Dylan – Bootleg Series Vol. 4 & 5 – The Royal Albert Hall Concert
• James – The Best Of
• Derrick May – Innovator
• Oasis – The Masterplan
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1999
Q magazine Recordings Of The Year
Album of the year
The Chemical Brothers – Surrender
The rest in alphabetical order…
• Basement Jaxx – Remedy
• Beck – Midnight Vultures
• Ben & Jerry – Emoticons
• The Beta Band – The Beta Band
• The Black Crows – By Your Side
• Mary J Blige – Mary
• Blur – 13
• David Bowie – …Hours
• Catatonia – Equally Cursed And Blessed
• The Charlatans – Us And Us Only
• Death In Vegas – The Contino Sessions
• Missy Elliott – Da Real World
• Eminem – The Slim Shady Lp
• The Flaming Lips – The Soft Bulletin
• Gomez – Liqued Skin
• Macy Gray – On How Life Is
• Groove Armada – Vertigo
• James – Millionaires
• Jamiroquai – Synkronized
• Lightning Seeds – Tilt
• Shelby Lynne – I Am Shelby Lynne
• Taj Mahal & Toumani Diabate – Kulanjan
• Moby – Play
• New Radicals – Maybe You’ve Been Brainwashed Too
• Orbital – The Middle Of Nowhere
• Pavement – Terror Twilight
• Pet Shop Boys – Nightlife
• Re Hot Chilli Peppers – Californication
• Linda Ronstat & Emmylou Harris – Western Wall/The Tucson Sessions
• The Roots – Things Fall Apart
• Kate Rusby – Sleepless
• Scritti Politti – Anomie & Bonhomie
• Shack – Hms Fable
• Stereophonics – Performance & Cocktails
• Sting – Brand New Day
• Suede – Head Music
• Supergrass – Supergrass
• Texas – The Hush
• TLC – Fanmail
• Travis – The Man Who
• Tom Waits – Mule Variations
• Wilco – Summerteeth
• Casandra Wilson – Travelling Miles
• Witness – Before The Calm
Re Issues..
• Air – Premiers Symptoms
• The Clash – From Here To Eternity
• Dean Martin – The Very Best Of.. The Capitol Years/Reprise Years
• Bruce Springsteen – Tracks
• Talking Heads – Stop Making Sense
Skip To Top
2000
Q magazine Recordings Of The Year
Readers Choice
• Coldplay – Parachutes
Writers Choice
Alphabetical order
• AC/DC – Stiff Upper Lip
• Badly Drawn Boy – The Hour Of Bewilderbeast
• Beautiful South – Painting It Red
• Black Box Recorder – The Facts Of Life
• Bloodhound Gang – Hooray For Boobies
• Brothers In Sound – Family Is For Sharing
• Johnny Cash – American III: Solitary Man
• Coldplay – Parachutes
• D’Angelo – Voodoo
• The Dandy Warhols – Thirteen Tales From Urban Bohemia
• Craig David – Born To Do It
• Doves – Lost Souls
• Dr Dre – 2001
• Eels – Daisies Of The Galaxy
• Eminem – The Marshall Matherd Lp
• Fatboy Slim – Halfway Between The Gutter And The Stars
• Foo Fighters – There Is Nothing Left To Lose
• Goldfrapp – Felt Mountain
• Ruben Gonzalez – Chanchullo
• Granddaddy – The Sophtware Slump
• David Gray – White Ladder
• Guru’s Jazzmatazz – Streetsoul
• Emmylou Harris – Red Dirt Girl
• PJ Harvey – Stories From The City, Stories From The Sea
• Graham Haynes – Bpm
• JJ72 – JJ72
• Kelis – Kaleidoscope
• Lambchop – Nixon
• Madonna – Music
• Tom Mcrae – Tom Mcrae
• Moloko – Things To Make And Do
• Monster Magnet – God Says No
• Muse – Showbiz
• Nelly – Country Grammar
• Oasis – Standing On The Shoulder Of Giants
• Primal Scream – Exterminator
• Q-Tip – Amplified
• Queens Of The Stone Age – Rated R
• Radiohead – Kid A
• Jill Scott – Who The Fuck Is Jill Scott? Words And Sounds Vol 1
• Paul Simon – You’re The One
• Sisqo – Unleash The Dragon
• Elliott Smith – Figure 8
• Angie Stone – Black Diamond
• Toploader – Onka’s Big Moka
• U2 – All That You Can’t Leave Behind
• Kathryn Williams – Little Black Number
• Robbie Williams – Sing When You’re Winning
• Wookie – Wookie
• Neil Young – Silver And Gold
Best Re Issues
• Blur – Greatest Hits
• David Bowie – Bowie At The Beeb
• Dexy’s Midnight Runners – Searching For The Young Soul Rebels
• Nick Drake – Bryter Later
• Stevie Wonder – At The Close Of The Century
Best Compilations
• New Orleans Funk
• Romeo Must Die – The Album
• Sasha & John Digweed Communicate
• The Complete UK Upsetter Singles Collection Vol.3
• Zed Bias: Sound Of The Pirates
Skip To Top
2001
Q magazine Recordings Of The Year
Readers choice
Travis - The invisible band
Writers choice
• Ryan Adams – Gold
• Air – 100000 Hz Legend
• Andrew W.K. – I Get Wet
• Ash – Free All Angels
• The Avalanches – Since I Left You
• Basement Jaxx – Rooty
• The Charlatans – Wonderland
• Cosmic Rough Riders – Enjoy The Melodic Sunshine
• Daft Punk – Discovery
• Dido – No Angel
• Bob Dylan – Love And Theft
• Elbow – Asleep At The Back
• Missy Elliott – Miss E…. So Addictive
• Nelly Furtado – Whoa, Nelly
• Gorillaz – Gorillaz
• John Hammond – Wicked Grin
• Ed Hardcourt – Here Be Monsters
• Jamiroquai – A Funk Odyssey
• Jimmy Eat World – Bleed American
• Alicia Keys – Songs In A Minor
• Baaba Maal – Missing You (Mi Yeewnii)
• Mercury Rev – All Is Dream
• Mull Historical Society – Loss
• Muse – Origin Of Symmetry
• N*E*R*D – In Search Of
• New Order – Get Ready
• Outkast – Stankonia
• Oxide & Neutrino – Execute
• Playgroup – Playgroup
• Radiohead – Amnesiac
• R.E.M. – Reveal
• Roots Manuva – Run Come Save Me
• Semisonic – All About Chemistry
• Spritualized – Let It Come Down
• Starsailor – Love Is Here
• Stereophonics – Just Enough Education To Perform
• The Stroks – Is This It
• Super Furry Animals – Rings Around The World
• Tool – Lateralus
• Travis – The Invisible Band
• Turin Breaks – The Optimist LP
• Rufus Wainwright – Poses
• Weezer – The Green Album
• The White Stripes – White Blood Cells
• Lucinda Williams – Essence
Compilations
• Various – Rough Trade Shops – 25 Years
• Various – Death Row Greatest Hits
• Various – The Stax Story
Re-Releases
• Marvin Gaye – What’s Going On
• The La’s – The La’s
Skip To Top
2002
Q magazine Recordings Of The Year
Readers Choice
• Coldplay – A Rush Of Blood To The Head
In Alphabetical Order..
• Badly Drawn Boy – About A Boy
• Be Good Tanyas – Blue House
• Beck – Sea Change
• David Bowie – Heathen
• Black Rebel Motorcycle Club – BRMC
• Coldplay – A Rush Of Blood To The Head
• The Coral – The Coral
• Cornershop – Handcream For A Generation
• The Datsuns – The Datsuns
• Doves – The Last Broadcast
• Steve Earle – Jerusalem
• Electric Soft Parade – Holes In The Wall
• Eminem – The Eminem Show
• Feeder – Comfort In Sound
• The Flaming Lips – Yoshimi Battles The Pink Robots
• Leaves – Breathe
• Lemon Jelly – Lost Horizons
• Timo Maas – Loud
• Ms Dynamite – A Little Deeper
• Moby – 18
• Gemma Hayes – Night On My Side
• The Hives – Your New Favourite Band
• Hundred Reasons – Ideas Above Our Station
• Idlewild – The Remote Part
• Jay-Z – The Blueprint
• Nickleback – Silver Side Up
• Orchestra Baobab – Specialist In All Styles
• The Polyphonic Spree – The Beginning Stages Of……
• Queens Of The Stoneage – Songs For The Deaf
• Radiohead – I Might Be Wrong
• Red Hot Chilli Peppers – By The Way
• Soundtrack Of Our Lives – Behind The Music
• Bruce Springsteen – The Rising
• The Streets – Original Pirate Material
• Sugerbabes – Angels With Dirty Faces
• The Vines – Highly Evolved
• Weezer – Maladroit
• Paul Weller – Illumination
• Cassandra Wilson – Belly Of The Sun
• Pete Yorn – Music For The Morning After
Compilations
• 2 Many Dj’s – As Herd On Radio Soulwax Pt2
• Futureism
• David Holms – Oceans Eleven Soundtrack
• Orbital – All Back To Mine
• 24 Hour Party People – OST
Re- Releases
• Ash – Intergalactic Sonic 7’s
• Elvis Presley – Elv1s
• U2 – Best Of 1990 – 2000
• Velvet Underground And Nico – Velvet Underground And Nico
• The Who – My Generation
Skip To Top
2003
Q magazine Recordings Of The Year
1. The White Stripes – Elephant
2. Blur – Think Tank
3. The Mars Volta – De-Loused In The Comatorium
4. Kings Of Leon – Youth And Young Manhood
5. Justin Timberlake – Justified
6. 50 Cent – Get Rich Or Die Tryin’
7. The Strokes – Room On Fire
8. Outkast – Speakerboxxx/The Love Below
9. The Darkness – Permission To Land
10. Janes’s Addiction – Strays
11. Radiohead – Hail To The Thief
12. Elbow – Cast Of Thousand
13. Dizzee Rascal – Boy In Da Corner
14. Muse – Absolution
15. Yeah Yeah Yeahs – Fever To Tell
16. Johnny Cash – The Man Comes Around
17. Sean Paul – Dutty Rock
18. The Thrills – So Much For The City
19. The Roots – Phrenology
20. The Distillers – Coral Fang
21. The Coral – Magic And Medicine
22. Zwan – Mary Star Of The Sea
23. Afi – Sing The Sorrow
24. Super Furry Animals – Phantom Power
25. Basement Jaxx – Kish Kash
26. The Sleepy Jackson – Lovers
27. The Rapture - Echoes
28. Audioslave – Audioslave
29. Beth Gibbons & Rustin’ Man – Out Of Season
30. Electric Six – Fire
31. The Black Keys – Thickfreakness
32. Athlete – Vehicles & Animals
33. Dave Gahn – Paper Monsters
34. The Dandy Wahols – Welcome To The Monkey House
35. Goldfrapp – Black Cherry
36. Iggy Pop – Skull Rising
37. Four Tet – Rounds
38. My Morning Jacket – It Still Moves
39. Tom McRae – Just Like Blood
40. Hot Hot Heat – Make Up The Breakdown
41. Stereophonics – You Gotta Go There To Come Back
42. Bubba Sparxxx – Deliverance
43. Fountains Of Wayne – Welcome Interstate Managers
44. Pink – Try This
45. Audio Bullys – Ego War
46. Ryan Adams – Rock N’ Roll
47. British Sea Power – The Decline Of British Sea Power
48. Calexico – Feast Of Wine
49. Peaches – Fatherfucker
50. Kylie Minogue – Body Language
Re-Releases
Led Zeppelin – How The West Was Won
Neil Young – On The Beach
Lou Reed – Nyc Man
Television – Marquee Moon
Diana Ross - Diana
Skip To Top
2004
Q magazine Recordings Of The Year
1. The Streets – A Grand Don’t Come For Free
2. Keane – Hopes And Fears
3. Franz Ferdinand – Franz Ferdinand
4. U2 – How To Dismantle An Atomic Bomb
5. Razorlight – Up All Night
6. The Libertines – The Libertines
7. Nick Cave And The Bad Seeds – Abattoir Blues/The Lyre Of Orpheus
8. The Killers – Hot Fuss
9. Mylo – Destroy Rock & Roll
10. Interpol – Antics
11. Snow Patrol – Final Straw
12. Dizzee Rascal – Showtime
13. Wilco – A Ghost Is Born
14. Scissor Sisters – Scissor Sisters
15. Danger Mouse – The Grey Album
16. Kasabain – Kasabain
17. Kings Of Leon – Aha Shake Heartbreak
18. Prince – Musicology
19. Gwen Stefani – Love Angel Music Baby
20. The Zutons – Who Killed The Zutons
21. Green Day – American Idiot
22. Graham Coxon – Happiness In Magazines
23. Elliott Smith – From A Basement On The Hill
24. The Blue Nile – High
25. Ryan Adams – Love Is Hell
26. Mark Lanegan – Bubblegum
27. Norah Jones – Feels Like Home
28. Usher – Confessions
29. Kanye West – The Collage Dropout
30. Eminem – Encore
31. The Walkman – Bows + Arrows
32. Lost Prophets – Start Something
33. George Michael – Patience
34. Sufjan Stevens – Seven Swans
35. The Futureheads – The Futureheads
36. Secret Machines – Now Here Is Nowhere
37. !!! [Chik Chik Chik] – Louden Up Now
38. Devendra Banhart – Rejoicing In The Hands
39. Estelle – The 18th Day…
40. Joss Stone – Mind Body And Soul
41. Modest Mouse – Good News For People Who Love Bad News
42. Brian Wilson – Smile
43. Loretta Lynn – Van Lear Rose
44. Jamelia – Than You
45. The Von Bondies – Pawn Shoppe Heart
46. My Chemical Romance – Three Cheers For Sweet Revenge
47. Goldie Lookin’ Chain – Greatest Hits
48. Cee-Lo Green – Cee-Lo Green Is The Soul Machine
49. Red Hot Chilli Peppers – Live In Hyde Park
50. The Bees – Free The Bees
Reissues
• Jeff Buckley – Grace
• The Clash – London Calling
• The Kinks – The Kinks Are The Village Green Preservation Society
• Nirvana – With The Lights Outs
• Pixies – Best Of The Pixies
Tracks That Q Thinks You Should Have Been Listening To In 2004
• Cannibal’s Hymn – Nick Cave
• Chicken Playback – The Bees
• Cuts Across The Land – Duke Sprit
• Diabollc Scheme – The Hives
• (Don’t Go Back To) Dalston – Razorlight
• Don’t Make Fun Of Daddy’s Voice – Morrissey
• Drill Sergeant – Nerd
• Empty Souls – Manic Street Preachers
• Glamorous Indie Rock & Roll – The Killers
• If Eye Was He Man In Your Life – Prince
• Little House Of Savages – The Walkman
• Little Thoughts – Block Party
• One Hundred Days – Mark Lanegan
• Pistol On Fire – Kings Of Leon
• Reason Is Treason – Kasabain
• Take Me Out (Daft Punk Remix) – Franz Ferdinand
• Electro Blue – R.E.M.
• Fond Farewell – Elliott Smith
• I Started A Joke – Kathryn Williams
• Steve Mcqueen – Lambchop
• Still Iris – Faultline
• Devil In Me – 20-20’s
• Enemies/Friends – Hope Of The States
• Hounds Of Love – Futureheads
• Lost The Plot – The Dears
• My Way - Kanye West
• Narc – Interpol
• Shit Scheisse Merde - !!!
• Warm Night – The Concreats
• Better Luck – Scissor Sisters
• My Elusive Drug – Elton John
• Not-A-Lot-To-Do – The Zutons
• Original Of The Species – U2
• Shame – Pj Harvey
• What Are You? – Bonny ‘Prince’ Billy
• The Body Breaks – Devendra Banhart
Readers Best Tracks Of The Year
1. Take Me Out – Franz Ferdinand
2. Dry Your Eyes – The Streets
3. Run – Snow Patrol
4. Golden Touch – Razorlight
5. Mr Brightside – The Killers
6. Fit But You Know It – The Streets
7. Can’t Stand Me Now – The Libertines
8. Comfortably Numb – Scissor Sisters
9. First Of The Gang To Die – Morrissey
10. Laura – Scissor Sisters
11. Irish Blood, English Heart – Morrissey
12. Matinee – Franz Ferdinand
13. Somewhere Only We Know – Keane
14. Float On – Modest Mouse
15. Spitting Games – Snow Patrol
16. Everybody Changing – Keane
17. Take Your Mama – Scissor Sisters
18. Are You Gonna Be My Girl – Jet
19. Chocolate – Snow Patrol
20. For Lovers – Wolfman Ft Pete Doherty
21. Walk Idiot Walk – The Hives
22. Sing For Absolution – Muse
23. Reptilla – The Strokes
24. Bedshaped – Kene
25. Talk Talk Talk – The Ordanery Boys
26. Cannonball – Damien Rice
27. This Love – Maroon 5
28. Somebody Told Me –The Killers
29. You Will You Won’t – The Zutons
30. Trick Me – Kelis
31. Bittersweet Bundle Of Misery – Graham Coxon
32. Michael – Franz Ferdinand
33. Toxic – Britney Spears
34. Good Luck – Basement Jaxx
35. Ch-Check It Out – Beastie Boys
36. Milkshake – Kellis
37. I Love You ‘Cause I Have To – Dogs Die In Hot Cars
38. The Letter – Pj Harvy
39. End Of The World – The Cure
40. My Band – D12
41. 99 Problems – J-Z
42. Yeah – Usher
43. Lola’s Theme – Shapeshifters
44. I Miss You – Blink 182
45. The Rat – The Walkman
46. The Red The White The Black & The Blue – Hope Of The States
47. Roses - Outkast
48. Mass Destruction – Faithless
49. Long Time Coming – Delays
50. Starcrossed – Ash
51. Darts Of Pleasure – Franz Ferdinand
52. All The Things I’ve Done – The Killers
53. Orpheus – Ash
54. Shut Up – Black Eyed Peas
55. C’mon C’mon – The Von Bondies
56. See It In The Boys Eyes – Jamelia
57. Guns Don’t Kill People, Rappers Do – Goldie Lookin’ Chain
58. Decent Days And Night – The Futureheads
59. Step Into My Office – Belle & Sebastian
60. Assessment – The Beta Band
61. Year Of The Rat – Badly Drawn Boy
62. Girls – Prodigy
63. Rip It Up – Razorlight
64. Vice – Razorlight
65. Up At The Lake – The Charlitans
66. Spiders – Wilco
67. 2000 Places – The Polyphonic Spree
68. American Idiot – Green Day
69. Slither – Velvet Revolver
70. Home – Zero 7
71. Wash The Rain – The Bees
72. Some Girls – Rachael Stevens
73. Five Colours In Her Hair – Mcshit
74. She Wants To Move – Nerd
75. Lsf – Kasabain
76. Jesus Walks – Kanye West
77. Strict Machine – Goldfrapp
78. Gravity – Embrace
79. You Lot – Orbital
80. Whatever Happened To Cory Haim? – The Thrills
81. Blinded By The Lights – The Streets
82. Last Summer – Lostprophets
83. Through The Wire – Kanye West
84. Remember Me – The Zutons
85. Nearer To Heaven – Delays
86. Ride – The Vines
87. Harder To Breathe – Maroon 5
88. Leaving New York – R.E.M.
89. Stumble And Fall – Razorlight
90. Clb Foot – Kasabain
91. Single – Natasha Bedingfield
92. Our Mutual Friend – The Divine Comedy
93. Amazing – George Michael
94. My Happy Ending – Avril Lavigne
95. Followed The Waves – Auf Der Maur
96. Triple Trouble – The Beastie Boys
97. Slow Hands – Interpol
98. All Falls Down – Kanye West
99. Fell In Love With A Boy – Joss Stone
100. 1980 – Estelle
Skip To Top
2005
Q magazine Recordings Of The Year
1. Coldplay – X & Y
2. Gorillaz – Demon Days
3. Kaiser Chiefs - Employment
4. Oasis – Don’t Believe The Truth
5. Bright Eyes – I’m Wide Awake, It’s Morning
6. James Runt – Back To Boredom
7. Franz Ferdinand – You Could Have It So Much Better With…
8. Arcade Fire – Funeral
9. Kt Tunstall – Eye To The Telescope
10. Hard-Fi – Stars Of CCTV
11. Goldfrapp – Supernature
12. Kanye West – Late Registration
13. The White Stripes – Get Behind Me Satan
14. The Magic Numbers – The Magic Numbers
15. Antony And The Johnsons – I Am A Bird Now
16. Neil Young – Prairie Wind
17. Paul Weller – As Is Now
18. Jem – Finally Woken
19. Eels – Blinking Lights And Other Revelations
20. Bruce Springsteen – Devils And Dust
21. Rufus Wainwright – Want Two
22. The Darkness – One Way Ticket To Hell..And Back
23. Kate Bush – Aerial
24. David Grey – Life In The Slow Lane
25. Bloc Party – Silent Alarm
26. Madonna – Confessions On A Dance Floor
27. Doves – Some Cities
28. Ryan Adams – 29
29. LCD Soundsystem – LCD Soundsystem
30. The Go-Betweens – Oceans Apart
31. Athlete – Tourist
32. Richard Hawley – Coles Corner
33. Elbow – Leaders Of The Free World
34. Depeche Mode – Playing The Angel
35. My Morning Jacket – Z
36. Josh Rouse – Nashville
37. Queens Of The Stoneage – Lullabies To Paralyze
38. Nine Inch Nails – With Teeth
39. Feeder – Pushing The Senses
40. Devendra Banheart – Cripple Crow
41. Rilo Kiley – More Adventurous
42. Common – Be
43. Willy Mason – Where The Humans Eat
44. Jamiroquai – Dynamite
45. Roisin Murphy – Ruby Blue
46. Stereophonics – Language. Sex. Violence. Other?
47. Texas – Red Book
48. The Stands – Horse Fabulous
49. M.I.A. – M.I.A.
50. Joseph Arthur – Our Shadows Will Remain
Readers 100 Greatest Tracks Of 2005
1. The Importance Of Being Idle – Oasis
2. Fix You – Coldplay
3. I Predict A Riot – Kaiser Chiefs
4. Oh My God – Kaiser Chiefs
5. Black Horse And The Cherry Tree – Kt Tunstall
6. Lyla – Oasis
7. Do You Want To – Franz Ferdinand
8. Dakota – Stereophonics
9. Speed Of Sound – Coldplay
10. Hard To Beat – Hard-Fi
11. Feel Good Inc. – Gorillaz
12. Best Of You – Foo Fighters
13. Somewhere Else – Razorlight
14. Forever Lost – The Magic Numbers
15. Banquet – Bloc Party
16. Holiday – Greenday
17. Somebody Told Me – The Killers
18. Rebellion (Lies) – Arcade Fire
19. Wires – Athlete
20. You’re Beautiful – James Blunt
21. Everyday I Love You Less And Less - Kaiser Chiefs
22. Wake Me Up When September Comes - Greenday
23. Club Foot – Kasabian
24. An Honest Mistake – The Bravery
25. My Doorbell – The White Stripes
26. American Idiot – Greenday
27. All These Things That I’ve Done – The Killers
28. Blue Orchid – The White Stripes
29. Black And White Town - Doves
30. Dare – Gorillaz
31. Hounds Of Love – Futureheads
32. Killamangiro – Babyshambles
33. Apply Some Pressure – Maximo Park
34. Vertigo – U2
35. Smile Like You Mean It – Killers
36. Sometimes You Can’t Make It On Your Own – U2
37. Let There Be Love – Oasis
38. Boulevard Of Broken Dreams – Greenday
39. Gold Digger – Kanye West
40. Oxygen – Willy Mason
41. Fuck Forever – Babyshambles
42. City Of Blinding Lights – U2
43. Helicopter – Blockparty
44. Helena – My Chemical Romance
45. Galvanise – The Chemical Brothers
46. Going Missing – Maximo Park
47. Decent Days And Nights - Futureheads
48. What You Waiting For? – Gwen Stefani
49. Little Sister – Queens Of The Stoneage
50. Living For The Week-End – Hard-Fi
51. Graffiti – Maximo Park
52. Bullets – Editors
53. Turn Up The Sun – Oasis
54. In The Morning – The Coral
55. The Meaning Of Soul – Oasis
56. Neighbourhood #1 – Arcade Fire
57. White Shadows – Coldplay
58. Half Light – Athlete
59. The One I Love – David Grey
60. What If – Coldplay
61. Krafty – New Order
62. The Ghost Of You – My Chemical Romance
63. I Bet You Look Good On The Dancefloor – Arctic Monkeys
64. Hope There’s Someone – Antony & The Johnsons
65. Suddenly I See – Kt Tunstall
66. So Here We Are – Block Party
67. Cash Machine – Hard-Fi
68. The First Day Of My Life – Bright Eyes
69. Diamonds From Sierra Leone – Kanye West
70. Neighbourhood #2 (Laika) – Arcade Fire
71. Superman - Stereophonics
72. Goodnight Goodnight – Hot Hot Heat
73. They – Jem
74. Love Me Like You – The Magic Numbers
75. Pioneers – Block Party
76. Other Side Of The World – Kt Tunstall
77. Bad Day – Daniel Powter
78. Processed Beats – Kasabian
79. Shiver – Natalie Imbruglia
80. Mucky Fingers – Oasis
81. Beverly Hills – Weezer
82. Two More Years – Block Party
83. Tied Up Too Tight – Hard-Fi
84. Girl – Beck
85. Who Put The Weight Of The World On My Shoulders? – Oasis
86. This Morning Love – Block Party
87. Munich – Editors
88. Why Do You Love Me – Garbage
89. Evil – Interpol
90. Byob – System Of A Down
91. I’m Not Ok (I Promise) – My Chemical Romance
92. Hey Scenesters! – The Cribs
93. Doa – Foo Fighters
94. Forget Myself – Elbow
95. E-Pro – Beck
96. Welcome To Jamrock – Damian ‘Jr Gong’ Marley
97. All Because Of You – U2
98. Feeling A Movement – Feeder
99. Good People – Jack Johnson
100. Push The Button – Sugarbabes
Skip To Top
2006
Q magazine Recordings Of The Year
1. Artic Monkeys – Whetever People Say I Am, That’s What I’m Not
2. Muse – Black Holes & Revelations
3. Razorlight – Razorlight
4. Red Hot Chilli Peppers – Stadium Arcadium
5. The Killers – Sam’s Town
6. Keane – Under The Iron Sea
7. Bob Dylan – Modern Times
8. Kasabian – Empire
9. Scissor Sisters – Ta Da
10. Gnarles Barkley – St Elsewhere
11. The Kooks – Inside In/Inside Out
12. Corinne Bailey Rae – Corinne Bailey Rae
13. The Raconteurs – Broken Boy Soldiers
14. The Feeling – Twelve Stops And Home
15. Shack – The Corner Or Miles And Gil
16. Bruce Springsteen – We Shall Overcome: The Seeger Sessions
17. Thom Yorke – The Eraser
18. Snow Patrol – Eye Open
19. Neil Diamond – 12 Songs
20. Guillemots – Through The Window Pain
21. Midlake – The Trials Of Van Occupanther
22. Johnny Cash – American V: A Hundred Highways
23. Pet Shop Boys – Fundamental
24. Jarvis – Jarvis
25. Damien Rice – 9
26. James Morrison – Undercovered
27. Jenny Lewis With The Watson Twins – Rabbit Fur Coat
28. Elton John – The Captain And The Kid
29. Jet – Shine On
30. Outkast – Idlewild
31. Paul Simon – Surprise
32. My Chemical Romance – The Black Parade
33. Yeah Yeah Yeahs – Show Your Bones
34. The Flaming Lips – At War With The Mystics
35. Orson – Bright Idea
36. Justin Timberland – Futuresex/Lovesounds
37. Cat Power – The Greatest
38. Neil Young – Living With War
39. Tv On The Radio – Return To Cookie Mountain
40. The Strokes – First Impressions Of Earth
41. The Automatic – Not Accepted Anywhere
42. The Zutons – Tired Of Being Alone
43. Lambchop – Damaged
44. Hot Chip – The Warning
45. David Gilmore – On An Island
46. Afx – Chosen Lords
47. Morrissey – Ringleader Leader Of The Tormenters
48. Christina Aguliera – Back To Basics
49. John Legend – Once Again
50. The Twilight Singers – Powder Burns
51. Graham Coxon – Love Travels At Illegal Speed
52. Scritti Politti – White Bread Black Beer
53. The Beatles – Love
54. Tom Waits – Orphans…
55. Nelly Furtado – Loose
56. Jack Johnson & Friends – Sing-A-Long And Lullabies..
57. Lilly Allen – Alright, Still
58. Badly Drawn Boy – Born In The Uk
59. Sparklehorse – Dreamt For Light Years In The Belly Of A Mountain
60. Joan As Police Woman – Joan As Police Woman
61. Sway – This Is My Demo
62. Jamelia – Walk With Me
63. Lostprophets – Liberation Transmission
64. Plan B – Who Needs Actions When You Got Words
65. Soloman Burke – Nashville
66. Fiona Apple – Extraordinary Machine
67. Shakira – Oral Fixation Vol.2
68. The Vines – Vision Valley
69. The Sleepy Jackson – Personality…..
70. Primal Scream – Riot City Blues
71. Secret Machines – Ten Silver Drops
72. Beyonce – B’day
73. Willy Nelson – Songbird
74. Belle & Sabastian – The Life Pursuit
75. Junior Boys – So This Is Goodbye
76. Ghostface Killah – Fishscale
77. Burial - Burial
78. Espers – Espers II
79. Get Cape, Wear Cape. Fly – Chronicles Of A Bohemian Teenager
80. Vetiver – To Find Me Gone
81. Tom Petty – Highway Companion
82. Regina Spektor – Begin To Hope
83. Wolfmother – Wolfmother
84. Meatloaf – Bat Out Of Hell Iii: The Monster Is Loose
85. Anthony Hamilton – Ain’t Nobody Worryin’
86. Mogwai – Mr Beast
87. The Magic Numbers – Those The Brokes
88. The Young Knives – Voices Of Animals And Men
89. Css – Cansei De Ser Sexy
90. Adrian Sherwood – Becoming A Cliché
91. David Kitt – Not Fade Away
92. Elvis Costello & Allen Toussaint – The River In Reverse
93. Iron Maiden – A Matter Of Life And Death
94. Duke Special – Songs From The Deep Forrest
95. Clap Your Hands Say Yeah – Clap Your Hands Say Yeah
96. Broken Social Scene – Broken Social Scene
97. Boy Kill Boy – Civilian
98. The Like – Are You Thinking What I’m Thinking
99. The Concretes – In Colour
100. Matisyahu – Youth
Re Issues
1. The Clash – The Singles
2. Queen – A Night At The Opera
3. Bruce Springsteen – Born To Run
4. Pulp – Different Class
5. Talking Heads – Remain In Light
6. Depeche Mode – Violator
7. George Michael – Twentyfive
8. The Jam – All Mod Cons
9. The La’s – Bbc In Session
10. Oasis – Stop The Clocks
100 Great Undiscovered Tracks Of 2006
1. Kasabian - Sun/Rise/Light/Files
2. Arcade Fire – Age Of Concent
3. Gnarls Barkley – Transformer
4. David Gray – The One I Love (Live From London)
5. Neil Young – Flags Of Freedom
6. The Bluetones – My Neighbour’s House
7. Secret Machines – Alone, Jealous And Stoned
8. Kris Kristofferson – Chase The Feeling
9. Sparklehorse – Ghost In The Sky
10. The Flaming Lips – Pompeii Am Gotterdammerung
11. Regina Spektor – Fidelity
12. Sparks – Dick Around
13. Bob Dylan – Ain’t Talkin’
14. Lambchop – Paperback Bible
15. Prince – Fury
16. Michael Stipe Ft. Joseph Arthur – In The Sun
17. Bat For Lashes – What’s A Girl To Do
18. Fall Out Boy – Snitches And Talkers Get Stitches And Walkers
19. Morrissey – Life Is A Pigsty
20. The Fratellis – Henrietta
21. Jack Johnson – We’re Going To Be Friends
22. Richard Ashcroft – Sweet Brother Malcolm
23. Jenny Lewis With The Watson Twins – Rise Up With Fists!!
24. Midlake – Rosco
25. Nouvelle Vague – The Killing Moon
26. Candi Staton – His Hands
27. Brian Ferry And Antony – Lowlands Low
28. Eels – Girl From The North Country
29. The Killers – Bling (Confession Of A King)
30. Tom Waits – Road To Peace
31. Tom Petty – Square One
32. Neil Diamond – I’m On To You
33. Cat Power – Where Is My Love
34. Outkast – The Train
35. Lindsey Buckingham – Down On Rodeo
36. Mika – Relax, Take It Easy
37. Elton John – Blues Never Fade Away
38. Ray Lamontange – Forever My Friend
39. Graham Coxon – I Can’t Look At Your Skin
40. Lilly Allen – Knock ‘Em Out
41. Paul Simon – How Can I Live In The Northeast?
42. Beck – Strange Apparition
43. Kanye West – Touch The Sky
44. My Robot Friend – One More Try
45. Plan B – No Good
46. Joan As Police Woman – Eternal Flame
47. The Young Knives – Tremblings Of Trails
48. Bruce Springsteen – Froggie Went A-Courtin’
49. Amy Winehouse – Love Is A Game
50. Scissor Sisters – Might Tell You Tonight
51. Jarvis – Running The World
52. Pharrell Ft. Snoop Dogg – That Girl
53. Arcade Fire & David Bowie – Five Years
54. Thom Yorke – Cymbal Rush
55. Snow Patrol – You Could Be Happy
56. Richard Hawley – Some Candy Talking
57. The View – Posh Boys
58. Dirty Pretty Things – Wondering
59. The Who – Endless Wire
60. The Walkman – Louisiana
61. Jamelia – Do Me Right
62. Primal Scream – Sometimes I Feel So Lonely
63. The Strokes – Ask Me Anything
64. Hot Chip – And I Was A Boy From School
65. Nelly Furtado – All Good Things (Come To An End)
66. Barbarossa – Aeroplanes
67. Hope Of The States – Industry
68. Camera Obscura – Lloyd, I’m Ready To Be Heartbroken
69. Rekid – Lost Star 6
70. Pet Shop Boys – Luna Park
71. Scream – Midnight Request Line
72. Dj Shadow – Seein’ Things
73. Red Hot Chilli Peppers – Animal Bar
74. Sebastian Teller – La Ritournelle
75. Scritti Politti – The Boom Boom Bap
76. Tortoise & Bonnie ‘Prince’ Billy
77. Afx – Crying In Your Face
78. M Word – Poison Cup
79. Lee ‘Scratch’ Perry – Panic In Babylon
80. Boards Of Canada – Chromakey Dreamcoat
81. Mastodon – Colony Of Birchmen
82. Muse – Map Of The Problematique
83. Matisyahu - Youth
84. Wolfmother – Minds Eye
85. Css – Let’s Make Love And Listen To Death From Above
86. Isobel Campbell & Mark Lanegan – Black Mountain
87. Justice Vs Simian – We Are Your Friends
88. Keane – The Frog Prince
89. E-40 – Tell Me When To Go
90. The Raconteurs – Intimate Secretary
91. The Sleepy Jackson – I Understand What You Want, But I Just Don’t Agree
92. Easy Star All*Stars – Exit Music
93. Robbie Williams – Summertime
94. Van Hunt – No Sense Of Crime
95. We Are Scientists – Lousy Reputation
96. Coldcut Feat. Roots Manuva – True Skool
97. Tv On The Radio – Tonight
98. The Horrors – Sheena Is A Parasite
99. The Like – June Gloom
100. Shack – Butterfly
Readers’ 100 Greatest Tracks of the Year
1. Razorlight - America
2. Gnarls Barkley - Crazy
3. Muse - Supermassive Black Hole
4. Killers - When You Were Young
5. Snow Patrol - Chasing Cars
6. Muse - Starlight
7. Kooks - Naïve
8. Raconteurs - Steady, as She Goes
9. Red Hot Chili Peppers - Dani California
10. Scissor Sisters - I Don’t Feel Like Dancin’
11. Fratellis - Chelsea Dagger
12. Razorlight - In the Morning
13. Arctic Monkeys - When the Sun Goes Down
14. My Chemical Romance - Welcome to the Black Parade
15. Keane - Is it Any Wonder?
16. Lily Allen - Smile
17. Feeling - Sewn
18. Kasabian - Empire
19. Zutons - Valerie
20. Guillemots - Made Up Love Song #43
21. Arctic Monkeys - View from the Afternoon
22. James Morrison - You Give Me Something
23. Automatic - Monster
24. Orson - No Tomorrow
25. Corrine Bailey Rae - Put Your Records On
26. Dirty Pretty Things - Bang Bang Your Dead
27. José González - Heartbeat
28. Yeah Yeah Yeahs - Gold Lion
29. Morrissey - You Have Killed Me
30. Arctic Monkeys - Mardy Bum
31. Madonna - Sorry
32. Kooks - She Moves in Her Own Way
33. Gnarls Barkley - Smiley Faces
34. Nelly Furtado - Maneater
35. OutKast - Morris Brown
36. Paolo Nutini - Last Request
37. Corinne Bailey Rae - Like a Star
38. Franz Ferdinand - Eleanor Put Your Boots On
39. Strokes - Jukebox
40. Muse - Knights of Cydonia
41. Placebo - Because I Want You
42. Lostprophets - A Town Called Hypocrisy
43. Kasabian - Shoot the Runner
44. Rhianna - SOS
45. Beck - Cell Phone’s Dead
46. Fratellis - Creepin’ Up the Backstairs
47. Killers - Read My Mind
48. Franz Ferdinand - L Wells
49. Arctic Monkeys - Fake Tales of San Francisco
50. View - Wasted Little DJs
51. Editors - All Sparks
52. Lily Allen - LDN
53. Hot Chip - Over & Over
54. Seth Lakeman - White Hare
55. Gorillaz - El Mañana
56. Beyoncé featuring Jay-Z - Déjà Vu
57. Primal Scream - Country Girl
58. Streets - Never Went to Church
59. Evanescence - Call Me When You’re Sober
60. Keane - Nothing in My Way
61. Justin Timberlake - SexyBack
62. Nerina Pallot - Everybody’s Gone to War
63. Feeling - Never be Lonely
64. Delays - Valentine
65. Embrace - Nature’s Law
66. Robbie Williams - Lovelight
67. Pearl Jam - World Wide Suicide
68. Christina Aguilera - Ain’t no Other Man
69. Flaming Lips - It Overtakes Me
70. Orson - Bright Idea
71. Magic Numbers - Take a Chance
72. Badly Drawn Boy - Born in the UK
73. Ray LaMontagne - Trouble
74. Nelly Furtado - Promiscuous
75. Belle & Sebastian - Funny Little Frog
76. Jack Johnson - Better Together
77. Amy Winehouse - Rehab
78. Richard Ashcroft - Break the Night with Colour
79. Feeder - Lost & Found
80. Jet - Shine On
81. Red Hot Chili Peppers - Snow (Hey Oh)
82. Young Knives - She’s Attracted To
83. Vines - Don’t Listen to the Radio
84. Sugababes - Easy
85. OK Go - Here it Goes Again
86. Bob Dylan - Workingman’s Blues #2
87. Shakira featuring Wyclef - Hips Don’t Lie
88. Strokes - Heart in a Cage
89. Automatic - Raoul
90. Thom Yorke - Harrowdown Hill
91. Massive Attack - Live with Me
92. Wolfmother - Woman
93. Pet Shop Boys - I’m with Stupid
94. Prince - Black Sweat
95. Jenny Lewis with the Watson Twins - Handle with Care
96. Madonna - Jump
97. Who - Wire & Glass
98. Sandi Thom - I Wish I Was a Punk Rocker
99. Fall Out Boy - Dance Dance
100. Peter, Bjorn & John - Young Folks
Worst Albums
o Tony Bennett - Duets: An American Classic
o Def Leppard - Yeah!
o Milburn - Well, Well, Well
o Towers of London - Blood, Sweat & Towers
o Wicked Wisdom - Wicked Wisdom
Skip To Top
2007
Q magazine Recordings Of The Year
1. Arcade Fire - Neon Bible
2. The White Stripes - Icky Thump
3. Arctic Monkeys - Favourite Worst Nightmare
4. Radiohead - In Rainbows
5. The Good, The Bad & The Queen - The Good, The Bad & The Queen
6. Bruce Springsteen - Magic
7. Kings of Leon - Because of the Times
8. The Shins - Wincing the Night Away
9. The Hold Steady - Boys and Girls in America
10. Rufus Wainwright - Release the Stars
11. Modest Mouse - We Were Dead Before the Ship Even Sank
12. Foo Fighters - Echoes, Silence, Patience & Grace
13. Kaiser Chiefs - Yours Truly, Angry Mob
14. Cherry Ghost - Thirst for Romance
15. Interpol - Our Love to Admire
16. Manic Street Preachers - Send Away the Tigers
17. Rilo Kiley - Under the Blacklight
18. LCD Soundsystem - Sound of Silver
19. Björk - Volta
20. The Rumble Strips - Girls and Weather
21. Cold War Kids - Robbers & Cowards
22. The Coral - Roots & Echoes
23. Bright Eyes - Cassadaga
24. PJ Harvey - White Chalk
25. Spoon - Ga Ga Ga Ga Ga
26. Beirut - The Flying Club Cup
27. Ryan Adams - Easy Tiger
28. The Decemberists - The Crane Wife
29. Roìsìn Murphy - Overpowered
30. The National - Boxer
31. Soulsavers - It's Not How Far You Fall, It's the Way You Land
32. Klaxons - Myths of the Near Future
33. Neil Young - Chrome Dreams II
34. M.I.A. - Kala
35. Hard-Fi - Once upon a Time in the West
36. Common - Finding Forever
37. Robyn - Robyn
38. Fall Out Boy - Infinity on High
39. Joni Mitchell - Shine
40. Field Music - Tones of Town
41. Keren Ann - Keren Ann
42. The Enemy - We'll Live and Die in These Towns
43. Patrick Watson - Close to Paradise
44. Gogol Bordello - Super Taranta!
45. Lucinda Williams - West
46. Sigur Ròs - Hvarf-Heim
47. Kate Nash - Made of Bricks
48. Justice - †
49. Jamie T - Panic Prevention
50. Stereophonics - Pull the Pin
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2008
Q magazine Recordings Of The Year
1. Kings of Leon - Only By The Night
2. Fleet Foxes - Fleet Foxes
3. Coldplay - Viva la Vida
4. Vampire Weekend - Vampire Weekend
5. Glasvegas - Glasvegas
6. Duffy - Rockferry
7. TV On the Radio - Dear, Science
8. Elbow - Seldom Seen Kid
9. Raconteurs - Consolers of the Lonely
10. Nick Cave & the Bad Seeds - Dig!!! Lazarus, Dig!!!
11. Sigur Rós - Með Suð í Eyrum Við Spilum Endalaust
12. Keane - Perfect Symmetry
13. MGMT - Oracular Spectacular
14. Kaiser Chiefs - Off With Their Heads
15. Lil Wayne - Tha Carter III
16. Hot Chip - Made In the Dark
17. Adele - 19
18. British Sea Power - Do You Like Rock Music?
19. Goldfrapp - Seventh Tree
20. Gaslight Anthem - ‘59 Sound
21. Razorlight - Slipway Fires
22. Killers - Day & Age
23. Beck - Modern Guilt
24. Last Shadow Puppets - Age of the Understatement
25. Metallica - Death Magnetic
26. Conor Oberst - Conor Oberst
27. Neil Diamond - Before Home
28. Paul Weller - 22 Dreams
29. AC/DC - Black Ice
30. Portishead - Third
31. Black Mountain - In the Future
32. Oasis - Dig Out Your Soul
33. Hercules & Love Affair - Hercules & Love Affair
34. Bon Iver - For Emma, Forever Ago
35. Hold Steady - Stay Positive
36. REM - Accelerate
37. Lykke Li - Youth Novels
38. John Mellencamp - Life, Love, Death & Freedom
39. Santogold - Santogold
40. My Morning Jacket - Evil Urges
41. Lindsey Buckingham - Gift of Screws
42. Liam Finn - I’ll Be Lightning
43. Joan As Police Women - To Survive
44. Black Kids - Partie Traumatic
45. Jack Johnson - Sleep Through Static
46. Jenny Lewis - Acid Tongue
47. Verve - Forth
48. Randy Newman - Harps & Angels
49. Emmylou Harris - All I Intended To Be
50. Dido - Safe Trip Home
Skip To Top
2009
Q magazine Recordings Of The Year
1. Kasabian – West Ryder Pauper Lunatic Asylum
2. Florence And The Machine – Lungs
3. Yeah Yeah Yeahs – It’s Blitz
4. Animal Collective – Merriweather Post Pavilion
5. Manic Street Preachers – Journal For Plague Lovers
6. Arctic Monkeys – Humbug
7. Muse – The Resistance
8. Lilly Allen – It’s Not Me, It’s You
9. U2 – No Line On The Horizon
10. Phoenix – Woulgang Amadeus Phoenix
11. Doves – Kingdom Of Rust
12. Jack Penate – Everything Is New
13. Grizzly Bear – Veckatimest
14. Devendra Banhart – What Will We Be
15. Dizzee Rascal – Tongue ‘N Cheek
16. Empire F The Sun – Walking On A Dream
17. Green Day – 21st Century Breakdown
18. Mika – The Boy Who Knew Too Much
19. Monsters Of Folk – Monsters Of Folk
20. Fever Ray – Fever Ray
21. Jamie T – Kings And Queens
22. The Low Anthem – Oh My Gad, Charlie Darwin
23. The Prodigy – Invaders Must Die
24. Mos Def – The Ecstatic
25. Noah And The Whale – The First Days Of Spring
26. Bat For Lashes – Two Suns
27. The Dead Weather – Horehound
28. Bruce Springsteen – Working On A Dream
29. Wilco – Wilco (The Album)
30. La Roux – La Roux
31. Biffy Clyro – Only Revolutions
32. Paolo Nutini – Sunny Side Up
33. Dirty Projectors – Bitte Orca
34. White Lies – To Lose My Life
35. Pearl Jam – Backspacer
36. Sonic Youth – The Eternal
37. Fuck Buttons – Tarot Sport
38. Richard Hawley
39. The Horrors – Primary Colours
40. Cheryl Cole – 3 Words
41. Wild Beasts – Two Dancers
42. Mariachi El Bronx – Mariachi El Bronx
43. Tinariwen – Imidiwan Companions
44. The View – Which Bitch
45. Conor Oberst And The Mystic Valley Band – Outer South
46. Golden Silvers – True Romance
47. Madness – The Liberty Of Norton Folgate
48. Ian Brown – My Way
49. Bob Dylan – Together Through Life
50. Jarvis Cocker – Further Complication
Skip To Top
2010
Q magazine Recordings Of The Year
1. Arcade Fire – The Suburbs
2. Robert Plant – Band Of Joy
3. Plan B – The Defamation Of Strickland Banks
4. Laura Marling – I Speak Because I Can
5. Vampire Weekend – Contra
6. John Grant – Queen Of Denmark
7. Gorillaz – Plastic Beach
8. The National – High Violet
9. Paul Weller – Wake Up The Nation
10. Mgmt – Congratulations
11. The Black Keys – Brothers
12. Gil Scott-Heron – I’m New Here
13. Beach House – Teen Dream
14. Hot Chip – One Life Stand
15. Yeasayer – Odd Blood
16. Foals – Total Life Forever
17. John Legend And The Roots – Wake Up!
18. Manic Street Preachers – Postcards From A Young Man
19. Grinderman – Grindaman 2
20. Take That – What Progress
21. Band Of Horses – Infinite Arms
22. Corinne Bailey Rae – The Sea
23. Lcd Soundsystem – This Is Happening
24. Bryan Ferry – Olympia
25. Kings Of Leon – Come Around Sundown
26. Klaxons – Surfing The Void
27. Midlake – The Courage Of Others
28. Avi Buffalo – Avi Buffalo
29. Interpol – Interpol
30. Brandon Flowers – Flamingo
31. The Chemical Brothers – Further
32. The Drums – The Drums
33. Tricky – Mixed Race
34. The Dead Weather – Sea Of Cowards
35. Everything Everything – Man Alive
36. The Roots – How I Got Over
37. The Coral – Butterfly House
38. Janelle Monae – The Archandroid
39. I Am Kloot – Sky At Night
40. Peter Gabriel – Scratch My Back
41. Belle And Sebastian – Write About Love
42. Tom Jones – Praise And Blame
43. Scream – Outside The Box
44. Villagers – Becoming A Jackal
45. Cherry Ghost – Beneath This Burning Shoreline
46. Joanna Newsome – Have One On Me
47. Two Door Cinema Club – Tourist History
48. Edwyn Collins – Loosing Sleep
49. Deerhunter – Halcyon Digest
50. Steve Mason – Boys Outside
Skip To Top
2011
Q Magazine Albums Of 2011
1. Florence And The Machine – Ceremonials
2. PJ Harvey – Let England Shake
3. Adele – 19
4. Bon Iver – Bon Iver
5. Coldplay – Mylo Xyloto
6. Jay-Z & Kanye West – Watch The Thorne
7. Arctic Monkeys – Suck It And See
8. St Vincent – Strange Mercy
9. Wu Lyf – Go Tell Fire To The Mountain
10. Elbow – Build A Rocket Boys!
11. The Horrors – Skying
12. Laura Marling – A Creature I Don’t Know
13. Bombay Bicycle Club – A Different Kind Of Fix
14. The Weekend – House Of Ballons
15. Baxter Dury – Happy Soup
16. Kurt Vile – Smoke Ring For My Halo
17. Metronomy – The English Riviera
18. Anna Calvi – Anna Calvi
19. Cass Mccombs – Wit’s End
20. The Weekend – Thursday
21. Noel Gallagher’s High Flying Birds – Noel Gallaghers High Flying Birds
22. White Lies – Ritual
23. Bjork – Biophilla
24. Real Estate – Days
25. Wild Beasts – Smother
26. Lykke Li – Wounded Rhymes
27. Ed Sheeran - +
28. Gillian Welch – The Harrow & The Harvest
29. Kasabian – Velociraptor!
30. Lady Gagagagag – Born This Way
31. Beastie Boys – Hot Sauce Committee Part Two
32. Radiohead – The King Of Limbs
33. Tune-Yards – Whokill
34. Gruff Ryhs – Hotel Shampoo
35. Cass Mccombs – Humor Risk
36. Katy B – On A Mission
37. Washed Out – Within And Washed Out
38. Feist – Metals
39. James Blake – James Blake
40. Dangermouse & Daniele Luppi – Rome
41. Girls – Farther, Son, Holy Ghost
42. Josh T Pearson – Last Of The Country Gentlemen
43. King Creosote & Jon Hopkins – Diamond Mine
44. Death In Vegas – Trans Love Energies
45. Miles Kane – The Colour Of The Trap
46. Sbtkt – Sbtrkt
47. Mastodon – The Hunter
48. Noah And The Whale – Last Night On Earth
49. Frank Ocean – Nostalgia, Ultra
50. Justice – Audio, Video, Disco
Q magazine Tracks Of 2011
1. Adel – Someone Like You
2. Lana Del Rey – Video Games
3. Kreayshawn – Gucci Gucci
4. Foster The People – Pumped Up Kids
5. Lady Gagagagagag – The Edge Of Glory
6. The Vaccines – If You Wanna
7. Aloe Blacc – I Need A Dollar
8. Tyler The Creator – Yonkers
9. The Strokes – Under Cover Of Darkness
10. Lykke Li – Get Some
11. Jack White – Love Is Blindness
12. Chase & Status – Blind Faith
13. Rihanna – Man Down
14. Fleet Foxes – Helplessness Blues
15. Florance & The Machine – Shake It Out
16. Ghostpoet – Cash And Carry Me Home
17. Wretch 32 – Traktor
18. Cat’s Eyes – Best Person I Know
19. Example – Changed The Way You Kissed Me
20. Beady Eye – The Morning Son
Skip To Top
2012
The 50 Best Albums Of 2012
Q Album Of The Year - Bobby Womack - The Bravest Man In The Universe
• 2Bears – Be Strong
• Alabama Shakes – Boys & Girls
• Alt-J – An Awesome Wave
• Paul Banks – Banks
• Bat For Lashes – The Haunted Man
• Beach House – Bloom
• Jake Bugg – Bloom
• David Byrne & St Vincent – Love This Giant
• Cat Power – Sun
• Leonard Cohen – Old Ideas
• Daphni – Jiaolong
• Lana Del Rey – Born To Die
• Dirty Projectors – Swing Low Magellan
• Django Django – Django Django
• Bob Dylan – Tempest
• El-P – Cancer4cure
• Field Music – Plumb
• Go-Kart Mozart – On The Hot Dog Streets
• Grimes – Visions
• Grizzly Bear – Shields
• Ren Harveieu – Through The Night
• Richard Hawley – Standing At The Sky’s Edge
• Here We Go Magic – A Different Ship
• Hot Chip – In Our Heads
• Elton John Vs. Pnau – Good Morning To The Night
• Josephine – Portrait
• The Killers – Battle Born
• Kindness – World, You Need A Change Of Mind
• Mark Lanegan Band – Blues Funeral
• The Maccabees – Given To The Wild
• Mala In Cuba – Mala In Cuba
• Mumford And Sons – Babel
• Muse – The 2nd Law
• Frank Ocean – Channel Orange
• Orbital – Wonky
• Peaking Lights – Lucifer
• Plan B – Ill Manors
• Emeli Sande – Our Version Of Events
• Saint Etienne – Words And Music By Saint Etienne
• School Of Seven Bells – Ghostory
• Bruce Springsteen – Wrecking Ball
• Tame Impala – Lonerism
• Teed – Trouble
• The Vaccines – Come Of Age
• Sharon Van Etten – Tramp
• The Walkmen – Heaven
• Jessie Ware – Devosion
• Paul Weller – Sonic Kicks
• Jack White – Blunderbuss
• Bobby Womack – The Bravest Man In The Universe
Plus…Ten Great Albums You Might Have Missed…
• Allah-Las – Allah-Las
• Cornershop – Urban Turban
• Dues – Following Sea
• DIIV – Oshin
• Kendrick Lamar – Good Lid m.A.A.d City
• Ian Mcnabb – Little Episodes
• Oh No – Ohnomite
• Pulled Apart By Horses – Tough Love
• Taken By Trees – Other Worlds
• Ty Segall – Twins
Skip To Top
2013
Q Magazine Albums The Year
1. Arctic Monkeys – AM
2. Vampire Weekend – Modern Vampires Of The City
3. David Bowie – The Next Day
4. Daft Punk – Random Access Memories
5. Jon Hopkins – Immunity
6. Manic Street Preachers – Rewind The Film
7. Cass Mccombs – Big Wheel And Others
8. Bill Ryder-Jones – A Bad Wind Blows In My Heart
9. John Grant – Pale Green Ghosts
10. Haim – Days Are Gone
11. Jagwar Ma – Howlin’
12. My Bloody Valentine – m b v
13. Steve Mason – Monkey Minds In Devil Time
14. Queens Of The Stoneage - …Like Clockwork
15. Foals – Holy Fire
16. Laura Mvula – Sing To The Moon
17. Matthew E White – Big Inner
18. Laura Marling – Once I Was An Eagle
19. Factory Floor – Factory Floor
20. Biffy Clyro – Opposites
21. Palma Violets – 180
22. Suede – Bloodsports
23. Disclosure – Settle
24. Empire Of The Sun – Ice On The Dune
25. Boards Of Canada – Tomorrow’s Harvest
26. Kanye West – Yeezus
27. Bill Callahan – Dream River
28. Franz Ferdinand – Right Thoughts, Right Words, Right Action
29. Daniel Avery – Drone Logic
30. Pet Shop Boys – Electric
31. Janelle Monae – The Electric Lady
32. Savages – Silence Yourself
33. Parquet Courts – Light Up Gold
34. Prefab Sprout – Crimson/Red
35. Devandra Banheart – Mala
36. Kurt Vile – Wakin On A Daze
37. The National – Trouble Will Find Me
38. Goldfrapp – Tales Of Us
39. Alunageorge – Body Music
40. Run The Jewels – Run The Jewels
41. Neon Neon – Praxis Makes Perfect
42. These New Puritans – Fields Of Reeds
43. The Knife – Shaking The Habitual
44. Pearl Jam – Lightning Bolt
45. Sigur Ros – Kveikur
46. James Blake – Overgrown
47. The Strokes – Comedown Machine
48. Cate Le Bon – Mug Museum
49. Primal Scream – More Light
50. Mazzy Star – Seasons Of Your Day
Skip To Top
2014
Q Magazine Albums The Year
1. The War On Drugs – Lost In The Dream
2. Alt-J – This Is All Yours
3. Damon Albarn – Everyday Robots
4. Manic Street Preachers – Futureology
5. Beck – Morning Phase
6. St Vincent – St Vincent
7. Sharon Van Etten – Are We There
8. FKA Twigs – LP1
9. Future Islands – Singles
10. Aphex Twin – Syro
11. Elbow – The Takeoff And Landing Of Everything
12. Interpol – El Pintor
13. Sam Smith – In The Lonely Hour
14. Hamilton Leithauser – Black Hours
15. The Horrors – Luminous
16. Royal Blood – Royal Blood
17. Mac Demarco – Salad Days
18. Paolo Nutini – Caustic Love
19. Lana Del Rey - Ultraviolance
20. Sleaford Mods – Divide And Exit
21. East India Youth – Total Strife Forever
22. Caribou – Our Love
23. Jack White – Lazaretto
24. Kate Tempest – Everybody Down
25. Ed Sheeran – X
26. Neneh Cherry – Blank Project
27. Morrissey – Word Peace Is None Of Your Business
28. Kasabian – 48:13
29. Jamie T – Carry On The Grudge
30. Gruff Rhys – American Interior
31. Mogwai – Rave Tapes
32. The Bug – Angels & Devils
33. Sky Farreira – Night Time My Time
34. Wild Beasts – Present Tense
35. Real Estate – Atlas
36. Temples – Sun Structures
37. Baxter Dury – It’s A Pleasure
38. Johnny Marr – Playland
39. Ty Segall – Manipulator
40. Grumbling Fur – Preternaturals
41. The Black Keys – Turn Blue
42. Robert Plant – Lullaby And… The Ceaseless Roar
43. Leonard Cohen – Popular Problems
44. U2 – Songs Of Inconvenience
45. Warpaint – Warpaint
46. Thom Yorke – Tomorrow’s Modern Boxes
47. Spoon – They Want My Soul
48. La Roux – Trouble In Paradise
49. Shabazz Palaces – Lese Majesty
50. Jungle – Jungle
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2015
Q Magazine Albums The Year
1. Tame Impala - Currents
2. Julia Holter - Have You In My Wilderness
3. Jamie Xx - In Colour
4. Blur - The Magic Whip
5. New Order - Music Complete
6. Courtney Barnett - Sometimes I Sit And Think, Sometime I Just Sit
7. Kurt Vile - B'lieve I'm Going Down…
8. Laura Marling - Short Movie
9. Kendrick Lamar - To Pimp A Butterfly
10. Florance + The Machine - How Big, How Blue How Beautiful
11. Father John Misty - I Love You Honeybear
12. Foals - What Went Down
13. Joanna Newsom - Divers
14. Sleaford Mods - Key Markets
15. Django Django - Dorn Under Saturn
16. Miguel - Wildheart
17. Noel Gallagher's High Flying Birds - Chasing Yesterday
18. Four Tet - Morning/Evening
19. Dr Dre - Compton
20. Everything Everything - Get To Heaven
21. The Fall - Sub-Lingual Tablet
22. Gaz Coombes - Matador
23. Lonelady - Hinterland
24. Sun Kil Moon - Universal Themes
25. Paul Weller - Saturnes Pattern
26. The Chemical Brothers - Born In The Echoes
27. The Maccabees - Marks To Proove It
28. Chvrches - Every Open Eye
29. John Grant - Grey Tickles, Black Pressure
30. Ezra Furman - Perpetual Motion People
31. Wire - Wire
32. Muse - Drones
33. Natalie Prass - Natalie Prass
34. FFS - FFS
35. Sleater/Kinney - No Cities Left
36. Jessica Pratt - On Your Own Love Again
37. Bill Ryder-Jones - West Kirby County Primary
38. Leon Bridges - Coming Home
39. Roisin Murphy - Hairless Toys
40. Sufjan Stevens - Carrie & Lowell
41. Wilco - Star Wars
42. Slaves - Are You Satisfied?
43. Years & Years - Communion
44. Wolf Alice - My Love Is Cool
45. The Prodigy - The Day Is My Enemy
46. Palma Violets - Danger In The Club
47. Gwenno - Y Dydd Olaf
48. Mbongwana Star - From Kinshasa
49. Hooton Tennis Club - Highest Point In Cliff Town
50. Mac Demarco - Another One
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2016
Q Magazine Albums The Year
1. David Bowie – Blackstar
2. Leonard Cohen – You Want It Darker
3. PJ Harvey – The Hope Six Demolition Project
4. A Tribe Called Quest – We Got It From Here….Thank You 4 Your Service
5. Nick Cave And The Bad Seeds – Skeleton Tree
6. Radiohead – A Moon Shaped Pool
7. Cass McCombs – Mangy Love
8. Angel Olson – My Woman
9. The 1975 – I Like It When You Sleep, For You Are So Beautiful…
10. Christine And The Queens – Chaleur Humaine
11. Skepta – Konnichiwa
12. Goat – Requiem
13. Beyonce – Lemonade
14. Michael Kiwanuka – Love & Hate
15. Dexys – Let The Record Show: Dexys Do Irish And Country Soul
16. Cate Le Bon – Crab Day
17. Frank Ocean
18. The Avalanches – Wildflower
19. Parquet Courts – Human Performance
20. Anohni – Hopelessness
21. Iggy Pop – Post Pop Depression
22. Steve Mason – Meet The Humans
23. Pet Shop Boys – Super
24. Julia Jacklin – Don’t Let The Kids Win
25. Wild Beasts – Boy King
26. The Lemon Twigs – Do Hollywood
27. Underworld – Barbra, Barbra, We Face A Shining Future
28. Anna Meredith – Vermints
29. Let’s Eat Grandma – I, Gemini
30. Jamie T – Trick
31. Kate Tempest – Let Them Eat Chaos
32. Bat For Lashes – The Bride
33. Kendrick Lamar – Untitled Unmastered
34. Lady Gagaga – Joanne
35. Savages – Adore Life
36. Biffy Clyro – Ellipsis
37. Brian Eno – The Ship
38. Fat White Family – Songs For Our Mothers
39. Thee Oh Sees – A Weird Exits
40. Bastille – Wild World
41. Kevin Morby – Singing Saw
42. Solange – A Seat At The Table
43. The Coral – Distance Inbetween
44. The Last Shadow Puppets – Everything You’ve Come To Expect
45. Kanye West – The Life Of Pablo
46. Peter Doherty – Hamburg Demonstrations
47. Blossoms – Blossoms
48. Drake – Views
49. Richard Ashcroft – These People
50. Primal Scream – Chaosmosis
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2017
Q Magazine Albums The Year
1. Kendrick Lamar – DAMN.
2. LCD Soundsystem – American Dream
3. Wolf Alice – Visions of a Life
4. Lorde – Melodrama
5. Gorillaz – Humanz
6. St. Vincent – MASSEDUCTION
7. Father John Misty – Pure Comedy
8. Baxter Dury – Prince of Tears
9. Queens of the Stone Age – Villains
10. The National – Sleep Well Beast
11. Stormzy – Gang Signs & Prayer
12. Sleaford Mods – English Tapas
13. The Horrors – V
14. Sampha – Process
15. Liam Gallagher – As You Were
16. Girl Ray – Earl Grey
17. The xx – I See You
18. Four Tet – New Energy
19. Dizzee Rascal – Raskit
20. Forest Swords – Compassion
21. Cigarettes After Sex – Cigarettes After Sex
22. Jane Weaver – Modern Kosmology
23. The War on Drugs – A Deeper Understanding
24. Paul Weller – A Kind Revolution
25. Thundercat – Drunk
26. Sparks – Hippopotamus
27. SZA – CTRL
28. MUNA – About U
29. Everything Everything – A Fever Dream
30. Beck – Colors
31. Brian Eno – Reflection
32. Nadia Reid – Preservation
33. Joan Shelley – Joan Shelley
34. Susanne Sundfør – Music For People In Trouble
35. Kasabian – For Crying Out Loud
36. Elbow – Little Fictions
37. J Hus – Common Sense
38. Phoenix – Ti Amo
39. Lana Del Rey – Lust for Life
40. Tyler, the Creator – Flower Boy
41. Fleet Foxes – Crack-Up
42. Laura Marling – Semper Femina
43. Squeeze – The Knowledge
44. Michael Head & The Red Elastic Band – Adiós Señor Pussycat
45. alt-J – Relaxer
46. Jay-Z – 4:44
47. Ghostpoet – Dark Days + Canapés
48. Kevin Morby – City Music
49. Depeche Mode – Spirit
50. Pumarosa – The Witch
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2018
Q Magazine Albums The Year
1. Arctic Monkeys – Tranquillity Base Hotel & Casino
2. Let’s Eat Grandma – I’m All Ears
3. The 1975 – A Brief Inquiry Into Online Relationships
4. Robyn – Honey
5. Parquet Courts – Wide Awake
6. Christine & The Queens – Chris
7. Idels – Joy As An Act Of Resistance
8. Janelle Monae – Dirty Computer
9. Paul Weller – True Meanings
10. Anna Calvi – Hunter
11. Interpol – Marauder
12. Kacey Musgraves – Golden Hour
13. Gruff Rhys – Babelsberg
14. Courtney Barnett – Tell Me How You Really Feel
15. Blood Orange – Negro Swan
16. Mitski – Be The Cowboy
17. Ty Segall – Freedom’s Goblin
18. DJ Koze – Knock Knock
19. Pusha T – Daytona
20. Spritualized – And Nothing Hurt
21. Low – Double Negative
22. Rolling Blackouts Coastal Fever – Hope Downs
23. Tracy Thorn – Record
24. Elvis Costello & The Imposters – Look Now
25. Father John Misty – God’s Favourite Customer
26. U.S. Girls – In A Pom Unlimited
27. Daniel Avery – Song For Alpha
28. Neko Case – Hell-On
29. Gaz Coombes – Word’s Strongest Man
30. Kurt Vile – Bottle It In
31. Florance + The Machine – High As Hope
32. Stephen Malkmus & The Jicks
33. Shame – Songs Of Praise
34. Go-Kart – Mozart’s Mini Mart
35. Julian Holter – Aviary
36. Eleanor Friedberger – Rebound
37. Beach House – 7
38. Bill Ryder-Jones – Yawn
39. Cat Power – Wanderer
40. Kids See Ghosts – Kids See Ghosts
41. Lykke Li – So Sad So Sexy
42. Sophie – Oil Of Every Pearl’s Un-Insides
43. Everything Is Recorded – Everything Is Recorded By Richard Russell
44. Panic! At The Disco – Pray For The Wicked
45. Mac Miller – Swimming
46. Cardi B – Invasion Of Privacy
47. The Good, The Bad & The Queen – Merrie Land
48. Kamasi Washington – Heaven And Earth
49. Manic Street Preachers – Resistance Is Futile
50. The Orielles – Silver Dollar Moment
Q Top 20 Tracks Of The Year
1. Childish Gambino – This Is America
2. The 1975 – Love It If We Made It
3. Christine And The Queens – Girlfriend
4. Arctic Monkeys – Four Out Of Five
5. Janelle Monae – Make Me Feel
6. Idels – Danny Nedelko
7. Drake – Nice For What
8. Let’s Eat Grandma – Hot Pink
9. Underworld & Iggy Pop – Bells & Circles
10. Rosin Murphy – The Rumble
11. Robyn – Honey
12. Parquet Qourts – Total Football
13. Dj Koze – Pick It Up
14. Ty Segall – My Lady’s On Fire
15. Florance + The Machine – Hunger
16. Interpol – If You Really Love Nothing
17. Peggy Gou – It Makes You Forget (Itgehane)
18. Tropical Fuck Storm – You Let My Tyres Down
19. The Carters – Apeshit
20. Kids See Ghosts – Feel The Love
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2019
Q Magazine Albums The Year
1. Lana Del Rey - Norman Fucking Rockwell!
2. Michael Kiwanuka - Kiwanuka
3. Aldous Harding - Designer
4. Little Simz - Grey Area
5. Nick Cave And The Bad Seeds - Ghosteen
6. Fat White Family - Serfs Up!
7. Weyes Blood - Titanic Rising
8. Fontaines D.C. - Dogrel
9. Billie Eilish - When We Fall Asleep, Where Do We Go?
10. Angel Olson - All Mirrors
11. Slowthai - Nothing Great About Britain
12. Jessica Pratt - Quiet Signs
13. Sharron Van Etten - Remind Me Tomorrow
14. Dave - Psychodrama
15. Kevin Morby - Oh My God
16. Tyler, The Creator - Igor
17. Lee 'Scratch' Perry - Rainford
18. Joan Shelly - Like The River Loves The Sea
19. Big Thief - U.F.O.F
20. Solange - When I Get Home
21. Caroline Polachek - Pang
22. Bon Iver - I,I
23. Bruce Springsteen - Western Stars
24. Bill Callahan - Shepherd In A Sheepskin Vest
25. Thom Yorke - Anima
26. Mac Denarco - There Comes The Cowboy
27. Sleater-Kinney - The Center Won't Hold
28. Vampire Weekend - Father Of The Bride
29. Foals - Everything Not Saved Will Be Lost - Part 1
30. Edwyn Collins - Badbea
31. The Murder Capital - When I Have Fears
32. These New Puritans - Inside The Rose
33. Hot Chip - A Bath Full Of Ecstacy
34. The Specials - Encore
35. Taylor Swift - Lover
36. Brittany Howard - Jaime
37. Oh Sees - Face Stabber
38. Sleaford Mods - Eton Alive
39. Purple Mountains - Purple Mountains
40. Underworld - Drif Series 1
41. Laiam Gallagher - Why Me? Why Not
42. Fka Twigs - Magdelene
43. James Blake - Assume Form
44. Elbow - Giants Of All Sizes
45. Jenny Lewis - On The Line
46. Ariana Grande - Thank U, Next
47. Loyle Carner - Not Waving, But Drowning
48. King Princess - Cheap Queen
49. The S.L.P. - The S.L.P.
50. Self Esteem - Compliments Please
Q Top 20 Tracks Of The Year
1. Lil Nas X Feat. Billy Ray Cyrus Etc... - Old Town Road
2. Stormzy - Vossi Bop
3. Billie Eilish - Bad Guy
4. Slowthai - Doorman
5. Ariana Grande - Rings
6. Lana Del Rey - Mariners Apartment Complex
7. Lizzo - Juice
8. Fat White Family - Feet
9. Roisin Murphy - Incapable
10. Rosalia And J Balvin - Con Altura
11. Vampire Weekend - Harmony Hall
12. Amyl And The Sniffers - Gacked On Anger
13. Jarv Is - I Must Evolve
14. Sharron Van Etten - Seventeen
15. The 1975 - People
16. Fontaines D.C. - Big
17. Little Simz - Fm
18. Georgia - About Work The Dancefloor
19. Clairo - Bags
20. Tame Impala - Borderline
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The 100 Greatest British Albums Ever
This list was put together by the writers and staff of Q magazine and first published in the June 2000 issue (#165). Qualifying albums had to be made with the major artist being British – so for example albums by The Jimi Hendrex Experience were excluded.
1. Revolver – The Beatles
2. Ok Computer – Radiohead
3. Exile On Main Street – The Rolling Stones
4. London Calling – The Clash
5. A Hard Days Night – The Beatles
6. Astral Weeks – Van Morrison
7. The Beatles – The Beatles
8. (What’s The Story) Morning Glory – Oasis
9. Blue Lines – Massive Attack
10. Never Mind The Bollocks… Sex Pistols
11. Dark Side Of The Moon – Pink Floyd
12. Sticky Fingers – The Rolling Stones
13. Sgt. Pepper’s… - The Beatles
14. Low – David Bowie
15. Mezzanine – Massive Attack
16. Hunky Dory – David Bowie
17. Abby Road – The Beatles
18. Screamadellica – Primal Scream
19. Unknown Pleasures – Joy Division
20. Hounds Of Love – Kate Bush
21. Rubber Soul – The Beatles
22. Park Life – Blur
23. Bryter Later – Nick Drake
24. Definitely Maybe – Oasis
25. …Ziggy Stardust – David Bowie
26. Led Zeppelin IV – Led Zeppelin
27. The Queen Is Dead – The Smiths
28. Let It Bleed – The Rolling Stones
29. The Stone Roses – The Stone Roses
30. Scary Monsters & Super Creeps – David Bowie
31. Pills ’N’ Thrills & Bellyaches – Happy Mondays
32. Physical Graffiti – Led Zeppelin
33. For Your Pleasure – Roxy Music
34. Leftism – Leftfield
35. The Bends – Radiohead
36. Maxinquaye – Tricky
37. Led Zeppelin II – Led Zeppelin
38. The Specials – The Specials
39. Everything Must Go – Manic Street Preachers
40. The Lexicon Of Love – ABC
41. A Night At The Opera – Queen
42. Dig Your Own Hole – Chemical Brothers
43. Wish You Were Here – Pink Floyd
44. Hatful Of Hollow – The Smiths
45. Armed Forces – Elvis Costello & The Attractions
46. Different Class – Pulp
47. The Fat Of The Land – Prodigy
48. The Clash – The Clash
49. Club Classics Vol. One – Soul To Soul
50. All Mod Cons – The Jam
51. Brothers In Arms – Dire Straits
52. Connected – Stereo MC’s
53. Peter Gabriel III – Peter Gabriel
54. The Man Who – Travis
55. Piper At The Gates Of Dawn – Pink Floyd
56. Quadrophenia – The Who
57. In It For The Money – Supergrass
58. Urban Hymns – The Verve
59. Ogdon’s Nut Gone Flake – The Small Faces
60. Vol.4 – Black Sabbath
61. Dummy – Portishead
62. Plastic Ono Band – John Lennon/Plastic Ono Band
63. Metalheads Presents Platinum Breaks – Various
64. Everything’s Coming Up Dusty – Dusty Springfield
65. Seventeen Seconds – The Cure
66. New Boot And Panties – Ian Dury
67. Solid Air – John Martyn
68. When I Was Born For The 7th Time – Cornershop
69. Dare – The Human League
70. Anokha, Sounds Of The Asian Underground – Various
71. Unplugged – Eric Clapton
72. Grand Prix – Teenage Fanclub
73. Radiator – Super Furry Animals
74. 3 EP’s – The Beta Band
75. Band On The Run – Wings
76. Ghost In The Machine – Police
77. Wildwood – Paul Weller
78. In Rock – Deep Purple
79. Unhalfbricking – Fairport Convention
80. Stars – Simply Red
81. You’ve Come A Long Way Baby – Fatboy Slim
82. This Years Model – Elvis Costello & The Attractions
83. Signing Off – Ub40
84. Goodbye Yellow Brick Road – Elton John
85. Searching For The Young Soul Rebels – Dexy’s Midnight Runners
86. The Yes Album – Yes
87. Brewing Up With Billy Bragg – Billy Bragg
88. Psycocandy – The Jesus And Mary Chain
89. The White Room – The KLF
90. The Undertones – The Undertones
91. Very – The Pet Shop Boys
92. Hats – The Blue Nile
93. Rum Sodomy And The Lash – The Pogues
94. Goodbye Jumbo – World Party
95. Kilimanjaro – The Teardrop Explodes
96. Coming Up – Suede
97. Low Life – New Order
98. Rio – Duran Duran
99. Infected – The The
100. Number Of The Beast – Iron Maiden
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NOT from Q magazine but a US equivalent list...
Top 100 American Albums – from Blender magazine Feb/March 2002 issue.
We Americans have the best music in the world. Nothing like a bit of arrogance to get people to talk and write bollocks! JW
In alphabetical order, according to artist:
A Tribe Called Quest, The Low End Theory
Aerosmith, Rocks
Tori Amos, Under the Pink
Louis Armstrong, The Complete Hot Five and Hot Seven Recordings
The B-52’s, The B-52’s
Beach Boys, Pet Sounds
Beastie Boys (twice), Paul’s Boutique and Licensed to Ill
Beck, Odelay
Chuck Berry, The Great Twenty-Eight
Mary J. Blige, My Life
Blondie, Parallel Lines
James Brown, Sex Machine
Carpenters, The Singles 1969–1981
Johnny Cash, At Folsom Prison
Ray Charles, Modern Sounds in Country and Western Music
Chic, Risque
The Coasters, 50 Coastin’ Classics
Miles Davis, Kind of Blue
De La Soul, 3 Feet High and Rising
DJ Shadow, Endtro-ducing
The Doors, The Doors
Dr. Dre, The Chronic
Bob Dylan (three times), The Basement Tapes, Blonde on Blonde and Highway 61 Revisited
Eagles, Hotel California
Eminem, The Slim Shady LP
Aretha Franklin (twice), I Never Loved a Man the Way I Love You and Lady Soul
Marvin Gaye, Let’s Get It On
Grateful Dead, American Beauty
Al Green, Call Me
Guns N’ Roses, Appetite for Destruction
Woody Guthrie, Dustbowl Ballads
Jimi Hendrix, Electric Ladyland
Lauryn Hill, The Miseducation of Lauryn Hill
Hole, Live Through This
Billie Holiday, Lady in Satin
Buddy Holly, Greatest Hits
Michael Jackson, Off the Wall
Jane’s Addiction, Nothing’s Shocking
Robert Johnson, King of the Delta Blues Singers
Kid Rock, Devil Without A Cause
Kiss, Destroyer
Little Richard, Grooviest 17 Original Hits!
LL Cool J, Radio
Lynyrd Skynyrd, (Pronounced Leh-Nerd Skin-Nerd)
Madonna, The Immaculate Collection
Curtis Mayfield, Superfly
Metallica, Metallica
The Minutemen, Double Nickels on the Dime
Joni Mitchell (twice), Court and Spark and Blue
Modern Lovers, Modern Lovers
Willie Nelson, Red Headed Stranger
Randy Newman, 12 Songs
Harry Nilsson, Nilsson Schmilsson
Nine Inch Nails, The Downward Spiral
Nirvana (twice), In Utero and Nevermind
Notorious B.I.G., Life After Death
Parliament, Mothership Connection
Gram Parsons, Grievous Angel
Pavement, Slanted and Enchanted
Pearl Jam, Vs.
Pixies, Surfer Rosa
Elvis Presley (twice), From Elvis in Memphis and The Sun Sessions
Prince, Sign “O” The Times
Prince and the Revolution, Purple Rain
Public Enemy, It Takes a Nation of Millions to Hold Us Back
Rage Against the Machine, Evil Empire
Ramones, Ramones
Otis Redding, Otis Blue — Otis Redding Sings Soul
R.E.M. (twice), Automatic for the People and Murmur
The Replacements, Let It Be
Run-DMC, Raising Hell
Paul Simon, Graceland
Frank Sinatra, In the Wee Small Hours
Sly & the Family Stone, There’s a Riot Goin’ On
Patti Smith, Horses
Phil Spector, Back to Mono (1958-69)
Bruce Springsteen, Darkness on the Edge of Town
Steely Dan, Katy Lied
Talking Heads, Remain in Light
TLC, Crazysexycool
Van Halen, Van Halen
Various Artists, Nuggets: 1965–1968
The Velvet Underground, The Velvet Underground & Nico
Muddy Waters, At Newport 1960
Weezer, Weezer
Hank Williams, 40 Greatest Hits
Lucinda Williams, Lucinda Williams
Stevie Wonder (twice), Fulfillingness’ First Finale and Innervisions
Wu-Tang Clan, Enter the Wu-Tang (36 Chambers)
Neil Young (twice), After the Gold Rush and Rust Never Sleeps
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50 Greatest British Tracks
Q – National Anthems
Q 231 – Oct 2004
1. The Beatles – A Day In The Life
2. The Kinks – Waterloo Sunset
3. Oasis – Wonderwall
4. Sex Pistols – God Save The Queen
5. Queen – Bohemian Rhapsody
6. The Who - My Generation
7. Robbie Williams – Angels
8. David Bowie – Life On Mars
9. The Rolling Stones – Sympathy For The Devil
10. Massive Attack – Unfinished Sympathy
11. Oasis – Live Forever
12. The Beatles – Help!
13. The Smiths – There Is A Light That Never Goes Out
14. The Clash – London Calling
15. Blur – This Is A Low
16. The Jam – Going Underground
17. The Small Faces – All Or Nothing
18. Pink Floyd – Comfortably Numb
19. The Kinks – You Really Got Me
20. Coldplay – The Scientist
21. Kate Bush – Hounds Of Love
22. Madness – Baggy Trousers
23. Dexys Midnight Runners – Come On Eileen
24. The Stone Roses – Fools Gold
25. The Streets – Dry Your Eyes
26. Blur – Girls And Boys
27. The La’s – There She Goes
28. Pet Shop Boys – West End Girls
29. Joy Division – Love Will Tear Us Apart
30. Ian Dury – Sex And Drugs And Rock And Roll
31. The Verve – Bitter Sweet Symphony
32. The Specials – Ghost Town
33. Led Zeppelin – Stairway To Heaven
34. Franz Ferdinand – Take Me Out
35. The Prodigy – Firestarter
36. Pulp – Common People
37. Slade – Cum On Feel The Noise
38. Soul II Soul – Back To Life
39. Morrissey – Everyday Is Like Sunday
40. Radiohead – Karma Police
41. Happy Mondays – Step On
42. The Libertines – Time For Heroes
43. Kaiser Chiefs – I Predict A Riot
44. New Order – Blue Monday
45. Spice Girls – Wannabe
46. Rod Stewart – Maggie May
47. Keane – Everybody’s Changing
48. Elvis Costello – (I Don’t Want To Go To) Chelsea
49. Cornershop – Brimful Of Asha
50. The Undertones – Teenage Kicks

1The Who, ‘The Who By Numbers’
300. The Who, ‘The Who By Numbers’ (1975) Polydor.
Following their ‘Tommy’ soundtrack, ‘The Who By Numbers’ was anything but, featuring the likes of ‘Squeeze Box’ and ‘Dreaming From the Waist’.
2The Go-Betweens, ’16 Lovers Lane’
299. The Go-Betweens, ’16 Lovers Lane’ (1988) Beggars Banquet.
The final release before the band’s original split, ‘16 Lovers Lane’ contained the group’s biggest hit in ‘Streets Of Your Town’.
3Malcolm McLaren, ‘Duck Rock’
298. Malcolm McLaren, ‘Duck Rock’ (1983) Charisma.
Former Sex Pistols manager McClaren’s ‘Duck Rock’ LP fused hip-hop and world music to create a far more enlightening stew than the corny hoedown of ‘Buffalo Girls’ suggested.
4Can, ‘Ege Bamyasi’
297. Can, ‘Ege Bamyasi’ (1972) United Artists.
The krautrock experimentalist’s critically acclaimed LP has found fans as diverse as Pavement’s Stephen Malkmus and Kanye West – who sampled ‘Sing Swan Song’ on his ‘Graduation’ album.
5David Bowie, ‘Let’s Dance’
296. David Bowie, ‘Let’s Dance’ (1983) EMI.
Co-produced by Nile Rodgers, Bowie’s disco-infused ‘sell-out’ record was a dancefloor-filling smash that saw music’s biggest chameleon transform into a new-romantic funk god.
6Snoop Dogg, ‘Doggystyle’
295. Snoop Dogg, ‘Doggystyle’ (1993) Death Row.
Following appearances on Dre’s ‘The Chronic’, his ‘Doggystyle’ debut set the rapper up as a hard-chuffing, gin-glugging superstar in his own right.
7Klaxons, ‘Myths Of The Near Future’
294. Klaxons, ‘Myths Of The Near Future’ (2007) Polydor.
Leading the nu-rave charge, Klaxon’s Mercury Prize-winning first album was a technicolour slice of drug-addled, oddball genius that they’re still yet to surpass.
8Aztec Camera, ‘High Land, Hard Rain’
293. Aztec Camera, ‘High Land, Hard Rain’ (1983) Sire.
The Scots’ debut preceded more commercially successful albums ‘Love’ and ‘Knife’, but set the group up as a worthy addition to the pop end of the new-wave spectrum.
9The Cribs, ‘The New Fellas’
292. The Cribs, ‘The New Fellas’ (2005) Wichita.
The Jarmans’ scenester-berating second effort saw them upscale from their charmingly lo-fi debut, perfectly mixing DIY spirit with genuine indie disco hits.
10The Byrds, ‘Younger Than Yesterday’
291. The Byrds, ‘Younger Than Yesterday’ (1967) Columbia.
Indulging the band’s increasingly psychedelic leanings, ‘Younger Than Yesterday’ saw bassist Chris Hillman come into his own to steer The Byrds into acidic new waters.
11The Bluetones, ‘Expecting To Fly’
290. The Bluetones, ‘Expecting To Fly’ (1996) Superior Quality Recordings.
Featuring ‘Bluetonic’ and ‘Cut Some Rug’, the Londoners’ luxurious Britpop debut even managed to knock Oasis’ ‘What’s The Story (Morning Glory)’ off Number One.
12Jonathan Richman & The Modern Lovers, ‘The Modern Lovers’
289. Jonathan Richman & The Modern Lovers, ‘The Modern Lovers’ (1976) Beserkley.
Indebted to the Velvet Underground and responsible for influencing more bands than you can name, ‘The Modern Lovers’ is the sound of effortless US rock’n’roll.
13Stevie Wonder, ‘Music Of My Mind’
288. Stevie Wonder, ‘Music Of My Mind’ (1972) Tamla.
Drawing on a more synthesizer-heavy sound, Stevie’s 14th studio album – recorded when he was just 21 – marked his soulful maturity and lit the fuse on the disco inferno.
14Slayer, ‘Reign In Blood’
287. Slayer, ‘Reign In Blood’ (1986) Def Jam.
On ‘Reign In Blood’ these Cali maniacs played thrash faster and gnarlier than it had ever been heard before. Songs about insanity and Nazi scientist Joseph Mengele only up the ante.
15Screaming Trees, ‘Dust’
286. Screaming Trees, ‘Dust’ (1996) Sony.
Is Screaming Trees’ swansong the most psychedelic album in all grunge? ‘Dying Days’ and ‘Gospel Plow’ see their craggy rock decorated with sitar and mellotron, frontman Mark Lanegan a brooding, almost spiritual presence.
16Marvin Gaye, ‘Midnight Love’
285. Marvin Gaye, ‘Midnight Love’ (1982) Columbia.
Inspired by funk, reggae and the machine music of Kraftwerk, Gaye’s first post-Motown album was NME’s Album Of The Year and spawned the huge hit ‘Sexual Healing’.
17Fugazi, ’13 Songs’
284. Fugazi, ’13 Songs’ (1989) Dischord.
Former members of Minor Threat and Rites Of Spring unite in the greatest DIY hardcore band the world has ever seen. ‘13 Songs’ collects their first two EPs in one righteous collection.
18Roxy Music, ‘Roxy Music’
283. Roxy Music, ‘Roxy Music’ (1972) Island.
Art-school bands are often guilty of privileging pretension over concision, but ‘Roxy Music’ is avant-garde pop wholly deserving of the phrase; smart, imaginative, revolutionary.
19Teenage Fanclub, ‘Grand Prix’
282. Teenage Fanclub, ‘Grand Prix’ (1995) Creation.
These jangly Glaswegians worship at the altar of melodic giants from The Beach Boys to Big Star. But on ‘Grand Prix’ they made an album to rank alongside their heroes.
20Elvis Costello, ‘My Aim Is True’
281. Elvis Costello, ‘My Aim Is True’ (1977) Stiff.
Reggae, country, torch song, ’50s dancehall and Tin Pan Alley songcraft combined on the raucous, ramshackle debut from what looked like a snarly post-punk Buddy Holly.
21Aphex Twin, ‘Drukqs’
280. Aphex Twin, ‘Drukqs’ (2001) Warp.
Richard D James’ last album (ever?) was a sprawling double, a demented battery of drill’n’bass and Erik Satie piano that pushed the listener to the brink of glorious exhaustion.
22Captain Beefheart & The Magic Band, ‘Trout Mask Replica’
279. Captain Beefheart & The Magic Band, ‘Trout Mask Replica’ (1969) Reprise.
Beefheart’s third is one of the most challenging but rewarding albums in all rock’n’roll. Once described as “like a piece of the Somme, put in an art gallery”.
23The Slits, ‘Cut’
278. The Slits, ‘Cut’ (1979) Island.
London punk ragamuffins get together with UK reggae producer Dennis Bovell for an album of dub invention and anarchic mischief. “Do a runner!” they caterwaul on ‘Shoplifting’.
24‘The Sundays, ‘Reading, Writing And Arithmetic’
277. ‘The Sundays, ‘Reading, Writing And Arithmetic’ (1990) Rough Trade.
Inspired by The Smiths and the Cocteau Twins, The Sundays’ Rough Trade debut is a gem of old-school indie that pushes Harriet Wheeler’s shyly beautiful voice centre-stage.
25Echo & The Bunnymen, ‘Ocean Rain’
276. Echo & The Bunnymen, ‘Ocean Rain’ (1984) Korova.
Head Bunnyman Ian McCulloch reckoned the blustery, neo-psychedelic ‘Ocean Rain’ was “the greatest album ever”. We’d rate it a bit lower, but still, good effort.
26The Who, ‘Quadrophenia’
275. The Who, ‘Quadrophenia’ (1973) Polydor.
Rock opera alert! The Who’s sixth followed young Jimmy, a scooter-riding mod, as he wrestled with his shattered personality to a soundtrack of monumental hard rock.
27REM, ‘Green’
274. REM, ‘Green’ (1988) Warner Bros.
Hitherto folksy and cryptic, REM’s major-label debut saw them step boldly out of the indie ghetto. Loud, rocky, often explicitly political (‘Stand’, ‘Orange Crush’).
28Kanye West, ‘The College Dropout’
273. Kanye West, ‘The College Dropout’ (2004) Roc-A-Fella/Def Jam.
Yeezy’s debut shunned gangsta cliche in favour of philosophical ruminations on prejudice, materialism and religion.
29Coldplay, ‘Parachutes’
272. Coldplay, ‘Parachutes’ (2000) Parlophone/EMI.
Radiohead had gone weird with ‘Kid A’, but here was a group quite happy to pilfer their audience.
30The Velvet Underground, ‘Loaded’
271. The Velvet Underground, ‘Loaded’ (1970) Cotillion.
By the time it hit shelves, a dissatisfied Lou had quit the band. But ‘Loaded’ catches the Velvets on the sunny side, ‘Sweet Jane’ proving they could do joyous and playful when the mood took them.
31The Kinks, ‘The Kinks Are The Village Green Preservation Society’
270. The Kinks, ‘The Kinks Are The Village Green Preservation Society’ (1968) Pye.
Ray Davies’ roving muse alights at a picturesque village in the English countryside; cue a wistful song cycle lamenting new technologies and the waning of British tradition.
32The Horrors, ‘Skying’
269. The Horrors, ‘Skying’ (2011) XL.
Faris’ lot embarked on a soaring Big Music epic that wraps up krautrock, shoegaze and Simple Minds in its cool embrace.
33Todd Rundgren, ‘Todd’
268. Todd Rundgren, ‘Todd’ (1974) Bearsville/Rhino.
Prog-rock prodigy follows his self-recorded ‘A Wizard, A True Star’ with another wild trip into the progressive outer limits. It’s frequently beautiful, though: see ‘A Dream Goes On Forever’.
34Dr Feelgood, ‘Stupidity’
267. Dr Feelgood, ‘Stupidity’ (1976) United Artists.
Blasting out of early ’70s Canvey Island, Dr Feelgood’s rowdy pub-rock – especially Wilko Johnson’s choppy guitar style – set the blueprint for punk. ‘Stupidity’ captures them live, and dangerous.
35Coldplay, ‘A Rush Of Blood To The Head’
266. Coldplay, ‘A Rush Of Blood To The Head’ (2002) Parlophone/EMI.
If Coldplay were stressing about following ‘Parachutes’, they weren’t showing it. ‘In My Place’ and ‘Clocks’ were among the standouts on a record NME described as “an album of outstanding natural beauty”.
36Hole, ‘Celebrity Skin’
265. Hole, ‘Celebrity Skin’ (1998) DGC/Geffen.
Grunge widow Courtney Love gets a makeover – and the results are fabulous. ‘Malibu’ and ‘Awful’ still rock, hard, but with a new streamlined sound steeped in power pop and Fleetwood Mac.
37The Beatles, ‘Please Please Me’
264. The Beatles, ‘Please Please Me’ (1963) Parlophone.
Anand Wilder, Yeasayer: “My mom and I bought all The Beatles’ albums in chronological order in the ’80s. I have distinct memories of using cutlery to drum along on my high chair at dinner.”
38Laura Marling, ‘I Speak Because I Can’
263. Laura Marling, ‘I Speak Because I Can’ (2010) Virgin.
Her second opus, following debut album ‘Alas, I Cannot Swim’, ‘I Speak Because I Can’ marked the maturing of Laura Marling into one of Britain’s best and most respected young songwriters.
39Boogie Down Productions, ‘Criminal Minded’
262. Boogie Down Productions, ‘Criminal Minded’ (1987) B-Boy.
Packed with vérité snapshops of gun crime and turf war, ‘Criminal Minded’ comes on like a blueprint for East Coast gangsta rap. It also introduced one of rap’s all-time greatest rhymers, the mighty KRS-One.
40Bob Marley & The Wailers, ‘Live!’
261. Bob Marley & The Wailers, ‘Live!’ (1975) Island/Tuff Gong.
Recorded using the Rolling Stones Mobile Studio, ‘Live!’ captures a transcendent performance at London’s Lyceum Ballroom at the tail end of the Natty Dread tour.
41The Specials, ‘The Specials’
260. The Specials, ‘The Specials’ (1979) 2-Tone.
Jerry Dammers and his 2-Tone crew spin tales of poverty, teen pregnancy and beer that tastes “like piss” as Jamaican ska takes root among the concrete high-rises of post-punk Britain.
42Public Enemy, ‘Yo! Bum Rush The Show’
259. Public Enemy, ‘Yo! Bum Rush The Show’ (1987) Def Jam/Columbia.
Mark Stoermer, The Killers: “I think I was 10 years old when I started to get into hip-hop. I just liked the cover, but I got really into it, and I bought every Public Enemy album after that for the next four years. There was something about the beat and they used 79 guitar samples and cool synths.”
43Nick Drake, ‘Five Leaves Left’
258. Nick Drake, ‘Five Leaves Left’ (1969) Island.
Drake always sounded like a man not long for this world – but on his debut album his maudlin songs are brought vividly to life with orchestration from Fairport Convention, Pentangle and arranger Robert Kirby.
44Nick Cave & The Bad Seeds, ‘The Boatman’s Call’
257. Nick Cave & The Bad Seeds, ‘The Boatman’s Call’ (1997) Mute/Reprise.
Romance and religion are Cave’s meat and drink, but he seldom tackled them with the sort of dark poetry he brought to bear on ‘The Boatman’s Call’, the Bad Seeds’ attack softened into something both grandiose and intimate.
45Elvis Costello & The Attractions, ‘This Year’s Model’
25. Elvis Costello & The Attractions, ‘This Year’s Model’ (1978) Radar.
Defining UK new wave, Costello’s second found him at his most amphetamine-fuelled and lyrically savage, ravaging pop culture, romance, fashion and politics on ‘No Action’, ‘Pump It Up’ and ‘(I Don’t Want To Go To) Chelsea’.
46Metronomy, ‘The English Riviera’
255. Metronomy, ‘The English Riviera’ (2011) Because Music.
Pure escapism that was seized on not just by those of us who had grown up on the English Riviera, Metronomy here gave us a shimmering pop classic that put the sound of sunshine in our ears and the logo of the Torbay tourist board in the hippest record collections on the planet.
47The Smiths, ‘Meat Is Murder’
254. The Smiths, ‘Meat Is Murder’ (1985) Rough Trade.
From the “belligerent ghouls” of ‘The Headmaster Ritual’ to the abattoir shrieks of the title track, ‘Meat Is Murder’ is The Smiths at their darkest and most confrontational.
48Pussy Galore, ‘Exile On Main Street’
253. Pussy Galore, ‘Exile On Main Street’ (1986) Shove.
Noise-rock brats led by one Jon Spencer have an audacious idea: a full-album cover of The Stones’ critically adored 1972 LP. Results: hardly faithful; rocks like a motherfucker.
49Grimes, ‘Visions’
252. Grimes, ‘Visions’ (2012) Arbutus.
Somewhere between Mariah Carey, Enya and Skinny Puppy, we find Canadian electro nymph Claire Boucher. But is ‘Visions’ a glimpse of electronic pop’s bright future – or something else entirely?
50Beach Boys, ‘Surf’s Up’
251. Beach Boys, ‘Surf’s Up’ (1971) Brother/Reprise.
Uneven in places, but ‘Surf’s Up’ features some of Brian Wilson’s finest moments: the baroque, Van Dyke Parks-assisted title track and the peculiar ‘A Day In The Life Of A Tree’.
51Weezer, ‘Weezer’
250. Weezer, ‘Weezer’ (1994) DGC.
The album that for better or worse, gave us emo, the ‘Blue Album’ was an enthralling tangle of surf pop hooks, garage shouting and teen-geek balladry that almost made Buddy Holly cool again.
52Prodigy, ‘The Fat Of The Land’
249. Prodigy, ‘The Fat Of The Land’ (1997) XL.
Featuring crossover hits ‘Firestarter’ and ‘Smack My Bitch Up’, The Prodigy’s third album was a commercial smash and their ticket to techno’s top table. On Blogs: NME staff choose their favourite Top 10 records of all time.
53Eminem, ‘The Slim Shady LP’
248. Eminem, ‘The Slim Shady LP’ (1999) Aftermath/Interscope.
Theo Hutchcraft: ”It blew my mind wide open. I lived in such a tiny town in North Yorkshire, and it made me want to escape. I still listen to it to this day. I could talk about him all night.”
54Glasvegas, ‘Glasvegas’
247. Glasvegas, ‘Glasvegas’ (2008) Columbia.
Following the success of emotive anthem ‘Daddy’s Gone’, Glasvegas’ eponymous debut set the Scots up as heart-on-sleeve, gut punch sonic storytellers.
55Nirvana, ‘MTV Unplugged In New York’
246. Nirvana, ‘MTV Unplugged In New York’ (1994) DGC.
A low-key but sublime live album released shortly after Kurt Cobain’s death, ‘Unplugged’ has, in many ways, become as celebrated a release as any of the band’s original LPs.
56Super Furry Animals, ‘Fuzzy Logic’
245. Super Furry Animals, ‘Fuzzy Logic’ (1996) Creation.
The pill-popping, unicorn-riding, Howard Marks-adoring valley boys’ first LP provided an eclectic and technicolour insight into the mind of a pop one-off: a psychedelic blast of the weird and truly wonderful.
57Wild Beasts, ‘Smother’
244. Wild Beasts, ‘Smother’ (2011) Domino.
Wild Beasts’ third took the experimental idiosyncrasies of predecessor ‘Two Dancers’ and stripped them back to the barest, most intimate bones.
58Joni Mitchell, ‘The Hissing Of Summer Lawns’
243. Joni Mitchell, ‘The Hissing Of Summer Lawns’ (1975) Asylum.
Mixing elements of folk, jazz, classical and rock, Mitchell drew on evocative tales and visual lyrics to paint a Grammy-nominated picture.
59Michael Jackson, ‘Off The Wall’
242. Michael Jackson, ‘Off The Wall’ (1979) Epic.
Wall-to-wall disco gold from the peak of Jacko’s ‘definitely still black’ 70s phase, ‘Off The Wall’ set Michael up to become the world’s biggest funk pop superstar.
60Madonna, ‘Ray Of Light’
241. Madonna, ‘Ray Of Light’ (1998) Maverick.
Madge’s post-‘Evita’ dance reinvention was to prove one of her most acclaimed yet, with the album selling over three million copies in 18 days.
61Ian Dury, ‘New Boots and Panties!!’
240. Ian Dury, ‘New Boots and Panties!!’ (1977) Stiff.
Saucy! Before teaming up with backing band The Blockheads, pub rock king Ian Dury put out this – a quintessentially English look at everyday British life.
62Dizzee Rascal, ‘Boy In Da Corner’
239. Dizzee Rascal, ‘Boy In Da Corner’ (2003) XL.
A Mercury Prize-winner and one of the first records to bring grime to the mainstream, Dizzee’s debut put him at the forefront of the noughties’ tough-talking British street talent, fixing up, sounding sharp.
63Yeah Yeah Yeahs, ‘Show Your Bones’
238. Yeah Yeah Yeahs, ‘Show Your Bones’ (2006) Polydor.
The follow up to their art-punk debut, ‘Show Your Bones’ found the NYC trio treading a more funky, emotive, and almost restrained path between ‘Gold Lion’ and ‘Cheated Hearts’.
64The xx, ‘The xx’
237. The xx, ‘The xx’ (2009) Young Turks.
The xx’s debut arrived as a minimalist gem, taking beats reserved for the club, slowing them down and pushing space between to create something bewitching and unique.
65Suicide, ‘Suicide’
236. Suicide, ‘Suicide’ (1977) Red Star.
Initially polarizing but later elevated to cult status, Alan Vega and co’s first effort bridged the gap between 50s rock’n’roll and new wave.
66Nick Cave & The Bad Seeds, ‘Murder Ballads’
235. Nick Cave & The Bad Seeds, ‘Murder Ballads’ (1996) Mute.
With guest appearances from Kylie and PJ Harvey, ‘Murder Ballads’’ crimes of passion pushed Caves’ lyrical dexterity into darker places than ever before.
67Pet Shop Boys, ‘Behaviour’
234. Pet Shop Boys, ‘Behaviour’ (1990) Parlophone.
Inspired by Depeche Mode and produced in Germany, ‘Behaviour’ saw the Pet Shop Boys eschew their usual playfulness for a more reflective approach.
68Babyshambles, ‘Down In Albion’
233. Babyshambles, ‘Down In Albion’ (2005) Rough Trade.
Pete’s first post-Libertines LP proved he could more than cut it without Carl, dishing up two of his finest moments in ‘Albion’ and ‘Fuck Forever’.
69Leonard Cohen, ‘Songs Of Leonard Cohen’
232. Leonard Cohen, ‘Songs Of Leonard Cohen’ (1967) Columbia.
Full of ”half-crazy” women and erotic anguish, the first musical foray from this published poet and author became an essential ’60s cult artifact thanks to its stark depictions of anger, lust and romance.
70Dr Dre, ‘The Chronic’
231. Dr Dre, ‘The Chronic’ (1992) Death Row Records.
The debut album from the seminal NWA lynchpin, ‘The Chronic’ included early hit ‘Nuthin’ But A ‘G’ Thang’ and was credited for birthing the G-funk sub-genre.
71David Bowie, ‘Aladdin Sane’
230. David Bowie, ‘Aladdin Sane’ (1973) RCA.
Anna Calvi: “I was eight when I bought it. It’s just got incredible songs, and it has a lot of depth to it. It’s a really intelligent record. I still listen to it a lot – it’s one of my favourites even now.”
72Public Image Ltd., ‘Metal Box’
229. Public Image Ltd., ‘Metal Box’ (1979) Virgin.
Scratchy, serrated avant-garde noise mongering on guitars made of aluminium, PIL’s second saw Lydon spark post-punk as effortlessly as he’d kicked off its precursor.
73Pavement, ‘Brighten The Corners’
228. Pavement, ‘Brighten The Corners’ (1997) Matador.
More concise slacker clatter after the sprawling ‘Wowee Zowee!’, ‘Brighten…’ gave us such memorable Pavement nuggets as ‘Shady Lane’ and ‘Stereo’.
74John Lennon, ‘Imagine’
227. John Lennon, ‘Imagine’ (1971) Apple.
Far more than the mawkish-but-you-love-it title track, ‘Jealous Guy’, ‘Gimme Some Truth’ and ‘Oh My Love’ made ‘Imagine’ Lennon’s lushest solo record, albeit doused in dark soul-searching and sly snipes at Paul.
75The Doors, ‘The Doors’
226. The Doors, ‘The Doors’ (1967) Elektra.
‘Light My Fire’. ‘The End’. ‘Break On Through (To The Other Side)’. Psychedelic blues got no better.
76T Rex, ‘Electric Warrior’
225. T Rex, ‘Electric Warrior’ (1971) Reprise/Fly.
Goodbye strumbling cosmic folk wizard, hello mirror-shoes, spangly faces and ‘Get It On’, a massive glam sex-stomp like Godzilla eating Starlight Express.
77Echo And The Bunnymen, ‘Heaven Up Here’
224. Echo And The Bunnymen, ‘Heaven Up Here’ (1981) Korova.
Like Joy Division’s ‘Closer’ if the drugs worked, the Bunnymen’s second album was steeped in doomy grandeur but kept one cheek in the sunlight.
78Arcade Fire, ‘Neon Bible’
223. Arcade Fire, ‘Neon Bible’ (2007) Merge.
Tacky religious glitz, futile wars, ecological disaster and economic struggle; on album two Arcade Fire’s world expanded as wide as their sonics.
79Fever Ray, ‘Fever Ray’
222. Fever Ray, ‘Fever Ray’ (2009) Rabid.
This is a record that takes the ice-cool rave warrior mindset of The Knife’s ‘Silent Shout’ down a notch, to create something softer and more personal. Eerily minimal music that only gods of Scandinavian electronica are capable of.
80Marianne Faithfull, ‘Broken English’
221. Marianne Faithfull, ‘Broken English’ (1979) Island.
Faithfull’s drug-fucked croak matched the traumas and vulnerabilities of a moving, inventive and foul-mouthed punk-pop album soaked in years of homelessness, infidelity and addiction.
81The National, ‘Alligator’
220. The National, ‘Alligator’ (2005) Beggars Banquet.
Americana’s musical Black Books came into their own with the weary urbane poetry of their fourth album, songs of taut melancholy building to the screaming rampage of ‘Mr November’, the drunker they get.
82The Jam, ‘All Mod Cons’
219. The Jam, ‘All Mod Cons’ (1978) Polydor.
Their new British vision expanding to take in Kinks covers (‘David Watts’) and NF attacks (‘Down In The Tube Station At Midnight’), The Jam really hit their new wave stride.
83The Horrors, ‘Primary Colours’
218. The Horrors, ‘Primary Colours’ (2009) XL.
Hiring Portishead’s Geoff Barrow as producer, The Horrors’ churning goth punk began aping MBV and Spiritualized to critical acclaim.
84Iggy Pop, ‘Lust For Life’
217. Iggy Pop, ‘Lust For Life’ (1977) RCA.
Iggy’s own Berlin adventure peaked with this cracking Bowie collaboration that, despite a superhuman heroin intake, spawned ‘The Passenger’ and the (i)Trainspotting(i) bugle call title track.
85New Order, ‘Power, Corruption And Lies’
216. New Order, ‘Power, Corruption And Lies’ (1983) Factory.
In the wake of ‘Blue Monday’, New Order cranked up the synths and lit up the nervous system of the monster we call ‘dance’.
86Massive Attack, ‘Mezzanine’
215. Massive Attack, ‘Mezzanine’ (1998) Circa/Virgin.
Ubiquitous on pub jukeboxes in gritty TV dramas, the nocturnal and nightmarish atmospheres of Massive Attack’s third album stepped out of trip-hop into esoteric electronica, preparing the ground for Burial.
87Air, ‘Moon Safari’
214. Air, ‘Moon Safari’ (1998) Virgin.
Chillwave? Daft Punk? 21st Century robo disco? The source is here, in ‘Sexy Boy’ and ‘Kelly Watch The Stars’ from the fresh princes of Versailles’ celebrated debut.
88Funkadelic, ‘One Nation Under A Groove’
213. Funkadelic, ‘One Nation Under A Groove’ (1978) Warner.
George Clinton’s funk mothership beam into the disco age with this melting pot of hard rock, psych and, yes, funk primed for maximum dancefloor communion.
89Kings Of Leon, ‘Youth And Young Manhood’
212. Kings Of Leon, ‘Youth And Young Manhood’ (2003) RCA.
In which four hirsute hicks from Tennessee applied The Strokes’ itchy energy to down-home trucker tales of murder, sex and drugs brewed in bathtubs, and lit a stadium-sized fuse.
90Grace Jones, ‘Nightclubbing’
211. Grace Jones, ‘Nightclubbing’ (1981) Island.
A glimpse into the sordid disco depravities behind the velvet rope at Studio 54, ‘Nightclubbing’ and its standout smash ‘Pull Up To The Bumper’ shunted new wave, reggae and disco firmly into the seductive neon ’80s with a single arse/car metaphor.
91The Magnetic Fields, ’69 Love Songs’
210. The Magnetic Fields, ’69 Love Songs’ (1999) Merge.
Stephin Merritt’s awe-inspiring magnum opus of eclectic wonder rarely dipped over three hours of genre-hopping melodic brilliance, from baroque ballads to industrial electro-pop. Romantic, audacious, breathtaking.
92Kate Bush, ‘The Kick Inside’
209. Kate Bush, ‘The Kick Inside’ (1978) EMI.
Bronte, sexuality, man-children and religious mysticism combined on Kate Bush’s astoundingly accomplished debut album, recorded when she was cartwheeling mistily through her 18th year.
93Chic, ‘Risqué’
208. Chic, ‘Risqué’ (1979) Atlantic.
When the world expected a third album called ‘Will You Just Chuffing Well Dance, Already!’, Nile Rodgers adorned his ‘Good Times’ calling card with reflective love paeans that nonetheless further stoked the disco inferno.
94Pavement, ‘Slanted And Enchanted’
206. Pavement, ‘Slanted And Enchanted’ (1992) Matador.
Part Fall, part Lemonheads and part midnight stagger to the garage for Doritos and Rizlas, Pavement’s inspired debut invented US slacker pop and oozed hazy heartbreak on ‘Here’.
95
205. b>NWA, ‘Straight Outta Compton’ (1988) Ruthless/Priority/EMI.
The hammer clicks back on gangsta rap – ‘…Compton’ was the fierce and confrontational bark of LA’s socially-chained black youth and, sentiment-wise, not exactly hug-a-copper.
96Michael Jackson, ‘Bad’
204. Michael Jackson, ‘Bad’ (1987) Epic.
Jacko’s transformation from drive-in dreamboat to bad boy biker spewed pure pop gold – ‘Man In The Mirror’, ‘Bad’, ‘Dirty Diana’ – from its exhaust pipe.
97Beach House, ‘Teen Dream’
203. Beach House, ‘Teen Dream’ (2010) Sub Pop.
Whether wrapped in wintry twilight torch songs or snowboarding melodic glaciers, Beach House’s third album epitomized the new decade’s dream pop delirium.
98Tricky, ‘Maxinquaye’
202. Tricky, ‘Maxinquaye’ (1995) Island.
A murky benchmark, Tricky’s first foray out of the Massive Attack fold added dank danger to Bristol’s trip-hop scene, and made his nefarious name.

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While '80s pop culture is largely remembered for its frivolity, the social unrest that stirred beneath the decade's brightly colored gloss and greed resulted in not just the guilt-driven good intentions of enterprises like the star-studded USA for Africa, but a generation of artists whose music genuinely reflected the state of the world. They say all politics is local, and the incisive perspectives of the decade's defining acts were likewise geographical: Released in the U.S. in January of 1980, the Clash's seminal London Calling ushered in a new decade with disgruntled punk rock from across the pond, while U2's early focus was on the violence in their homeland of Ireland. Back in the U.S., Springsteen spoke to the struggles and dreams of the working class, and Michael Stipe began using his increasing rock-star status to react to the rising conservatism in American politics. By the end of the decade, the Reagan era's biggest pop stars (Michael, Janet, Madonna) were transformed into cultural critics too, reflecting on poverty, race relations, and what Prince called “a big disease with a little name.” Though women were entering the workforce in record numbers, the surprising (even to us) lack of female artists on our list points to a music industry that, perhaps, needed a few more years to catch up to the feminist movement, but the women who left the most indelible marks bravely pushed the boundaries of sexuality and gender. And as for the just-burgeoning hip-hop genre, acts like Public Enemy and De La Soul not only had a conscience—they served as ours. Sal Cinquemani
100
Soul II Soul, Club Classics Vol. One
Less a product of its own decade than a prophecy of the next one, Soul II Soul's debut presaged the development of downtempo and trip-hop by blending the seductive depth of R&B with reggae, funk, and hip-hop, all while remaining firmly planted in the disco-soul aesthetic of U.K. house. Groundbreaking sound design notwithstanding, Club Classics Vol. One also showcases, in the three-headed vamping of Caron Wheeler, Rose Windross, and Doreen Waddell, one of the finest soul-diva lineups ever to grace a dance album. And what's more impressive? That the album's classic singles (“Fairplay,” “Keep On Movin',” and “Back to Life”) don't sound anything like one another, or that, two decades of girl groups later, they still sound totally unique? Matthew Cole
99
Slick Rick, The Great Adventures of Slick Rick
Rap's premier storyteller, London-born Richard Walters burst onto the scene in 1988 with The Great Adventures of Slick Rick, an album with such a unique style that it changed hip-hop. Rick weaves compelling narratives from the first and third person, using the Queen's English and a devilish sense of humor to make each of these 12 tracks quirky and utterly irresistible listens. Relishing in whimsical wordplay, Rick adopts a hilarious high-pitched squeal for the dialogue of his female characters, and makes shifts in style when stepping into alter egos like the Ruler and MC Ricky D. Of course, there are times when Rick's tales can fringe on vulgar and misogynistic, but his storytelling prowess is second to none. Huw Jones
98
X, Los Angeles
A punk-rock power duo making strong use of their male/female dynamic, Exene Cervenka and John Doe fronted X's roaring songs with a vibrant vocal and lyrical approach, which helped make them the creative standard bearer of the nascent L.A. scene. Beefing up the usual punk attack with a sound hearkening back to several decades of rock, from Chuck Berry to Blondie, the band went beyond the usual three-chord dynamic, forming an album that's both a paean to a fading city and an excoriation of its faults, all burning trash, clumped hair and Hollywood Boulevard sleaze, perfectly summed up by the burning logo of the album's cover. Jesse Cataldo
97
George Clinton, Computer Games
George Clinton's solo debut begins, almost oddly, with the former Parliament and Funkadelic frontman putting on his clothes. But the song's message is a naked one: the promise of a throw down—to bring on the funk, the soul, and the psychedelic like no one's business. What follows is an almost spotless blitzkrieg of jams that run the gamut from the rousing (“One Fun at a Time”), to the poignantly metaphoric (“Free Alternations”), to the playfully infantile (“Pot Sharing Tots”). “Loopzilla” is a master class in sampladelic overload, and the title tune suggests Kraftwerk put through a P-Funk filter, but it's the synth-funk “Atomic Dog” that remains the album's triumph, an unbelievably improvised totem to Clinton's own stray cock strut, and one that makes a world without Adina Howard and Snoop Dogg seem impossible. Ed Gonzalez
96
Talk Talk, The Colour of Spring
For many bands, transitional albums are most valuable for establishing context between distinct phases of a career arc. Talk Talk's The Colour of Spring, however, stands as one of the band's most satisfying standalone albums, even though it's a clear bridge between their origins in new wave and the post-rock of their later albums. Songs like “Life's What You Make of It” and “I Don't Believe in You” strike a perfect and often beautiful balance between Talk Talk's extraordinary gifts for memorable pop melodies with a newfound experimental bent that finds them replacing the synths and guitars of the era with flourishes of organ, sax, and even a children's choir. Jonathan Keefe

While ’80s pop culture is largely remembered for its frivolity, the social unrest that stirred beneath the decade’s brightly colored gloss and greed resulted in not just the guilt-driven good intentions of enterprises like the star-studded USA for Africa, but a generation of artists whose music genuinely reflected the state of the world. They say all politics is local, and the incisive perspectives of the decade’s defining acts were likewise geographical: Released in the U.S. in January of 1980, the Clash’s seminal London Calling ushered in a new decade with disgruntled punk rock from across the pond, while U2’s early focus was on the violence in their homeland of Ireland. Back in the U.S., Springsteen spoke to the struggles and dreams of the working class, and Michael Stipe began using his increasing rock-star status to react to the rising conservatism in American politics. By the end of the decade, the Reagan era’s biggest pop stars (Michael, Janet, Madonna) were transformed into cultural critics too, reflecting on poverty, race relations, and what Prince called “a big disease with a little name.” Though women were entering the workforce in record numbers, the surprising (even to us) lack of female artists on our list points to a music industry that, perhaps, needed a few more years to catch up to the feminist movement, but the women who left the most indelible marks bravely pushed the boundaries of sexuality and gender. And as for the just-burgeoning hip-hop genre, acts like Public Enemy and De La Soul not only had a conscience—they served as ours. Sal Cinquemani
100. Soul II Soul, Club Classics Vol. One
Less a product of its own decade than a prophecy of the next one, Soul II Soul’s debut presaged the development of downtempo and trip-hop by blending the seductive depth of R&B with reggae, funk, and hip-hop, all while remaining firmly planted in the disco-soul aesthetic of U.K. house. Groundbreaking sound design notwithstanding, Club Classics Vol. One also showcases, in the three-headed vamping of Caron Wheeler, Rose Windross, and Doreen Waddell, one of the finest soul-diva lineups ever to grace a dance album. And what’s more impressive? That the album’s classic singles (“Fairplay,” “Keep On Movin’,” and “Back to Life”) don’t sound anything like one another, or that, two decades of girl groups later, they still sound totally unique? Matthew Cole
99. Slick Rick, The Great Adventures of Slick Rick
Rap’s premier storyteller, London-born Richard Walters burst onto the scene in 1988 with The Great Adventures of Slick Rick, an album with such a unique style that it changed hip-hop. Rick weaves compelling narratives from the first and third person, using the Queen’s English and a devilish sense of humor to make each of these 12 tracks quirky and utterly irresistible listens. Relishing in whimsical wordplay, Rick adopts a hilarious high-pitched squeal for the dialogue of his female characters, and makes shifts in style when stepping into alter egos like the Ruler and MC Ricky D. Of course, there are times when Rick’s tales can fringe on vulgar and misogynistic, but his storytelling prowess is second to none. Huw Jones
98. X, Los Angeles
A punk-rock power duo making strong use of their male/female dynamic, Exene Cervenka and John Doe fronted X’s roaring songs with a vibrant vocal and lyrical approach, which helped make them the creative standard bearer of the nascent L.A. scene. Beefing up the usual punk attack with a sound hearkening back to several decades of rock, from Chuck Berry to Blondie, the band went beyond the usual three-chord dynamic, forming an album that’s both a paean to a fading city and an excoriation of its faults, all burning trash, clumped hair and Hollywood Boulevard sleaze, perfectly summed up by the burning logo of the album’s cover. Jesse Cataldo
97. George Clinton, Computer Games
George Clinton’s solo debut begins, almost oddly, with the former Parliament and Funkadelic frontman putting on his clothes. But the song’s message is a naked one: the promise of a throw down—to bring on the funk, the soul, and the psychedelic like no one’s business. What follows is an almost spotless blitzkrieg of jams that run the gamut from the rousing (“One Fun at a Time”), to the poignantly metaphoric (“Free Alternations”), to the playfully infantile (“Pot Sharing Tots”). “Loopzilla” is a master class in sampladelic overload, and the title tune suggests Kraftwerk put through a P-Funk filter, but it’s the synth-funk “Atomic Dog” that remains the album’s triumph, an unbelievably improvised totem to Clinton’s own stray cock strut, and one that makes a world without Adina Howard and Snoop Dogg seem impossible. Ed Gonzalez
96. Talk Talk, The Colour of Spring
For many bands, transitional albums are most valuable for establishing context between distinct phases of a career arc. Talk Talk’s The Colour of Spring, however, stands as one of the band’s most satisfying standalone albums, even though it’s a clear bridge between their origins in new wave and the post-rock of their later albums. Songs like “Life’s What You Make of It” and “I Don’t Believe in You” strike a perfect and often beautiful balance between Talk Talk’s extraordinary gifts for memorable pop melodies with a newfound experimental bent that finds them replacing the synths and guitars of the era with flourishes of organ, sax, and even a children’s choir. Jonathan Keefe
95. Tears for Fears, Songs from the Big Chair
In which an attempted primal scream ends up coming out as an incredibly pitch-perfect crying jag. (Boy, am I glad the word “emo” wasn’t around in 1985, though Richard Kelly’s use of the dreamy “Head Over Heels” in his frowny sci-fi teen-angst epic Donnie Darko paid back that particular favor with interest.) British synth-pop act Tears for Fears’ follow-up to the critically acclaimed The Hurting may have seemed a sellout at the time, but heard anew today, the cathartic, shuffling hit “Everybody Wants to Rule the World” seems like one of the great indictments of the materialism and false triumphalism of the decade. Eric Henderson
94. U2, War
The aptly titled War found U2 not only diving into the jagged terrain of British politics, but likewise, developing a harsher, needle-nosed sound. The album finds the band in attack mode, where on standout tracks like “Sunday Bloody Sunday” an instrument as refined as the violin takes turns playing electrical whip, wailing animal, and battle cry across the song’s marching protest beat. This is U2 at their angriest, each piece infused with a sense of dark urgency that reaches a frothy head on “New Year’s Day.” Bono’s resolution, “I will begin again,” is perhaps indicative of the spiritual introspection to come on The Unforgettable Fire and The Joshua Tree, but for War, the music is as immediate, violent, and striking as its subject matter. Kevin Liedel
93. The Fall, This Nation’s Saving Grace
This Nation’s Saving Grace is the most accessible release from a band that can, at times, border on the completely inaccessible. Mark E. Smith makes no attempt to curtail his ominous murmuring, and his bandmates are as prone as ever to prickly songcraft and thrashing, but the grooves and melodies here showcase the Fall at their least abrasive. With “Barmy,” “What You Need,” and “Spoilt Victorian Child,” the group strikes the perfect balance between bilious dirge and subversive pop, while “Paintwork” is a charmingly tongue-in-cheek homage to ’60s pop. A little bit of melody goes a long way for the Fall, making this a quintessential album in a unique and strangely interesting canon. Jones
92. My Bloody Valentine, Isn’t Anything
It’s easy to dismiss Isn’t Anything as Loveless-lite, but My Bloody Valentine doesn’t attempt anything quite as epic or ambitious on their debut as they would just two years later. But even when they’re less grandiose, the shoegazing pioneers’ music is just as fascinating and hypnotic. Guitarist and songwriter-in-chief Kevin Shields employs reverb, feedback, pitch bending, and heavy distortion throughout, creating music that’s capable of simultaneously soundtracking our most ethereal dreams and most violent nightmares. Isn’t Anything beautifies all that should be ugly, and deserves a spot as a lo-fi masterpiece in its own right. Jones
91. Meat Puppets, Meat Puppets II
Unfortunately for brothers Cris and Curt Kirkwood, it took a guest appearance alongside Kurt Cobain on MTV Unplugged in 1993 to immortalize their legacy, a feat which 1984’s Meat Puppets II was fully capable of doing on its own merits. “Plateau,” “Oh, Me,” and “Lake of Fire”—the three songs that Cobain performed with the band—are especially alluring examples of the group’s cowpunk formula, and they strike similar success with the alluring “We’re Here” and endlessly infectious “The Whistling Song.” And with instrumental tracks “Aurora Borealis” and “I’m A Mindless Idiot,” the group is still in excellent form, serving up front-porch psychedelica of the highest order. Jones
90. Metallica, Master of Puppets
In retrospect, Master of Puppets exists as a kind of rapid-fire last hurrah for Metallica’s status as L.A.’s favorite underground thrash metal band. For a major-label debut, the album is unapologetically metal, brandishing wave upon wave of knifing guitar, percussion that rattles like tank treads, and nary a fully-formed melody to break through the rage, testosterone, and noise. Lest one thinks it’s all speed and mechanics, though, there is substance in the machine: Between the titular reference to drug abuse and swipes at evangelical commercialism, Master of Puppets isn’t just Metallica’s best album, it’s also their most heartfelt. Liedel
89. Talking Heads, Speaking in Tongues
If the title of the Talking Heads’ sixth album found them embracing their lyrical Dadaism with an almost religious zealotry, and if the title’s mission statement is more than fulfilled in the likes of “Moon Rocks” (“I ate a rock from the moon/Got shicked once, shocked twice”) and “Girlfriend Is Better” (where “Stop making sense” became a mantra), it’s also worth noting that the tunes were counterintuitively accessible like never before, no more so than “Burning Down the House,” which set fire to no wave and planted one of the many seeds for new wave. Henderson
88. Pet Shop Boys, Actually
Actually, it explains nothing, but alludes to everything. Actually, it dances around the outskirts of dance music without ever diving headlong into disco hedonism. Actually, Neil Tennant’s yawn could conceivably greet any DJ set that dares to drop “One More Chance” or “Hit Music” alongside, say, “The Pleasure Principle.” Actually, Chris Lowe’s synth lines make cheap sound posh and vice versa. Actually, you know what you’ve done to deserve this, but are afraid to admit it. Actually, it isn’t a sin, but it’s more fun if you think it is. Actually, it’s hiding in plain sight. Actually, none of your business. Actually, this is all precisely the point. Henderson
87. Tom Tom Club, Tom Tom Club
Bless Mariah for sampling “Genius of Love” or we may remember Tom Tom Club only as a kookier-than-Taking-Heads offshoot. The band’s debut album, which shares a really messy loft in my medulla oblongata with Björk, David Lynch, and Alvin and the Chipmunks, is a smart-alecky cacophony of giddy rhymes, ballsy raps, blissed-out melodies, and lush bells, whistles, beeps, splats, and just about every other sound Moog synthesizers were capable of back in 1981. Not only does Tina Weymouth, on “Wordy Rappinghood,” show why humorless white girls like Madonna should never take up the rap mantle, she and hubby Chris Frantz’s production proves to the Paul Simons of the ’80s how to ebulliently transmute exotic sounds without whitening out their essence. Gonzalez
86. The Human League, Dare!
Stoic but danceable, detached but emotionally sincere, Dare! was, at the time of its release, simply the finest set of synth-pop songs ever compiled. The album has lost a lot of its futuristic sheen in subsequent decades, but “Seconds” still sounds sweeping and lush, while “I Am the Law,” with its bursts of rumbling bass and off-kilter harmonies, will never be anything but captivating. There’s always been something severe, even clinical, about Dare! (the same interplay of coldness and candor that made Joy Division so great), and with its technology dated, it sounds more tragic than ever, imparting a sense of deferred emotional connection akin to finding a breakup letter in a time capsule. Cole
85. The Clash, Sandinista!
The succulent fat that drips from this spit-skewered, bloated pig of an album—36 tracks spanning two-and-a-half hours!—is fuel for a distinctive genre bonfire. The flames reach brashly, soulfully, sarcastically beyond punk, rock, pop, dance, ska, rockabilly, dub, calypso, and gospel, and its themes, as diverse as its sound, are the concerns of the world: consumerism, working-class disaffection, political antipathy, immigration, warfare. And drugs, the afterlife, Jesus Christ, sometimes all at once. Heavy stuff, yes, but this is the Clash, who will provide us with an address of Cold War relations but so from the floor of Studio 54. These cheeky blokes operate as spies, disguising grave matters with high-spirited musicality, hoping the powers that be won’t notice. Truly an album without borders. Gonzalez
84. Afrika Bambaataa & Soulsonic Force, Planet Rock: The Album
For any student of hip-hop or dance music, the first two tracks of electro-funk pioneer Afrika Bambaattaa’s Planet Rock alone make this landmark album worth the price of admission, stocked as they are with lessons on both the history and future of the genres. “Looking for the Perfect Beat” is still emulated by hip-hop and dance producers to this day, while the title track, first released as a single in 1982 and constructed from recreated portions of Kraftwerk’s “Trans-Europe Express” and “Numbers” (from the German group’s Computer World), singlehandedly fathered both ’80s Latin freestyle and the entire hip-hop genre as we know it. Cinquemani
83. Brian Eno and David Byrne, My Life in the Bush of Ghosts
A twitching sonic collage that falls somewhere between studio experiment and gonzo pop record, My Life in the Bush of Ghosts challenges the often egg-headed nature of its presentation by being sneakily and eminently listenable. These are songs, despite their scrambled nature and lack of traditional vocals, and as a collection they reverberate with nervous energy. Whether it’s the voice of an exorcist on “The Jezebel Spirit” or a nervous radio-show caller on “Mea Culpa,” Brian Eno and David Byrne harness these disparate voices as the engines for a series of amazingly diverse tracks. Cataldo
82. Sonic Youth, EVOL
Jittery and eclectic, 1987’s EVOL stands far apart from the later, more cohesive Daydream Nation; it’s a difficult album that’s nonetheless one of the best latter-day invocations of no-wave chaos. Full of sustained bursts of cathartic noise, the album kicks off with the jagged squeal of “In the Kingdom #19,” which employs Minuteman bassist Mike Watt over a spoken-word account of a car crash, months after the death of bandmate D. Boon in similar circumstances. Lydia Lunch contributes vocals to the blown-out wasteland “Marilyn Moore,” adding to the weird collegial air of one of the group’s strangest albums. Cataldo
81. R.E.M., Reckoning
There’s no way Reckoning could ever have been as revelatory as Murmur, a fact that plays an obvious role in determining their respective legacies in R.E.M.’s catalogue. It’s a matter of “importance” versus “quality,” and, while Murmur certainly wins in the former category, there’s a strong argument to be made that, song for song, Reckoning might be the better album, even if it is rightly overshadowed by its predecessor’s greater historical impact. Informed by the death of the band’s close friend, photographer Carol Levy, Reckoning is focused on emotions of anger and regret, and it’s that focus that makes songs like “Harbourcoat” and “So. Central Rain” some of the most captivating in R.E.M.’s embarrassingly rich catalogue. Keefe
80. The Clash, Combat Rock
“This is a public service announcement…with guitars!” The album’s famous first words, and a perfectly concise summation of the Clash’s uniquely exuberant and stylish craft, their provocative blending of political provocation with eclectic musicality. Their evolution was such that they became catchier as their convictions became more dense, which may explain Combat Rock’s somewhat ill repute; there would be hits, and as such it was conceived, wrongly, as a sell out. To me, the stream of consciousness of “Car Jamming” attests like few other Clash songs to Joe Strummer’s social consciousness, restless even when he was standing still. They saw rock, like fascist might, as a power, and so it is that their music feels as if it hits you with the force of a club or a boot to the face. Gonzalez
79. The Cure, Pornography
The general read on the Cure’s legacy has been unfairly reduced to music for mopey goth kids, which misses the breadth of the band’s actual output. But it’s not like that reputation emerged from a vacuum: There’s Pornography, which opens with the line “It doesn’t matter if we all die” and then gets even more bleak from there. A thick, sludgy album that underscores its miserable bent with portentous arrangements that are brooding and uncompromising, Pornography peaks with “The Figurehead,” on which Robert Smith outlines his vision of hell in unflinching detail. The themes may be dire, but Smith elevates his unrelenting pain into real art. Keefe
78. The Bangles, Different Light
It’s telling that, in a decade dominated by men, the first all-girl band to top the Hot 100 (with the kitschy “Walk Like an Egyptian”) featured a name, lush harmonies, and guitar riffs that all hark back to the 1960s. The caveat to their accomplishment, of course, is that producer David Kahne infamously excised drummer Debbi Peterson from the track. The album’s biggest hits were written by other people (including the somewhat out-of-place yet nonetheless hard-to-resist “Walk Like an Egyptian” and the Prince-penned opener “Manic Monday”), but it’s the simple sophistication of the songs composed by the band themselves, like the rollicking title track and the haunting acoustic ballad “Following,” that makes Different Light more than simply a collection of Top 40 hits from a bygone era, but one of that era’s best pop albums. Cinquemani
77. Minutemen, Double Nickels on the Dime
The punk-rock scene was built on a discontented ethos, but it was often a challenge in itself to decipher just what bands like Black Flag and Minor Threat were raging against. Minutemen, though, always stood out for the lack of ambiguity in their mission statement, and Double Nickels on the Dime features D. Boon and Mike Watt’s fiercest social and political tirades. What’s more, given Watt’s propulsive basslines and Boon’s eclectic guitar work (shifting from soft Spanish-guitar interludes and shrill punk riffs with the greatest of ease), the album also boasts far tighter and more varied musicianship than anything they did before or after. Jones
76. Art of Noise, Who’s Afraid of the Art of Noise?
“In the nineteenth century, with the invention of the machine, Noise was born,” wrote Luigi Russolo in a letter to fellow Italian futurist composer Balilla Pretella. And in the late 20th century, avant-garde electronic-pop collective Art of Noise, who took their name from Russolo’s famous essay, was born, concocting cacophonous collages of digital beats and samples that would influence an entire generation of knob twirlers. The group’s 1984 debut opens with the proto-political “A Time for Fear (Who’s Afraid),” portions of broadcasts from the U.S. invasion of Grenada building to industrial beats and a minimalist sub-bass that informed the work of future pioneers like Björk and Tricky. Surprisingly, it’s the album’s least noisy track, the 10-minute instrumental chill-out “Moments In Love,” that truly veers off into some exhilaratingly strange, unexpected territory. Russolo would be proud. Cinquemani
75. Depeche Mode, Music for the Masses
Communication is a recurring theme on Depeche Mode’s landmark Music for the Masses, and from the sampled radio broadcast of “To Have and to Hold” to the collage of grunts and moans of “I Want You Now” and the use of chamber choirs on “Sacred” and “Pimpf,” voices play a pivotal role in conveying Martin Gore’s missives of repentance and redemption. The high drama that’s so often proven to be the band’s Achilles’ heel works impeccably here, each song seguing effortlessly into the next, each histrionic verse and melodramatic key change aiding in the creation of a bona-fide pop-rock opera. While the band’s music wouldn’t truly meet the masses until 1990’s Violator, Music for the Masses stands as an early masterpiece of the synth-pop genre. Cinquemani
74. Cocteau Twins, Treasure
No, you still can’t make out a damn thing that Elizabeth Frazer sings on Treasure. But you don’t need to: Her rolling, ululating syllables impart the kind of feelings that verbal communication is notoriously ill-suited for, and besides, when she swoops between the extremes of her range on a devastating number like “Lorelei,” you’ll swear you’re speaking her language. Robin Guthrie’s hypnotic guitar playing, by turns majestic and muscular, is everything that dream-pop guitar should be—if not for My Bloody Valentine, maybe all it ever would be. Critics sometimes protested that the Cocteau Twins shouldn’t really be considered a rock band at all, and that’s fine by me: When “Donimo” closes the album with operatic splendor, it’s clear that they’re something far more special. Cole
73. Hüsker Dü, Zen Arcade
With 1984’s Zen Arcade, Hüsker Dü married their fast and furious brand of punk with swirling psychedelica, elaborate noise arrangements, and a newfound melodious side. Bob Mould’s cacophonous solos and treble-heavy riffing are raw and intense, while his sullen acoustic jams are gorgeous in their own melancholic way, and he even gets raise-your-fist anthemic with “Turn on the News.” With all this sonic shapeshifting, and an exhausting 70 minutes on the clock, Zen Arcade is something of an operatic frenzy, one where violent forays of rapid-fire punk are set to eccentric and elaborate structures. Jones
72. Sonic Youth, Sister
Overshadowed both critically and commercially by its successor, Daydream Nation, Sonic Youth’s Sister is the last great punk album of the Reagan era and the first great pop album to emerge from the American underground. The chiming, bending guitars of “Schizophrenia” interject a gorgeous haze into a sad, understated song about a friend’s crazy sister that immediately signaled a new era in the band’s development. Across the album, tightly interwoven textures of machine noise, feedback, and distortion are balanced out by shimmering harmonics and unprecedented warmth. Sure, the album still seethes with disaffection, but the avant garde never sounded so inviting. Cole
71. Kate Bush, The Dreaming
As far as 1980s female-centric performance-art-cum-mutant-pop goes, Kate Bush is the explosive sensualist against Laurie Anderson’s cool, detached yogi. Years removed from the idyllic anticipation of “This Woman’s Work,” The Dreaming is a violently singular work that places its creator’s emotions in their most natural environment: inscrutable and volatile. Each song, from the pedagogically impatient “Sat in Your Lap” to the trap-door hysterics of “Get Out of My House,” is a Joyce-worthy confluence of footnotes-to-be, and the key keeps getting tantalizingly passed between tracks via Bush’s darting tongue. Henderson
70. Lou Reed, New York
A poison-pen letter to his hometown, Lou Reed’s New York devotes itself to rapidly fading objects, things that always seem to be in danger, from blue whales to the familiar nature of a city. Obsessed with the soiled underside of mid-’80s NYC, acting as a grimy catalogue of police shootings, bigotry, and murder, Reed’s last great album also contains a fair sprinkling of affection. His love for the manifold details and innate possibilities of this complicated place is never more intact than on “Halloween Parade,” which documents the annual Greenwich Village tradition with a tender eye for minutiae, depicting a city that slips into a different costume every day. Cataldo
69. The Smiths, Strangeways, Here We Come
Whether or not Strangeways, Here We Come ended the Smiths’s brief career with their best album has been the subject of considerable debate for nearly a quarter century, but it definitively stands as the band’s most lush, richest work. Johnny Marr’s signature guitar work is at its most varied and widest-ranging here, and, thanks to producer Stephen Street, the contributions of Andy Rourke and Mike Joyce’s rhythm section are actually given the chance to shine, which was rarely the case on the band’s first three albums. Morrissey, for his part, contributes lyrics that are dense and heady, steeped in imagery of death that reflects the demise of one of modern rock’s most influential bands. Keefe
68. Elvis Costello and the Attractions, Get Happy!!
In the saga of the punk-rock upstart who shocked critics by going all Lennon-McCartney on their asses, the blue-eyed soul of Elvis Costello’s Get Happy!! is typically considered a genre detour, more like 1981’s country-themed Almost Blue than the classic pop triumvirate of Armed Forces, Trust, and Imperial Bedroom. But you need only compare it to Young Americans, Bowie’s misguided stab at R&B from five years earlier, to see how sincerely Costello inhabits the style’s past and present. Costello may have set out to show how much he knew about soul, but what he actually proved was how much he loves it. Cole
67. XTC, Skylarking
The story behind the recording of XTC’s Skylarking is that the band absolutely hated working with producer Todd Rundgren, whom they found overbearing and snide, but none of that behind-the-scenes tension translated into the finished product, as joyous and buoyant a pop album as has ever been recorded. The songwriting is balanced between Andy Partidge’s more twee impulses and Colin Moulding’s grounded, dry wit, while Rundgren’s on-point production splits the difference between the band’s Pet Sounds inspiration and new wave’s bounce. Even when the band explores headier themes, such as the working-class disaffect on standout “Earn Enough for Us” and the potent defense of atheism on minor-hit single “Dear God,” their melodies are outsized and sunny. Skylarking might not have been fun to record, but it’s still a blast to listen to. Keefe
66. The Replacements, Tim
On the continuum of ’80s rock acts with a pronounced rock ‘n’ roll influence, the Replacements fall somewhere on the spectrum between Bruce Springsteen and the Mekons, styling a skuzzy blend of mutated rockabilly that absorbs and adapts ’50s tropes with propulsive glee. There’s a glimmer of punk attitude in all of Tim’s hurtling songs, but each one is too piercingly romantic and sincere to fit into that genre; witness “Kiss Me on the Bus,” which caps off with a joyous wave of sleigh bells. The result is a collection of booming love songs that find the spirit of the adventure in the most domestic of settings. Cataldo
65. Run-D.M.C., Raising Hell
It wasn’t the album that made hip-hop “safe” to white, middle American audiences (that didn’t come along until M.C. Hammer’s Please Hammer, Don’t Hurt ‘Em), but Run-D.M.C.’s landmark Raising Hell was the album that truly gave a broader pop audience an entry point into hip-hop music. That Run-D.M.C. were able to break through on such a massive scale without sacrificing their aggressive sampling of harder-edged rock music or their inimitable lyrical flow speaks to the skill, unrivaled at the time, that they displayed on Raising Hell. Thanks to producers Rick Rubin and Russell Simmons, the fans who were initially hooked by the group’s cover of Aerosmith’s “Walk This Way” discovered the depth of sound, purposeful use of samples, and razor-sharp wordplay that made the mid-’80s rap music’s golden age. Keefe
64. Pretenders, Pretenders
The Pretenders’ debut is notable not only for the pitch-perfect execution of the band’s glam-meets-punk style, but also its delivery of unconventional sex appeal. Like Debbie Harry before her, Chrissie Hynde represented a feminization of the punk aesthetic, a street-smart girl who could outdrink, outperform, and ultimately outsmart her male counterparts. Rock feminism never sounded as good as it does here, particularly on tracks like the spunky “Brass in Pocket,” where Hynde has the power to be playful, tough, and even self-deprecating without sacrificing any of her throaty vocal presence. At its core, rock ‘n’ roll is about charisma, and as tracks like “Stop Your Sobbing” and “Private Life” prove, the Pretenders not only had a cache of the stuff, but were well-versed in how to showcase it. Liedel
63. Tina Turner, Private Dancer
Like another mega-successful pop monster, Michael Jackson’s Thriller, Private Dancer is a staggering display of self-affirming artistry and vocal expression. For Turner, who was 45 when the album was released, it also represented a kind of vindication, with songs like the gritty, powerful “What’s Love Got to Do with It” and the sultry ultimatum “Better Be Good to Me” all but destroying the false pretense that she was somehow only fit to play second fiddle to Ike. Both a personal liberation and sonic redemption, Private Dancer established Turner not only as a genuine diva, but a bona fide force of nature. Liedel
62. George Michael, Faith
Written, arranged, composed, and produced by George Michael almost entirely by himself, Faith put the former Wham! singer in the same league, if not on the same team, as Prince, and its blockbuster status and franchise of hits gave the King of Pop a run for his money in the late ’80s. The album fuses pop and R&B with funk and jazz elements (the three-part “I Want Your Sex” alone traverses no less than four or five different styles), and just as the tracks are composed of a mix of canned Synclavier loops and live instruments, Michael himself is presented as one part slick lothario and one part socially conscious crusader. When he wasn’t luring some young thing into his bed with gin and tonic and pleas of “c-c-c-come on,” the middle stretch of the album found him sounding off on such patented ’80s signposts as materialism and heroin addiction. Cinquemani
61. Talking Heads, Stop Making Sense
Inseparable from Jonathan Demme’s concert doc of the same name, arguably the finest concert film ever made, and subject to endless hemming and hawing among Talking Heads’ diehards for the elisions made to said concert’s set list when the soundtrack was being produced, Stop Making Sense remains a divisive album. A 1999 reissue rectified many of the most common complaints about the original release, nearly doubling the length of the album and restoring some continuity to the band’s performance, but that takes nothing away from the fact that Stop Making Sense, even in its truncated original form, is a testament to one of the most compelling, forward-thinking bands of the rock era at the peak of their craft. Keefe
60. Madonna, True Blue
Sure, some of the production choices on True Blue sound chintzy and dated in comparison to those on Madonna’s other ’80s releases, but there’s no getting around the fact that five of the album’s nine tracks are among the strongest individual singles of her career. More importantly, though, True Blue was the album on which it became readily apparent that Madonna was more than just a flash-in-the-pan pop star. It’s when she began manipulating her image—and her audience—with a real sense of clarity and purpose and made sure she had quality songs to back up her calculation and world-dominating ambition. Keefe
59. Elvis Costello and the Attractions, Imperial Bedroom
Imperial Bedroom can be a challenging listen at times, but the hooks and melodies are so beguiling and infectious that it’s about as close to pop as Costello has ever gotten. There’s a myriad of sounds and styles coalescing wonderfully throughout, and the quirky songwriter punctuates each of his sonic detours with jaunty badinage and pert observations. The album boasts some absolutely astonishing wordplay, with even its most personal harangues arriving veiled in clever allegories and razor-sharp double entendres. Despite its lackluster commercial performance, then, Imperial Bedroom affirms Costello as a poet laureate for the counterculture and a restless musical genius all in the space of 50 topsy-turvy minutes. Jones
58. Echo & the Bunnymen, Ocean Rain
Black-velvet rock with a distinct romantic bent, Echo & the Bunnymen’s fourth and best album, Ocean Rain, flirts with ridiculous excess but remains sturdily in check, anchored by Ian McCulloch’s big, crooner-style voice. Never as silly as the gaudy goth luminaries that surrounded them, the band employs many of the same elements and flirts with similar deathly impulses, shaping a dreamy sound that utilizes a full orchestra to call up extravagant flourishes and explore pools of inky gloom, using tracks like “The Yo-Yo Man” to hint at dramatic excess without ever veering into outright theatricality. Cataldo
57. Bruce Springsteen, Nebraska
Strip the bombastic showmanship from Bruce Springsteen’s back-alley narratives, take away the E Street Band, and you get Nebraska, a fragmentary collection of four-track demos that ended up being viable all on its own. These embryonic shells place the lingering desperation that had always lied beneath the surface of his songs into sharp relief, from the killing spree of Charles Starkweather and Caril Ann Fugate on the title track to the last-ditch liaison of “Atlantic City.” Incorporating such far-flung influences as Suicide, whose desperate whoops Springteen emulates on the grim, haunting “Highway Patrolman,” it’s a desolate sonic landscape that’s leagues more progressive than anything he recorded before or after. Cataldo
56. Talk Talk, Spirit of Eden
Opener “The Rainbow,” a deconstructed blues song splayed out over seven minutes, sets the perfect tone for Talk Talk’s Spirit of Eden, the song’s blown-out harmonica wheezing over barebones soft-jazz backing. The album presents a series of similarly deliberate excursions, whose sustained focus on individual elements, like the harmonica and rudimentary blues arrangement of that opening song, twists and transforms them. Despite the initial air of chilled-out simplicity, each of these songs is actually a twitching patchwork of carefully blended elements, with twinkling piano crawls that blossom into sustained electronic explosions, all bracketed by a mystical, quasi-religious style of lyrical wordplay. Cataldo
55. Kate Bush, The Sensual World
It’s hard to pin down what makes Kate Bush’s music so completely infectious, but it probably has something to do with the reckless abandon with which she tackles what could otherwise be preposterous material. The topics on The Sensual World, ranging from a musical rendering of the epilogue of Ulysses to a love song directed at a computer program, are often wholeheartedly silly, and yet these songs never come off as anything less than totally and achingly believable. Blessed with one of music’s most wildly expressive voices, Bush takes each song further than she has to, resulting in an album that forms its own unique world. Cataldo
54. 808 State, 90
If 90 was “Pacific 202” and 30 minutes of tape noise, it’d still be a stone-cold classic. But 808 State’s signature song (here a truncated six minutes of sax, synth, and roiling, rubbery bass), is just the most successful condensation of the diverse sonic tendencies explored on 90. Paced like an excellent DJ set from guys who’d spent enough time in the club to know, 90 doesn’t build so much as it ebbs and flows between the assertively groovy and the totally blissed out. A thrilling expansion of the possibilities for acid house and arguably the best LP ever produced in the style, 90 shows that even a transient fad can be an impetus for world-making. Cole
53. Prince, Dirty Mind
Prince, unlike George Michael, doesn’t feel the need to justify sex, that it’s natural, it’s good. He’s content to let his dick do the talking, without apology. But Prince isn’t simply shooting his dithering load on this 1980 breakthrough, he’s radically redefining sex, its expression and power. Just as the album’s production is a succulently bouncy and interwoven tapestry of funk, pop, and rock, the wily Prince fearlessly and mischievously indulges fantasy and ambiguously adopts countless roles and personas, addressing throughout both his anima and animus. He will daydream of fucking some honey in his daddy’s car, getting head from another on her wedding day, but he will also sneak in glistening moments of doe-eyed romanticism, even a startlingly metaphoric commentary on race and class. This is liquid love in its purest and most thought-provoking form. Gonzalez
52. R.E.M., Lifes Rich Pageant
In which the college (rock) kids graduate and head into the real world, ready to take over. And, in R.E.M.’s case, they came pretty close to doing just that. Lifes Rich Pageant stands as a nearly seamless transition between the band’s formative period and their commercial dominance. The ragged, frenetic energy of R.E.M.’s early work is captured on “Just a Touch” and “These Days,” while “Fall On Me” and their cover of the Clique’s “Superman” showcase a newfound emphasis on pop hooks. In striking that balance, Lifes Rich Pageant is a template for how the “alternative” music the band was largely responsible for originating would, less than a decade later, become the dominant narrative in the music industry. Keefe
51. The Smiths, The Smiths
There’s no reason why a mordant, sexually frustrated disciple of Oscar Wilde who loved punk but crooned like a malfunctioning Sinatra should’ve teamed up with a fabulously inventive guitarist whose influences were so diffuse that it could be hard to hear them at all and formed one of the greatest songwriting duos of the ’80s. On classics like “Hand in Glove” (which had Morrissey outing himself before anyone had even thought to speculate about this sexuality) and “This Charming Man,” Morrissey says a lot but always insinuates more. Though that’s not the case on “Suffer Little Children,” a ghoulish retelling of a real-life tragedy in which five children were sexually abused and murdered. Its unforgettable refrain finds Morrissey channeling the ghosts of Britpop’s sacred city: “Manchester, so much to answer for.” Cole
50. Nine Inch Nails, Pretty Hate Machine
Ever look back at your old junior high school yearbooks and see, with a shock, the last picture the kid voted “Most Likely to Shoot the Rest of Us Dead at Graduation” took before encasing himself inside that filthy, black trench coat? The last one he took with his natural hair color? The last one in which his eyes that would later reflect only cataracts of the soul still glinted with the hint of something obscene? That’s what it’s like to listen now to Trent Reznor scowl, “I’d rather die than give you control!” in “Head Like a Hole.” Before attempting suicide in The Downward Spiral and living with the wrist scars in The Fragile, Pretty Hate Machine sent out sleek, danceable warning shots. Henderson
49. Tracy Chapman, Tracy Chapman
Both the pop music landscape and political climate of the ’80s were defined by a me-first sense of opulence and entitlement, nearly a full decade of the haves flaunting their wares and promising the have-nots that, someday, those wares would trickle down to them too. Tracy Chapman’s unassuming, self-titled debut laid bare the fundamental injustice and dishonesty behind the prevailing policies of the day; she wasn’t just “Talkin’ About a Revolution,” she aimed to start one. But what makes Tracy Chapman more than just a leftist course-correction or an antidote to hair metal are Chapman’s unabashed sincerity and empathy and the robust quality of her songwriting, which make songs like “Fast Car” and “Baby Can I Hold You” no less powerful or moving today. Keefe
48. Michael Jackson, Bad
Michael Jackson’s Bad, perhaps the most highly anticipated album of all time, took the multi-format approach of 1982’s Thriller and magnified it to larger-than-life proportions. The pop was poppier, the rock was rockier, the dance was dancier. (Notably, R&B took the form of carefully placed elements as opposed to the bedrock of the songs.) The album was sonically more adventurous than its predecessor, resulting in more missteps, but perhaps even more rewards. Bad found Jackson taking more creative control, composing the majority of the songs on his own, making the breadth of album’s variety all the more impressive and solidifying many of the artistic and personal quirks and preoccupations that would come to define him in the last two decades of his life. Cinquemani
47. Eurythmics, Touch
If Sweet Dreams (Are Made of This) proved that the Eurhythmics had mastered the new wave genre’s icy detachment and ironic distance better than just about anyone, Annie Lennox and Dave Stewart’s follow-up, Touch, found them ready to move on to greater challenges. The album may not be as song-for-song consistent as Sweet Dreams, but it’s far more diverse in its style, leaning heavily on the soulfulness of Lennox’s performances to keep its synth-pop aesthetic grounded in palpably human emotions. To that end, standout cuts like “Who’s That Girl” and the defiant “Aqua” confirm Lennox’s status as one of pop music’s most gifted, singular vocalists. Keefe
46. Sinéad O’Connor, The Lion and the Cobra
The title of Sinéad O’Connor’s debut was culled from Psalm 91, in which God promises to protect his people from the lion and the snake—symbols of bold and sly danger, respectively. O’Connor is more lion than snake, of course; she purrs like a kitten you’re fully aware is capable of lunging for your throat at any moment, and she often does—shrieking at dead lovers, admonishing her country’s leaders. The Lion and the Cobra is regal, majestic, and allegorical, an album rife with images of war, slain dragons, and ghosts, and it’s one of the most electrifying debuts in rock history. Cinquemani
45. Roxy Music, Avalon
It’s not that the most common criticisms of Roxy Music’s final album, Avalon, don’t have merit: It’s absolutely fair to acknowledge that it’s divorced from the truly progressive aesthetic that made the band’s ’70s-era output so vital and influential, and that the few members of the original lineup who still remained by the early ’80s were so marginalized in the recording that the album plays more like a Bryan Ferry solo project. What those criticisms fail to account for is that the actual music on Avalon, taken on its own merits, is nearly perfect. The meticulous, spit-shined polish of the production can’t mask some of Ferry’s finest pop melodies, nor can it hide the lived-in worldliness that makes Avalon so much cooler and more knowing than the countless New Romantics imitators it spawned. Keefe
44. Laurie Anderson, Big Science
My love affair with Laurie Anderson began with her recent Homeland, an album perfectly and succinctly described by Robert Christgau as a collection of “very scary stories whose endings nobody knows.” But this metropolitan performance artist and borderline cat lady was scaring us as far back as Big Science, on which she asks, “What is behind the curtain?” Then and now, her humor is lacerating, her fondness for BPMs cheekily abstract, but most fetching are her articulations of powerlessness—that even she doesn’t know what’s behind the curtain. Her experiments in syntax and sound eerily echo her concerns with the irreversible tides of change, most spectacularly on her finest song and only sorta-hit, “O Superman,” an attack on American military might that begins almost sensibly with a mother leaving an embarrassing, existentially fraught message on her child’s answering machine. Like progress, Anderson’s music resists resistance. Gonzalez
43. Janet Jackson, Janet Jackson’s Rhythm Nation 1814
“Don’t get me in here acting all silly now.” Nice try, Janet, but with Rhythm Nation, Jimmy Jam and Terry Lewis got you in here acting all sober now. At least for three or four songs, anyway. The follow-up to Control’s redux debut is in equal measure self-enlightened, self-defining, and self-pleasuring. The title track and “The Knowledge” lean heavy on new-jack beats, while “Alright” and “Escapade” radiate the Minneapolis sound at its warmest (she must’ve recorded them the one week it didn’t snow there). And with seven hits (the final of which reached number one almost a year and a half after the album was released), it was one of the decade’s biggest chartbusting juggernauts. Get the point? Good. Henderson
42. New Order, Movement
In Tibetan Buddhism, “bardo” is the intermediate space in between death and rebirth. It would have made an appropriate debut album title for the remaining members of Joy Division, reincarnated as New Order, following the suicide of frontman Ian Curtis. “Movement,” however, works just as well, evoking the fluidity of Bernard Sumner and company’s still-evolving sound. “Dreams Never End” is an apt opener; it’s the only song on the album with a traditional live-rock arrangement, featuring vocals by bassist Peter Hook, whose voice sounds closer in tone and cadence to Curtis’s than Sumner’s does. The rest of Movement exists almost exactly in between Joy Division’s post-punk sound and the synth-pop style that would come to define New Order and influence pop music for decades. Cinquemani
41. Peter Gabriel, So
Home to the colossuses “Red Rain,” “Sledgehammer,” “In Your Eyes,” and “Big Time,” So is Peter Gabriel’s most accessible yet ambitious work. A chronicle of political, emotional, and artistic exploration, the album finds the Genesis co-founder attempting to balance standard pop orthodoxy with his still-rumbling desire for sonic experimentation. When Gabriel strikes that balance, the results are nothing less than sublime, such as when the untamed vocals of Youssou N’Dour join in on the melodious climax of “In Your Eyes.” Notwithstanding its successful expansion of Gabriel’s sound, So succeeds on quirky offerings alone: What’s not to love about an album that features a duet with Kate Bush and a shakuhachi solo? Liedel
40. Grace Jones, Nightclubbing
In go Iggy Pop, David Bowie, the Police, Bill Withers, and Astor Piazzola. Out comes Grace Jones as though none of the others ever existed. (All right, Jones’s dubby take on “Use Me” is no patch on Withers’s original. A minor chink in the armor.) With backing from Sly & Robbie, Jones’s Nightclubbing performs double duty, building up the singer’s legend even as it makes attempts at deconstructing it (as in “Art Groupie,” in which she enunciates “Touch me in a sculpture” so that it sounds like “Touch penis sculpture”). But the boogie masterpiece “Pull Up to the Bumper” removes such academicism from the table entirely. Henderson
39. The Replacements, Let It Be
In the rough and raw underbelly of hardcore punk, naming your LP after a seminal Beatles album and peppering it with coarse ballads and painfully intimate moments is certainly a brave move. But that’s exactly what Paul Westerberg and company did on Let It Be, and that decision puts the accent mark on what is their strongest work by some stretch: “Unsatisfied” is a jagged ballad on which Westerberg howls his lungs out, while “Androgynous” is a tender, heart-on-the-sleeve piano number that finds the singer in equally gripping form. Make no mistake: The Replacements still fulfill their obligation to exhilarating punk jams, and the band is at their anthemic best on “I Will Dare,” but the album’s really remarkable moments arrive whenever the group dares to leave their hardcore comfort zone. Jones
38. The Jesus and Mary Chain, Psychocandy
Shaping fuzz into a potent, tactile instrument, the Jesus and Mary Chain helped establish the style of distortion-laden fogginess that would eventually become the foundation for shoegaze. Possibly their most amorphously detailed album, and probably their best, Psychocandy buries snide and snotty vocals in a rolling sea of noise, an enormously effective approach that’s still being imitated today. The musical backing may be spare, like the faint guitar shimmer and lonely hi-hat smack of “Just Like Honey,” or it may be dense, the roiling chaos of “In a Hole,” but it remains effective throughout, leaving each song encased in a thick viscous shell. Cataldo
37. Guns n’ Roses, Appetite for Destruction
The Sunset Strip didn’t spew the decade’s noisiest music. It just produced the most popular noise. In some cases, the sound disguised an iffy supply of fury. Despite initially boasting what would’ve been one of the most nasty-as-we-wanna-be covers ever attached to a diamond-selling blockbuster (Robert Williams’s comic-strip panel depicting the aftermath of robot rape) before caving into retailer pressure, and beyond such liquor-soaked speed-metal anthems as “You’re Crazy” and “Welcome to the Jungle,” the bleeding heart at the center of “Sweet Child o’ Mine” proves Axl Rose was always one good bender away from getting all “November Rain” on us. Henderson
36. Pixies, Surfer Rosa
The scary thing about Surfer Rosa is that the songs are so damn catchy you’re in danger of not only deciphering the initially incomprehensible lyrics, but of singing them out loud. Which is great, since “Bone Machine” has a memorable bridge about being molested by a priest, “Broken Face” is yet another terrific Pixies song dedicated to the inbred, and “Cactus” finds Black Francis missing his lover and wishing to slip into one of her wet, bloody dresses. But the hooks are as grotesquely powerful as the imagery, and against all odds the Pixies created some bizarrely poignant moments in unexpected places (like Fancis’s trippy scuba fantasy, “Where Is My Mind?,” and Kim Deal’s “Gigantic” ode to the well-endowed), a fact which owes, more often than not, to Joey Santiago’s endless supply of otherworldly guitar leads. Cole
35. Bruce Springsteen, Born in the U.S.A.
The ironic misinterpretation of Born in the U.S.A.’s title track has been well-documented, and persists as a rather inane flap as it pertains to the album’s real import: Bruce Springsteen’s transformative leap from bar muse to blue-collar rock god. Born in the U.S.A. is chock-full of working-class anthems that fueled that metamorphosis, from burners like “I’m on Fire” to the wistful “My Hometown,” where the Boss sings of old Buicks, racial tensions, and the sting of economic downturn. Rounded out by the mixture of sex, magnetism, and poetry in “Dancing in the Dark,” Born in the U.S.A. propelled Springsteen not only into a pop-radio staple in the ’80s, but cast him as the voice of the disillusioned American everyman. Liedel
34. Pixies, Doolittle
Doolittle is their manifesto for ’90s alt rock: dark, offbeat, slow-churning, humorously grim, and peppered with the kind of loud-soft dynamics that exemplify both the Pixies’ sound and the countless bands that followed in their wake. Arriving in 1989, Doolittle served as vanguard for modern rock both sonically and tonally, as evidenced by the descriptive, almost metaphysical nature of the band’s lyrics. When Black Francis screams, “God is seven!,” on “Monkey Gone to Heaven,” there’s little doubt about the gravity of the message—or where Billy Corgan found his inspiration. Liedel
33. Madonna, Madonna
Few would deny that Madonna went on to pursue deeper goals than the simple pop perfection of Madonna. But any debut album that yields a “Holiday” and a “Lucky Star,” both released as singles in the span of two consecutive days (albeit an ocean apart), is still pretty untouchable. Wistful and eager to please, Madonna’s sparkling ditties aren’t so much “post-disco” as they are “disco ain’t going nowhere, so shut up and dance.” Like a heavenly body atop the surging underground currents of every synth-heavy dance subgenre that preceded her, Madonna’s cultural co-opting is nothing if not fervent. Henderson
32. Eric B. & Rakim, Paid in Full
Many would argue that the late ’80s was the absolute pinnacle for hip-hop, and it’s difficult to argue against Paid in Full being a benchmark of the era. Rakim’s methodical and meticulous approach to his delivery provides a stark contrast to that of his contemporaries, while his mastery of internal rhymes underlines his status as a superbly technical wordsmith. For his part, Rakim didn’t need to rely on macho jargon and trite gangsterisms for his self-aggrandizing sermons; he would simply reel off line after line of spellbinding wordplay, influencing an entire decade of tongue-twisting MCs in the process. Jones
31. Janet Jackson, Control
The story goes that Papa Jackson warned producers Jimmy Jam and Terry Lewis, former members of the Time, not to make his daughter sound too much like Prince on her breakthrough album, Control. Not only did they fail, but they failed spectacularly. The keyboards and synth melodies on tracks like “What Have You Done for Me Lately” and “You Can Be Mine” are quintessential Minneapolis pop, but Jam and Lewis also previewed what would become their signature industrial beats and spliced-and-diced vocal treatments (which, it should be noted, is all the rage in indie pop today) on the title track. Janet would go on to release more “important” albums (namely Rhythm Nation and The Velvet Rope), but track for track, Control is still her strongest. Her albums would get longer as her waistline got slimmer, but Control boasts little padding. Cinquemani
30. Sonic Youth, Daydream Nation
It’s hard to think of a band that matched malice with infectiousness as well as Sonic Youth, that pulled of this tricky balance most adroitly on Daydream Nation, the shining capstone on a strong decade of experimentation. Combining consummate songcraft with the furthest reaches of noise, they end up with withering digressions like “Silver Rocket,” which derails its hooky, slithering guitar line to plunge into a two-minute-long sea of noise, and “Total Trash,” which recalls Television with its rambling, seven-minute-plus exploration of a looping melody, buttressed by increasingly frantic walls of noise. Cataldo
29. Leonard Cohen, I’m Your Man
Pop goes Leonard Cohen and it soars. I discovered this poet prophet through McCabe & Mrs. Miller, his deadpan baritone passing throughout Robert Altman’s dreamy film like opium smoke. The almost synth-pop production of this 1988 masterwork, arguably his finest next to his stunning debut, would seem to be a terrible match for his customarily dense and nuanced lyricism. But Cohen has always been a man of many hats, and here he ballsily suffuses his pained declarations of romantic and spiritual desperation with a wryness that’s matched almost subversively beat for beat by the sugariness of the background vocals. With great courage and conviction, the man turns a sermon into a cabaret. Gonzalez
28. The Stone Roses, The Stone Roses
In hindsight, The Stone Roses is essentially a lithe and sinuous greatest-hits album, a string of would-be singles blaring from the speakers of a Madchester baggy disco, dominating dance floors still reeling from the acid-house scene and the new-romantic era. Mani’s thundering basslines and John Squire’s kaleidoscopic guitar parts keep the sound firmly rooted in indie-rock territory, their anthemic refrains setting a number of Britpop trends in a heartbeat, while John Leckie’s psychedelic production won over pill-popping ravers en masse. The Stone Roses is an unashamedly British album, a love letter to its working classes and an ultraprecise predictor of what was on the horizon for Her Majesty’s airwaves in the ’90s. Jones
27. David Bowie, Scary Monsters (And Super Creeps)
Scary Monsters (And Super Creeps) catches David Bowie on the cusp of international megastardom and is widely regarded as the glam-rock icon’s last truly great album. Bowie bridles the experimentation of his Berlin trilogy and channels those synth flourishes and off-kilter guitar licks into one of the decade’s quirkiest pop albums. “Ashes to Ashes” is absolutely mesmerizing, and “Fashion” almost sets the tone for the entire decade by itself, and even beyond these singles are countless examples of utterly flawless pop. That it’s difficult to even notice Brian Eno’s absence is a testament to how convincing this madcap milieu really is, and affirms Bowie’s reputation as the maharishi of avant-garde pop. Jones
26. Tom Waits, Swordfishbones
At the turn of the decade, lowlife laureate Tom Waits was well on his way to becoming an industry-vetted, Hollywood-normalized singer-songwriter. Think Randy Newman if Randy Newman wrote songs about hookers. Swordfishbones marks the beginning of a genius period, which, judged by last year’s Bad As Me, isn’t winding down anytime soon. Here, he trades barroom ballads for disorienting, percussive songs that sound like a junkyard come to life, and on “Down, Down, Down” and “16 Shells from a 30.6” he unleashes the gravely howl that would become his trademark. Waits was always a reliable guide to the desperate underbelly of American city life, but with Swordfishtrombones, it became clear that this was only the first stop on an itinerary eventually destined for hell. Cole
25. Kraftwerk, Computer World
In the beginning there was light, said Genesis. Then came apes and space travel, an odyssey immortalized by Stanley Kubrick. And somewhere between there were computers, their rise the theme of the maximalist Computer World, the eighth and last great album by chilly electronic geek-teurs Kraftwerk. Consistent with the pioneering German band’s body of work, the album is an exploration of the effects of technology on modern urban living, which will sound as torturous as a Todd Haynes film lecture to someone who’s never actually heard Kraftwerk’s music. Across seven gorgeously lurching and exacting tracks, we are made to understand the angst and hilarity of our inextricable, personality-warping ties to the computer. This prescient sonic landscape still leaves one feeling with the sensation of having swum through a prickly but immaculate ocean of 0s and 1s. Gonzalez
24. U2, The Joshua Tree
Never has an album synthesized angst, spirituality, love, and politics in just its first three tracks as well as The Joshua Tree, the only U2 album that seriously threatens Achtung Baby as the band’s greatest accomplishment. With “Where the Streets Have No Name,” “I Still Haven’t Found What I’m Looking For,” and “With or Without You,” three of the band’s most aching, impassioned songs back to back to back, the band became lords and emperors of anthemic ’80s rock. Perhaps on a more meaningful level, though, the universality of The Joshua Tree completed U2’s evolution from Irish ruffians to globe-straddling rock heroes. “Outside is America,” Bono sings on “Bullet the Blue Sky,” prescient to the fact that with the album’s astounding success, U2 no longer belonged to Dublin, but the world. Liedel
23. New Order, Power, Corruption & Lies
From the instantly recognizable surf-guitar riff that opens “Age of Consent” to the poignant, observational lyrics of “Leave Me Alone,” New Order’s second album finds the band working with broader sonic and emotional palettes than on their debut. Movement was apiece with Joy Division’s dismal worldview (the suicide of a dear friend does not often prompt a positive reassessment of one’s lot in life), but Power, Corruption & Lies marks the real beginning of New Order’s career. Sweet pop songs like “The Village” are juxtaposed by beautiful, melancholy compositions, none of which stand out as elegantly as “Your Silent Face.” With Bernard Sumner’s fragile, boyish voice giving the album a human center, the dance-rock pioneers had crafted their first perfect pop record. Cole
22. Cyndi Lauper, She’s So Unusual
An absolutely peerless collection of profound pop jewels that achingly and euphorically speak to the heart and soul of a girl grappling with loneliness, carnality, being down and out, the pressures of growing up, knowing that you have to even though you don’t want to, and the paradoxes of being a girl in a society that doesn’t respect you. And maybe it’s because Cyndi Lauper is a girl that the album still doesn’t get the respect it deserves from chauvinistic rock critics that would hide her away from the rest of the world—or maybe it’s because two of its greatest songs are covers, which trivializes her outstanding retaining of Prince’s pronouns for her take on “When You Were Mine,” one of pop music’s most radical sleights of hand. Like the fluttering production of “All Through the Night,” there are some mightily empowered hooks here that still send shivers up my spine, that once made me believe that this wonderful kook really could walk in the sun. Gonzalez
21. Violent Femmes, Violent Femmes
Folk-punk pioneer Gordon Gano wrote the songs on Violent Femmes’ 1983 debut when he was still in high school, which goes a long way toward explaining why the songs possess such an authentic sense of teen angst. Of course, Gano’s creaky voice aids in the image of a pimply social outcast scribbling in his notebook late at night or in the back of a classroom. Violent Femmes is horny, cheeky, and audacious, but it’s also musically sophisticated and deftly executed, with infectious hooks and harmonies (“Please Do Not Go”) and some of the slickest acoustic ax riffs and tightest rhythm sections (“Blister in the Sun,” “Kiss Off”) put to tape. Cinquemani
20. Madonna, Like a Prayer
For her fourth album, Madonna went back to her roots. Like a Prayer is decidedly retro, the ultimate genre pastiche of all of singer’s early influences: Sly Stone, Simon & Garfunkel, the Association, the Beatles. More significantly, it found Madonna reflecting on marriage and family, subject matter that bonds her musical influences together into a cohesive—and confessional—collection. For all of her vocal limitations, Madonna often sings with more feeling than many of her more technically gifted peers, and with her voice left shockingly unpolished here, the album offers some of her most soulful, vulnerable performances. Upon revisiting Like a Prayer, I made a new discovery: a whirring synth on “Till Death Do Us Part,” a non-cloying song about her marriage to Sean Penn, that mimics the sound of a car speeding away as the song fades. Likewise, the album begins with a slamming door—the closing of a chapter, if you will, and the beginning of a new one. By the late ’80s, Madonna was already one of the biggest pop stars of all time, but with Like a Prayer, she became one of the most important. Cinquemani
19. Paul Simon, Graceland
Modern-day indie purveyors like Vampire Weekend, Tanlines, and even the Very Best owe the lifeblood of their mbaqanga-meets-baroque pop sound to Graceland, the album that singlehandedly revived Paul Simon’s career in the ’80s. The album is gorgeous and diverse by way of its quirkiness, a multi-sided gem drawing on a limitless number of styles and influences and combining them with an almost celebratory humor. “You Can Call Me Al” is a prime example of that winning formula, where the typically witty existentialism of Simon’s lyrics is paired South African basslines, worldly percussion, and even a pennywhistle. With Graceland, Simon completed the journey from Garfunkel to funky, and to this day, imitators can’t quite match the record’s blithe mosaic. Liedel
18. N.W.A., Straight Outta Compton
“Do I look like a motherfucking role model?!” You know your debut has truly caught people’s attention when even J. Edgar’s descendant soldiers are wiring you demerits. Given the carnage on display, though, it’s not hard to see why G-Men started getting a little testy when they caught wind of G-funk’s prehistory emerging from speakers everywhere in the form of the metaphor-free “Fuck tha Police.” The juxtaposition of midtempo, Cali-languid grooves and violent wordplay positioned Straight Outta Compton as the sound of the West Coast firing on New York’s Fort Sumpter in what would become ’90s culture’s biggest Uncivil War. Henderson
17. R.E.M., Document
Michael Stipe has said he knew he wanted to play in a rock band when he heard Patti Smith’s Horses at the age of 15. I have to think that Document, made 12 years later, is the R.E.M. album that Smith would be most proud to have inspired. Stipe’s lyrics had never been as political, though with the exception of “Exhuming McCarthy,” he avoids making accusations, instead using desolate midtempo numbers like “Welcome to the Occupation” and “King of Birds,” which paraphrases Reagan’s State of the Union address from the same year in its chorus, to evoke the confusion and frustration of the era. Ironically, it was by rediscovering the power in the original outsider stance, reflected sonically in their step back from the crisp production of Lifes Rich Pageant, that R.E.M. made their breakthrough, not so much crossing over into the mainstream as piercing it with their most focused and intelligent work to date. Cole
16. The Smiths, The Queen Is Dead
There may never again be an indie-rock album as good as The Queen Is Dead. Johhny Marr proves himself to be the consummate indie guitar hero by never allowing his Rickenbacker to jangle quite the same way on nay two songs, and, crucially, never taking a single solo. Even so, bouncing pop numbers like “Bigmouth Strikes Again” and “The Boy with the Thorn in His Side” are as much his showcase as they are Morrissey’s, who only really steals the show on “I Know It’s Over.” On that desolate breakup number, he gives the vocal performance of his life, finding a new way to contort his larynx each time he begs his mother for consolation. His lyrics had never been more revealing: By the end of the album, we learn that Morrissey is the type of person who imagines himself burning at the stake on a bad day, and on a good night allows himself to fantasize about dying in an incredibly romantic bus accident. Cole
15. The Cure, Disintegration
After two albums’ worth of uncharacteristically light-hearted pop, Disintegration might’ve sounded like something of a relapse for the Cure. It’s a dreamlike album that turns nightmarish in places as its icy, imperious pop epics channel Pornography’s atmospheric despondency. Depression is often associated with the inability to feel, but Disintegration proves that sorrow is, as much as love, a many-splendored thing. For all his infamous melodrama, Robert Smith can be a plainspoken and relatable lyricist; this is an album with songs about hungry spider men and hopeless prayers, but its most memorable lines are simple and heartfelt. If not for Smith’s wardrobe, we wouldn’t call this goth. We’d call it sad, pretty pop music. Cole
14. Tom Waits, Rain Dogs
Early in his transition from post-beatnik piano man to percussive backwoods hobo, the Tom Waits of Rain Dogs still had the residual stink of a boozy poet left on him, which resulted in the snappy rhythms of this big album. At 19 tracks and 53 minutes, it’s the most overstuffed and expansive effort of his long career. From the squealing free jazz of “Midtown” to the jaunty music-hall balladry of “Anywhere I Lay My Head” and off-kilter accordion jangle of the title track, Rain Dogs is a skuzzy, dynamic mural, awash in film-noir-inspired textures and all kinds of detailed color, a sleazeball concept album pickled in cheap gin. Cataldo
13. R.E.M., Murmur
For many, this was their first taste of Michael Stipe’s wistfulness, that artful, almost autistic lyricism that would have been completely impenetrable if not for the inviting warmth of his voice. There was also, of course, the playfulness of Peter Buck’s just-shy-of-strident guitar and Mike Mills’s harmonious basslines. There are R.E.M. albums I cherish more, but Buck and Mills never played better than they did on “Radio Free Europe,” “Moral Kiosk,” “Catapult,” “Sitting Still,” and “9-9,” a gorgeous and unexpectedly sexy cacophony of sound and canny wordplay that gives striking expression to Stripe’s social anxiety. Listening to Murmur today is bittersweet, because as the spell of its dreamy melancholy breaks, we realize we must resign ourselves to a world where R.E.M. didn’t stay. Gonzalez
12. Beastie Boys, Licensed to Ill
You can blame them for a lot of things (introducing full-bore misogyny to hip-hop; paving the way for rap-rock with their aggro, guitar-based beats; sticking to the same whiny flow patterns), but the Beastie Boys’ first album also drastically modernized rap. Rife with layer upon layer of sampling, start-stop transitions, and aggressive beats, it helped transform the genre from a direct dialogue between MC and DJ into a piercing, multi-threaded narrative. Making way for the even more complex textures of Paul’s Boutique, it’s a groundbreaking classic that helped set an exciting template for the future. Cataldo
11. Prince, Sign o’ the Times
Finding Prince at an all-time high of musical creativity and an all-time low of horniness, Sign o’ the Times is Prince’s most varied album and his most self-consciously auteurish. It collects tracks from a few years’ worth of shelved experiments, which means it lacks the coherent sound of a Purple Rain. But what chance does aesthetic unity stand against such gleefully generative pluralism? The psychedelic stomp of “Play in the Sunshine” and the nervy, obsessive sexuality of “If I Was Your Girlfriend” could be spun off into whole albums. The truth is, 1999 and Purple Rain have been the blueprint for more than a handful of R&B careers, but no one’s quite figured out how to follow Prince’s trail this far. For all of the new musical possibilities that Sign o’ the Times opens up, it also prompts the sobering realization that most of them will only ever be possibilities for one musician. Cole
10. Kate Bush, Hounds of Love
My mother, a freak for the Victorian, once defied by father by naming me not after him, his father, and his father’s father, but after an Emily Brontë character, so it was destiny that lured my imagination to the wily, windy moors from which Kate Bush appears to sing these tales of longing and remembrance. The album is a haunting—lush with playful and dramatic dreaming, metaphor and symbolism, motifs of running and hiding, beats that gently fall like raindrops. She plays child, woman, beast, and witch, standing on the ground but sounding as if she’s flying through the sky. She is hunter and huntee at once, and she makes you feel her transformation from one to the other, quite literally, with a howling. A whistle becomes a gust of wind, and it takes you away in its wraith-like arms to a place of very warm comfort. Gonzalez
9. De La Soul, 3 Feet High & Rising
De La Soul were easy and breezy when it seemed everyone else winning the game preferred sleazy. So you just knew white folks from the Pazz & Jop roll call all the way down to college DJs in Wyoming were going to flip their token for the ’60s utopianism and overachieving, carnivalesque sonic display of 3 Feet High & Rising (as they later would over Deee-Lite’s plastique-fantastique, vitamin C-infused inversion of underground house). But you can’t listen to Prince Paul’s stitchery with the Funkadelic bounce of “Me Myself and I,” the saxy “Potholes in My Lawn,” or the scratching of “Buddy” and still hold that against them. Henderson
8. Prince, 1999
If Prince’s reign over the airwaves ended a good deal earlier than the year he predicted the world itself would end in 1999, the album still marked the grand crossover moment for the decade’s most versatile, least predictable pop superstar. Positioned between—and embodying the strengths of both—the rambunctious, genre-defying immediacy of Dirty Mind and Controversy before it and the dick-waving rock majesty of the Purple Rain soundtrack that followed, 1999 is an expansive, disturbed communiqué from the nexus of naked funk and sexual obsession. “Some people tell me I’ve got great legs.” Nope, this is not your grandfather’s rhythm and blues. Henderson
7. Joy Division, Closer
The fact that Joy Division’s very name is synonymous with ’80s post-punk despite their having released only one album in the decade speaks to Closer’s looming impact on the genre it helped propel. A similar shadow was cast by frontman Ian Curtis’s death shortly before the album’s release, lending Closer an added layer of mystique to the band’s already-bittersweet unfulfilled promise. Though the remaining members would go on to form seminal synth-pop group New Order, Closer exists as Joy Division’s magnificent epithet. Its songs are beautifully crafted dirges, with thrumming, ghostly synths and plumbing basslines bolstering Curtis’s imaginative but morbid lyricism. Liedel
6. Talking Heads, Remain in Light
Paul Simon’s Graceland gets much of the credit for the revival of African-inspired pop music in the mid-’80s, but the Brian Eno-produced Remain in Light broke that ground six years earlier with a joyous meld of Afrobeat and post-punk. This is Talking Heads at their best, a band that had once teased its listeners with full-fledged worldbeat experimentation now reveling in the interplay between South African harmonies, new wave looping, and funk rhythms. Remain in Light is, in effect, one long, finely crafted global jam session, delivered by a group of musicians who can ably handle its assortment of eclectic parts and intricacies. As predictable as it might be to point to “Once in a Lifetime” as a perfect microcosm of everything that’s right about Remain in Light, the point holds true: The track, like its album, is blithe, bizarre, noisy, unpredictable, and a deliciously energetic slice of pop virtuosity. Liedel
5. Beastie Boys, Paul’s Boutique
Those who dismissed the music of the Beastie Boys as hackneyed frat-boy gimmickry—and those who expected these three white Jews to descend into novelty caricatures—were forced to eat their words with the release of Paul’s Boutique. And though it was a complete commercial disaster in 1989, this spastic blitzkrieg of pop-culture references and madcap sampling marks the moment where the Beastie Boys were taken seriously as artists. The trio redefined the posse-rap dynamic with their furious to-and-fro changeovers, punctuating their rhymes with sassy samples to further energise their unorthodox sound. Paul’s Boutique is the sound of hip-hop sneaking into mainstream consciousness, purchasing property in affluent suburbia and inner cities alike, all thanks to three born-again punk rockers. Jones
4. The Clash, London Calling
A large part of the musical narrative of the ’80s involves the parasitic influence of punk, as its rough attitudes and stripped-down approach spread out to consume and incorporate outlying genres. One of the first instances of this spread occurred as the decade was just dawning, on a sprawling album that expands to cover Jamaican ska, northern soul, and American pop, creating both a searing document of a world in flux and a convincing precedent for the rest of the decade. All this in addition to a sharp lyrical sense, which espouses revolutionary rhetoric without sounding completely idiotic. Cataldo
3. Public Enemy, It Takes a Nation of Millions to Hold Us Back
Now that hip-hop has become so intractably linked to mainstream pop, the idea of a hip-hop album as revolutionary as It Takes a Nation of Millions to Hold Us Back is hard to fathom. In the nearly 25 years since the album’s release, hip-hop culture has been embraced by the very nation of millions Public Enemy railed against. It may not sound as groundbreaking as it once did (though, thanks to the Bomb Squad’s most creative productions, it’s still catchy as all hell), but it’s a testament to Public Enemy’s power and intelligence that the album’s ferocious political outrage and its damning portraits of institutionalized racism and class warfare are still as relevant as they’ve ever been. Keefe
2. Prince and the Revolution, Purple Rain
On which Violet the Organ Grinder takes us to church and straight into the confession box. The album may not possess the salaciousness of Dirty Mind, but even at its softest, its most “mature,” it exudes a rapturous sense of feeling. From elevators to hotel lobbies and beyond, Prince resigns himself to love and makes you feel the funky stirrings of his heart, perhaps most expressively on “The Beautiful Ones.” From here to there, life to death, there’s a startling, telling fixation on movement. This is, after all, a companion piece to a film that ostentatiously depicts the Kid’s rise to fame. And there’s no fall here, only one gorgeous climax after another, immaculately and luxuriously sustained from beginning to end. Gonzalez
1. Michael Jackson, Thriller
What additional praise can be heaped on Michael Jackson’s genre-mashing magnum opus except to say that even the lesser hits like “P.Y.T. (Pretty Young Thing)” are perfectly rendered pop gems? That seven of the album’s nine tracks were all Top 10 hits reinforces how much of a culture-defining gargantuan Thriller was and continues to be. And yet, despite the well-earned acclaim and its unquestionable unification of fans across class, age, gender, and racial lines, Thriller is an album steeped in angst and loneliness. Lest we forget from years of grotesque eccentricity, Jackson was once the original Kanye West, and this album was his own dark, twisted fantasy—a glimpse into a creative but fissured mind that sought, above all things, unquestionable greatness. MJ achieves that countless times on Thriller, arguably the most sublime 42 minutes of pop music ever recorded. Liedel

1001 Albums You Must Hear Before You Die
Published in 2005 by Cassell Illustrated. Selected & written by 90
leading international critics, general editor Robert Dimery. In
chronological order 1955-2005. Year of release only given here, when
considered absolutely necessary. Where there were differences in UK
& US (or other) releases for artists, such as the Beatles & the
Rolling Stones, the original country of release edition can be taken
to be the one listed, unless indicated otherwise. (ie: for the
Rolling Stones’ Aftermath & The Beatles’ A Hard Day’s Night, the UK
editions are the ones listed). No compilations were allowed, though,
the odd one (The Hives’ Your New Favourite Band, for example) did
creep in!
››
The 2008 Edition
1950s
o Sinatra, Frank – In the Wee Small Hours
o Presley, Elvis – Elvis Presley (1956)
o Louvin Brothers – Tragic Songs of Life
o Prima, Louis – Wildest
o Domino, Fats – This is Fats
o Ellington, Duke – At Newport (1956)
o Sinatra, Frank – Songs for Swingin’ Lovers!
o Crickets – Chirping…
o Basie, Count – Atomic Mr Basie
o Monk, Thelonious – Brilliant Corners
o Sabú [Martínez] – Palo Congo
o Davis, Miles – Birth of the Cool
o Machito – Kenya
o Little Richard – Here’s…
o Puente, Tito & His Orchestra – Dance Mania (1958)
o Holiday, Billie – Lady in Satin
o Elliott, Jack – Jack Takes the Floor
o Vaughan, Sarah – At Mister Kelly’s
o Fitzgerald, Ella – Sings the Gershwin Song Book
o Charles, Ray – Genius of… (1959)
o Davis, Miles – Kind of Blue
o Robbins, Marty – Gunfighter Ballads & Trail Songs
o Brubeck, Dave – Time Out
1960s
o Baez, Joan – Joan Baez (1960)
o Presley, Elvis – Elvis is Back!
o Makeba, Miriam – Miriam Makeba (1960)
o Everly Brothers – A Date with the…
o Smith, Jimmy – Back at the Chicken Shack
o Muddy Waters – At Newport
o Evans, Bill – Sunday at the Village Vanguard
o Charles, Ray - Modern Sounds in Country & Western Music
o Booker T & the MGs – Green Onions
o Getz, Stan & Charlie Byrd – Jazz Samba
o Price, Ray – Night Life
o Beatles – With the…
o Dylan, Bob – Freewheelin’…
o Spector, Phil & Various Artists – A Christmas Gift for You
o Cooke, Sam – Live at the Harlem Square
o Mingus, Charles – Black Saint & the Sinner Lady
o Brown, James – Live at the Apollo (1963)
o Getz, Stan & João Gilberto – Getz/Gilberto
o Beatles – A Hard Day’s Night
o Brel, Jacques – Olympia 64
o Burke, Solomon – Rock ‘n’ Soul
o Springfield, Dusty - A Girl Called Dusty
o Rolling Stones – Rolling Stones (1st Album)
o Owens, Buck – I’ve Got a Tiger by the Tail
o Lewis, Jerry Lee – Live at the Star Club, Hamburg
o Sonics – Here Are the…
o Dylan, Bob – Bringing it All Back Home
o Redding, Otis – Otis Blue… Sings Soul
o Beach Boys – Today!
o Coltrane, John – A Love Supreme
o King, B.B. – Live at the Regal
o Beatles – Rubber Soul
o Jansch, Bert – Bert Jansch (1st Album)
o Byrds, Mr Tambourine Man
o Dylan, Bob – Highway 61 Revisited
o Who – My Generation
o Beatles – Revolver
o Beach Boys – Pet Sounds
o Neil, Fred – Fred Neil (1st Album)
o Byrds – Fifth Dimension
o Dylan, Bob – Blonde on Blonde
o Monks – Black Monk Time
o Kinks – Face to Face
o Mamas & the Papas – If You Can Believe Your Eyes & Ears
o Revere, Paul & the Raiders – Midnight Ride
o Mothers of Invention – Freak Out!
o Rolling Stones – Aftermath
o Simon & Garfunkel – Parsley, Sage, Rosemary & Thyme
o 13th Floor Elevators – Psychedelic Sounds of the…
o John Mayall’s Blues Breakers – With Eric Clapton
o Yardbirds – Yardbirds [aka Roger the Engineer] (1st Album)
o Simone, Nina – Wild is the Wind
o Gilberto, Astrud – Beach Samba
o Nico – Chelsea Girl
o Beatles – Sgt Pepper’s Lonely Hearts Club Band
o Country Joe & the Fish – Electric Music for the Mind & Body
o Buffalo Springfield – Again
o Captain Beefheart & His Magic Band – Safe as Milk
o Moby Grape – Moby Grape (1st Album)
o Love – Da Capo
o Beau Brummels – Triangle
o Monkees – Headquarters
o Buckley, Tim – Goodbye & Hello
o Love – Forever Changes
o Cream – Disraeli Gears
o Pink Floyd – Piper at the Gates of Dawn
o Who – Sell Out
o Velvet Underground - & Nico
o Sinatra, Frank - Frank Albert Sinatra & Antonio Carlos Jobim
o Doors – Doors (1st Album)
o The Byrds - Younger Than Yesterdayo
o Young Rascals – Groovin’
o Jefferson Airplane – Surrealistic Pillow
o Kinks – Something Else by the…
o Donovan – Sunshine Superman
o Haggard, Merle – I’m a Lonesome Fugitive
o Hendrix, Jimi – Are You Experienced
o Electric Prunes – I Had too Much to Dream (Last Night)
o Lynn, Loretta – Don’t Come Home a Drinkin’ (With Lovin’ on Your
Mind)
o Sharma, Shivkumar / Brij Bushan Kabra / Hariprasad Chaurasia –
Call of the Valley
o Velvet Underground – White Light/White Heat
o Hendrix, Jimi – Axis: Bold as Love
o Franklin, Aretha – I Never Loved a Man the Way I Love You
o Rolling Stones – Beggars Banquet
o Traffic – Traffic (2nd Album)
o Incredible String Band – Hangman’s Beautiful Daughter
o Kinks – Village Green Preservation Society
o Shankar, Ravi – Sounds of India (1968)
o Mutantes, os – Mutantes, os (1st Album)
o Hendrix, Jimi – Electric Ladyland
o Cohen, Leonard – Songs of…
o Cash, Johnny – At Folsom Prison
o Nyro, Laura – Eli & the Thirteenth Confession
o Franklin, Aretha – Lady Soul
o Blue Cheer – Vincebus Eruptum
o Byrds – Notorious Byrd Brothers
o Big Brother & the Holding Company – Cheap Thrills
o United States of America – United States of America
o Dr John – Gris Gris
o Iron Butterfly – In a Gadda da Vida
o Pretty Things – S.F. Sorrow
o Simon & Garfunkel – Bookends
o Small Faces – Ogdens’ Nut Gone Flake
o Band – Music from Big Pink
o Beck, Jeff – Truth
o Veloso, Caetano – Caetano Veloso (1968)
o Walker, Scott – Scott 2
o Zombies – Odessey & Oracle
o Morrison, Van – Astral Weeks
o Byrds – Sweetheart of the Rodeo
o Beatles – Beatles [aka White Album]
o Mothers of Invention – We’re Only in it for the Money
o Young, Neil – Everybody Knows This is Nowhere
o Captain Beefheart & His Magic Band – Trout Mask Replica
o Creedence Clearwater Revival – Bayou Country
o Crosby, Stills & Nash – Crosby, Stills & Nash
o Blood, Sweat & Tears - Blood, Sweat & Tears (2nd Album)
o Flying Burrito Brothers – Gilded Palace of Sin
o Cash, Johnny – At San Quentin
o Creedence Clearwater Revival – Green River
o Beatles – Abbey Road
o Who – Tommy
o Davis, Miles – In a Silent Way
o Bee Gees – Odessa
o Pentangle – Basket of Light
o Rolling Stones – Let it Bleed
o Drake, Nick – Five Leaves Left
o Springfield, Dusty – Dusty in Memphis
o Presley, Elvis – From Elvis in Memphis
o Velvet Underground – Velvet Underground (3rd Album)
o Quicksilver Messenger Service – Happy Trails
o Led Zeppelin – Led Zeppelin (1st Album)
o Band – Band (2nd Album)
o Led Zeppelin – II
o MC5 – Kick Out the Jams
o Temptations – Cloud Nine
o Sly & the Family Stone – Stand!
o Buckley, Tim – Happy Sad
o Chicago Transit Authority [Chicago] - Chicago Transit Authority
(1969)
o Fairport Convention – Unhalfbricking
o Youngbloods – Elephant Mountain
o Hayes, Isaac – Hot Buttered Soul
o Grateful Dead – Live/Dead
o Kinks – Arthur: Or the Decline & Fall of the British Empire
o King Crimson – In the Court of the Crimson King
o Cohen, Leonard – Songs from a Room
o Fairport Convention – Liege & Lief
o Walker, Scott – Scott 4
o Stooges – Stooges (1st Album)
o Spence, Alexander ‘Skip’ – Oar
o Zappa, Frank – Hot Rats
1970s
o Creedence Clearwater Revival – Cosmo’s Factory
o Derek & the Dominos – Layla & Other Assorted Love Songs
o Davis, Miles – Bitches Brew
o Spirit – Twelve Dreams of Dr Sardonicus
o Black Sabbath – Black Sabbath (1st Album)
o Doors – Morrison Hotel
o Carpenters – Close to You
o Still, Stephen – Stephen Stills (1st Album)
o Lennon, John – Plastic Ono Band
o Crosby, Stills, Nash & Young – Déjà vu
o Black Sabbath – Paranoid
o Young, Neil – After the Gold Rush
o Led Zeppelin – III
o Deep Purple – In Rock
o Morrison, Van – Moondance
o Grateful Dead – American Beauty
o Drake, Nick – Bryter Layter
o Shankar, Ananda – Ananda Shankar (1970)
o Who – Live at Leeds(1st Album)
o Soft Machine – Third
o Stewart, Rod – Gasoline Alley
o Harrison, George – All Things Must Pass
o Simon & Garfunkel – Bridge Over Troubled Water
o Stevens, Cat – Tea for the Tillerman
o Traffic – John Barleycorn Must Die
o Stooges – Fun House
o James Taylor - Sweet Baby James
o McCartney, Paul – McCartney (1970)
o Santana – Abraxas
o Barrett, Syd – Madcap Laughs
o Jethro Tull – Aqualung
o Crosby, David – If Only I Could Remember My Name
o Sly & the Family Stone – There’s a Riot Goin’ On
o Gaye, Marvin – What’s Going On
o Yes – Yes Album
o Bee Gees – Trafalgar
o Who – Who’s Next
o King, Carole – Tapestry
o Hayes, Isaac – Shaft: Music from the Soundtrack
o Allman Brothers – At Fillmore East
o Rolling Stones – Sticky Fingers
o Lennon, John – Imagine
o Beach Boys – Surf’s Up
o Yes – Fragile
o Doors – LA Woman
o Can – Tago Mago
o John, Elton – Madman Across the Water
o Parton, Dolly – Coat of Many Colors
o McLean, Don – American Pie
o Emerson, Lake & Palmer – Tarkus
o Led Zeppelin – IV [aka Untitled / aka Four Symbols]
o Gainsbourg, Serge – Histoire de Melody Nelson
o Stewart, Rod – Every Picture Tells a Story
o Emerson, Lake & Palmer – Pictures at an Exhibition
o Cohen, Leonard – Songs of Love & Hate
o Mitchell, Joni – Blue
o Funkadelic – Maggot Brain
o Joplin, Janis – Pearl
o Kuti, Fela - With Ginger Baker: Live!
o Faces – A Nod is as Good as a Wink… To a Blind Horse
o Flamin’ Groovies – Teenage Head
o Clark, Gene – White Light
o Prine, John – John Prine (1st Album)
o Nilsson, Harry – Nilsson Schmilsson
o T.Rex – Electric Warrior
o Bowie, David – Hunky Dory
o Newman, Randy – Sail Away
o Deep Purple – Machine Head
o Big Star – # 1 Record
o Black Sabbath – Vol 4
o Steely Dan – Can’t Buy a Thrill
o Young, Neil – Harvest
o Mayfield, Curtis – Superfly: Original Motion Picture Soundtrack
o Slade – Slayed?
o Deep Purple – Made in Japan
o Yes – Close to the Edge
o Reed, Lou – Transformer
o Masekela, Hugh – Home is Where the Music Is
o Nascimento, Milton & Lo Borges – Clube da Esquina (1972)
o Rundgren, Todd – Something/Anything
o Nitty Gritty Dirt Band – Will the Circle Be Unbroken?
o Wonder, Stevie – Talking Book
o Still, Stephen – Manassas
o T.Rex – Slider
o Ackles, David – American Gothic
o Eagles – Eagles (1st Album)
o Buckley, Tim – Greetings from LA
o Drake, Nick – Pink Moon
o Simon, Paul – Paul Simon (1972)
o Roxy Music – Roxy Music (1st Album)
o Alice Cooper – School’s Out
o Temptations – All Directions
o Bowie, David – Rise & Fall of Ziggy Stardust and the Spiders from
Mars
o War – World is a Ghetto
o Green, Al – Let’s Stay Together
o Rolling Stones – Exile on Main St
o Lynyrd Skynyrd – Pronounced Leh-nerd Skin-nerd
o Incredible Bongo Band – Bongo Rock
o Bowie, David – Aladdin Sane
o King Crimson – Lark’s Tongues in Aspic
o Marley, Bob & the Wailers – Catch a Fire
o Hawkwind – Space Ritual
o Cale, John – Paris 1919
o Can – Future Days
o Reed, Lou – Berlin
o Genesis – Selling England by the Pound
o Gaye, Marvin – Let’s Get it On
o Martyn, John – Solid Air
o Roxy Music – For Your Pleasure
o Faust – IV
o Hancock, Herbie – Head Hunters
o Mott the Hoople – Mott
o Oldfield, Mike – Tubular Bells
o Rundgren, Todd – A Wizard, a True Star
o John, Elton – Goodbye Yellow Brick Road
o Steely Dan – Countdown to Ecstasy
o Jennings, Waylon – Honky Tonk Heroes
o Pink Floyd – Dark Side of the Moon
o Wonder, Stevie – Innervisions
o ZZ Top – Tres Hombres
o McCartney, Paul & Wings – Band on the Run
o Sensational Alex Harvey Band – Next
o Alice Cooper – Billion Dollar Babies
o Iggy & the Stooges – Raw Power
o Isley Brothers – 3 + 3
o New York Dolls – New York Dolls (1st Album)
o Eno, Brian – Here Come the Warm Jets
o Bad Company – Bad Company (1st Album)
o Genesis – Lamb Lies Down on Broadway
o Otis, Shuggie – Inspiration Information
o Wonder, Stevie – Fullfillingness’ First Finale
o Clapton, Eric – 461 Ocean Boulevard
o Kraftwerk – Autobahn
o Morrison, Van – It’s Too Late to Stop Now
o Mitchell, Joni – Court & Spark
o Queen – II
o Roxy Music – Country Life
o Tangerine Dream – Phaedra
o Sparks – Kimono My House
o Supertramp – Crime of the Century
o Thompson, Richard & Linda – I Want to See the Bright Lights
Tonight
o Scott-Heron, Gil & Brian Jackson – Winter in America
o Queen – Sheer Heart Attack
o 10cc – Sheet Music
o Young, Neil – On the Beach
o Jones, George – Grand Tour
o Clark, Gene – No Other
o Steely Dan – Pretzel Logic
o Newman, Randy – Good Old Boys
o Marley, Bob & the Wailers – Natty Dread
o Wyatt, Robert – Rock Bottom
o Parsons, Gram – Grievous Angel
o Eno, Brian – Another Green World
o Dictators – Go Girl Crazy!
o Neu! – ‘75
o Led Zeppelin – Physical Graffiti
o Jarrett, Keith – Köln Concert
o Aerosmith – Toys in the Attic
o Bowie, David – Young Americans
o Burning Spear – Marcus Garvey
o Springsteen, Bruce – Born to Run
o Harris, Emmylou – Pieces of the Sky
o Dion – Born to Be With You
o Mitchell, Joni – Hissing of Summer Lawns
o Tom Waits - Nighthawks At The Diner
o Burman, Rahul Dev – Shalimar (Soundtrack)
o Young, Neil – Tonight’s the Night
o Dylan, Bob – Blood on the Tracks
o Smith, Patti – Horses
o Pink Floyd – Wish You Were Here
o Queen – A Night at the Opera
o Nelson, Willie – Red Headed Stranger
o Earth, Wind & Fire – That’s the Way of the World
o Mayfield, Curtis – There’s No Place Like America Today
o Petty, Tom & the Heartbreakers - Tom Petty & the Heartbreakers
(1st Album)
o Modern Lovers – Modern Lovers [Rec 1972, not released until 1976]
o Bowie, David – Station to Station
o Mitchell, Joni – Hejira
o Boston – Boston (1st Album)
o Eagles – Hotel California
o ABBA – Arrival
o Kiss – Destroyer
o Rush – 2112
o Ben, Jorge – África Brasil
o Armatrading, Joan – Joan Armatrading (1st Album)
o Aerosmith – Rocks
o Parliament – Mothership Connection
o Penguin Café Orchestra – Music from the Penguin Café
o Jarre, Jean Michel – Oxygene
o Ramones – Ramones (1st Album)
o Kuti, Fela – Zombie
o Tosh, Peter – Legalize It
o Wonder, Stevie – Songs in the Key of Life
o Frampton, Peter – Frampton Comes Alive
o Eno, Brian – Before & After Science
o Kraftwerk – Trans-Europe Express
o Joel, Billy – Stranger, the
o Marley, Bob & the Wailers – Exodus
o Electric Light Orchestra – Out of the Blue
o Weather Report – Heavy Weather
o Muddy Waters – Hard Again
o Stranglers – Rattus Norvegicus
o Clash – Clash (1st Album)
o Bowie, David – Low
o Steely Dan – Aja
o Wire – Pink Flag
o Martyn, John – One World
o Talking Heads – 77
o Fleetwood Mac – Rumours
o Bowie, David – ‘Heroes’
o Wilson, Dennis – Pacific Ocean Blue
o Suicide – Suicide (1st Album)
o Iggy Pop – Idiot, the
o Gabriel, Peter – Peter Gabriel (I)
o Television – Marquee Moon
o Meat Loaf – Bat Out of Hell
o Costello, Elvis – My Aim is True
o Iggy Pop – Lust for Life
o Dury, Ian – New Boots & Panties!!
o Sex Pistols – Never Mind the Bollocks, Here’s the…
o Pere Ubu – Modern Dance
o Kraftwerk – Man Machine
o Blondie – Parallel Lines
o Regina, Elís – Vento de Maio
o Pere Ubu – Dub Housing
o Only Ones – Only Ones (1st Album)
o Costello, Elvis – This Year’s Model
o Jam – All Mod Cons
o Ely, Joe – Honky Tonk Masquerade
o Adverts – Crossing the Red Sea with the…
o Big Star – Third (aka Sister Lovers)
o Residents – Duck Stab/Buster & Glen
o Public Image Ltd – Public Image
o Magazine – Real Life
o Springsteen, Bruce – Darkness on the Edge of Town
o Funkadelic – One Nation Under a Groove
o Throbbing Gristle – DOA: Third & Final Report
o Thin Lizzy – Live & Dangerous
o Talking Heads – More Songs About Buildings & Food
o Buzzcocks – Another Music in a Different Kitchen
o Van Halen – Van Halen (1st Album)
o Colón, Willie & Rubén Blades – Siembra
o Cars – Cars (1st Album)
o Devo – Q: Are We Not Men? A: We Are Devo
o Dire Straits – Dire Straits (1st Album)
o Saints – Eternally Yours
o Gaye, Marvin – Here, My Dear
o Nelson, Willie – Stardust
o Chic – C’est Chic
o X-ray Spex – Germ Free Adolescents
o Eno, Brian – Ambient 1: Music for Airports
o Siouxsie & the Banshees – Scream, the
o AC/DC – Highway to Hell
o Sister Sledge – We Are Family
o Crusaders – Street Life
o Germs – GI
o B52s – B52s (1st Album)
o Czukay, Holger – Movies
o Police – Reggatta de Blanc
o Fall – Live at the Witch Trials
o Talking Heads – Fear of Music
o Joy Division – Unknown Pleasures
o Chic – Risqué
o Undertones – Undertones (1st Album)
o Clash – London Calling
o Japan – Quiet Life
o Faithfull, Marianne – Broken English
o Slits – Cut
o Costello, Elvis – Armed Forces
o Young, Neil – Rust Never Sleeps
o Gang of Four – Entertainment!
o Cheap Trick – At Budokan
o Fleetwood Mac – Tusk
o Pink Floyd – Wall, the
o Public Image Ltd – Metal Box
o Jackson, Michael – Off the Wall
o Damned – Machine Gun Etiquette
o Numan, Gary – Pleasure Principle
o Specials – Specials (1st Album)
1980s
o Adam & the Ants – Kings of the Wild Frontier
o Dexys Midnight Runners – Searching for the Young Soul Rebels
o AC/DC – Back in Black
o Cramps – Songs the Lord Taught Us
o Dead Kennedys – Fresh Fruit for Rotting Vegetables
o Gabriel, Peter – Peter Gabriel (III)
o Soft Boys – Underwater Moonlight
o Cure – Seventeen Seconds
o Echo & the Bunnymen – Crocodiles
o Motörhead – Ace of Spades
o Killing Joke – Killing Joke (1st Album)
o Judas Priest – British Steel
o Circle Jerks – Group Sex
o Talking Heads – Remain in Light
o Joy Division – Closer
o Iron Maiden – Iron Maiden (1st Album)
o Undertones – Hypnotised
o Jam – Sound Affects
o Waits, Tom – Heartattack & Vine
o UB40 – Signing Off
o Teardrop Explodes – Kilimanjaro
o Specials – More Specials
o Winwood, Steve – Arc of a Diver
o Pretenders – Pretenders (1st Album)
o Einstürzende Neubauten – Kollaps
o Siouxsie & the Banshees – Juju
o Heaven 17 – Penthouse & Pavement
o Go-Gos – Beauty & the Beat
o Motörhead – No Sleep ‘Til Hammersmith
o Soft Cell – Non Stop Erotic Cabaret
o Orchestral Manoeuvres in the Dark – Architecture & Morality
o Eno, Brian & David Byrne – My Life in the Bush of Ghosts
o Black Flag – Damaged
o X – Wild Gift
o Psychedelic Furs – Talk, Talk, Talk
o Human League – Dare
o Gun Club – Fire of Love
o Bauhaus – Mask
o Womack, Bobby – Poet
o Tom Tom Club – Tom Tom Club (1st Album)
o Rush – Moving Pictures
o ABBA – Visitors
o ABC – Lexicon of Love
o Prince – 1999
o Grandmaster Flash & the Furious Five – Message, the
o Costello, Elvis – Imperial Bedroom
o Cure – Pornography
o Dexys Midnight Runners – Too Rye Ay
o Simple Minds – New Gold Dream (81, 82, 83, 84)
o Madness – Rise & Fall
o Fagen, Donald – Nightfly
o Haircut One Hundred – Pelican West
o Bush, Kate – Dreaming, the
o Orange Juice – Rip it Up
o Jackson, Michael – Thriller
o Birthday Party – Junkyard
o Venom – Black Metal
o Springsteen, Bruce – Nebraska
o Associates – Sulk
o Iron Maiden – Number of the Beast
o Duran Duran – Rio
o Violent Femmes – Violent Femmes (1st Album)
o McLaren, Malcolm – Duck Rock
o Def Leppard – Pyromania
o REM – Murmur
o The The – Soul Mining
o Waits, Tom – Swordfishtrombones
o Blue Nile – A Walk Across the Rooftops
o Hanoi Rocks – Back to Mystery City
o Lauper, Cyndi – She’s So Unusual
o Simon, Paul – Hearts & Bones
o Echo & the Bunnymen – Porcupine
o ZZ Top – Eliminator
o Eurythmics – Sweet Dreams (Are Made of This)
o U2 – War
o Police – Synchronicity
o Meat Puppets – II
o Culture Club – Colour by Numbers
o Frankie Goes to Hollywood – Welcome to the Pleasuredome
o Run DMC – Run DMC (1984)
o Sade – Diamond Life
o Cocteau Twins – Treasure
o Minor Threat – Out of Step
o Van Halen – 1984
o Prince – Purple Rain
o Replacements – Let it Be
o Style Council – Café Bleu
o Turner, Tina – Private Dancer
o Echo & the Bunnymen – Ocean Rain
o Minutemen – Double Nickels on the Dime
o Cole, Lloyd & the Commotions – Rattlesnakes
o N’Dour, Youssou – Immigrés
o Springsteen, Bruce – Born in the USA
o Fall – This Nation’s Saving Grace
o Ibrahim, Abdullah – Water from an Ancient Well
o Aha – Hunting High & Low
o Tears for Fears – Songs from the Big Chair
o Dire Straits – Brothers in Arms
o Prefab Sprout – Steve McQueen (aka Two Wheels Good)
o Mekons – Fear & Whiskey
o Big Black – Atomizer
o Vega, Suzanne – Suzanne Vega (1st Album)
o Pogues – Rum, Sodomy & the Lash
o Bush, Kate – Hounds of Love
o Smiths – Meat is Murder
o Waits, Tom – Rain Dogs
o Jesus & Mary Chain – Psychocandy
o New Order – Low Life
o Simply Red – Picture Book
o Dexys Midnight Runners – Don’t Stand Me Down
o Scritti Politti – Cupid & Psyche 85
o Costello, Elvis – Blood & Chocolate
o Afrika Bambaataa & the Soul Sonic Force – Planet Rock: The Album
o Beastie Boys – Licensed to Ill
o Metallica – Master of Puppets
o The The – Infected
o Griffith, Nanci – Last of the True Believers
o Bragg, Billy – Talking with the Taxman About Poetry
o Talk Talk – Colour of Spring
o Megadeth – Peace Sells… But Who’s Buying?
o Bon Jovi – Slippery When Wet
o Sonic Youth – Evol
o Slayer – Reign in Blood
o Throwing Muses – Throwing Muses (1986)
o Simon, Paul – Graceland
o Run DMC – Raising Hell
o XTC – Skylarking
o Earle, Steve – Guitar Town
o Bad Brains – I Against I
o Baker, Anita – Rapture
o Smiths – Queen is Dead
o Gabriel, Peter – So
o Anthrax – Among the Living
o Dinosaur Jr – You’re Living All Over Me
o Parton, Dolly with Linda Ronstadt & Emmylou Harris – Trio
o Def Leppard – Hysteria
o REM – Document
o Prince – Sign ‘O’ the Times
o Cult – Electric
o Depeche Mode – Music for the Masses
o Sisters of Mercy – Floodland
o Michael, George – Faith
o Hüsker Dü – Warehouse: Songs & Stories
o Butthole Surfers – Locust Abortion Technician
o Piazzolla, Astor & Gary Burton – New Tango
o Smiths – Strangeways Here We Come
o Guns N’ Roses – Appetite for Destruction
o Jesus & Mary Chain – Darklands
o Ladysmith Black Mambazo – Shaka Zulu
o Laibach – Opus Dei
o Napalm Death – Scum
o Sonic Youth – Sister
o Triffids – Calenture
o Jackson, Michael – Bad
o Pet Shop Boys – Actually
o U2 – Joshua Tree
o D’Arby, Terence Trent – Introducing the Hardline According to…
o Pogues – If I Should Fall from Grace with God
o Cohen, Leonard – I’m Your Man
o Waterboys – Fisherman’s Blues
o Fishbone – Truth & Soul
o Everything But the Girl – Idlewild
o Living Colour - Vivid
o Mudhoney – Superfuzz Bigmuff
o REM – Green
o Happy Mondays – Bummed
o Go Betweens – 16 Lovers Lane
o Cowboy Junkies – Trinity Session
o Chapman, Tracy – Tracy Chapman (1st Album)
o My Bloody Valentine – Isn’t Anything
o Pixies – Surfer Rosa
o Metallica – And Justice for All
o Dinosaur Jr – Bug
o Krause, Dagmar – Tank Battles
o lang, k.d. – Shadowland
o American Music Club – California
o Morrissey – Viva Hate
o Sonic Youth – Daydream Nation
o Sugarcubes – Life’s Too Good
o Yoakam, Dwight – Beuenas Noches from a Lonely Roomn
o Jane’s Addiction – Nothing’s Shocking
o Public Enemy – It Takes a Nation of Millions to Hold Us Back
o Faith No More – Real Thing
o Kravtiz, Lenny – Let Love Rule
o Hooker, John Lee – Healer, the
o New Order – Technique
o Madonna – Like a Prayer
o Queen Latifah – All Hail the Queen
o Spacemen 3 – Playing with Fire
o fIREHOSE – fROMOHIO
o Beastie Boys – Paul’s Boutique
o Young Gods – Eau Rouge, l’
o Zorn, John – Spy vs Spy: Music of Ornette Coleman
o Stone Roses – Stone Roses (1st Album)
o Cherry, Neneh – Raw Like Sushi
o Maal, Baaba & Mansour Seck – Djam Leelii
o Bush, Kate – Sensual World
o Cure – Disintegration
o 808 State – 808:90
o Coldcut – What’s That Noise?
o Adamson, Barry – Moss Side Story
o Aerosmith – Pump
o Pixies – Doolittle
o Raitt, Bonnie – Nick of Time
o Fugazi – Repeater
o Soul II Soul – Club Classics: Vol One
o De La Soul – 3 Feet High & Rising
o Jackson, Janet – Rhythm Nation 1814
o Jungle Brothers – Done by the Forces of Nature
o NWA – Straight Outta Compton
1990s
o Cocteau Twins – Heaven or Las Vegas
o Shamen – En-Tact
o Deee Lite – World Clique
o La’s – La’s
o Black Crowes – Shake Your Money Maker
o Depeche Mode – Violator
o Pixies – Bossanova
o Megadeth – Rust in Peace
o Digital Underground – Sex Packets
o Pet Shop Boys – Behaviour
o Happy Mondays – Pills ‘n’ Thrills and Bellyaches
o Michael, George – Listen Without Prejudice: Vol 1
o Young, Neil – Ragged Glory
o Ice Cube – AmeriKKKa’s Most Wanted
o Jane’s Addiction – Ritual de lo Habitual
o LL Cool J – Mama Said Knock You Out
o Public Enemy – Fear of a Black Planet
o O’Connor, Sinéad – I Do Not Want What I Haven’t Got
o Tribe Called Quest, a – People’s Instinctive Travels & the Paths
of Rhythm
o Sonic Youth – Goo
o Ride – Nowhere
o My Bloody Valentine – Loveless
o Nirvana – Nevermind
o Crowded House – Woodface
o Cypress Hill – Cypress Hill (1st Album)
o Cope, Julian – Peggy Suicide
o Gang Starr – Step in the Arena
o MC Solaar - Qui Sème le Vent Récolte le Tempo
o Jah Wobble – Rising Above Bedlam
o Red Hot Chili Peppers – Blood Sugar Sex Magik
o Ice T – OG: Original Gangster
o Mudhoney – Every Good Boy Deserves Fudge
o Public Enemy – Apocalypse 91… Enemy Strikes Back
o Tribe Called Quest, a – Low End Theory
o Pearl Jam – Ten
o Saint Etienne – Foxbase Alpha
o Sepultura – Arise
o Slint – Spiderland
o U2 – Achtung Baby
o KLF – White Room
o Massive Attack – Blue Lines
o Primal Scream – Screamadelica
o Teenage Fanclub – Bandwagonesque
o Metallica – Metallica [aka Black Album]
o Pavement – Slanted & Enchanted
o Aphex Twin – Selected Ambient Works 85-92
o Arrested Development – 3 Years, 5 Months & 2 Days in the Life of…
o Olomidé, Koffi – Haut de Gamme: Koweït, Rive Gauche
o Morrissey – Your Arsenal
o Maal, Baaba – Lam Toro
o Lemonheads – It’s a Shame About Ray
o Rage Against the Machine - Rage Against the Machine (1st Album)
o Disposable Heroes of Hiphoprisy – Hypocrisy is the Greatest Luxury
o lang, k.d. – Ingénue
o Dr Dre – Chronic, the
o REM – Automatic for the People
o Pharcyde – Bizarre Ride II the…
o Spiritualized – Lazer Guided Melodies
o Sugar – Copper Blue
o Waits, Tom – Bone Machine
o Sonic Youth – Dirty
o Stereo MCs – Connected
o Ministry – Psalm 69 (Way to Succeed and the Way to Suck Eggs)
o Amos, Tori – Little Earthquakes
o Ice Cube – Predator
o Pantera – Vulgar Display of Power
o Alice in Chains – Dirt
o Cave, Nick & the Bad Seeds – Henry’s Dream, by…
o Khan, Nusrat Fateh Ali – Devotional Songs
o Harvey, P.J. – Dry
o Suede – Suede (1st Album)
o Weller, Paul – Wild Wood
o Smashing Pumpkins – Siamese Dream
o Auteurs – New Wave
o Phair, Liz – Exile in Guyville
o Afghan Whigs – Gentlemen
o Mann, Aimee – Whatever
o Grant Lee Buffalo – Fuzzy
o Nirvana – In Utero
o Jamiroquai – Emergency on Planet Earth
o Pet Shop Boys – Very
o Harvey, P.J. – Rid of Me
o Blur – Modern Life is Rubbish
o Crow, Sheryl – Tuesday Night Music Club
o Fall – Infotainment Scan
o Wu Tang Clan – Enter the Wu Tang (36 Chambers)
o Björk – Debut
o Orbital – Orbital [aka Brown Album]
o Snoop Doggy Dogg – Doggystyle
o Sebadoh – Bubble & Scrape
o Boo Radleys – Giant Steps
o Orbit, William – Strange Cargo: III
o Method Man – Tical
o Black, Frank – Teenager of the Year
o Girls Against Boys – Venus Luxure No 1 Baby
o Jeru the Damaja – Sun Rises in the East
o Pavement – Crooked Rain, Crooked Rain
o Portishead – Dummy
o Sabres of Paradise – Haunted Dancehall
o Nas – Illmatic
o Beastie Boys – Ill Communication
o Costello, Elvis – Brutal Youth
o Morrissey – Vauxhall & I
o TLC – CrazySexyCool
o Oasis – Definitely Maybe
o Soundgarden – Superunknown
o Offspring – Smash
o Drive Like Jehu – Yank Crime
o Blur – Parklife
o G Love & Special Sauce - G Love & Special Sauce (1994)
o Touré, Ali Farka – Talking Timbuktu
o Hole – Live Through This
o Massive Attack – Protection
o Manic Street Preachers – Holy Bible
o Suede – Dog Man Star
o Notorious BIG – Ready to Die
o Buckley, Jeff – Grace
o Orbital – Snivilisation
o Nirvana – MTV Unplugged in New York
o Nine Inch Nails – Downward Spiral
o Prodigy – Music for the Jilted Generation
o Green Day – Dookie
o Foo Fighters – Foo Fighters (1st Album)
o Garbage – Garbage (1st Album)
o Nightmares on Wax – Smokers Delight
o Tricky – Maxinquaye
o Raekwon – Only Built 4 Cuban Linx
o Smashing Pumpkins – Mellon Collie & the Infinite Sadness
o Rocket from the Crypt – Scream, Dracula, Scream
o Chemical Brothers – Exit Planet Dust
o 2Pac – Me Against the World
o Elastica – Elastica (1st Album)
o Supergrass – I Should Coco
o Radiohead – Bends, the
o Guided by Voices – Alien Lanes
o Kuti, Femi – Femi Kuti (1995)
o Verve – A Northern Soul
o Genius GZA – Liquid Swords
o Pulp – Different Class
o Leftfield – Leftism
o D’Angelo – Brown Sugar
o Oasis – (What’s the Story) Morning Glory?
o Goldie – Timeless
o Morissette, Alanis – Jagged Little Pill
o Screaming Trees – Dust
o Super Furry Animals – Fuzzy Logic
o Fatboy Slim – Better Living Through Chemistry
o Dr Octagon – Dr Octagonecologyst
o Stereolab – Emperor Tomato Ketchup
o Tortoise – Millions Now Living Will Never Die
o Beck – Odelay
o Belle & Sebastian – Tigermilk
o DJ Shadow – Endtroducing
o Eels – Beautiful Freak
o Divine Comedy – Casanova
o Apple, Fiona – Tidal
o Wilco – Being There
o Sepultura – Roots
o Adamson, Barry – Oedipus Schmoedipus
o Fun Lovin’ Criminals – Come Find Yourself
o Maxwell – Urban Hang Suite
o Charlatans – Tellin’ Stories
o Manic Street Preachers – Everything Must Go
o Everything But the Girl – Walking Wounded
o Cave, Nick & the Bad Seeds – Murder Ballads
o Bukem, LTJ – Logical Progression
o Underworld – Second Toughest in the Infants
o Jon Spencer Blues Explosion – Now I Got Worry
o Cardigans – First Band on the Moon
o Marilyn Manson – Antichrist Superstar
o Fugees – Score, the
o Ash – 1977
o Belle & Sebastian – If You’re Feeling Sinister
o Blur – Blur (1997)
o Radiohead – OK Computer
o Quaye, Finley – Maverick a Strike
o Elliott, Missy Misdemeanor – Supa Dupa Fly
o Chemical Brothers – Dig Your Own Hole
o Primal Scream – Vanishing Point
o Wyatt, Robert – Shleep
o Holmes, David – Let’s Get Killed
o Sleater Kinney – Dig Me Out
o Prodigy – Fat of the Land
o Buena Vista Social Club - Buena Vista Social Club (1997)
o Cave, Nick & the Bad Seeds – Boatman’s Call
o Divine Comedy – A Short Album About Love
o Cornershop – When I was Born for the 7th Time
o Daft Punk – Homework
o Williams, Robbie – Life Thru a Lens
o Carey, Mariah – Butterfly
o Supergrass – In it for the Money
o Dylan, Bob – Time Out of Mind
o Size, Roni & Reprazent – New Forms
o Smith, Elliott – Either/Or
o Verve – Urban Hymns
o Spiritualized – Ladies & Gentlemen, We are Floating in Space
o Dandy Warhols – Dandy Warhols (1997)
o Dylan, Bob – Bootleg Series Vol 4: Live 1966 [rec: 1966 at Free
Trade Hall, Manchester]
o Chao, Manu – Clandestino
o Bragg, Billy & Wilco – Mermaid Avenue
o Turbonegro – Apocalypse Dudes
o Fatboy Slim – You’ve Come a Long Way, Baby
o Gray, David – White Ladder
o Williams, Lucinda – Car Wheels on a Gravel Road
o Pulp – This is Hardcore
o Madonna – Ray of Light
o Hill, Lauryn – Miseducation of…
o Hole – Celebrity Skin
o Mercury Rev – Deserter’s Songs
o System of a Down - System of a Down (1st Album)
o Queen of the Stone Age - Queen of the Stone Age (1st Album)
o Air – Moon Safari
o Singh, Talvin – OK
o Korn – Follow the Leader
o Khalèd, (Cheb) – Kenza
o Kid Rock – Devil Without a Cause
o Boards of Canada – Music Has the Right to Children
o Suba - São Paulo Confessions
o XTC – Apple Venus: Volume 1
o Skunk Anansie – Post Orgasmic Chill
o Incubus – Make Yourself
o Magnetic Fields – 69 Love Songs
o Travis – Man Who
o Slipknot – Slipknot (1st Album)
o Orton, Beth – Central Reservation
o Sawhney, Nitin – Beyond Skin
o Death in Vegas – Contino Sessions
o Moby – Play
o Flaming Lips – Soft Bulletin
o Rhymes Digitales, les – Darkdancer
o Tigre, le – Tigre, le (1999)
o Eminem – Slim Shady LP
o Spears, Britney – Baby One More Time
o Metallica – S&M
o Bonnie Prince Billy – I See a Darkness
o Shack – HMS Fable
o Basement Jaxx – Remedy
o Red Hot Chili Peppers – Californication
o Sigur Rós – Ágætis Byrjun
2000s
o Doves – Lost Souls
o Air – Virgin Suicides: Original Motion Picture Score
o Adams, Ryan – Heartbreaker
o Gilberto, Bebel – Tanto Tempo
o Cole, MJ – Sincere
o Harris, Emmylou – Red Dirt Girl
o Limp Bizkit – Chocolate Starfish & the Hot Dog Flavored Water
o Radiohead – Kid A
o U2 – All That You Can’t Leave Behind
o Linkin Park – Hybrid Theory
o Smith, Elliott – Figure 8
o Badly Drawn Boy – Hour of Bewilderbeast
o Harvey, P.J. – Stories from the City, Stories from the Sea
o Badu, Erykah – Mama’s Gun
o Coldplay – Parachutes
o Common – Like Water for Chocolate
o Ladd, Mike – Welcome to the Afterfuture
o Red Snapper – Our Aim is to Satisfy
o Eminem – Marshall Mathers LP
o Goldfrapp – Felt Mountain
o Giant Sand – Chore of Enchantment
o Lambchop – Nixon
o Lemper, Ute – Punishing Kiss
o Madonna – Music
o Avalanches – Since I Left You
o OutKast – Stankonia
o Radiohead – Amnesiac
o Silver Jews – Bright Flight
o Björk – Vespertine
o Gorillaz – Gorillaz (1st Album)
o Adams, Ryan – Gold
o Destiny’s Child – Survivor
o Strokes – Is This It
o Welch, Gillian – Time (The Revelator)
o Gotan Project – Revancha del Tango, la
o White Stripes – White Blood Cells
o Beta Band – Hot Shots II
o Jay Z – Blueprint
o Röyksopp – Melody AM
o Drive-By Truckers – Southern Rock Opera
o Super Furry Animals – Rings Around the World
o Jurassic 5 – Power in Numbers
o Wilco – Yankee Hotel Foxtrot
o Ms Dynamite – A Little Deeper
o Bees – Sunshine Hit Me
o Jones, Norah – Come Away with Me
o Coldplay – A Rush of Blood to the Head
o Coral – Coral (2002)
o Cash, Johnny – American IV: Man Comes Around
o Flaming Lips – Yoshimi Battles the Pink Robots
o Doves – Last Broadcast
o Elliott, Missy – Under Construction
o Springsteen, Bruce – Rising, the
o Aguilera, Christina – Stripped
o Roots – Phrenology
o Beck – Sea Change
o Timberlake, Justin – Justified
o Vines – Highly Evolved
o Hives – Your New Favourite Band
o Radiohead – Hail to the Thief
o Winehouse, Amy – Frank
o Calexico – Feast of Wire
o Darkness – Permission to Land
o White Stripes – Elephant
o Dizzee Rascal – Boy in da Corner
o Kings of Leon – Youth & Young Manhood
o Thrills – So Much for the City
o Yeah Yeah Yeahs – Fever to Tell
o OutKast – Speakerboxxx/Love Below
o 50 Cent – Get Rich or Die Tryin’
o Mars Volta – Deloused in the Comatorium
o Lightning Bolt – Wonderful Rainbow
o Wainwright, Rufus – Want One
o Scissor Sisters – Scissor Sisters (1st Album)
o Morrissey – You Are the Quarry
o Björk – Medúlla
o Mylo – Destroy Rock & Roll
o Wilson, Brian – SMiLE
o Icarus Line – Penance Soirée
o Arcade Fire – Funeral
o Banhart, Devendra – Rejoicing in the Hands
o Cave, Nick & the Bad Seeds – Abattoir Blues/Lyre of Orpheus
o Franz Ferdinand – Franz Ferdinand (1st Album)
o N*E*R*D – Fly or Die
o Beta Band – Heroes to Zeros
o Ozamatli – Street Signs
o Libertines – Libertines (1st Album)
o West, kanYe – College Dropout
o Green, Cee-Lo – Is the Soul Machine
o TV on the Radio – Desperate Youth, Blood Thirsty Babes
o Liars – They Were Wrong, So We Drowned
o Streets – A Grand Don’t Come for Free
o Wainwright, Rufus – Want Two
o Zutons – Who Killed the Zutons?
o Killers – Hot Fuss
o Kings of Leon – Aha Shake Heartbreak
o MIA (UK) – Arular
o Beck – Guero
o White Stripes – Get Behind Me Satan

The album was first redistributed on compact disks in 2001 under the title Bad: Special Edition.

The release, in addition to the original list of compositions, included bonus material: an audio interview with Queensy Jones and three compositions recorded by Jackson during Bad studio sessions: “Streetwalker”, “Todo Mi Amor Eres Tu” (Spanish version “I Just Can’t Stop Loving You”) and “Fly Away”.

первоначального

аудиоинтервью

испаноязычная

Question: when did bad special edition come out

The album was first redistributed on compact disks in 2001 under the title Bad: Special Edition.

The release, in addition to the original list of compositions, included bonus material: an audio interview with Queensy Jones and three compositions recorded by Jackson during Bad studio sessions: “Streetwalker”, “Todo Mi Amor Eres Tu” (Spanish version “I Just Can’t Stop Loving You”) and “Fly Away”.

Question: what is the name of the song from bad

Question: what was the original name of bad

Question: what kind of disks were bad on

компакт - дисках в 2001 году под

Question: who interviewed jackson on the album bad

Куинси Джонсом

who interviewed jackson on the album bad

Question: what was the original title of bad

Question: who sings i just ca n 't stop loving you bad

Куинси Джонсом и три

who sings i just ca n 't stop loving you bad

The album was first redistributed on compact disks in 2001 under the title Bad : Special Edition .

The release , in addition to the original list of compositions , included bonus material : an audio interview with Queensy Jones and three compositions recorded by Jackson during Bad studio sessions : “ Streetwalker ” , “ Todo Mi Amor Eres Tu ” ( Spanish version “ I Just Ca n’t Stop Loving You ” ) and “ Fly Away ” .

Переиздания В первый раз альбом был переиздан на компакт-дисках в 2001 году под названием Bad: Special Edition. Релиз, помимо первоначального списка композиций, включал в себя бонусный материал: аудиоинтервью с Куинси Джонсом и три композиции, записанные Джексоном во время студийных сессий Bad: «Streetwalker», «Todo Mi Amor Eres Tu» (испаноязычная версия «I Just Can’t Stop Loving You») и «Fly Away».

Переиздания В первый раз альбом был переиздан на компакт-дисках в 2001 году под названием Bad: Special Edition.

Релиз, помимо первоначального списка композиций, включал в себя бонусный материал: аудиоинтервью с Куинси Джонсом и три композиции, записанные Джексоном во время студийных сессий Bad: «Streetwalker», «Todo Mi Amor Eres Tu» (испаноязычная версия «I Just Can’t Stop Loving You») и «Fly Away».

The album was first redistributed on compact disks in 2001 under the title Bad: Special Edition. The release, in addition to the original list of compositions, included bonus material: an audio interview with Queensy Jones and three compositions recorded by Jackson during Bad studio sessions: “Streetwalker”, “Todo Mi Amor Eres Tu” (Spanish version “I Just Can’t Stop Loving You”) and “Fly Away”.

The album was first redistributed on compact disks in 2001 under the title Bad: Special Edition.

The release, in addition to the original list of compositions, included bonus material: an audio interview with Queensy Jones and three compositions recorded by Jackson during Bad studio sessions: “Streetwalker”, “Todo Mi Amor Eres Tu” (Spanish version “I Just Can’t Stop Loving You”) and “Fly Away”.

The release of Bad 25 took place on September 18, 2012, with standard two-disc editions and several versions of deluxe-box-sets for sale.

The largest of them consists of four discs: an original album, a disc with demo versions of previously unpublished compositions, a DVD with Jackson's concert at the Bad World Tour at the Wembley Stadium and a CD with an audio recording with it.

двухдисковые

оригинального

демоверсиями

аудиозаписью

Question: when did bad 25 come out

18 сентября 2012 года , в продажу поступили стандартные двухдисковые издания и несколько вариантов делюкс - бокс - сетов .

The release of Bad 25 took place on September 18, 2012, with standard two-disc editions and several versions of deluxe-box-sets for sale.

The largest of them consists of four discs: an original album, a disc with demo versions of previously unpublished compositions, a DVD with Jackson's concert at the Bad World Tour at the Wembley Stadium and a CD with an audio recording with it.

Question: how many discs are in bad 25

Question: where did the bad world tour take place

стадионе « Уэмбли » и CD с аудиозаписью

Question: what is the title of the 2012 album by jackson’s band bad

what is the title of the 2012 album by jackson’s band bad

Question: which singer had a 2012 concert at wembley stadium called bad 25

which singer had a 2012 concert at wembley stadium called bad 25

Question: what are the four discs on bad 25

оригинального альбома

Question: what is on the disc of bad 25

demo versions of previously unpublished compositions

демоверсиями ранее не выпущенных композиций , DVD с концертом Джексона на Bad World Tour на стадионе « Уэмбли » и CD с аудиозаписью

demo versions of previously unpublished compositions

The release of Bad 25 took place on September 18 , 2012 , with standard two - disc editions and several versions of deluxe - box - sets for sale .

The largest of them consists of four discs : an original album , a disc with demo versions of previously unpublished compositions , a DVD with Jackson 's concert at the Bad World Tour at the Wembley Stadium and a CD with an audio recording with it .

Релиз Bad 25 состоялся 18 сентября 2012 года, в продажу поступили стандартные двухдисковые издания и несколько вариантов делюкс-бокс-сетов. Самый крупный из них состоит из четырёх дисков: оригинального альбома, диска с демоверсиями ранее не выпущенных композиций, DVD с концертом Джексона на Bad World Tour на стадионе «Уэмбли» и CD с аудиозаписью с него.

Релиз Bad 25 состоялся 18 сентября 2012 года, в продажу поступили стандартные двухдисковые издания и несколько вариантов делюкс-бокс-сетов.

Самый крупный из них состоит из четырёх дисков: оригинального альбома, диска с демоверсиями ранее не выпущенных композиций, DVD с концертом Джексона на Bad World Tour на стадионе «Уэмбли» и CD с аудиозаписью с него.

The release of Bad 25 took place on September 18, 2012, with standard two-disc editions and several versions of deluxe-box-sets for sale. The largest of them consists of four discs: an original album, a disc with demo versions of previously unpublished compositions, a DVD with Jackson's concert at the Bad World Tour at the Wembley Stadium and a CD with an audio recording with it.

The release of Bad 25 took place on September 18, 2012, with standard two-disc editions and several versions of deluxe-box-sets for sale.

The largest of them consists of four discs: an original album, a disc with demo versions of previously unpublished compositions, a DVD with Jackson's concert at the Bad World Tour at the Wembley Stadium and a CD with an audio recording with it.

From the re-edition were released two singles: "I Just Can't Stop Loving You" with the new bonus track "Don't Be Messin' Around" and a remake to the song "Bad" by DJ Afrodžek with the participation of rapper Pitbull.

оригинального

демоверсиями

аудиозаписью

Michael Jackson's 'Bad' to get 25th anniversary reissue
In the three years following Michael Jackson's death, his estate has been conservative with posthumous releases from the King of Pop’s archives while focusing on other endeavors such as a hit video game and a Cirque du Soleil production.
To commemorate the 25th anniversary of his seminal 1987 disc, “Bad,” his estate, in collaboration with Epic/Legacy Recordings, will reissue the disc with new music and a never-before-released concert video, the label and his estate announced on Monday.
The anniversary edition of “Bad,” the first re-release of an album from Jackson's catalog since his 2009 death, will hit stores Sept. 18.
TIMELINE: Michael Jackson | 1949-2009
To roll out the reissue, the label will re-release the album’s first single, "I Just Can't Stop Loving You" -- the first of five of the album's singles to hit No. 1 on the Billboard Hot 100 -- as a CD single with the previously unreleased bonus track "Don't Be Messin' 'Round (demo)" on June 5. The single is a Wal-Mart exclusive and won’t be available through digital retailers.
"I Just Can't Stop Loving You" will also be made available June 26 as a replica of the 7” vinyl released back in the day and includes the original B-side, "Baby Be Mine," not the unreleased bonus track.
The DVD features Jackson’s full performance for Britain's Prince Charles, Princess Diana and 72,000 fans at London's Wembley Stadium in 1988. The video was discovered in the singer's private collection on VHS, and is said to have been the sole copy.
Of the three CDs, one is a remastered version of “Bad,” another features demos and songs recorded in Jackson’s studio that didn't make the cut, as well as remixes, and the third will feature audio from the soundtrack recordings of the accompanying DVD, making it Jackson’s first live album.
“The era of ‘Bad’ represented Michael’s creative ‘coming of age’ as a solo artist in charge of every aspect of his career -- from recording to touring to endorsements to merchandising. This was the first album on which nearly all of the songs were written by Michael,” John Branca and John McClain, co-executors of his estate, wrote in a statement.
“Bad 25” follows the posthumous album “Immortal,” a "musical tapestry" that accompanied the Cirque du Soleil production of the same name. The disc featured reworked versions of some of Jackson's classic hits, mash-ups and never-before-released outtakes.
Jackson’s estate also issued a greatest hits soundtrack to accompany “This Is It” and a disc of unreleased material, “Michael,” which was met with tepid sales and controversy.
ALSO:
VIDEOS: Classic Donna Summer
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Billboard Music Awards: A few observations
-- Gerrick D. Kennedy
Twitter.com/GerrickKennedy
Photo: Michael Jackson's 1987 album "Bad." Credit: Epic Records.

Question: how many discs are in the bad album

From the re-edition were released two singles: "I Just Can't Stop Loving You" with the new bonus track "Don't Be Messin' Around" and a remake to the song "Bad" by DJ Afrodžek with the participation of rapper Pitbull.

Question: who sings the song bad by jackson's bad

диджея Афроджека

Question: who sang i just ca n 't stop loving you bad

who sang i just ca n 't stop loving you bad

Question: what is the only song from bad by jackson

what is the only song from bad by jackson

Question: where was the bad world tour held

стадионе « Уэмбли » и CD с аудиозаписью

Question: who sang the song i just ca n 't stop loving you

who sang the song i just ca n 't stop loving you

From the re - edition were released two singles : " I Just Ca n't Stop Loving You " with the new bonus track " Do n't Be Messin ' Around " and a remake to the song " Bad " by DJ Afrodžek with the participation of rapper Pitbull .

Самый крупный из них состоит из четырёх дисков: оригинального альбома, диска с демоверсиями ранее не выпущенных композиций, DVD с концертом Джексона на Bad World Tour на стадионе «Уэмбли» и CD с аудиозаписью с него. Из переиздания были выпущены два сингла: «I Just Can’t Stop Loving You» с новым бонусным треком «Don’t Be Messin' Around» и ремикс на песню «Bad» от диджея Афроджека с участием рэпера Pitbull.

Из переиздания были выпущены два сингла: «I Just Can’t Stop Loving You» с новым бонусным треком «Don’t Be Messin' Around» и ремикс на песню «Bad» от диджея Афроджека с участием рэпера Pitbull.

The largest of them consists of four discs: an original album, a disc with demo versions of previously unpublished compositions, a DVD with Jackson's concert at the Bad World Tour at the Wembley Stadium and a CD with an audio recording with it. From the re-edition were released two singles: "I Just Can't Stop Loving You" with the new bonus track "Don't Be Messin' Around" and a remake to the song "Bad" by DJ Afrodžek with the participation of rapper Pitbull.

From the re-edition were released two singles: "I Just Can't Stop Loving You" with the new bonus track "Don't Be Messin' Around" and a remake to the song "Bad" by DJ Afrodžek with the participation of rapper Pitbull.

Directed by Spike Lee on the basis of authors' interviews and archive materials, he filmed a documentary about the creation of the album Bad — .

документальный

Question: who directed the documentary bad by spike lee

Ли на основе авторских

Directed by Spike Lee on the basis of authors' interviews and archive materials, he filmed a documentary about the creation of the album Bad — .

who directed the documentary bad by spike lee

Question: what was spike lee's first album called

Question: how many singles did bad have in it

Question: what is the title of spike lee’s first uk number one single

what is the title of spike lee’s first uk number one single

Question: i just ca n 't stop loving you bonus track

i just ca n 't stop loving you bonus track

Directed by Spike Lee on the basis of authors ' interviews and archive materials , he filmed a documentary about the creation of the album Bad — .

Из переиздания были выпущены два сингла: «I Just Can’t Stop Loving You» с новым бонусным треком «Don’t Be Messin' Around» и ремикс на песню «Bad» от диджея Афроджека с участием рэпера Pitbull. Режиссёр Спайк Ли на основе авторских интервью и архивных материалов снял документальный фильм о создании альбома Bad — .

Режиссёр Спайк Ли на основе авторских интервью и архивных материалов снял документальный фильм о создании альбома Bad — .

From the re-edition were released two singles: "I Just Can't Stop Loving You" with the new bonus track "Don't Be Messin' Around" and a remake to the song "Bad" by DJ Afrodžek with the participation of rapper Pitbull. Directed by Spike Lee on the basis of authors' interviews and archive materials, he filmed a documentary about the creation of the album Bad — .

Directed by Spike Lee on the basis of authors' interviews and archive materials, he filmed a documentary about the creation of the album Bad — .

Positions in charts Chart (1987)Highest Position Australia2 1 Austria1 Belgium1 Brazil1 UK1 Germany1 Hong Kong1 Greece1 Denmark1 Zimbabwe1 Israel1 Spain1 Italy1 Canada1 Netherlands1 New Zealand1 Norway1 USA1 1 Finland1 France1 Switzerland1 Sweden1 South Africa1 Japan1

1987)Высшаяпозиция

Великобритания1

|Jahr:||1987|
|Persönliche Charts:||In persönliche Hitparade hinzufügen|
|Einstieg:||15.09.1987 (Rang 7)|
|Zuletzt:||15.05.1989 (Rang 29)|
|Höchstposition:||1 (11 Wochen)|
|Chartsverlauf:|
|Anzahl Wochen:||78|
|Rang auf ewiger Bestenliste:||43 (5228 Punkte)|
|Weltweit:|
Tracks
25.08.1987LP Epic 450290 1 (CBS) [nl] / EAN 5099745029013
1987MC Epic EPC 450290 4 [nl] / EAN 5099745029044
|Details anzeigen||Alles anhören|
|1.||Bad||4:06|
|2.||The Way You Make Me Feel||4:58|
|3.||Speed Demon||4:01|
|4.||Liberian Girl||3:52|
|5.||Stevie Wonder & Michael Jackson - Just Good Friends||4:05|
|6.||Another Part Of Me||3:53|
|7.||Man In The Mirror||5:18|
|8.||I Just Can't Stop Loving You||4:23|
|9.||Dirty Diana||4:52|
|10.||Smooth Criminal||4:16|
31.08.1987CD Epic / CBS 450290 2 [nl] / EAN 5099745029020
15.01.2010LP Music On Vinyl MOVLP057 / EAN 0886976387310
04.09.2015CD Epic 88875035432 (Sony) / EAN 0888750354327
|Details anzeigen||Alles anhören|
|1.||Bad||4:06|
|2.||The Way You Make Me Feel||4:59|
|3.||Speed Demon||4:01|
|4.||Liberian Girl||3:53|
|5.||Stevie Wonder & Michael Jackson - Just Good Friends||4:05|
|6.||Another Part Of Me||3:53|
|7.||Man In The Mirror||5:18|
|8.||I Just Can't Stop Loving You||4:24|
|9.||Dirty Diana||4:52|
|10.||Smooth Criminal||4:16|
|11.||Leave Me Alone||4:37|
05.10.2007LP Epic 88697159561 (Sony BMG) / EAN 0886971595611
|Details anzeigen||Alles anhören|
14.09.201225 - CD Epic 88691999702 (Sony) / EAN 0886919997026
|Details anzeigen||Alles anhören|
14.09.201225 - LP Epic 88725401051 (Sony) / EAN 0887254010517
|Details anzeigen||Alles anhören|
14.09.201225 - CD Epic 88725400952 (Sony) / EAN 0887254009528
|Details anzeigen||Alles anhören|
|Extras:|
DVD
28.09.201225 - LP Epic 88725400981 (Sony) / EAN 0887254009818
|Details anzeigen||Alles anhören|
13.09.2013Alben für die Ewigkeit - CD Epic 88883772342 (Sony) / EAN 0888837723428
|Details anzeigen||Alles anhören|
06.05.2016LP Epic 88875143741 (Sony) / EAN 0888751437418
|Details anzeigen||Alles anhören|
24.08.2018Picture Disc - LP Sony 19075866431 (Sony) / EAN 0190758664316
|Details anzeigen||Alles anhören|
|Singles - Austria Top 40||Titel||Eintritt||Peak||Wochen|
|Don't Stop 'Til You Get Enough||01.01.1980||11||9|
|Billie Jean||01.04.1983||2||26|
|Beat It||01.07.1983||6||10|
|Say Say Say (Paul McCartney & Michael Jackson)||15.11.1983||10||14|
|I Just Can't Stop Loving You||01.09.1987||5||14|
|Bad||01.11.1987||9||17|
|The Way You Make Me Feel||15.01.1988||15||13|
|Man In The Mirror||01.06.1988||10||26|
|Dirty Diana||15.06.1988||7||32|
|Another Part Of Me||01.10.1988||20||6|
|Smooth Criminal||01.02.1989||17||16|
|Leave Me Alone||01.04.1989||15||10|
|Black Or White||24.11.1991||2||22|
|Remember The Time||08.03.1992||16||12|
|In The Closet||21.06.1992||23||2|
|Who Is It||23.08.1992||5||8|
|Jam||25.10.1992||28||3|
|Heal The World||29.11.1992||4||21|
|Give In To Me||04.04.1993||12||8|
|Will You Be There||15.08.1993||11||17|
|Scream (Michael Jackson & Janet Jackson)||18.06.1995||9||10|
|You Are Not Alone||17.09.1995||2||24|
|Earth Song||26.11.1995||2||25|
|They Don't Care About Us||07.04.1996||2||42|
|Stranger In Moscow||22.09.1996||7||12|
|Why (3T feat. Michael Jackson)||29.09.1996||21||9|
|Blood On The Dance Floor||04.05.1997||9||12|
|History / Ghosts||31.08.1997||36||2|
|You Rock My World||21.10.2001||9||8|
|Cry||16.12.2001||65||2|
|One More Chance||14.12.2003||58||2|
|The Girl Is Mine 2008 (Michael Jackson with will.i.am)||08.02.2008||51||3|
|Beat It 2008 (Michael Jackson with Fergie)||07.03.2008||14||15|
|Thriller||12.09.2008||5||13|
|Hold My Hand (Michael Jackson with Akon)||17.12.2010||9||10|
|Love Never Felt So Good (Michael Jackson & Justin Timberlake)||16.05.2014||20||18|
|Don't Matter To Me (Drake feat. Michael Jackson)||13.07.2018||18||4|
|Alben - Austria Top 40||Titel||Eintritt||Peak||Wochen|
|Thriller||01.02.1983||3||87|
|Bad||15.09.1987||1||78|
|Dangerous||08.12.1991||2||61|
|HIStory: Past, Present And Future - Book I||02.07.1995||2||69|
|Blood On The Dancefloor - History In The Mix||25.05.1997||2||16|
|Invincible||11.11.2001||2||9|
|Number Ones||30.11.2003||11||22|
|The Essential||11.09.2005||8||20|
|Thriller 25||22.02.2008||5||19|
|King Of Pop - The Austrian Limited Edition||12.09.2008||1||76|
|The Collection||10.07.2009||13||16|
|50 - The Motown Years (Michael Jackson & Jackson 5)||17.07.2009||45||4|
|This Is It (Soundtrack / Michael Jackson)||06.11.2009||2||26|
|Michael||24.12.2010||1||9|
|Immortal||02.12.2011||29||2|
|Bad 25||28.09.2012||10||3|
|Xscape||23.05.2014||2||13|
|Scream||13.10.2017||50||2|
einfach genial in seiner gesamtheit!
genau
...sehr gut...
Sehr gut, wenn auch nicht das beste Album von Michael Jackson.
gutes album
Sehr gut!
Sackstarkes Album!! Und wer kann mit der gleichen Scheibe schon zweimal von 0 auf die 1 in die Charts einsteigen? Michael konnte es: im Sept. 87 und im Juli 88 als Wiedereinstieg...
Masterpiece of Music
Bad. Das typischste Michael Jackson Bild. Seine erfolgreichste Zeit und gleichzeitig fings da schon etwas an, abwärts mit ihm zu gehen. Ohne Zweifel hats wieder eine Menge grosser Songs drauf. Man In The Mirror, Smooth Criminal, Bad, the Way You Make Me Feel, Dirty Diana und Leave Me Alone sind alles richtige Superhits. Der Rest gefällt mir jedoch nicht. Klingt schon fast etwas nach Füllmaterial. Trotzdem, dank diesen Hits, eine klare 5.5+
Zuletzt editiert: 04.07.2009 01:07
Fast jeder Song eine Single und damit ein Hit... Trotz Kultstatus gibts aber nicht die Höchstnote, dazu fehlen neben dem wundervollen "Man In The Mirror" weitere erstklassige Titel.
Na, da war ich ja überpingelig. Selbstverständlich berechtigt die Legende dieses Albums zu einer überzeugten und überzeugenden Höchstnote.
Zuletzt editiert: 27.06.2009 10:19
Gefällt mir besser als Thriller!
Totally awsome album...this album never got tired even i've got it for 4 years now...every song is fucking cool....i don't listen Michael Jackson, but this album is one of my favourites of 'all time'...
... not BAD at all ...
Unendlich viele Hits, ein paar davon recht gut. Muss es deshalb alle begeistern? Nein.
Und die Erfolgsstroy ging weiter, aber da beste Album kam erst noch...
...not so BAD - toller Nachfolger für "Thriller". Fast jeder Titel stark - damals war Michael noch in Höchstform.
Ganz geiler Song von Michael Jackson. Thriller find ich aber noch besser
BAD! IST DAS EINZIGE ALBUM AUF DER WELT MIT 5 NUMMER 1 HITS! EIN MEISTERWERK!
Eine Scheibe mit lauter Hits - MJ bringts fertig ein Album zu produzieren wo ich sämtliche Songs drauf vergöttere. Wahrhaftig ein Meisterwerk!
Höre ich immer wieder gerne !
not too BAD
Göttliches Album!!!
Unglaublich
super album
Dem BAD Album gebe ich eine 3 , die Songs sind einfach zu schnell gehört . Jedoch möchte ich auf "Man in the Mirror" + "Libirian Girl" von diesem Album nie verzichten.
"Dangerous" ist da um Längen besser.
"Thriller" gefällt mir besser.
Super
s'album mit dä meiste nr. 1 hits
Michael`s bestes
Der Meilenstein der Pop-Industrie Ende der 80er! Unglaublich, was für ein Potenzial in allen 11 Songs steckte und heute immer noch steckt. Spricht für den Weitblick von Quincy Jones und MJ! Hier wurde der Zenit nicht nur musikalisch erreicht, sondern auch tänzerisch (Moonwalk AHOI). Ein Gesamtkunstwerk für die Ewigkeit!
Ohne Worte!! Note 6!
Dito!
jacko in hochform! whos bad?!?!
Wuuuuuunderbar!
Eines der besten Alben aller Zeiten und ein würdiger Nachfolger von Thriller! Sollte eigentlich jeder im Schrank stehen haben!
bad!
auch spitze ich finde alle aben von mj spitze
hier ist nicht ein lied drauf dass mir nicht gefällt und dass kann ich nicht von vielen alben behaupten.super, wie alle alben vom king of pop (ausser invincible).
super
Nicht nur würdig - sondern meiner Meinung nach das beste Jacko Album. 8 (!) von 10 möglichen Singleauskopplungen! Das muß ihm auch erst wer nachmachen!
Zuletzt editiert: 31.08.2020 14:08
bestes album von michael jackson, und eines der besten alben aller zeiten. die singles-serie wird wohl bis auf laengere zeit die groesste bleiben (obwohl dangerous auch nochmals 9 singles auskoppelte).
Wenn von einem 10-Track Album 8 Titel als Single ausgekoppelt werden und in die Top 100 kommen-das ist grandios. Michael forever. Leider wollen geldgierige Amis heute nur noch sein Geld und verklagen ihn,weil er Kinder mag.
Ich liebe Bad!!! Für mich eines der besten Alben von Michael. Es gibt keinen Song da drauf, dem ich weniger als 5 Punkte geben würde.
Zuletzt editiert: 28.11.2006 13:05
Gutes Album mit starken Songs drauf.Reicht trotzdem nicht
ganz für eine 6.
Geil und das mit glaube ich 6 Nummer 1# Songs!
Zuletzt editiert: 25.03.2008 16:15
sicher solide, aber ich erinnere mich noch gut, wie enttäuscht ich über dieses Album nach dem Meilenstein "Thriller" war
Sehr knappe 5 Punkte, weil ich nachfolgenden Veröffentlichungen von Michael Jackson schon mit genug Strenge begegnet bin. Die Single sind wie immer stark. Da konnte man den Künstler Michael Jackson noch im Großen und Ganzen ernst nehmen.
genial
Zuletzt editiert: 21.03.2008 17:44
okay
Hinter dem Album "Thriller" bei mir mit hauchdünnem Abstand auf auf Platz 2, aber dennoch natürlich noch ebenfalls aufgerundete 6 Sterne.
Alles andere als " Bad" echt genial...
Bad ist mein Lieblingsalbum von Michael Jackson.
genau so gut wie "thriller"!
mochte POP schon immer aber mit JACKSON konnte und kann ich einfach nichts anfangen
2x6
2x5
4x4
2x3
1x2
----
~4
Der krächst mir zu viel. Nicht mein Fall.
Zuletzt editiert: 28.06.2009 11:56
nach "Thriller" mein Platz Nummer 2 unter allen MJ Alben!
sehr starkes album von jacko.
gute 3
Schönes und abwechslungsreiches Album! Gehört für mich in die gleiche Liga wie Thriller, also gibt es auch die gleiche Anzahl Sterne!
6 Sterne!
Bei Jacko wird an der Spitze immer das Album "Thriller" stehen, aber ich finde "Bad" genauso gut!!! Es ist vom Stil her komplett anders als "Thriller"!!!! Sozusagen mehr "Bad"!!! Beim "Thriller" Album galt er eher noch als der süße kleine Bube von nebenan, der uns hammermäßige Songs lieferte!!! Mit diesem Album aber zeigte er sich von einer komplett anderen Seite, als den bösen Jungen und es schien als würde er mitten in der Pubertät stecken!!! Eine bis dahin ungewohnte Seite von ihm, die ihn aber wahnsinnig berühmt gemacht hatte, denn "Bad" ist das zweitbestverkaufte Album der Welt!!! Jedoch von den Verkaufszahlen kann es an "Thriller" einfach nicht anknüpfen!!!! Ich persöhnlich finde beide Alben grandios!!! "Bad" hat unglaubliche Songs, die Special Edition davon, bietet noch super Zusatz Songs!!! Fette 6 für dieses Hammer Album!!!
Zuletzt editiert: 05.08.2008 15:23
War auch ein recht gutes Album.
da wurde die nase schon etwas spitzer ;) das album ist natürlich absoluter wahnsinn, wer es nicht besitzt oder gar kennt, hat musik verpasst.
Ein grandioses Album, und man musste rund fünf Jahre darauf warten. Ich denke, es war im Voraus klar, dass das Vorgängeralbum "Thriller" kaum zu toppen sein würde, sowohl von den Songs als auch von den Verkaufszahlen.
Dennoch hat man sich Mühe gegeben und ein Album aufgenommen, welches aus meiner Sicht überhaupt nicht schwächelt.
Der Titeltrack "Bad" ist einfach geniale Popmusik. Gefolgt von einem tollen Shuffle-artigem Song mit dem Namen "The Way You Make Me Feel". "Speed Demon" und das grossartige "Dirty Diana" zeigten Michael Jacksons Wunsch nach mehr Rockelementen in seinen Songs auf. "Liberian Girl", ein Song der auf der Originalveröffentlichung mit einem langen gesprochenen Intro beginnt (irgendwas mit "a lot of people don't understand me") wurde, um Missverständnisse zu vermeiden, bei späteren Veröffentlichungen gestrichen. Der Song selbst, eine wunderschöne erotische Ballade. "Just Good Friends", ein netter Uptempo-Song mit dem damals typischen Beat für Dance-Pop. "Another Part Of Me", ein weitere starker Song, befindet sich auf der zweiten Seite des Albums. Danach folgt der für mich beste Song des Albums "Man In The Mirror", gefolgt vom schönen Duett mit Siedah Garrett "I Just Can't Stop Loving You".
Weiteres Highlight ist der Song "Smooth Criminal".
Auch hier hat Michael Jackson wieder mit Quincy Jones zusammengearbeitet; ein starkes Album mit Songs, die bereits heute als Klassiker gelten.
Das zweitmeistverkaufte Album der Welt! Das einzige Album, das 5 Lieder beinhaltet, die es alle auf Platz 1 der US-Charts geschafft haben.
Einfach unglaublich. Michael Jackson hat jeden Rekord gebrochen den es zu brechen gibt. All seine Alben sind Meisterwerke. Er ist einfach der Beste. Ein Genie, dem leider so viel Schmerz zugefügt wurde. Er hat einmal gesagt: Er wollte unbedingt von allen geliebt werden. Und das ist auch so. Wir lieben dich alle Michael! Jeder weiß, dass wir ohne dich im Nichts stehen würden. Du hast die Welt verändert. Du bist und bleibst mein Held. Ich liebe dich.
Wenn ich seine Musik höre, vergesse ich die Welt um mich herum. Ich tauche in SEINE Welt ein. Und das ist bestimmt der schönste Ort den man sich vorstellen kann.
Zuletzt editiert: 10.05.2012 14:57
Según mi opinión, el mejor álbum de Michael jackson.
Mis canciones favoritas.
1. Smooth criminal
2. Bad
3. The way you make me feel.
Zuletzt editiert: 30.01.2009 03:21
...sehr gutes album...
...mit vielen highlights, wie z.B. 'Bad', 'Dirty Diana', 'Man In The Mirror' oder mein Favourit Track auf dem Album, 'Smooth Criminal'...
Grandios!
Zuletzt editiert: 07.08.2009 11:54
▒ Een zéér goed album van "Michael Jackson" uit september 1987 !!! Met enkele grote Toppers !!! Dik 5 sterren ☺!!!
Ist noch ganz ok, haut mich aber jetzt nicht um.
das letzte azeptable jackson album, aber schon hier wurde zu sehr nach innovation gesucht anstatt einfach gelebt
grandiose scheibe
beinahe so gut wie thriller
Sicher ok.
Ein Meisterwerk eindeutig besser als Thriller
Favorite Song: Speed Demon
Zuletzt editiert: 03.07.2009 00:22
Klasse album, die zweite hälfte ist unglaublich stark.
Zweigeteilt; einerseits Oberreisser wie das auch textlich beeindruckende "Leave me alone", die Überballade mit sehnsüchtig schönem Refrain und absolutem Gänsehaut-Faktor "Liberian girl" oder die Granate "Smooth criminal" - dazu einfach geile Songs wie "Another part of me" (gross - viele Erinnerungen), "Bad" und "Dirty Diana"; sämtliche Songs sind TOP!
Auf der anderen Seite das obernervige "The way you make me feel", das lahme "Man in the mirror" (textlich in Ordnung!!), ebenfalls langweilig ist "I just can't stop loving you", das mit Stevie Wonder eingeträllerte "Just good friends", das mich komplett kalt lässt und das leere, eher obernervige "Speed demon"!
Die guten Songs überragen mit 6:5 - gibt eine 5*, denn SO schlecht sind die "schlechten" Songs nicht und die guten sind göttlich, allen voran "Liberian girl" und "Leave me alone". Die Scheibe ist für die damaligen Verhältnisse passend und gut produziert - man hört natürlich wegen den damals modernen Sounds aus welchem Jahr sie kommt... Das ist aber ok!
An absolute Masterpiece:
Smooth Criminal,
Liberian Girl,
Speed Demon,
Man in The Mirror,
Dirty Diana,
I just cant Stop Loving You,
Bad ,
The Way You Make Me Feel,
Another Part Of Me
M A S T E R P I E C E
Fand und finde es stärker als Thriller. Gehört eigentlich in jede CD-Sammlung. Und sollte jemand anderer Meinung sein, so müsste man ihn/sie ausgepeitschen..
warum immer aus den ätzendsten alben die meisten singles ausgekoppelt werden müssen ...
recht gelungenes album, mit meist starken songs. den hab ich schon jahre bei mir stehen!
beste songs: man in the mirror; dirty diana; smooth criminal
En bref : chef d'oeuvre. Le single du même nom que l'album est tout simplement légendaire, je ne m'en lasserai jamais. Ensuite, le titre "Liberian Girl", qui me fait frissonner de tout mon long... Le tube "Smooth Criminal" est tout simplement culte, et a d'ailleurs été repris dans le film Moonwalker. "Man In The Mirror" est aussi un très beau titre. Et un des morceaux que je préfère, "Dirty Diana", magnifique, un vrai bonheur à écouter !! 6 points pour cet album, je n'ai pas hésité une seconde à lui attribuer la note maximale. Merci Michael pour cet album éternel. R.I.P.
Zuletzt editiert: 23.07.2009 22:21
Wirklich ein Top-Album, nicht zu Unrecht war er speziell zu dieser Zeit Mitte der Achtziger der King Of Pop!!
Spitzenalbum vom ersten bis zum letzten Song.
Von 11 Songs 9 ausgekoppelte Singles spricht auch schon für sich, oder für Größenwahn - wahrscheinlich trifft beides zu.
- Single Nr. 1: I Just Can't Stop Loving You war Leadsingle, wurde am 20.07.1987 veröffentlicht und erreichte in USA und UK jeweils Platz 1. In Deutschland und in der Schweiz reichte es nur zu Platz 2. In der Schweiz verhinderten die Pet Shop Boys mit It's A Sin ab 16. August 3 Wochen lang die Nummer 1, in Deutschland lag es an Voyage Voyage knapp einen Monat später.
- Single Nr. 2: Als I Just Can't Stop Loving You in DE seinen Chartshöhepunkt erlebte, folgte bereits die 2. Single "Bad" (07.09.1987). In den USA kam auch die wieder auf 1. In der Schweiz und in Deutschland gab es nur Platz 3 und 4 dafür. scheinbar kauften die Leute damals lieber Bee Gees (You Win Again), Sabrina und Rick Astley.
- Single Nr. 3: Am 09.11.1987 wurde "The Way You Make Me Feel" veröffentlicht, führte in den USA spontan wieder die Charts an, konnte dafür in Europa nur mäßig punkten. In UK kam sie zwar bis auf Platz 3, dafür in der Schweiz nur bis 8, in DE bis 12 und in AT bis Platz 15.
- Single Nr. 4: Man In The Mirror. VÖ Januar 1988 in den USA wieder Platz 1, UK 2 und in DE, AT und CH eher unter "ferner liefen".
- Single Nr. 5: Dirty Diana wurde am 8. April 1988 veröffentlicht und wurde die 5. Nummer 1 Single in Folge dieses Albums in den USA. Auch in der Schweiz und Deutschland war das wieder ein großer Erfolg - hier kam sie bis auf Platz 3.
- Single Nr. 6: 11. Juli 1988, Another Part Of Me. Seltsamerweise in den Schweiz viel besser platziert als in den USA.
- Single Nr. 7: am 24. Oktober 88: Smooth Criminal. Auch hierfür nochmal Top 10 in etlichen Ländern.
- Single Nr. 8: Leave Me Alone. Februar 1989
- Single Nr. 9: 3. Juli 1989, 2 Jahre nach der ersten Single des Albums, kommt schließlich noch Liberian Girl.
Favoriten:
1. Smooth Criminal
2. Man In The Mirror
3. Liberian Girl
4. The Way You Make Me Feel
5. Leave Me Alone
Zuletzt editiert: 22.09.2019 18:14
R.I.P er ist der King of Pop 4ever
Schlicht und einfach fantastisch.
Ganz großes Kino
alles andere als bad, das ist sein bestes Album
Ein sehr gelungenes Album, das in Sachen Erfolg viel zu sehr hinter dem Vorgänger zurückgeblieben ist. - 6*
Zuletzt editiert: 29.12.2011 18:47
Ein echt gutes Album! 5+
Great MJ album my fav from him. UK#1 and Ireland#9.
Chart re-entry:UK#9 August 2009 RIP Michael Jackson
Zuletzt editiert: 13.03.2019 14:32
Fantastic album, I love every track.
heerlijk album met alleen maar hoogtepunten
Fantastisch album.
Ein unglaublich tolles album aus dem sage und schreibe 9 singles veröffentlicht wurden
jeder song ist anders und dank quincy jones erreichen fast alle songs eine gewisse brillianz
Darum werde ich nie verstehen wieso THRILLER so überbewertet ist und dieses album immer im schatten stehen muss
denn thriller enthält ausser BILLY JEAN; BEAT IT und THRILLER im grunde nur füllmaterial
bad ist eins dieser alben wo jeder song ein kracher ist
As an album it had many hits again like 'Thriller', slightly better than the aformentioned.
Für mich das zweitbeste Album vom King of Pop.
Als das 1987 rauskam, waren für mich die Beatles der Massstab für gute Musik. Jackson hat mir gar nichts gegeben. Die Fan-Jugend damals war glaub ich auch eher von den visuellen Dingen (z. B. die tolle Jacke auf dem Cover, die Videos) und dem konstruierten Medien-Hype ("King of Pop") beeindruckt als von der Musik.
20 Jahre später sind immer noch die Beatles ein Massstab für gute Musik, und Jackson verstehe ich noch immer nicht.
Zuletzt editiert: 23.01.2011 13:03
Das Album ist einfach der HAMMA!!!!!!!!!!!!
Total GEEEEEIIIIIILLLL!!!!!!!!!!
genial
Superalbum mit einigen tollen Songperlen.
Bestes Michael Jackson Album ever
Sogar die Filler Songs sind 1A
Smooth Criminal: Best Song ever
ein weltklasse album!!!!!!!!!!!!!!!!!!!!!!
genauso wie dangerous, einfach super!!!!!!!!!!!!!!!!
smooth criminal ist auf der LP noch geiler, auf der CD ist es fad
am besten gefallen mir: bad, liberian girl, another part of me, smooth criminal
Good Album. Stand out track would be Smooth Criminal
Geniales Album.
genial
Gran album.
Brilliant album - yet another masterpiece from MJ. Easily one of the best albums of the latter part of the 80's, and probably amoungst one of his best.
Bad ******
The Way You Make Me Feel ******
Speed Demon ****
Liberian Girl *****
Stevie Wonder & Michael Jackson - Just Good Friends ******
Another Part Of Me *****
Man In The Mirror ******
I Just Can't Stop Loving You *****
Dirty Diana ******
Smooth Criminal ******
5.4 --> 6
good
6 stars
Mega Album! Tolle Interpretationen und sehr tolle Instrumente und seine geile Stimme sowieso!
Für mich sein bestes Werk.Ein legendäres Album!Jeder der 11 Songs ist ein Knaller...dass muss man erstmal Hinbekommen!!!Alles Ohrwürmer vom Allerfeinsten.Dass heimliche Highlight bleibt für mich jedoch Dirty Diana!!!
relativ gut... 3.5
6 *
Michael Jackson flikte het gewoon om met een tweede meesterwerk te komen na Thriller.
Ook interessant door samenwerking met hardrockgistaristen Eddie van Halen en Slash van Guns N'Roses.
Ausgezeichnet.
Ganz hervorragendes MJ-Album. Mindestens ebenso gut wie "Thriller", auch wenn es kommerziell nicht ganz so erfolgreich war. Songs wie "Dirty Diana" oder "Smooth Criminal" gehören für mich zum besten, was Michael je gemacht hat.
Zuletzt editiert: 26.02.2017 11:08
In der Gesamtbetrachtung gesehen ein gutes Album. Durchschnitt: 5,2.
Nach Dangerous mein 2t liebstes Album.
Net zoals Thriller een dikke 6 sterren voor dit meesterwerkje. In de jaren negentig voor de tweede maal aangeschaft, dit keer op CD. Gek genoeg draai ik sinds kort zo nu en dan weer de ouderwetse vinyl LP.
Der Nachfolger von "Thriller" hat nicht weniger Hit Singles als sein Vorgänger. Gute Songs die mittlerweile alle Kult sind.
Insgesamt dann aber doch ein klein wenig hinter "Thriller" anzusiedeln.
Aber trotzdem Top Album!
Bad 6*
The Way You Make Me Feel 6*
Speed Demon 4*
Liberian Girl 5*
Just Good Friends 6*
Another Part Of Me 5*
Man In The Mirror 6*
I Just Can't Stop Loving You 6*
Dirty Diana 6*
Smooth Criminal 6*
Leave Me Alone 5*
Durchschnitt: 5.54 ~ 6*
Erg goed album van Michael Jackson, een uitgebreide review komt later
neben "Thriller" wohl sein bestes Album
Kommt nicht an "Thriller" heran aber immer noch stark.
Chartmässig klar hinter dem enormen Erfolg vom Thriller, logisch. Aber dennoch eins der bestverkauftesten Alben der 80er! So viele erfolgreiche Nr 1 Hits und Singles auf einem Album muss ihm erstmal einer nach machen, selbst die beiden Non Singletracks Speed Demon und das Duett mit Stevie Wonder sind gut! Thriller hat zwar mit Billie Jean und Beat it zwei grandiose Klassiker zu bieten, aber Smooth Criminal und Man in the Mirror stehen dem in nichts nach für mich. Auch die anderen Songs pendeln sich bei mir zwischen guten 4 bis 6 Sternen ein. Bad kommt vom Sound und allem her vor Thriller, wirkt mehr aus einem Guss, ist ausgereifter und ich finde auch die Balladen besser als bei Thriller. Das lange warten damals auf Bad hat sich mehr als gelohnt! Cover auch sehr gelungen. Knappe 6 Sterne für Bad!
Zuletzt editiert: 01.11.2020 20:15
Kann/Konnte mit Michael Jacksons Musik nie etwas anfangen
Nachdem ich mir Number Ones gekauft hatte habe ich dieses Album noch schnell hinterher gekauft nur weil Man in the Mirror auf Number Ones nicht vorhanden ist.
Im Schnitt bekommt dieses Album von mir aber nur eine knappe 4 weil mir außer dem bereits Benannten Titel und natürlich Smooth Criminal kein Lied mehr übermäßig gut gefällt.
Gut
Zumindest eines der Alben von ihm, die für mich noch relevant sind.
Jetzt schmort er in der Hölle.
Heerlijk album
Bijna allemaal hits
mariamg : Check your Head!
"Bad" ist ein Wahnsinnsalbum, höre es heute auch noch gerne, ein Knaller nach dem anderen und für mich genauso stark wie "Thriller"! Kein Wunder war das Album 1987/1988 überall ganz oben, in UK und Frankreich war das sogar das meistverkaufte Album des Jahres 1987!
Meine Favoriten sind "Bad", "The Way you make me feel", "Liberian Girl", "Another part of me", "Man in the Mirror", "I just can't stop loving you" und "Smooth Criminal"!

Question: when was the last time australia was bad

1987)Высшаяпозиция

Positions in charts Chart (1987)Highest Position Australia2 1 Austria1 Belgium1 Brazil1 UK1 Germany1 Hong Kong1 Greece1 Denmark1 Zimbabwe1 Israel1 Spain1 Italy1 Canada1 Netherlands1 New Zealand1 Norway1 USA1 1 Finland1 France1 Switzerland1 Sweden1 South Africa1 Japan1

when was the last time australia was bad

Question: where did australia rank on the charts in 1987

в чартах Чарт ( 1987)Высшаяпозиция Австралия2 1 Австрия1 Бельгия1 Бразилия1 Великобритания1 Германия1 Гонконг1 Греция1 Дания1 Зимбабве1 Израиль1 Испания1 Италия1 Канада1 Нидерланды1 Новая Зеландия1 Норвегия1

where did australia rank on the charts in 1987

Question: which country has the most bad records in the world

which country has the most bad records in the world

Question: who has the most bad records in the world

who has the most bad records in the world

Question: what is the name of the chart in which australia and germany rank

в чартах Чарт ( 1987)Высшаяпозиция Австралия2 1 Австрия1 Бельгия1 Бразилия1 Великобритания1 Германия1 Гонконг1 Греция1 Дания1 Зимбабве1 Израиль1 Испания1 Италия1 Канада1 Нидерланды1 Новая Зеландия1 Норвегия1

what is the name of the chart in which australia and germany rank

Позиции в чартах Чарт (1987)Высшаяпозиция Австралия2 1 Австрия1 Бельгия1 Бразилия1 Великобритания1 Германия1 Гонконг1 Греция1 Дания1 Зимбабве1 Израиль1 Испания1 Италия1 Канада1 Нидерланды1 Новая Зеландия1 Норвегия1 США1 1 Финляндия1 Франция1 Швейцария1 Швеция1 ЮАР1 Япония1

Позиции в чартах Чарт (1987)Высшаяпозиция Австралия2 1 Австрия1 Бельгия1 Бразилия1 Великобритания1 Германия1 Гонконг1 Греция1 Дания1 Зимбабве1 Израиль1 Испания1 Италия1 Канада1 Нидерланды1 Новая Зеландия1 Норвегия1 США1 1 Финляндия1 Франция1 Швейцария1 Швеция1 ЮАР1 Япония1

Positions in charts Chart (1987)Highest Position Australia2 1 Austria1 Belgium1 Brazil1 UK1 Germany1 Hong Kong1 Greece1 Denmark1 Zimbabwe1 Israel1 Spain1 Italy1 Canada1 Netherlands1 New Zealand1 Norway1 USA1 1 Finland1 France1 Switzerland1 Sweden1 South Africa1 Japan1

Positions in charts Chart (1987)Highest Position Australia2 1 Austria1 Belgium1 Brazil1 UK1 Germany1 Hong Kong1 Greece1 Denmark1 Zimbabwe1 Israel1 Spain1 Italy1 Canada1 Netherlands1 New Zealand1 Norway1 USA1 1 Finland1 France1 Switzerland1 Sweden1 South Africa1 Japan1

Platz 1 zum Jubiläum
10 Jahre Santiano
Gefühlvoll an die Spitze
Igor Levit neuer Klassik-Spitzenreiter
"Layla" toppt 3. Quartal
und ist erfolgreichste Single
Kontra K stellt erfolgreichstes Album
im 3. Quartal 2022
Luciano thront in HipHop-Charts
"Majestic" sticht Konkurrenz aus
Prince of Darkness regiert Vinyl-Charts
Patient Number 9 liegt vorne
"Blue Train"-Reise führt zu Platz 1
John Coltrane triumphiert beim Jazz
Chart Update in
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Alleen de Nederlands- en Engelstalige reviews worden getoond: Alle talen tonen
******
einfach genial in seiner gesamtheit!
*****
Sehr gut, wenn auch nicht das beste Album von Michael Jackson.
******
Sackstarkes Album!! Und wer kann mit der gleichen Scheibe schon zweimal von 0 auf die 1 in die Charts einsteigen? Michael konnte es: im Sept. 87 und im Juli 88 als Wiedereinstieg...
******
Masterpiece of Music
******
Bad. Das typischste Michael Jackson Bild. Seine erfolgreichste Zeit und gleichzeitig fings da schon etwas an, abwärts mit ihm zu gehen. Ohne Zweifel hats wieder eine Menge grosser Songs drauf. Man In The Mirror, Smooth Criminal, Bad, the Way You Make Me Feel, Dirty Diana und Leave Me Alone sind alles richtige Superhits. Der Rest gefällt mir jedoch nicht. Klingt schon fast etwas nach Füllmaterial. Trotzdem, dank diesen Hits, eine klare 5.5+Laatst gewijzigd: 04/07/2009 01:07
******
Fast jeder Song eine Single und damit ein Hit... Trotz Kultstatus gibts aber nicht die Höchstnote, dazu fehlen neben dem wundervollen "Man In The Mirror" weitere erstklassige Titel.
Na, da war ich ja überpingelig. Selbstverständlich berechtigt die Legende dieses Albums zu einer überzeugten und überzeugenden Höchstnote.Laatst gewijzigd: 27/06/2009 10:19
*****
Gefällt mir besser als Thriller!
******
Totally awsome album...this album never got tired even i've got it for 4 years now...every song is fucking cool....i don't listen Michael Jackson, but this album is one of my favourites of 'all time'...
*****
... not BAD at all ...
****
Unendlich viele Hits, ein paar davon recht gut. Muss es deshalb alle begeistern? Nein.
******
Und die Erfolgsstroy ging weiter, aber da beste Album kam erst noch...
******
...not so BAD - toller Nachfolger für "Thriller". Fast jeder Titel stark - damals war Michael noch in Höchstform.
*****
Ganz geiler Song von Michael Jackson. Thriller find ich aber noch besser
******
BAD! IST DAS EINZIGE ALBUM AUF DER WELT MIT 5 NUMMER 1 HITS! EIN MEISTERWERK!
******
Eine Scheibe mit lauter Hits - MJ bringts fertig ein Album zu produzieren wo ich sämtliche Songs drauf vergöttere. Wahrhaftig ein Meisterwerk!
****
Höre ich immer wieder gerne !
******
Göttliches Album!!!
***
Dem BAD Album gebe ich eine 3 , die Songs sind einfach zu schnell gehört . Jedoch möchte ich auf "Man in the Mirror" + "Libirian Girl" von diesem Album nie verzichten.
"Dangerous" ist da um Längen besser.
*****
"Thriller" gefällt mir besser.
******
s'album mit dä meiste nr. 1 hits
******
Der Meilenstein der Pop-Industrie Ende der 80er! Unglaublich, was für ein Potenzial in allen 11 Songs steckte und heute immer noch steckt. Spricht für den Weitblick von Quincy Jones und MJ! Hier wurde der Zenit nicht nur musikalisch erreicht, sondern auch tänzerisch (Moonwalk AHOI). Ein Gesamtkunstwerk für die Ewigkeit!
******
Ohne Worte!! Note 6!
******
jacko in hochform! whos bad?!?!
******
Eines der besten Alben aller Zeiten und ein würdiger Nachfolger von Thriller! Sollte eigentlich jeder im Schrank stehen haben!
******
auch spitze ich finde alle aben von mj spitze
******
hier ist nicht ein lied drauf dass mir nicht gefällt und dass kann ich nicht von vielen alben behaupten.super, wie alle alben vom king of pop (ausser invincible).
*****
Nicht nur würdig - sondern meiner Meinung nach das beste Jacko Album. 8 (!) von 10 möglichen Singleauskopplungen! Das muß ihm auch erst wer nachmachen!Laatst gewijzigd: 31/08/2020 14:08
******
bestes album von michael jackson, und eines der besten alben aller zeiten. die singles-serie wird wohl bis auf laengere zeit die groesste bleiben (obwohl dangerous auch nochmals 9 singles auskoppelte).
******
Wenn von einem 10-Track Album 8 Titel als Single ausgekoppelt werden und in die Top 100 kommen-das ist grandios. Michael forever. Leider wollen geldgierige Amis heute nur noch sein Geld und verklagen ihn,weil er Kinder mag.
******
Ich liebe Bad!!! Für mich eines der besten Alben von Michael. Es gibt keinen Song da drauf, dem ich weniger als 5 Punkte geben würde. Laatst gewijzigd: 28/11/2006 13:05
*****
Gutes Album mit starken Songs drauf.Reicht trotzdem nicht
ganz für eine 6.
******
Geil und das mit glaube ich 6 Nummer 1# Songs!Laatst gewijzigd: 25/03/2008 16:15
****
sicher solide, aber ich erinnere mich noch gut, wie enttäuscht ich über dieses Album nach dem Meilenstein "Thriller" war
*****
Sehr knappe 5 Punkte, weil ich nachfolgenden Veröffentlichungen von Michael Jackson schon mit genug Strenge begegnet bin. Die Single sind wie immer stark. Da konnte man den Künstler Michael Jackson noch im Großen und Ganzen ernst nehmen.
******
genialLaatst gewijzigd: 21/03/2008 17:44
******
Hinter dem Album "Thriller" bei mir mit hauchdünnem Abstand auf auf Platz 2, aber dennoch natürlich noch ebenfalls aufgerundete 6 Sterne.
******
Alles andere als " Bad" echt genial...
******
Bad ist mein Lieblingsalbum von Michael Jackson.
******
genau so gut wie "thriller"!
**
mochte POP schon immer aber mit JACKSON konnte und kann ich einfach nichts anfangen
****
2x6
2x5
4x4
2x3
1x2
----
~4
*
Der krächst mir zu viel. Nicht mein Fall.Laatst gewijzigd: 28/06/2009 11:56
*****
nach "Thriller" mein Platz Nummer 2 unter allen MJ Alben!
*****
sehr starkes album von jacko.
******
Schönes und abwechslungsreiches Album! Gehört für mich in die gleiche Liga wie Thriller, also gibt es auch die gleiche Anzahl Sterne!
6 Sterne!
******
Bei Jacko wird an der Spitze immer das Album "Thriller" stehen, aber ich finde "Bad" genauso gut!!! Es ist vom Stil her komplett anders als "Thriller"!!!! Sozusagen mehr "Bad"!!! Beim "Thriller" Album galt er eher noch als der süße kleine Bube von nebenan, der uns hammermäßige Songs lieferte!!! Mit diesem Album aber zeigte er sich von einer komplett anderen Seite, als den bösen Jungen und es schien als würde er mitten in der Pubertät stecken!!! Eine bis dahin ungewohnte Seite von ihm, die ihn aber wahnsinnig berühmt gemacht hatte, denn "Bad" ist das zweitbestverkaufte Album der Welt!!! Jedoch von den Verkaufszahlen kann es an "Thriller" einfach nicht anknüpfen!!!! Ich persöhnlich finde beide Alben grandios!!! "Bad" hat unglaubliche Songs, die Special Edition davon, bietet noch super Zusatz Songs!!! Fette 6 für dieses Hammer Album!!!Laatst gewijzigd: 05/08/2008 15:23
*****
War auch ein recht gutes Album.
******
da wurde die nase schon etwas spitzer ;) das album ist natürlich absoluter wahnsinn, wer es nicht besitzt oder gar kennt, hat musik verpasst.
******
Ein grandioses Album, und man musste rund fünf Jahre darauf warten. Ich denke, es war im Voraus klar, dass das Vorgängeralbum "Thriller" kaum zu toppen sein würde, sowohl von den Songs als auch von den Verkaufszahlen.
Dennoch hat man sich Mühe gegeben und ein Album aufgenommen, welches aus meiner Sicht überhaupt nicht schwächelt.
Der Titeltrack "Bad" ist einfach geniale Popmusik. Gefolgt von einem tollen Shuffle-artigem Song mit dem Namen "The Way You Make Me Feel". "Speed Demon" und das grossartige "Dirty Diana" zeigten Michael Jacksons Wunsch nach mehr Rockelementen in seinen Songs auf. "Liberian Girl", ein Song der auf der Originalveröffentlichung mit einem langen gesprochenen Intro beginnt (irgendwas mit "a lot of people don't understand me") wurde, um Missverständnisse zu vermeiden, bei späteren Veröffentlichungen gestrichen. Der Song selbst, eine wunderschöne erotische Ballade. "Just Good Friends", ein netter Uptempo-Song mit dem damals typischen Beat für Dance-Pop. "Another Part Of Me", ein weitere starker Song, befindet sich auf der zweiten Seite des Albums. Danach folgt der für mich beste Song des Albums "Man In The Mirror", gefolgt vom schönen Duett mit Siedah Garrett "I Just Can't Stop Loving You".
Weiteres Highlight ist der Song "Smooth Criminal".
Auch hier hat Michael Jackson wieder mit Quincy Jones zusammengearbeitet; ein starkes Album mit Songs, die bereits heute als Klassiker gelten.
******
Das zweitmeistverkaufte Album der Welt! Das einzige Album, das 5 Lieder beinhaltet, die es alle auf Platz 1 der US-Charts geschafft haben.
Einfach unglaublich. Michael Jackson hat jeden Rekord gebrochen den es zu brechen gibt. All seine Alben sind Meisterwerke. Er ist einfach der Beste. Ein Genie, dem leider so viel Schmerz zugefügt wurde. Er hat einmal gesagt: Er wollte unbedingt von allen geliebt werden. Und das ist auch so. Wir lieben dich alle Michael! Jeder weiß, dass wir ohne dich im Nichts stehen würden. Du hast die Welt verändert. Du bist und bleibst mein Held. Ich liebe dich.
Wenn ich seine Musik höre, vergesse ich die Welt um mich herum. Ich tauche in SEINE Welt ein. Und das ist bestimmt der schönste Ort den man sich vorstellen kann. Laatst gewijzigd: 10/05/2012 14:57
******
Según mi opinión, el mejor álbum de Michael jackson.
Mis canciones favoritas.
1. Smooth criminal
2. Bad
3. The way you make me feel.Laatst gewijzigd: 30/01/2009 03:21
******
...sehr gutes album...
...mit vielen highlights, wie z.B. 'Bad', 'Dirty Diana', 'Man In The Mirror' oder mein Favourit Track auf dem Album, 'Smooth Criminal'...
Grandios!Laatst gewijzigd: 07/08/2009 11:54
*****
▒ Een zéér goed album van "Michael Jackson" uit september 1987 !!! Met enkele grote Toppers !!! Dik 5 sterren ☺!!!
*****
Ist noch ganz ok, haut mich aber jetzt nicht um.
*****
das letzte azeptable jackson album, aber schon hier wurde zu sehr nach innovation gesucht anstatt einfach gelebt
******
grandiose scheibe
beinahe so gut wie thriller
******
Ein Meisterwerk eindeutig besser als Thriller
Favorite Song: Speed DemonLaatst gewijzigd: 03/07/2009 00:22
******
Klasse album, die zweite hälfte ist unglaublich stark.
*****
Zweigeteilt; einerseits Oberreisser wie das auch textlich beeindruckende "Leave me alone", die Überballade mit sehnsüchtig schönem Refrain und absolutem Gänsehaut-Faktor "Liberian girl" oder die Granate "Smooth criminal" - dazu einfach geile Songs wie "Another part of me" (gross - viele Erinnerungen), "Bad" und "Dirty Diana"; sämtliche Songs sind TOP!
Auf der anderen Seite das obernervige "The way you make me feel", das lahme "Man in the mirror" (textlich in Ordnung!!), ebenfalls langweilig ist "I just can't stop loving you", das mit Stevie Wonder eingeträllerte "Just good friends", das mich komplett kalt lässt und das leere, eher obernervige "Speed demon"!
Die guten Songs überragen mit 6:5 - gibt eine 5*, denn SO schlecht sind die "schlechten" Songs nicht und die guten sind göttlich, allen voran "Liberian girl" und "Leave me alone". Die Scheibe ist für die damaligen Verhältnisse passend und gut produziert - man hört natürlich wegen den damals modernen Sounds aus welchem Jahr sie kommt... Das ist aber ok!
******
An absolute Masterpiece:
Smooth Criminal,
Liberian Girl,
Speed Demon,
Man in The Mirror,
Dirty Diana,
I just cant Stop Loving You,
Bad ,
The Way You Make Me Feel,
Another Part Of Me
M A S T E R P I E C E
******
Fand und finde es stärker als Thriller. Gehört eigentlich in jede CD-Sammlung. Und sollte jemand anderer Meinung sein, so müsste man ihn/sie ausgepeitschen..
**
warum immer aus den ätzendsten alben die meisten singles ausgekoppelt werden müssen ...
*****
recht gelungenes album, mit meist starken songs. den hab ich schon jahre bei mir stehen!
beste songs: man in the mirror; dirty diana; smooth criminal
******
En bref : chef d'oeuvre. Le single du même nom que l'album est tout simplement légendaire, je ne m'en lasserai jamais. Ensuite, le titre "Liberian Girl", qui me fait frissonner de tout mon long... Le tube "Smooth Criminal" est tout simplement culte, et a d'ailleurs été repris dans le film Moonwalker. "Man In The Mirror" est aussi un très beau titre. Et un des morceaux que je préfère, "Dirty Diana", magnifique, un vrai bonheur à écouter !! 6 points pour cet album, je n'ai pas hésité une seconde à lui attribuer la note maximale. Merci Michael pour cet album éternel. R.I.P.Laatst gewijzigd: 23/07/2009 22:21
******
Wirklich ein Top-Album, nicht zu Unrecht war er speziell zu dieser Zeit Mitte der Achtziger der King Of Pop!!
******
Spitzenalbum vom ersten bis zum letzten Song.
Von 11 Songs 9 ausgekoppelte Singles spricht auch schon für sich, oder für Größenwahn - wahrscheinlich trifft beides zu.
- Single Nr. 1: I Just Can't Stop Loving You war Leadsingle, wurde am 20.07.1987 veröffentlicht und erreichte in USA und UK jeweils Platz 1. In Deutschland und in der Schweiz reichte es nur zu Platz 2. In der Schweiz verhinderten die Pet Shop Boys mit It's A Sin ab 16. August 3 Wochen lang die Nummer 1, in Deutschland lag es an Voyage Voyage knapp einen Monat später.
- Single Nr. 2: Als I Just Can't Stop Loving You in DE seinen Chartshöhepunkt erlebte, folgte bereits die 2. Single "Bad" (07.09.1987). In den USA kam auch die wieder auf 1. In der Schweiz und in Deutschland gab es nur Platz 3 und 4 dafür. scheinbar kauften die Leute damals lieber Bee Gees (You Win Again), Sabrina und Rick Astley.
- Single Nr. 3: Am 09.11.1987 wurde "The Way You Make Me Feel" veröffentlicht, führte in den USA spontan wieder die Charts an, konnte dafür in Europa nur mäßig punkten. In UK kam sie zwar bis auf Platz 3, dafür in der Schweiz nur bis 8, in DE bis 12 und in AT bis Platz 15.
- Single Nr. 4: Man In The Mirror. VÖ Januar 1988 in den USA wieder Platz 1, UK 2 und in DE, AT und CH eher unter "ferner liefen".
- Single Nr. 5: Dirty Diana wurde am 8. April 1988 veröffentlicht und wurde die 5. Nummer 1 Single in Folge dieses Albums in den USA. Auch in der Schweiz und Deutschland war das wieder ein großer Erfolg - hier kam sie bis auf Platz 3.
- Single Nr. 6: 11. Juli 1988, Another Part Of Me. Seltsamerweise in den Schweiz viel besser platziert als in den USA.
- Single Nr. 7: am 24. Oktober 88: Smooth Criminal. Auch hierfür nochmal Top 10 in etlichen Ländern.
- Single Nr. 8: Leave Me Alone. Februar 1989
- Single Nr. 9: 3. Juli 1989, 2 Jahre nach der ersten Single des Albums, kommt schließlich noch Liberian Girl.
Favoriten:
1. Smooth Criminal
2. Man In The Mirror
3. Liberian Girl
4. The Way You Make Me Feel
5. Leave Me AloneLaatst gewijzigd: 22/09/2019 18:14
*****
R.I.P er ist der King of Pop 4ever
******
Schlicht und einfach fantastisch.
******
alles andere als bad, das ist sein bestes Album
******
Ein sehr gelungenes Album, das in Sachen Erfolg viel zu sehr hinter dem Vorgänger zurückgeblieben ist. - 6*Laatst gewijzigd: 29/12/2011 18:47
*****
Ein echt gutes Album! 5+
******
Great MJ album my fav from him. UK#1 and Ireland#9.
Chart re-entry:UK#9 August 2009 RIP Michael JacksonLaatst gewijzigd: 13/03/2019 14:32
******
Fantastic album, I love every track.
*****
heerlijk album met alleen maar hoogtepunten
******
Ein unglaublich tolles album aus dem sage und schreibe 9 singles veröffentlicht wurden
jeder song ist anders und dank quincy jones erreichen fast alle songs eine gewisse brillianz
Darum werde ich nie verstehen wieso THRILLER so überbewertet ist und dieses album immer im schatten stehen muss
denn thriller enthält ausser BILLY JEAN; BEAT IT und THRILLER im grunde nur füllmaterial
bad ist eins dieser alben wo jeder song ein kracher ist
*****
As an album it had many hits again like 'Thriller', slightly better than the aformentioned.
******
Für mich das zweitbeste Album vom King of Pop.
**
Als das 1987 rauskam, waren für mich die Beatles der Massstab für gute Musik. Jackson hat mir gar nichts gegeben. Die Fan-Jugend damals war glaub ich auch eher von den visuellen Dingen (z. B. die tolle Jacke auf dem Cover, die Videos) und dem konstruierten Medien-Hype ("King of Pop") beeindruckt als von der Musik.
20 Jahre später sind immer noch die Beatles ein Massstab für gute Musik, und Jackson verstehe ich noch immer nicht. Laatst gewijzigd: 23/01/2011 13:03
******
Das Album ist einfach der HAMMA!!!!!!!!!!!!
Total GEEEEEIIIIIILLLL!!!!!!!!!!
*****
Superalbum mit einigen tollen Songperlen.
******
Bestes Michael Jackson Album ever
Sogar die Filler Songs sind 1A
Smooth Criminal: Best Song ever
******
ein weltklasse album!!!!!!!!!!!!!!!!!!!!!!
genauso wie dangerous, einfach super!!!!!!!!!!!!!!!!
smooth criminal ist auf der LP noch geiler, auf der CD ist es fad
am besten gefallen mir: bad, liberian girl, another part of me, smooth criminal
****
Good Album. Stand out track would be Smooth Criminal
******
Brilliant album - yet another masterpiece from MJ. Easily one of the best albums of the latter part of the 80's, and probably amoungst one of his best.
Bad ******
The Way You Make Me Feel ******
Speed Demon ****
Liberian Girl *****
Stevie Wonder & Michael Jackson - Just Good Friends ******
Another Part Of Me *****
Man In The Mirror ******
I Just Can't Stop Loving You *****
Dirty Diana ******
Smooth Criminal ******
5.4 --> 6
******
Mega Album! Tolle Interpretationen und sehr tolle Instrumente und seine geile Stimme sowieso!
******
Für mich sein bestes Werk.Ein legendäres Album!Jeder der 11 Songs ist ein Knaller...dass muss man erstmal Hinbekommen!!!Alles Ohrwürmer vom Allerfeinsten.Dass heimliche Highlight bleibt für mich jedoch Dirty Diana!!!
******
Michael Jackson flikte het gewoon om met een tweede meesterwerk te komen na Thriller.
Ook interessant door samenwerking met hardrockgistaristen Eddie van Halen en Slash van Guns N'Roses.
******
Ganz hervorragendes MJ-Album. Mindestens ebenso gut wie "Thriller", auch wenn es kommerziell nicht ganz so erfolgreich war. Songs wie "Dirty Diana" oder "Smooth Criminal" gehören für mich zum besten, was Michael je gemacht hat.Laatst gewijzigd: 26/02/2017 11:08
*****
In der Gesamtbetrachtung gesehen ein gutes Album. Durchschnitt: 5,2.
******
Nach Dangerous mein 2t liebstes Album.
******
Net zoals Thriller een dikke 6 sterren voor dit meesterwerkje. In de jaren negentig voor de tweede maal aangeschaft, dit keer op CD. Gek genoeg draai ik sinds kort zo nu en dan weer de ouderwetse vinyl LP.
******
Der Nachfolger von "Thriller" hat nicht weniger Hit Singles als sein Vorgänger. Gute Songs die mittlerweile alle Kult sind.
Insgesamt dann aber doch ein klein wenig hinter "Thriller" anzusiedeln.
Aber trotzdem Top Album!
Bad 6*
The Way You Make Me Feel 6*
Speed Demon 4*
Liberian Girl 5*
Just Good Friends 6*
Another Part Of Me 5*
Man In The Mirror 6*
I Just Can't Stop Loving You 6*
Dirty Diana 6*
Smooth Criminal 6*
Leave Me Alone 5*
Durchschnitt: 5.54 ~ 6*
*****
Erg goed album van Michael Jackson, een uitgebreide review komt later
*****
neben "Thriller" wohl sein bestes Album
******
Kommt nicht an "Thriller" heran aber immer noch stark.
******
Chartmässig klar hinter dem enormen Erfolg vom Thriller, logisch. Aber dennoch eins der bestverkauftesten Alben der 80er! So viele erfolgreiche Nr 1 Hits und Singles auf einem Album muss ihm erstmal einer nach machen, selbst die beiden Non Singletracks Speed Demon und das Duett mit Stevie Wonder sind gut! Thriller hat zwar mit Billie Jean und Beat it zwei grandiose Klassiker zu bieten, aber Smooth Criminal und Man in the Mirror stehen dem in nichts nach für mich. Auch die anderen Songs pendeln sich bei mir zwischen guten 4 bis 6 Sternen ein. Bad kommt vom Sound und allem her vor Thriller, wirkt mehr aus einem Guss, ist ausgereifter und ich finde auch die Balladen besser als bei Thriller. Das lange warten damals auf Bad hat sich mehr als gelohnt! Cover auch sehr gelungen. Knappe 6 Sterne für Bad! Laatst gewijzigd: 01/11/2020 20:15
***
Kann/Konnte mit Michael Jacksons Musik nie etwas anfangen
****
Nachdem ich mir Number Ones gekauft hatte habe ich dieses Album noch schnell hinterher gekauft nur weil Man in the Mirror auf Number Ones nicht vorhanden ist.
Im Schnitt bekommt dieses Album von mir aber nur eine knappe 4 weil mir außer dem bereits Benannten Titel und natürlich Smooth Criminal kein Lied mehr übermäßig gut gefällt.
****
Zumindest eines der Alben von ihm, die für mich noch relevant sind.
*
Jetzt schmort er in der Hölle.
*****
Heerlijk album
Bijna allemaal hits
******
mariamg : Check your Head!
"Bad" ist ein Wahnsinnsalbum, höre es heute auch noch gerne, ein Knaller nach dem anderen und für mich genauso stark wie "Thriller"! Kein Wunder war das Album 1987/1988 überall ganz oben, in UK und Frankreich war das sogar das meistverkaufte Album des Jahres 1987!
Meine Favoriten sind "Bad", "The Way you make me feel", "Liberian Girl", "Another part of me", "Man in the Mirror", "I just can't stop loving you" und "Smooth Criminal"!

******
einfach genial in seiner gesamtheit!
******
genau
*****
...sehr gut...
*****
Sehr gut, wenn auch nicht das beste Album von Michael Jackson.
*****
gutes album
*****
Sehr gut!
******
Sackstarkes Album!! Und wer kann mit der gleichen Scheibe schon zweimal von 0 auf die 1 in die Charts einsteigen? Michael konnte es: im Sept. 87 und im Juli 88 als Wiedereinstieg...
******
Masterpiece of Music
******
Bad. Das typischste Michael Jackson Bild. Seine erfolgreichste Zeit und gleichzeitig fings da schon etwas an, abwärts mit ihm zu gehen. Ohne Zweifel hats wieder eine Menge grosser Songs drauf. Man In The Mirror, Smooth Criminal, Bad, the Way You Make Me Feel, Dirty Diana und Leave Me Alone sind alles richtige Superhits. Der Rest gefällt mir jedoch nicht. Klingt schon fast etwas nach Füllmaterial. Trotzdem, dank diesen Hits, eine klare 5.5+Last edited: 04.07.2009 01:07
******
Fast jeder Song eine Single und damit ein Hit... Trotz Kultstatus gibts aber nicht die Höchstnote, dazu fehlen neben dem wundervollen "Man In The Mirror" weitere erstklassige Titel.
Na, da war ich ja überpingelig. Selbstverständlich berechtigt die Legende dieses Albums zu einer überzeugten und überzeugenden Höchstnote.Last edited: 27.06.2009 10:19
*****
Gefällt mir besser als Thriller!
******
Totally awsome album...this album never got tired even i've got it for 4 years now...every song is fucking cool....i don't listen Michael Jackson, but this album is one of my favourites of 'all time'...
*****
... not BAD at all ...
****
Unendlich viele Hits, ein paar davon recht gut. Muss es deshalb alle begeistern? Nein.
******
Und die Erfolgsstroy ging weiter, aber da beste Album kam erst noch...
******
...not so BAD - toller Nachfolger für "Thriller". Fast jeder Titel stark - damals war Michael noch in Höchstform.
*****
Ganz geiler Song von Michael Jackson. Thriller find ich aber noch besser
******
BAD! IST DAS EINZIGE ALBUM AUF DER WELT MIT 5 NUMMER 1 HITS! EIN MEISTERWERK!
******
Eine Scheibe mit lauter Hits - MJ bringts fertig ein Album zu produzieren wo ich sämtliche Songs drauf vergöttere. Wahrhaftig ein Meisterwerk!
****
Höre ich immer wieder gerne !
*****
not too BAD
******
Göttliches Album!!!
******
Unglaublich
******
super album
***
Dem BAD Album gebe ich eine 3 , die Songs sind einfach zu schnell gehört . Jedoch möchte ich auf "Man in the Mirror" + "Libirian Girl" von diesem Album nie verzichten.
"Dangerous" ist da um Längen besser.
*****
"Thriller" gefällt mir besser.
******
Super
******
s'album mit dä meiste nr. 1 hits
******
Michael`s bestes
******
Der Meilenstein der Pop-Industrie Ende der 80er! Unglaublich, was für ein Potenzial in allen 11 Songs steckte und heute immer noch steckt. Spricht für den Weitblick von Quincy Jones und MJ! Hier wurde der Zenit nicht nur musikalisch erreicht, sondern auch tänzerisch (Moonwalk AHOI). Ein Gesamtkunstwerk für die Ewigkeit!
******
Ohne Worte!! Note 6!
******
Dito!
******
jacko in hochform! whos bad?!?!
******
Wuuuuuunderbar!
******
Eines der besten Alben aller Zeiten und ein würdiger Nachfolger von Thriller! Sollte eigentlich jeder im Schrank stehen haben!
***
bad!
******
auch spitze ich finde alle aben von mj spitze
******
hier ist nicht ein lied drauf dass mir nicht gefällt und dass kann ich nicht von vielen alben behaupten.super, wie alle alben vom king of pop (ausser invincible).
******
super
****
Nicht nur würdig - sondern meiner Meinung nach das beste Jacko Album. 8 (!) von 10 möglichen Singleauskopplungen! Das muß ihm auch erst wer nachmachen!
4.45*Last edited: 17.09.2011 22:10
******
bestes album von michael jackson, und eines der besten alben aller zeiten. die singles-serie wird wohl bis auf laengere zeit die groesste bleiben (obwohl dangerous auch nochmals 9 singles auskoppelte).
******
Wenn von einem 10-Track Album 8 Titel als Single ausgekoppelt werden und in die Top 100 kommen-das ist grandios. Michael forever. Leider wollen geldgierige Amis heute nur noch sein Geld und verklagen ihn,weil er Kinder mag.
******
Ich liebe Bad!!! Für mich eines der besten Alben von Michael. Es gibt keinen Song da drauf, dem ich weniger als 5 Punkte geben würde. Last edited: 28.11.2006 13:05
*****
Gutes Album mit starken Songs drauf.Reicht trotzdem nicht
ganz für eine 6.
******
Geil und das mit glaube ich 6 Nummer 1# Songs!Last edited: 25.03.2008 16:15
****
sicher solide, aber ich erinnere mich noch gut, wie enttäuscht ich über dieses Album nach dem Meilenstein "Thriller" war
*****
Sehr knappe 5 Punkte, weil ich nachfolgenden Veröffentlichungen von Michael Jackson schon mit genug Strenge begegnet bin. Die Single sind wie immer stark. Da konnte man den Künstler Michael Jackson noch im Großen und Ganzen ernst nehmen.
******
genialLast edited: 21.03.2008 17:44
****
okay
******
Hinter dem Album "Thriller" bei mir mit hauchdünnem Abstand auf auf Platz 2, aber dennoch natürlich noch ebenfalls aufgerundete 6 Sterne.
******
Alles andere als " Bad" echt genial...
******
Bad ist mein Lieblingsalbum von Michael Jackson.
******
genau so gut wie "thriller"!
**
mochte POP schon immer aber mit JACKSON konnte und kann ich einfach nichts anfangen
****
2x6
2x5
4x4
2x3
1x2
----
~4
*
Der krächst mir zu viel. Nicht mein Fall.Last edited: 28.06.2009 11:56
*****
nach "Thriller" mein Platz Nummer 2 unter allen MJ Alben!
******
"Bad" ist für das modernste Album, das er je veröffentlicht hat. Danach endete leider die Zusammenarbeit zwischen Michael Jackson und Quincy Jones - einer der grössten Produzenten der Black Music.Last edited: 25.09.2012 22:21
*****
sehr starkes album von jacko.
***
gute 3
******
Schönes und abwechslungsreiches Album! Gehört für mich in die gleiche Liga wie Thriller, also gibt es auch die gleiche Anzahl Sterne!
6 Sterne!
******
Bei Jacko wird an der Spitze immer das Album "Thriller" stehen, aber ich finde "Bad" genauso gut!!! Es ist vom Stil her komplett anders als "Thriller"!!!! Sozusagen mehr "Bad"!!! Beim "Thriller" Album galt er eher noch als der süße kleine Bube von nebenan, der uns hammermäßige Songs lieferte!!! Mit diesem Album aber zeigte er sich von einer komplett anderen Seite, als den bösen Jungen und es schien als würde er mitten in der Pubertät stecken!!! Eine bis dahin ungewohnte Seite von ihm, die ihn aber wahnsinnig berühmt gemacht hatte, denn "Bad" ist das zweitbestverkaufte Album der Welt!!! Jedoch von den Verkaufszahlen kann es an "Thriller" einfach nicht anknüpfen!!!! Ich persöhnlich finde beide Alben grandios!!! "Bad" hat unglaubliche Songs, die Special Edition davon, bietet noch super Zusatz Songs!!! Fette 6 für dieses Hammer Album!!!Last edited: 05.08.2008 15:23
*****
War auch ein recht gutes Album.
******
da wurde die nase schon etwas spitzer ;) das album ist natürlich absoluter wahnsinn, wer es nicht besitzt oder gar kennt, hat musik verpasst.
******
Ein grandioses Album, und man musste rund fünf Jahre darauf warten. Ich denke, es war im Voraus klar, dass das Vorgängeralbum "Thriller" kaum zu toppen sein würde, sowohl von den Songs als auch von den Verkaufszahlen.
Dennoch hat man sich Mühe gegeben und ein Album aufgenommen, welches aus meiner Sicht überhaupt nicht schwächelt.
Der Titeltrack "Bad" ist einfach geniale Popmusik. Gefolgt von einem tollen Shuffle-artigem Song mit dem Namen "The Way You Make Me Feel". "Speed Demon" und das grossartige "Dirty Diana" zeigten Michael Jacksons Wunsch nach mehr Rockelementen in seinen Songs auf. "Liberian Girl", ein Song der auf der Originalveröffentlichung mit einem langen gesprochenen Intro beginnt (irgendwas mit "a lot of people don't understand me") wurde, um Missverständnisse zu vermeiden, bei späteren Veröffentlichungen gestrichen. Der Song selbst, eine wunderschöne erotische Ballade. "Just Good Friends", ein netter Uptempo-Song mit dem damals typischen Beat für Dance-Pop. "Another Part Of Me", ein weitere starker Song, befindet sich auf der zweiten Seite des Albums. Danach folgt der für mich beste Song des Albums "Man In The Mirror", gefolgt vom schönen Duett mit Siedah Garrett "I Just Can't Stop Loving You".
Weiteres Highlight ist der Song "Smooth Criminal".
Auch hier hat Michael Jackson wieder mit Quincy Jones zusammengearbeitet; ein starkes Album mit Songs, die bereits heute als Klassiker gelten.
******
Das zweitmeistverkaufte Album der Welt! Das einzige Album, das 5 Lieder beinhaltet, die es alle auf Platz 1 der US-Charts geschafft haben.
Einfach unglaublich. Michael Jackson hat jeden Rekord gebrochen den es zu brechen gibt. All seine Alben sind Meisterwerke. Er ist einfach der Beste. Ein Genie, dem leider so viel Schmerz zugefügt wurde. Er hat einmal gesagt: Er wollte unbedingt von allen geliebt werden. Und das ist auch so. Wir lieben dich alle Michael! Jeder weiß, dass wir ohne dich im Nichts stehen würden. Du hast die Welt verändert. Du bist und bleibst mein Held. Ich liebe dich.
Wenn ich seine Musik höre, vergesse ich die Welt um mich herum. Ich tauche in SEINE Welt ein. Und das ist bestimmt der schönste Ort den man sich vorstellen kann. Last edited: 10.05.2012 14:57
******
Según mi opinión, el mejor álbum de Michael jackson.
Mis canciones favoritas.
1. Smooth criminal
2. Bad
3. The way you make me feel.Last edited: 30.01.2009 03:21
******
...sehr gutes album...
...mit vielen highlights, wie z.B. 'Bad', 'Dirty Diana', 'Man In The Mirror' oder mein Favourit Track auf dem Album, 'Smooth Criminal'...
Grandios!Last edited: 07.08.2009 11:54
*****
▒ Een zéér goed album van "Michael Jackson" uit september 1987 !!! Met enkele grote Toppers !!! Dik 5 sterren ☺!!!
*****
Ist noch ganz ok, haut mich aber jetzt nicht um.
*****
das letzte azeptable jackson album, aber schon hier wurde zu sehr nach innovation gesucht anstatt einfach gelebt
******
grandiose scheibe
beinahe so gut wie thriller
****
Sicher ok.
******
Ein Meisterwerk eindeutig besser als Thriller
Favorite Song: Speed DemonLast edited: 03.07.2009 00:22
******
Klasse album, die zweite hälfte ist unglaublich stark.
*****
Zweigeteilt; einerseits Oberreisser wie das auch textlich beeindruckende "Leave me alone", die Überballade mit sehnsüchtig schönem Refrain und absolutem Gänsehaut-Faktor "Liberian girl" oder die Granate "Smooth criminal" - dazu einfach geile Songs wie "Another part of me" (gross - viele Erinnerungen), "Bad" und "Dirty Diana"; sämtliche Songs sind TOP!
Auf der anderen Seite das obernervige "The way you make me feel", das lahme "Man in the mirror" (textlich in Ordnung!!), ebenfalls langweilig ist "I just can't stop loving you", das mit Stevie Wonder eingeträllerte "Just good friends", das mich komplett kalt lässt und das leere, eher obernervige "Speed demon"!
Die guten Songs überragen mit 6:5 - gibt eine 5*, denn SO schlecht sind die "schlechten" Songs nicht und die guten sind göttlich, allen voran "Liberian girl" und "Leave me alone". Die Scheibe ist für die damaligen Verhältnisse passend und gut produziert - man hört natürlich wegen den damals modernen Sounds aus welchem Jahr sie kommt... Das ist aber ok!
******
An absolute Masterpiece:
Smooth Criminal,
Liberian Girl,
Speed Demon,
Man in The Mirror,
Dirty Diana,
I just cant Stop Loving You,
Bad ,
The Way You Make Me Feel,
Another Part Of Me
M A S T E R P I E C E
******
Fand und finde es stärker als Thriller. Gehört eigentlich in jede CD-Sammlung. Und sollte jemand anderer Meinung sein, so müsste man ihn/sie ausgepeitschen..
**
warum immer aus den ätzendsten alben die meisten singles ausgekoppelt werden müssen ...
*****
recht gelungenes album, mit meist starken songs. den hab ich schon jahre bei mir stehen!
beste songs: man in the mirror; dirty diana; smooth criminal
******
En bref : chef d'oeuvre. Le single du même nom que l'album est tout simplement légendaire, je ne m'en lasserai jamais. Ensuite, le titre "Liberian Girl", qui me fait frissonner de tout mon long... Le tube "Smooth Criminal" est tout simplement culte, et a d'ailleurs été repris dans le film Moonwalker. "Man In The Mirror" est aussi un très beau titre. Et un des morceaux que je préfère, "Dirty Diana", magnifique, un vrai bonheur à écouter !! 6 points pour cet album, je n'ai pas hésité une seconde à lui attribuer la note maximale. Merci Michael pour cet album éternel. R.I.P.Last edited: 23.07.2009 22:21
******
Wirklich ein Top-Album, nicht zu Unrecht war er speziell zu dieser Zeit Mitte der Achtziger der King Of Pop!!
******
Spitzenalbum vom ersten bis zum letzen Song.
Favoriten:
1. Smooth Criminal
2. Man In The Mirror
3. The Way You Make Me Feel
4. Leave Me Alone
5. I Just Can't Stop Loving You
*****
R.I.P er ist der King of Pop 4ever
******
Schlicht und einfach fantastisch.
******
Ganz großes Kino
******
alles andere als bad, das ist sein bestes Album
******
Ein sehr gelungenes Album, das in Sachen Erfolg viel zu sehr hinter dem Vorgänger zurückgeblieben ist. - 6*Last edited: 29.12.2011 18:47
*****
Ein echt gutes Album! 5+
******
Great MJ album my fav from him. 4th UK top ten album. 175 Weeks in the UK top 100. The album produced one UK#1 single. His second UK and Irish#1 album. UK#1 for 5 weeks and Ireland#1. US#1. 3.9 million copies sold in the UK. 10 million copies sold in the US.
Second biggest selling album of the 80's in the UK.
Chart re-entry:UK#9 August 2009 RIP Michael JacksonLast edited: 02.04.2015 21:15
******
Fantastic album, I love every track.
*****
heerlijk album met alleen maar hoogtepunten
******
Fantastisch album.
******
Ein unglaublich tolles album aus dem sage und schreibe 9 singles veröffentlicht wurden
jeder song ist anders und dank quincy jones erreichen fast alle songs eine gewisse brillianz
Darum werde ich nie verstehen wieso THRILLER so überbewertet ist und dieses album immer im schatten stehen muss
denn thriller enthält ausser BILLY JEAN; BEAT IT und THRILLER im grunde nur füllmaterial
bad ist eins dieser alben wo jeder song ein kracher ist
*****
As an album it had many hits again like 'Thriller', slightly better than the aformentioned.
******
Für mich das zweitbeste Album vom King of Pop.
**
Als das 1987 rauskam, waren für mich die Beatles der Massstab für gute Musik. Jackson hat mir gar nichts gegeben. Die Fan-Jugend damals war glaub ich auch eher von den visuellen Dingen (z. B. die tolle Jacke auf dem Cover, die Videos) und dem konstruierten Medien-Hype ("King of Pop") beeindruckt als von der Musik.
20 Jahre später sind immer noch die Beatles ein Massstab für gute Musik, und Jackson verstehe ich noch immer nicht. Last edited: 23.01.2011 13:03
******
Das Album ist einfach der HAMMA!!!!!!!!!!!!
Total GEEEEEIIIIIILLLL!!!!!!!!!!
******
genial
*****
Superalbum mit einigen tollen Songperlen.
******
Bestes Michael Jackson Album ever
Sogar die Filler Songs sind 1A
Smooth Criminal: Best Song ever
******
ein weltklasse album!!!!!!!!!!!!!!!!!!!!!!
genauso wie dangerous, einfach super!!!!!!!!!!!!!!!!
smooth criminal ist auf der LP noch geiler, auf der CD ist es fad
am besten gefallen mir: bad, liberian girl, another part of me, smooth criminal
****
Good Album. Stand out track would be Smooth Criminal
******
Geniales Album.
******
******
genial
*
sicher ein chartfehler...
******
Gran album.
******
Brilliant album - yet another masterpiece from MJ. Easily one of the best albums of the latter part of the 80's, and probably amoungst one of his best.
Bad ******
The Way You Make Me Feel ******
Speed Demon ****
Liberian Girl *****
Stevie Wonder & Michael Jackson - Just Good Friends ******
Another Part Of Me *****
Man In The Mirror ******
I Just Can't Stop Loving You *****
Dirty Diana ******
Smooth Criminal ******
5.4 --> 6
******
good
******
6 stars
******
Mega Album! Tolle Interpretationen und sehr tolle Instrumente und seine geile Stimme sowieso!

******
einfach genial in seiner gesamtheit!
******
genau
*****
...sehr gut...
*****
Sehr gut, wenn auch nicht das beste Album von Michael Jackson.
*****
gutes album
*****
Sehr gut!
******
Sackstarkes Album!! Und wer kann mit der gleichen Scheibe schon zweimal von 0 auf die 1 in die Charts einsteigen? Michael konnte es: im Sept. 87 und im Juli 88 als Wiedereinstieg...
******
Masterpiece of Music
******
Bad. Das typischste Michael Jackson Bild. Seine erfolgreichste Zeit und gleichzeitig fings da schon etwas an, abwärts mit ihm zu gehen. Ohne Zweifel hats wieder eine Menge grosser Songs drauf. Man In The Mirror, Smooth Criminal, Bad, the Way You Make Me Feel, Dirty Diana und Leave Me Alone sind alles richtige Superhits. Der Rest gefällt mir jedoch nicht. Klingt schon fast etwas nach Füllmaterial. Trotzdem, dank diesen Hits, eine klare 5.5+Last edited: 04.07.2009 01:07
******
Fast jeder Song eine Single und damit ein Hit... Trotz Kultstatus gibts aber nicht die Höchstnote, dazu fehlen neben dem wundervollen "Man In The Mirror" weitere erstklassige Titel.

Na, da war ich ja überpingelig. Selbstverständlich berechtigt die Legende dieses Albums zu einer überzeugten und überzeugenden Höchstnote.Last edited: 27.06.2009 10:19
*****
Gefällt mir besser als Thriller!
******
Totally awsome album...this album never got tired even i've got it for 4 years now...every song is fucking cool....i don't listen Michael Jackson, but this album is one of my favourites of 'all time'...
*****
... not BAD at all ...
****
Unendlich viele Hits, ein paar davon recht gut. Muss es deshalb alle begeistern? Nein.
******
Und die Erfolgsstroy ging weiter, aber da beste Album kam erst noch...
******
...not so BAD - toller Nachfolger für "Thriller". Fast jeder Titel stark - damals war Michael noch in Höchstform.
*****
Ganz geiler Song von Michael Jackson. Thriller find ich aber noch besser
******
BAD! IST DAS EINZIGE ALBUM AUF DER WELT MIT 5 NUMMER 1 HITS! EIN MEISTERWERK!
******
Eine Scheibe mit lauter Hits - MJ bringts fertig ein Album zu produzieren wo ich sämtliche Songs drauf vergöttere. Wahrhaftig ein Meisterwerk!
****
Höre ich immer wieder gerne !
*****
not too BAD
******
Göttliches Album!!!
******
Unglaublich
******
super album
***
Dem BAD Album gebe ich eine 3 , die Songs sind einfach zu schnell gehört . Jedoch möchte ich auf "Man in the Mirror" + "Libirian Girl" von diesem Album nie verzichten.
"Dangerous" ist da um Längen besser.

*****
"Thriller" gefällt mir besser.
******
Super
******
s'album mit dä meiste nr. 1 hits
******
Michael`s bestes
******
Der Meilenstein der Pop-Industrie Ende der 80er! Unglaublich, was für ein Potenzial in allen 11 Songs steckte und heute immer noch steckt. Spricht für den Weitblick von Quincy Jones und MJ! Hier wurde der Zenit nicht nur musikalisch erreicht, sondern auch tänzerisch (Moonwalk AHOI). Ein Gesamtkunstwerk für die Ewigkeit!
******
Ohne Worte!! Note 6!
******
Dito!
******
jacko in hochform! whos bad?!?!
******
Wuuuuuunderbar!
******

Eines der besten Alben aller Zeiten und ein würdiger Nachfolger von Thriller! Sollte eigentlich jeder im Schrank stehen haben!
***
bad!
******
auch spitze ich finde alle aben von mj spitze
******
hier ist nicht ein lied drauf dass mir nicht gefällt und dass kann ich nicht von vielen alben behaupten.super, wie alle alben vom king of pop (ausser invincible).
******
super
*****
Nicht nur würdig - sondern meiner Meinung nach das beste Jacko Album. 8 (!) von 10 möglichen Singleauskopplungen! Das muß ihm auch erst wer nachmachen!
Last edited: 31.08.2020 14:08
******
bestes album von michael jackson, und eines der besten alben aller zeiten. die singles-serie wird wohl bis auf laengere zeit die groesste bleiben (obwohl dangerous auch nochmals 9 singles auskoppelte).
******
Wenn von einem 10-Track Album 8 Titel als Single ausgekoppelt werden und in die Top 100 kommen-das ist grandios. Michael forever. Leider wollen geldgierige Amis heute nur noch sein Geld und verklagen ihn,weil er Kinder mag.
******
Ich liebe Bad!!! Für mich eines der besten Alben von Michael. Es gibt keinen Song da drauf, dem ich weniger als 5 Punkte geben würde. Last edited: 28.11.2006 13:05
*****
Gutes Album mit starken Songs drauf.Reicht trotzdem nicht
ganz für eine 6.
******
Geil und das mit glaube ich 6 Nummer 1# Songs!Last edited: 25.03.2008 16:15
****
sicher solide, aber ich erinnere mich noch gut, wie enttäuscht ich über dieses Album nach dem Meilenstein "Thriller" war
*****
Sehr knappe 5 Punkte, weil ich nachfolgenden Veröffentlichungen von Michael Jackson schon mit genug Strenge begegnet bin. Die Single sind wie immer stark. Da konnte man den Künstler Michael Jackson noch im Großen und Ganzen ernst nehmen.
******
genialLast edited: 21.03.2008 17:44
****
okay
******
Hinter dem Album "Thriller" bei mir mit hauchdünnem Abstand auf auf Platz 2, aber dennoch natürlich noch ebenfalls aufgerundete 6 Sterne.
******
Alles andere als " Bad" echt genial...
******
Bad ist mein Lieblingsalbum von Michael Jackson.

******
genau so gut wie "thriller"!
**
mochte POP schon immer aber mit JACKSON konnte und kann ich einfach nichts anfangen
****
2x6
2x5
4x4
2x3
1x2
----
~4
*
Der krächst mir zu viel. Nicht mein Fall.Last edited: 28.06.2009 11:56
*****
nach "Thriller" mein Platz Nummer 2 unter allen MJ Alben!
*****
sehr starkes album von jacko.
***
gute 3
******
Schönes und abwechslungsreiches Album! Gehört für mich in die gleiche Liga wie Thriller, also gibt es auch die gleiche Anzahl Sterne!

6 Sterne!
******
Bei Jacko wird an der Spitze immer das Album "Thriller" stehen, aber ich finde "Bad" genauso gut!!! Es ist vom Stil her komplett anders als "Thriller"!!!! Sozusagen mehr "Bad"!!! Beim "Thriller" Album galt er eher noch als der süße kleine Bube von nebenan, der uns hammermäßige Songs lieferte!!! Mit diesem Album aber zeigte er sich von einer komplett anderen Seite, als den bösen Jungen und es schien als würde er mitten in der Pubertät stecken!!! Eine bis dahin ungewohnte Seite von ihm, die ihn aber wahnsinnig berühmt gemacht hatte, denn "Bad" ist das zweitbestverkaufte Album der Welt!!! Jedoch von den Verkaufszahlen kann es an "Thriller" einfach nicht anknüpfen!!!! Ich persöhnlich finde beide Alben grandios!!! "Bad" hat unglaubliche Songs, die Special Edition davon, bietet noch super Zusatz Songs!!! Fette 6 für dieses Hammer Album!!!Last edited: 05.08.2008 15:23
*****
War auch ein recht gutes Album.
******
da wurde die nase schon etwas spitzer ;) das album ist natürlich absoluter wahnsinn, wer es nicht besitzt oder gar kennt, hat musik verpasst.
******
Ein grandioses Album, und man musste rund fünf Jahre darauf warten. Ich denke, es war im Voraus klar, dass das Vorgängeralbum "Thriller" kaum zu toppen sein würde, sowohl von den Songs als auch von den Verkaufszahlen.
Dennoch hat man sich Mühe gegeben und ein Album aufgenommen, welches aus meiner Sicht überhaupt nicht schwächelt.
Der Titeltrack "Bad" ist einfach geniale Popmusik. Gefolgt von einem tollen Shuffle-artigem Song mit dem Namen "The Way You Make Me Feel". "Speed Demon" und das grossartige "Dirty Diana" zeigten Michael Jacksons Wunsch nach mehr Rockelementen in seinen Songs auf. "Liberian Girl", ein Song der auf der Originalveröffentlichung mit einem langen gesprochenen Intro beginnt (irgendwas mit "a lot of people don't understand me") wurde, um Missverständnisse zu vermeiden, bei späteren Veröffentlichungen gestrichen. Der Song selbst, eine wunderschöne erotische Ballade. "Just Good Friends", ein netter Uptempo-Song mit dem damals typischen Beat für Dance-Pop. "Another Part Of Me", ein weitere starker Song, befindet sich auf der zweiten Seite des Albums. Danach folgt der für mich beste Song des Albums "Man In The Mirror", gefolgt vom schönen Duett mit Siedah Garrett "I Just Can't Stop Loving You".
Weiteres Highlight ist der Song "Smooth Criminal".

Auch hier hat Michael Jackson wieder mit Quincy Jones zusammengearbeitet; ein starkes Album mit Songs, die bereits heute als Klassiker gelten.
******
Das zweitmeistverkaufte Album der Welt! Das einzige Album, das 5 Lieder beinhaltet, die es alle auf Platz 1 der US-Charts geschafft haben.
Einfach unglaublich. Michael Jackson hat jeden Rekord gebrochen den es zu brechen gibt. All seine Alben sind Meisterwerke. Er ist einfach der Beste. Ein Genie, dem leider so viel Schmerz zugefügt wurde. Er hat einmal gesagt: Er wollte unbedingt von allen geliebt werden. Und das ist auch so. Wir lieben dich alle Michael! Jeder weiß, dass wir ohne dich im Nichts stehen würden. Du hast die Welt verändert. Du bist und bleibst mein Held. Ich liebe dich.
Wenn ich seine Musik höre, vergesse ich die Welt um mich herum. Ich tauche in SEINE Welt ein. Und das ist bestimmt der schönste Ort den man sich vorstellen kann. Last edited: 10.05.2012 14:57
******
Según mi opinión, el mejor álbum de Michael jackson.
Mis canciones favoritas.
1. Smooth criminal
2. Bad
3. The way you make me feel.Last edited: 30.01.2009 03:21
******
...sehr gutes album...

...mit vielen highlights, wie z.B. 'Bad', 'Dirty Diana', 'Man In The Mirror' oder mein Favourit Track auf dem Album, 'Smooth Criminal'...

Grandios!Last edited: 07.08.2009 11:54
*****
▒ Een zéér goed album van "Michael Jackson" uit september 1987 !!! Met enkele grote Toppers !!! Dik 5 sterren ☺!!!
*****
Ist noch ganz ok, haut mich aber jetzt nicht um.
*****
das letzte azeptable jackson album, aber schon hier wurde zu sehr nach innovation gesucht anstatt einfach gelebt
******
grandiose scheibe
beinahe so gut wie thriller
****
Sicher ok.
******
Ein Meisterwerk eindeutig besser als Thriller

Favorite Song: Speed DemonLast edited: 03.07.2009 00:22
******
Klasse album, die zweite hälfte ist unglaublich stark.
*****
Zweigeteilt; einerseits Oberreisser wie das auch textlich beeindruckende "Leave me alone", die Überballade mit sehnsüchtig schönem Refrain und absolutem Gänsehaut-Faktor "Liberian girl" oder die Granate "Smooth criminal" - dazu einfach geile Songs wie "Another part of me" (gross - viele Erinnerungen), "Bad" und "Dirty Diana"; sämtliche Songs sind TOP!

Auf der anderen Seite das obernervige "The way you make me feel", das lahme "Man in the mirror" (textlich in Ordnung!!), ebenfalls langweilig ist "I just can't stop loving you", das mit Stevie Wonder eingeträllerte "Just good friends", das mich komplett kalt lässt und das leere, eher obernervige "Speed demon"!

Die guten Songs überragen mit 6:5 - gibt eine 5*, denn SO schlecht sind die "schlechten" Songs nicht und die guten sind göttlich, allen voran "Liberian girl" und "Leave me alone". Die Scheibe ist für die damaligen Verhältnisse passend und gut produziert - man hört natürlich wegen den damals modernen Sounds aus welchem Jahr sie kommt... Das ist aber ok!
******
An absolute Masterpiece:

Smooth Criminal,

Liberian Girl,

Speed Demon,

Man in The Mirror,

Dirty Diana,

I just cant Stop Loving You,

Bad ,

The Way You Make Me Feel,

Another Part Of Me

M A S T E R P I E C E
******
Fand und finde es stärker als Thriller. Gehört eigentlich in jede CD-Sammlung. Und sollte jemand anderer Meinung sein, so müsste man ihn/sie ausgepeitschen..
**
warum immer aus den ätzendsten alben die meisten singles ausgekoppelt werden müssen ...
*****
recht gelungenes album, mit meist starken songs. den hab ich schon jahre bei mir stehen!
beste songs: man in the mirror; dirty diana; smooth criminal
******
En bref : chef d'oeuvre. Le single du même nom que l'album est tout simplement légendaire, je ne m'en lasserai jamais. Ensuite, le titre "Liberian Girl", qui me fait frissonner de tout mon long... Le tube "Smooth Criminal" est tout simplement culte, et a d'ailleurs été repris dans le film Moonwalker. "Man In The Mirror" est aussi un très beau titre. Et un des morceaux que je préfère, "Dirty Diana", magnifique, un vrai bonheur à écouter !! 6 points pour cet album, je n'ai pas hésité une seconde à lui attribuer la note maximale. Merci Michael pour cet album éternel. R.I.P.Last edited: 23.07.2009 22:21
******
Wirklich ein Top-Album, nicht zu Unrecht war er speziell zu dieser Zeit Mitte der Achtziger der King Of Pop!!
******
Spitzenalbum vom ersten bis zum letzten Song.
Von 11 Songs 9 ausgekoppelte Singles spricht auch schon für sich, oder für Größenwahn - wahrscheinlich trifft beides zu.

- Single Nr. 1: I Just Can't Stop Loving You war Leadsingle, wurde am 20.07.1987 veröffentlicht und erreichte in USA und UK jeweils Platz 1. In Deutschland und in der Schweiz reichte es nur zu Platz 2. In der Schweiz verhinderten die Pet Shop Boys mit It's A Sin ab 16. August 3 Wochen lang die Nummer 1, in Deutschland lag es an Voyage Voyage knapp einen Monat später.
- Single Nr. 2: Als I Just Can't Stop Loving You in DE seinen Chartshöhepunkt erlebte, folgte bereits die 2. Single "Bad" (07.09.1987). In den USA kam auch die wieder auf 1. In der Schweiz und in Deutschland gab es nur Platz 3 und 4 dafür. scheinbar kauften die Leute damals lieber Bee Gees (You Win Again), Sabrina und Rick Astley.
- Single Nr. 3: Am 09.11.1987 wurde "The Way You Make Me Feel" veröffentlicht, führte in den USA spontan wieder die Charts an, konnte dafür in Europa nur mäßig punkten. In UK kam sie zwar bis auf Platz 3, dafür in der Schweiz nur bis 8, in DE bis 12 und in AT bis Platz 15.
- Single Nr. 4: Man In The Mirror. VÖ Januar 1988 in den USA wieder Platz 1, UK 2 und in DE, AT und CH eher unter "ferner liefen".
- Single Nr. 5: Dirty Diana wurde am 8. April 1988 veröffentlicht und wurde die 5. Nummer 1 Single in Folge dieses Albums in den USA. Auch in der Schweiz und Deutschland war das wieder ein großer Erfolg - hier kam sie bis auf Platz 3.
- Single Nr. 6: 11. Juli 1988, Another Part Of Me. Seltsamerweise in den Schweiz viel besser platziert als in den USA.
- Single Nr. 7: am 24. Oktober 88: Smooth Criminal. Auch hierfür nochmal Top 10 in etlichen Ländern.
- Single Nr. 8: Leave Me Alone. Februar 1989
- Single Nr. 9: 3. Juli 1989, 2 Jahre nach der ersten Single des Albums, kommt schließlich noch Liberian Girl.

Favoriten:
1. Smooth Criminal
2. Man In The Mirror
3. Liberian Girl
4. The Way You Make Me Feel
5. Leave Me AloneLast edited: 22.09.2019 18:14
*****
R.I.P er ist der King of Pop 4ever
******
Schlicht und einfach fantastisch.
******
Ganz großes Kino
******
alles andere als bad, das ist sein bestes Album
******
Ein sehr gelungenes Album, das in Sachen Erfolg viel zu sehr hinter dem Vorgänger zurückgeblieben ist. - 6*Last edited: 29.12.2011 18:47
*****
Ein echt gutes Album! 5+
******
Great MJ album my fav from him. UK#1 and Ireland#9.

Chart re-entry:UK#9 August 2009 RIP Michael JacksonLast edited: 13.03.2019 14:32
******
Fantastic album, I love every track.
*****
heerlijk album met alleen maar hoogtepunten
******
Fantastisch album.
******
Ein unglaublich tolles album aus dem sage und schreibe 9 singles veröffentlicht wurden

jeder song ist anders und dank quincy jones erreichen fast alle songs eine gewisse brillianz

Darum werde ich nie verstehen wieso THRILLER so überbewertet ist und dieses album immer im schatten stehen muss

denn thriller enthält ausser BILLY JEAN; BEAT IT und THRILLER im grunde nur füllmaterial

bad ist eins dieser alben wo jeder song ein kracher ist
*****
As an album it had many hits again like 'Thriller', slightly better than the aformentioned.
******
Für mich das zweitbeste Album vom King of Pop.
**
Als das 1987 rauskam, waren für mich die Beatles der Massstab für gute Musik. Jackson hat mir gar nichts gegeben. Die Fan-Jugend damals war glaub ich auch eher von den visuellen Dingen (z. B. die tolle Jacke auf dem Cover, die Videos) und dem konstruierten Medien-Hype ("King of Pop") beeindruckt als von der Musik.
20 Jahre später sind immer noch die Beatles ein Massstab für gute Musik, und Jackson verstehe ich noch immer nicht. Last edited: 23.01.2011 13:03
******
Das Album ist einfach der HAMMA!!!!!!!!!!!!
Total GEEEEEIIIIIILLLL!!!!!!!!!!
******
genial
*****
Superalbum mit einigen tollen Songperlen.
******
Bestes Michael Jackson Album ever
Sogar die Filler Songs sind 1A
Smooth Criminal: Best Song ever
******
ein weltklasse album!!!!!!!!!!!!!!!!!!!!!!
genauso wie dangerous, einfach super!!!!!!!!!!!!!!!!
smooth criminal ist auf der LP noch geiler, auf der CD ist es fad
am besten gefallen mir: bad, liberian girl, another part of me, smooth criminal
****
Good Album. Stand out track would be Smooth Criminal
******
Geniales Album.
******
******
genial
******
Gran album.
******
Brilliant album - yet another masterpiece from MJ. Easily one of the best albums of the latter part of the 80's, and probably amoungst one of his best.

Bad ******
The Way You Make Me Feel ******
Speed Demon ****
Liberian Girl *****
Stevie Wonder & Michael Jackson - Just Good Friends ******
Another Part Of Me *****
Man In The Mirror ******
I Just Can't Stop Loving You *****
Dirty Diana ******
Smooth Criminal ******
5.4 --> 6

******
good
******
6 stars
******
Mega Album! Tolle Interpretationen und sehr tolle Instrumente und seine geile Stimme sowieso!
******
Für mich sein bestes Werk.Ein legendäres Album!Jeder der 11 Songs ist ein Knaller...dass muss man erstmal Hinbekommen!!!Alles Ohrwürmer vom Allerfeinsten.Dass heimliche Highlight bleibt für mich jedoch Dirty Diana!!!
****
relativ gut... 3.5
******

6 *
******
Michael Jackson flikte het gewoon om met een tweede meesterwerk te komen na Thriller.
Ook interessant door samenwerking met hardrockgistaristen Eddie van Halen en Slash van Guns N'Roses.
******
Ausgezeichnet.
******
Ganz hervorragendes MJ-Album. Mindestens ebenso gut wie "Thriller", auch wenn es kommerziell nicht ganz so erfolgreich war. Songs wie "Dirty Diana" oder "Smooth Criminal" gehören für mich zum besten, was Michael je gemacht hat.Last edited: 26.02.2017 11:08
*****
In der Gesamtbetrachtung gesehen ein gutes Album. Durchschnitt: 5,2.
******
Nach Dangerous mein 2t liebstes Album.
******
Net zoals Thriller een dikke 6 sterren voor dit meesterwerkje. In de jaren negentig voor de tweede maal aangeschaft, dit keer op CD. Gek genoeg draai ik sinds kort zo nu en dan weer de ouderwetse vinyl LP.
******
Der Nachfolger von "Thriller" hat nicht weniger Hit Singles als sein Vorgänger. Gute Songs die mittlerweile alle Kult sind.
Insgesamt dann aber doch ein klein wenig hinter "Thriller" anzusiedeln.
Aber trotzdem Top Album!

Bad 6*
The Way You Make Me Feel 6*
Speed Demon 4*
Liberian Girl 5*
Just Good Friends 6*
Another Part Of Me 5*
Man In The Mirror 6*
I Just Can't Stop Loving You 6*
Dirty Diana 6*
Smooth Criminal 6*
Leave Me Alone 5*

Durchschnitt: 5.54 ~ 6*
*****
Erg goed album van Michael Jackson, een uitgebreide review komt later
*****
neben "Thriller" wohl sein bestes Album
******
Kommt nicht an "Thriller" heran aber immer noch stark.
******
Chartmässig klar hinter dem enormen Erfolg vom Thriller, logisch. Aber dennoch eins der bestverkauftesten Alben der 80er! So viele erfolgreiche Nr 1 Hits und Singles auf einem Album muss ihm erstmal einer nach machen, selbst die beiden Non Singletracks Speed Demon und das Duett mit Stevie Wonder sind gut! Thriller hat zwar mit Billie Jean und Beat it zwei grandiose Klassiker zu bieten, aber Smooth Criminal und Man in the Mirror stehen dem in nichts nach für mich. Auch die anderen Songs pendeln sich bei mir zwischen guten 4 bis 6 Sternen ein. Bad kommt vom Sound und allem her vor Thriller, wirkt mehr aus einem Guss, ist ausgereifter und ich finde auch die Balladen besser als bei Thriller. Das lange warten damals auf Bad hat sich mehr als gelohnt! Cover auch sehr gelungen. Knappe 6 Sterne für Bad! Last edited: 01.11.2020 20:15
***
Kann/Konnte mit Michael Jacksons Musik nie etwas anfangen
****
Nachdem ich mir Number Ones gekauft hatte habe ich dieses Album noch schnell hinterher gekauft nur weil Man in the Mirror auf Number Ones nicht vorhanden ist.
Im Schnitt bekommt dieses Album von mir aber nur eine knappe 4 weil mir außer dem bereits Benannten Titel und natürlich Smooth Criminal kein Lied mehr übermäßig gut gefällt.
****
Gut
****
Zumindest eines der Alben von ihm, die für mich noch relevant sind.
*
Jetzt schmort er in der Hölle.
*****
Heerlijk album
Bijna allemaal hits
******
mariamg : Check your Head!

"Bad" ist ein Wahnsinnsalbum, höre es heute auch noch gerne, ein Knaller nach dem anderen und für mich genauso stark wie "Thriller"! Kein Wunder war das Album 1987/1988 überall ganz oben, in UK und Frankreich war das sogar das meistverkaufte Album des Jahres 1987!

Meine Favoriten sind "Bad", "The Way you make me feel", "Liberian Girl", "Another part of me", "Man in the Mirror", "I just can't stop loving you" und "Smooth Criminal"!

Certifications Country Certification Israel (NMC) Gold Portugal (UNEVA) Gold Singapore () Gold Finland (IFPI) Gold Japan (RIAJ) Gold Hong Kong (IFPIHK) Platinum Mexico (AMPROFON) Platinum Netherlands (NVPI) Platinum Norway (IFPI) Platinum Switzerland (IFPI)2× Platinum Sweden (IFPI)2× Platinum Spain (PROMUSICAE)3× Platinum Austria (IFPI)4× Platinum Germany (BVMI)4× Platinum Denmark (IFPI)4× Platinum Australia (ARIA)6× Platinum Canada (NVPI)7× Platinum Canada (NVPI)4× Platinum Canada (NVPI)4× Platinum Canada (NVPI)4× Platinum Canada (NVPI)4× Platinum Canada (NVPI)

Сертификации

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IFPI)Золотой

RIAJ)Золотой

IFPIHK)Платиновый

NVPI)Платиновый

IFPI)Платиновый

Великобритания

SNEP)Бриллиантовый

Accreditation are based on content owned by and/or exclusively licensed to RIAS members.
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Variants of releases may be aggregated for the purpose of accreditation providing the variants meet the chart aggregation criteria.
The accreditation takes effect from the year the RIAS Gold/Platinum certificate is issued.
The introduction or amendment of accreditation levels will be at the discretion of the RIAS Board.

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Certifications Country Certification Israel (NMC) Gold Portugal (UNEVA) Gold Singapore () Gold Finland (IFPI) Gold Japan (RIAJ) Gold Hong Kong (IFPIHK) Platinum Mexico (AMPROFON) Platinum Netherlands (NVPI) Platinum Norway (IFPI) Platinum Switzerland (IFPI)2× Platinum Sweden (IFPI)2× Platinum Spain (PROMUSICAE)3× Platinum Austria (IFPI)4× Platinum Germany (BVMI)4× Platinum Denmark (IFPI)4× Platinum Australia (ARIA)6× Platinum Canada (NVPI)7× Platinum Canada (NVPI)4× Platinum Canada (NVPI)4× Platinum Canada (NVPI)4× Platinum Canada (NVPI)4× Platinum Canada (NVPI)

Question: which country has the highest number of platinum countries

which country has the highest number of platinum countries

Question: which country has the nickname 'ifpi'

Question: what is the name of japanese gold

RIAJ)Золотой

Question: which european country has the nickname ‘the bad’

which european country has the nickname ‘the bad’

Question: which country has the most platinum countries in the world

which country has the most platinum countries in the world

Certifications Country Certification Israel ( NMC ) Gold Portugal ( UNEVA ) Gold Singapore ( ) Gold Finland ( IFPI ) Gold Japan ( RIAJ ) Gold Hong Kong ( IFPIHK ) Platinum Mexico ( AMPROFON ) Platinum Netherlands ( NVPI ) Platinum Norway ( IFPI ) Platinum Switzerland ( IFPI)2× Platinum Sweden ( IFPI)2× Platinum Spain ( PROMUSICAE)3× Platinum Austria ( IFPI)4× Platinum Germany ( BVMI)4× Platinum Denmark ( IFPI)4× Platinum Australia ( ARIA)6× Platinum Canada ( NVPI)7× Platinum Canada ( NVPI)4× Platinum Canada ( NVPI)4× Platinum Canada ( NVPI)4× Platinum Canada ( NVPI)4× Platinum Canada ( NVPI )

Certifications Country Certification Israel (NMC) Gold Portugal (UNEVA) Gold Singapore () Gold Finland (IFPI) Gold Japan (RIAJ) Gold Hong Kong (IFPIHK) Platinum Mexico (AMPROFON) Platinum Netherlands (NVPI) Platinum Norway (IFPI) Platinum Switzerland (IFPI)2× Platinum Sweden (IFPI)2× Platinum Spain (PROMUSICAE)3× Platinum Austria (IFPI)4× Platinum Germany (BVMI)4× Platinum Denmark (IFPI)4× Platinum Australia (ARIA)6× Platinum Canada (NVPI)7× Platinum Canada (NVPI)4× Platinum Canada (NVPI)4× Platinum Canada (NVPI)4× Platinum Canada (NVPI)4× Platinum Canada (NVPI)

Certifications Country Certification Israel (NMC) Gold Portugal (UNEVA) Gold Singapore () Gold Finland (IFPI) Gold Japan (RIAJ) Gold Hong Kong (IFPIHK) Platinum Mexico (AMPROFON) Platinum Netherlands (NVPI) Platinum Norway (IFPI) Platinum Switzerland (IFPI)2× Platinum Sweden (IFPI)2× Platinum Spain (PROMUSICAE)3× Platinum Austria (IFPI)4× Platinum Germany (BVMI)4× Platinum Denmark (IFPI)4× Platinum Australia (ARIA)6× Platinum Canada (NVPI)7× Platinum Canada (NVPI)4× Platinum Canada (NVPI)4× Platinum Canada (NVPI)4× Platinum Canada (NVPI)4× Platinum Canada (NVPI)

Tilastot
Michael Jackson
Albumi Artisti, levy & levy-yhtiö, julkaisemisvuosi
Myynti Yhteensä
Palkinnot Kulta- ja platinalevyt
Michael Jackson Bad, albumi Sony | 1987
51 287
Kultalevy 1987
Michael Jackson Blood on the Dance Floor, albumi Sony | 1997
23 162
Kultalevy 1997
Michael Jackson Dangerous, albumi Sony | 1991
61 896
Kultalevy 1991 Platinalevy 1992
Michael Jackson HIStory, albumi Sony | 1995
61 352
Kultalevy 1995 Platinalevy 1997
Michael Jackson Invincible, albumi Sony | 2001
16 621
Kultalevy 2001
Michael Jackson Michael, albumi Sony Music | 2010
14 928
Kultalevy 2010
Michael Jackson Michael Jackson's This Is It, albumi Sony Music | 2009
10 460
Kultalevy 2009
Michael Jackson Number Ones, DVD Sony Music | 2003
5 016
Kultalevy 2009
Michael Jackson The Essential Michael Jackson, albumi Sony Music | 2005
20 290
Kultalevy 2009
Michael Jackson Thriller, albumi Sony | 1983
119 061
Kultalevy 1983 Platinalevy 1984

Goud/Platina
De officiële status van Goud of Platina is door leden van NVPI te verkrijgen door een certificering aan te vragen. Bekijk het reglement goed en vul het aanvraagformulier in. NVPI verschaft naast de certificering penningen voor display doeleinden. Zonder de NVPI-penning heeft een gouden of platina product geen internationaal erkende status en geen waarde. De NVPI-penning, bestaande uit een gouden of platina munt, dient op de uit te reiken onderscheiding zichtbaar aangebracht te worden.
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Gold-/Platin-Datenbank
Die Gold-/Platin-Datenbank enthält Informationen über alle Auszeichnungen mit GOLD/PLATIN Schallplatten seit 1975, alle JAZZ AWARDs seit 1992, MUSIC VIDEO AWARDs seit 2002, sowie KIDS-, COMEDY- und AUDIO BOOK AWARDs seit 2008. Sie beantwortet Fragen wie:
- Hat 'Satellite' von Lena bereits eine Platin-Auszeichnung erhalten?
- Wie oft wurde mein Lieblingskünstler ausgezeichnet?
- Wie viele Goldene Schallplatten wurden 1991 verliehen?
Sie können in unserer Gold-/Platin-Datenbank nach Interpreten oder Titel, nach Award-Sorte (also GOLD/PLATIN für Musikprodukte, JAZZ AWARD, KIDS AWARD, etc.), dem Format (Audioalben, Singles, Videos) oder auch nach dem Verleihungsjahr suchen.
Darüber hinaus erlaubt eine Recherche der Auszeichnung Aussagen zu den verkauften Einheiten des jeweiligen Werkes. Es kann jedoch nicht dafür garantiert werden, dass nicht bereits sogar mehr Einheiten als in der Verleihung berücksichtigt, verkauft worden sind. Mehrere Verleihungen zu einem Werk können nicht addiert werden, sondern es zählt die entsprechende Abverkaufsgrenze der jeweils höchsten Auszeichnung zu dem Werk. Weitere Details zu den Verleihungsgrenzen und Kriterien in den verschiedenen Kategorien finden Sie hier.
* Bei Aktivierung des Kästchens "Nur Höchstverleihungen" wird nur die zuletzt erzielte, höchste Verleihung zu jedem Werk angezeigt, also zum Beispiel 5fach Gold. In diesem Fall wird dann nicht die Reihe der vorhergehenden, niedrigeren Verleihungen, wie in diesem Beispiel 1fach Gold, 1fach Platin, 3fach Gold, 2fach Platin, etc. zusätzlich angezeigt.
|Interpret||Titel||Jahr||Format||Preis||Firma||Label|
|Gold/Platin|
|Michael Jackson||XSCAPE||2014||Alben||1x Gold||Sony Music Entertainment Germany GmbH||Epic|
|Michael Jackson||This Is It||2009||Alben||1x Gold||Sony Music Entertainment Germany GmbH||Epic|
|Michael Jackson||King Of Pop||2009||Alben||5x Gold||Sony Music Entertainment Germany GmbH||Epic|
|Michael Jackson||Number Ones||2004||Alben||1x Gold||Sony Music||Epic|
|Michael Jackson||Invincible||2001||Alben||1x Platin||Sony||Epic|
|Michael Jackson||HIStory - Past, Present And Future - Book||1997||Alben||3x Platin||Sony||Epic|
|Michael Jackson||Blood On The Dancefloor - HIStory In The Mix||1997||Alben||1x Gold||Sony||Epic|
|Michael Jackson||Blood On The Dancefloor||1997||Single||1x Gold||Sony||Epic|
|Michael Jackson||They Don't Care About Us||1996||Single||3x Gold||Sony||Epic|
|Michael Jackson||Earth Song||1996||Single||2x Platin||Sony||Epic|
|Michael Jackson||You Are Not Alone||1995||Single||1x Gold||Sony||Epic|
|Michael Jackson||Thriller||1995||Alben||3x Platin||Sony||Epic|
|Michael Jackson||Bad||1995||Alben||4x Platin||Sony||Epic|
|Michael Jackson||Dangerous||1993||Alben||4x Platin||Sony||Epic|
|Michael Jackson||Heal The World||1993||Single||1x Gold||Sony||Epic|
|Michael Jackson||Black Or White||1992||Single||1x Gold||Sony||Epic|
|Musikvideo-Award|
|Michael Jackson||Video Greatest Hits - HIStory||2004||Video||3x Gold||Sony Music Entertainment (Germany) GmbH||Epic|
|Michael Jackson||HIStory On Film Vol. 2||2002||Video||1x Platin||Sony|
|Michael Jackson||Dangerous - The Short Films||1997||Video||1x Platin||Sony|
Seite

|Artist
||Title
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|A.F.I.
||Sing The Sorrow
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|Abba
||18 Hits
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|AC/DC
||Black Ice
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|AC/DC
||Live
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|Adam Brand
||Built For Speed
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|Akon
||Freedom
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|Andre Rieu
||You'll Never Walk Alone
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|Arctic Monkeys
||Whatever People Say I Am, That's What I'm Not
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|Beyonce
||I Am... Sasha Fierce
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|Birds Of Tokyo
||Universes
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|Black Eyed Peas
||The E.N.D
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|Bliss N Eso
||Flying Colours
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|Bloc Party
||Intimacy
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|Bob Dylan
||The Essential Bob Dylan
||
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|Bob Newhart
||The Best Of Bob Newhart
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|Bon Jovi
||The Circle
||
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|Britney Spears
||Circus
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|Bruce Springsteen
||Greatest Hits
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|Cat Stevens
||Tea For The Tillerman
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|Chicago
||The Heart Of Chicago 1967-1997
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|Cog
||Sharing Space
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|Cohen Leonard
||Greatest Hits
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|Coldplay
||Viva La Vida
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|Creedence Clearwater Revival
||Chronicle: The 20 Greatest Hits
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|Cut Copy
||In Ghost Colours
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|David Bowie
||Best Of Bowie
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|David Campbell
||Good Lovin'
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|David Guetta
||One Love
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|Dire Straits
||Brothers In Arms
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|Duffy
||Rockferry
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|Dwight Yoakam
||The Platinum Collection
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|Eminem
||Relapse
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|Empire Of The Sun
||Walking On A Dream
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|Ensemble Of Musicians From The Melbourne Symphony Orchestra
||Music For Dreaming
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|Eskimo Joe
||Inshalla
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|Eurythmics
||Ultimate Collection
||
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|Fall Out Boy
||Folie A Deux
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|Foo Fighters
||Greatest Hits
||
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|Frankie Valli & The Four Seasons
||Oh What A Night... The Best Of Frankie Valli & The Four Seasons
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|Geoffrey Gurrumul Yunupingu
||Gurrumul
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|Gossip
||Music For Men
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|Green Day
||21st Century Breakdown
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|Guy Sebastian
||Like It Like That
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|Hilltop Hoods
||State Of The Art
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|Interpol
||Antics
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|Jason Mraz
||We Sing. We Dance. We Steal Things.
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|Jessica Mauboy
||Been Waiting
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|Jimmy Barnes
||The Rhythm And The Blues
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|John Farnham
||The Essential 3.0
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|John Mayer
||Battle Studies
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|John Williamson
||Hillbilly Road
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|John Williamson
||The Platinum Collection
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|Josh Pyke
||Chimney's Afire
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|Karnivool
||Sound Awake
||
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|Kate Ceberano
||Merry Christmas
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|Kate Miller-Heidke
||Curiouser
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|Keith Urban
||Defying Gravity
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|Kelly Clarkson
||All I Ever Wanted
||
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|Kings Of Leon
||Because Of The Times
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|Kings Of Leon
||Only By The Night
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|Kings Of Leon
||Youth & Young Manhood
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|Kooks
||Inside In / Inside Out
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|La Roux
||La Roux
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|Lady GaGa
||The Fame
||
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|Lady Gaga
||The Fame Monster
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|Ladyhawke
||Ladyhawke
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|Led Zeppelin
||Led Zeppelin (iv)
||
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|Led Zeppelin
||Physical Graffiti
||
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|Lee Kernaghan
||Planet Country
||
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|Lee Kernaghan
||Spirit Of The Bush
||
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|Leonard Cohen
||The Essential 3.0
||
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|Lily Allen
||Alright, Still
||
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|Lily Allen
||It's Not Me, It's You
||
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|Lisa Mitchell
||Wonder
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|Little Birdy
||Confetti
||
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|Madonna
||Celebration
||
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|Mark Vincent
||My Dream - Mio Visione
||
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|Michael Buble
||Crazy Love
||
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|Michael Jackson
||#1's
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|Michael Jackson
||Bad
||
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|Michael Jackson
||Blood On The Dance Floor: HIStory In The Mix
||
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|Michael Jackson
||Dangerous
||
||
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|Michael Jackson
||Essential Michael Jackson
||
||
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|Michael Jackson
||Greatest Hits: HIStory Volume I
||
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|Michael Jackson
||HIStory: Past, Present And Future - Book 1
||
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|Michael Jackson
||King Of Pop
||
||
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|Michael Jackson
||Off The Wall
||
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|Michael Jackson
||This Is It
||
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|Michael Jackson
||Thriller
||
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|Michael Jackson And The Jackson 5
||The Motown Years 50
||
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|Miley Cyrus
||Hannah Montana: The Movie
||
||
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|Miley Cyrus
||The Time Of Our Lives
||
||
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|Mumford & Sons
||Sigh No More
||
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|Muse
||The Resistance
||
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|Natalie Bassingthwaighte
||1000 Stars
||
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|Natalie Cole
||Unforgettable With Love
||
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|Neil Diamond
||Home Before Dark
||
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|Neil Diamond
||The Greatest Hits 1966-1992
||
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|Newton Faulkner
||Hand Built By Robots
||
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|Nick Cave & The Bad Seeds
||Dig, Lazarus, Dig!!!
||
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|Nickelback
||Dark Horse
||
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|Norah Jones
||Come Away With Me
||
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|P!nk
||Can't Take Me Home
||
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|P!nk
||Funhouse
||
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|P!nk
||I'm Not Dead
||
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|P!nk
||M!ssundaztood
||
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|P!nk
||M!ssundaztood / Can't Take Me Home
||
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|P!nk
||Try This
||
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|Paramore
||Brand New Eyes
||
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|Paramore
||Riot!
||
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|Paul Kelly
||Songs From The South Volume 1 & 2
||
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|Paul Potts
||Passione
||
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|Pearl Jam
||Backspacer
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|Pearl Jam
||Ten
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|Pendulum
||Hold Your Colour
||
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|Powderfinger
||Golden Rule
||
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|Pussycat Dolls
||Doll Domination 2.0
||
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|Queen
||Absolute Greatest
||
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|Rihanna
||Rated R
||
||
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|Rob Thomas
||Cradlesong
||
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|Robbie Williams
||Reality Killed The Video Star
||
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|Rod Stewart
||Soulbook
||
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|Ronan Keating
||10 Years Of Hits
||
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|Ronan Keating
||Songs For My Mother
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|Ronan Keating
||Stay
||
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|Sarah Blasko
||As Day Follows Night
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|Simon & Garfunkel
||Old Friends: Live On Stage
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|Simon & Garfunkel
||The Essential Simon & Garfunkel
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|Soundtrack
||Glee: The Music - Season One - Volume 1
||
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|Soundtrack
||Glee: The Music - Season One - Volume 2
||
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|Soundtrack
||Slumdog Millionaire
||
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|Soundtrack
||The Boat That Rocked
||
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|Soundtrack
||The Twilight Saga: New Moon
||
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|Soundtrack
||Twilight
||
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|Stan Walker
||Introducing
||
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|Susan Boyle
||I Dreamed A Dream
||
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|System Of A Down
||Toxicity
||
||
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|Taylor Swift
||Fearless
||
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|The Beach Boys
||Sounds Of Summer: The Very Best Of The Beach Boys
||
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|The Beatles
||1
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|The Beatles
||1962-1966
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|The Beatles
||1967-1970
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|The Beatles
||A Hard Day's Night
||
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|The Beatles
||Abbey Road
||
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|The Beatles
||Beatles For Sale
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|The Beatles
||Help!
||
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|The Beatles
||Let It Be
||
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|The Beatles
||Magical Mystery Tour
||
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|The Beatles
||Past Masters Volume 1
||
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|The Beatles
||Past Masters Volume 2
||
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|The Beatles
||Please Please Me
||
||
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|The Beatles
||Revolver
||
||
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|The Beatles
||Rubber Soul
||
||
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|The Beatles
||Sgt Pepper's Lonely Hearts Club Band
||
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|The Beatles
||The Beatles
||
||
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|The Beatles
||The Beatles
||
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|The Beatles
||With The Beatles
||
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|The Butterfly Effect
||Final Conversation Of Kings
||
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|The Fray
||The Fray
||
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|The Presets
||Apocalypso
||
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|The Presets
||Beams
||
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|The Priests
||The Priests
||
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|The Prodigy
||Invaders Must Die
||
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|The Script
||The Script
||
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|The Temper Trap
||Conditions
||
||
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|The White Stripes
||Elephant
||
||
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|Them Crooked Vultures
||Them Crooked Vultures
||
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|U2
||No Line On The Horizon
||
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|U2
||U218 Singles
||
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|Vampire Weekend
||Vampire Weekend
||
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|Vanessa Amorosi
||Hazardous
||
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|Various
||101 80s Hits
||
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|Various
||101 90's Hits
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|Various
||101 Beer Songs
||
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|Various
||Baby It's Cold Outside: Smooth Jazz For A Cozy Evening
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|Various
||Bushfire Aid: Artists For The Bushfire Appeal
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|Various
||Chillout Sessions XI
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|Various
||Floorfillers: Party Anthems 2009
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|Various
||Housework Songs III
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|Various
||NOW: The Hits Of Autumn 2009
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|Various
||NOW: The Hits Of Spring 2009
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|Various
||NOW: The Hits Of Summer 2010
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|Various
||NOW: The Hits Of Winter 2009
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|Various
||Sessions 4
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|Various
||So Fresh: Songs For Christmas 2009
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|Various
||So Fresh: The Hits Of Autumn 2009
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|Various
||So Fresh: The Hits Of Spring 2009
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|Various
||So Fresh: The Hits Of Summer 2009 + The Best Of 2008
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|Various
||So Fresh: The Hits Of Summer 2010 + The Best Of 2009
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|Various
||So Fresh: The Hits Of Winter 2009
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|Various
||Triple J Hottest 100 16
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|Various
||Triple J Hottest 100 Of All Time
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|Various
||Video Hits: One Hit Wonders
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|Various - mixed by DJ Nino Brown
||Blazin' 2009
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|Various - Mixed by DJ Samrai, Tom Piper & DJ Suae
||Maximum Bass Overdrive
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|Various - mixed by Goodwill, Tommy Trash & Dirty South
||Sessions Six
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|Various - mixed by John Course + Goodwill
||The Annual 2009
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|Various - mixed by Stafford Brothers, The Aston Shuffle & Bass Kleph
||Clubbers Guide To 2009
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|Various Artists
||The 2010 Annual
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|Wes Carr
||The Way The World Looks Plus Under The Influence EP
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|Whitney Houston
||The Ultimate Collection
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|Wolfmother
||Cosmic Egg
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ARIA Accreditations are based on sales from ARIA Member Wholesalers to Retailers. The current ARIA Accreditation levels are as follows:
Singles
Gold: 35,000 units
Platinum: 70,000 units
Albums
Gold: 35,000 units
Platinum: 70,000 units
Diamond: 500,000 units
Music Videos (including Audio Visual DVDs)
Gold: 7,500 units
Platinum: 15,000 units
ARIA Gold and Platinum Awards
- Only issued in relation to product distributed by ARIA members.
- Issued based on a declaration received from the principal financial officer of the member, certifying the net Australian wholesale sales to date (across all formats) of a particular release.
- Variants of releases may be aggregated for the purpose of accreditation providing the variants meet the chart aggregation criteria (see ARIA’s Code of Practice for ARIA Charts).
- ARIA, on receipt of an appropriately completed declaration, logs the accreditation against the release information held in the ARIA database, issues a certification letter and forwards to the member company with the required number (up to a maximum of 5 per release) of ARIA accreditation seals.
- Accreditation seals may only be affixed to, or incorporated into the art work of, ARIA accredited product.
- The accreditation takes effect from the date the ARIA confirmation letter is issued.
- The accreditation level of a particular release will be displayed on any ARIA chart published that includes that release, after the effective accreditation date.
- ARIA will note in its database and publish on its charts details of multi platinum achievement. Member companies must submit an accreditation application form updating the net Australian wholesale sales level for this to occur. Additional seals will not be issued.
- The introduction or amendment of accreditation levels will be at the discretion of the ARIA Board, generally following recommendations from its Chart & Marketing Committee.
Resources
Latest accreditaions
Accreditation application form (PDF)
Pro forma ARIA confirmation letter (example: Gold Single) (PDF)

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|
Album Sales Certifications are based on wholesale figures (record company sales to retailers).
(Gold = 7500, Platinum = 15,000)
May 16 2010:
KORA - KORA - plat x2
Justin Bieber - My Worlds - plat x1
White Zombie - La Sexorcisto Devil Music - plat x1
Dragon - The Very Best Of - gold x1
Rihanna - Music Of The Sun - gold x1
April 18 2010:
Slash - Slash - gold x1
Justin Bieber - My Worlds - gold x1
AC/DC - Iron Man 2 OST - gold x1
April 11 2010:
Susan Boyle - I Dreamed A Dream - plat x10
Lady Gaga - The Fame - plat x4
Dane Rumble - The Experiment - gold x1
March 28 2010:
Glee Cast - Glee: The Music Vol. 2 - gold x1
March 21 2010:
J.Williams - Young Love - gold x1
March 14 2010:
Adam Lambert - For Your Entertainment - gold x1
February 28 2010:
Gin - Holy Smoke - plat x3
Wolfmother - Wolfmother - gold x1
February 21 2010:
Stan Walker - Introducing - plat x3
February 14 2010:
Melody Gardot - My One And Only Thrill - gold x1
Diana Krall - Quiet Nights - gold x1
February 7 2010:
Bob Marley - Chant Down Babylon - plat x3
Live - Awake: The Best Of - plat x2
Alvin And The Chipmunks - The Squeakuel OST - plat x1
Dusty Springfield - Blue For You - gold x1
January 10 2010:
Midnight Youth - The Brave Don't Run - plat x1
Shapeshifter - The System Is A Vampire - plat x1
Various - Stroke: Songs For Chris Knox - gold x1
December 27 2009:
Fleetwood Mac - The Very Best Of - plat x1
December 20 2009:
Susan Boyle - I Dreamed A Dream - plat x9
Michael Jackson - This Is It - plat x2
Gin - Holy Smoke - plat x2
Stan Walker - Introducing - plat x2
The Jackson Five - Christmas Album - plat x1
Rod Stewart - Soulbook - plat x1
Ladyhawke - Ladyhawke - plat x1
Michael Buble - Crazy Love - plat x1
Enya - The Very Best Of - plat x1
The Priests - Harmony - plat x1
Queen - Absolute Greatest - plat x1
Vera Lynn - We'll Meet Again: The Best Of - plat x1
Frankie Valli And The Four Seasons - Jersey's Best - gold x1
Alvin And The Chipmunks - The Squeakuel OST - gold x1
Westlife - Where We Are - gold x1
December 13 2009:
Susan Boyle - I Dreamed A Dream - plat x8
Lady Gaga - The Fame Monster - plat x3
Black Eyed Peas - The E.N.D. - plat x2
Taylor Swift - Fearless - plat x2
Dave Dobbyn - Beside You: 30 Years Of Hits - plat x1
Pearl Jam - Backspacer - plat x1
Stan Walker - Introducing - plat x1
Miley Cyrus - The Time Of Our Lives - gold x1
The Priests - Harmony - gold x1
Glee Cast - Glee: The Music Vol. 1 - gold x1
Fly My Pretties - A Story - gold x1
December 6 2009:
Susan Boyle - I Dreamed A Dream - plat x6
Fleetwood Mac - The Very Best Of - plat x1
Michael Buble - Crazy Love - gold x1
Queen - Absolute Greatest - gold x1
November 29 2009:
Susan Boyle - I Dreamed A Dream - plat x3
Foo Fighters - Greatest Hits - plat x1
Them Crooked Vultures - Them Crooked Vultures - gold x1
Rod Stewart - Soulbook - gold x1
November 22 2009:
Whitney Houston - The Ultimate Collection - plat x1
Shapeshifter - The System Is A Vampire - gold x1
Norah Jones - The Fall - gold x1
Enya - The Very Best Of - gold x1
Robbie Williams - Reality Killed The Video Star - gold x1
November 15 2009:
Pink - Funhouse - plat x3
Michael Jackson - This Is It - plat x1
November 8 2009:
Muse - The Resistance - plat x1
Fleetwood Mac - The Very Best Of - gold x1
November 1 2009:
Gin - Holy Smoke - plat x1
Michael Jackson - This Is It - gold x1
Dave Dobbyn - Beside You: 30 Years Of Hits - gold x1
Foo Fighters - Greatest Hits - gold x1
KISS - The Very Best Of - gold x1
October 25 2009:
The Eagles - Hell Freezes Over - plat x4
Eric Clapton - Cream Of Clapton - plat x3
Van Morrison - Still On Top: Greatest Hits - plat x1
Elton John - Rocket Man: The Definitive Hits - plat x1
Various - Twilight Saga: New Moon OST - plat x1
Gin - Holy Smoke - gold x1
The Jackson Five - Christmas Album - gold x1
October 18 2009:
Ladyhawke - Ladyhawke - gold x1
Paramore - Brand New Eyes - gold x1
Various - New Moon OST - gold x1
October 11 2009:
Nickelback - Dark Horse - plat x1
October 4 2009:
Fat Freddy's Drop - Dr Boondigga And The Big BW - plat x2
September 27 2009:
Lily Allen - It's Not Me, It's You - gold x1
Madonna - Celebration - gold x1
September 20 2009:
Muse - The Resistance - gold x1
Pearl Jam - Backspacer - gold x1
September 13 2009:
The Beatles - Sgt Pepper's Lonely Hearts Club Band - plat x6
The Beatles - Abbey Road - plat x5
The Beatles - Let It Be - plat x2
The Beatles - The Beatles (White Album) - plat x2
The Beatles - A Hard Day's Night - plat x1
The Beatles - Beatles For Sale - plat x1
The Beatles - Help! - plat x1
The Beatles - Rubber Soul - plat x1
The Beatles - Revolver - plat x1
The Beatles - Magical Mystery Tour - gold x1
The Beatles - Yellow Submarine - gold x1
The Beatles - Please Please Me - gold x1
The Beatles - With The Beatles - gold x1
The Beatles - Past Masters Vol. 1 - gold x1
The Beatles - Past Masters Vol. 2 - gold x1
August 30 2009:
Pearl Jam - Rearview Mirror: Greatest Hits - plat x3
August 23 2009:
Flight Of The Conchords - Flight Of The Conchords - plat x2
The Black Seeds - Solid Ground - plat x1
Ladi6 - Time Is Not Much - gold x1
August 9 2009:
Black Eyed Peas - The E.N.D. - plat x1
Hannah Montana Cast - Hannah Montana: The Movie OST - plat x1
July 19 2009:
Michael Jackson - Bad - plat x9
Michael Jackson - Number Ones - plat x4
Michael Jackson - The Essential - plat x2
Leonard Cohen - The Essential - plat x1
Sarah McLachlan - Closer: The Best Of - gold x1
Isla Grant - Special To Me - gold x1
July 12 2009:
Michael Jackson - King Of Pop: New Zealand Collection - gold x1
July 5 2009:
Taylor Swift - Fearless - plat x1
Hannah Montana Cast - Hannah Montana: The Movie OST - gold x1
June 28 2009:
Michael Jackson - Thriller - plat x12
Michael Jackson - HIStory - plat x9
Michael Jackson - Bad - plat x8
Michael Jackson - Dangerous - plat x6
Michael Jackson - Off The Wall - plat x6
Michael Jackson - Number Ones - plat x3
Michael Jackson - Blood On The Dance Floor - plat x1
Michael Jackson - Invincible - plat x1
Michael Jackson - The Essential - plat x1
Katy Perry - One Of The Boys - gold x1
June 21 2009:
Midnight Youth - The Brave Don't Run - gold x1
June 14 2009:
Eminem - Relapse - plat x1
May 31 2009:
Green Day - 21st Century Breakdown - plat x1
Fat Freddy's Drop - Dr Boondigga And The Big BW - plat x1
May 17 2009:
Pretenders - Greatest Hits - plat x2
Marianne Faithfull - Faithfull: The Best Of - plat x1
Various - The Boat That Rocked OST - gold x1
Green Day - 21st Century Breakdown - gold x1
Eminem - Relapse - gold x1
May 10 2009:
Lady Gaga - The Fame - plat x2
UB40 - Love Songs - gold x1
May 3 2009:
Ronan Keating - Songs For My Mother - plat x1
April 26 2009:
Britney Spears - Circus - plat x1
Beyonce - I Am Sasha Fierce - plat x1
April 19 2009:
The Beatles - 1 - plat x15
Annie Lennox - The Collection - gold x1
Paul Potts - Passione - gold x1
April 5 2009:
Pearl Jam - Ten - plat x6
Various - Twilight OST - plat x1
Taylor Swift - Fearless - gold x1
March 8 2009:
Geoff Sewell - Believe - plat x1
March 1 2009:
Madonna - The Immaculate Collection - plat x7
Madonna - True Blue - plat x5
Madonna - Like A Virgin - plat x5
Kings Of Leon - Only By The Night - plat x4
Tom Petty - Greatest Hits - plat x4
High School Musical Cast - High School Musical 3: Senior Year - plat x2
Basshunter - Now You're Gone - plat x1
U2 - No Line On The Horizon - plat x1
MGMT - Oracular Spectacular - gold x1
The Jonas Brothers - A Little Bit Longer - gold x1
Jason Mraz - We Sing, We Dance, We Steal Things - gold x1
Stevie Wonder - Number Ones - gold x1
February 15 2009:
Leonard Cohen - The Essential Leonard Cohen - gold x1
February 8 2009:
OpShop - Second Hand Planet - plat x3
ABBA - The Music Still Goes On - plat x1
February 1 2009:
The Killers - Day & Age - plat x1
Basshunter - Now You're Gone - gold x1
Paramore - Riot! - gold x1
January 18 2009:
Billy T James - The Comic Genius Of Billy T James - plat x4
Neil Young - Greatest Hits - plat x2
Beyonce - I Am Sasha Fierce - gold x1
Various - Twilight OST - gold x1
December 28 2008:
the feelers - The Best: 1998-2008 - plat x2
Enya - And Winter Came - plat x1
Josh Groban - A Collection - plat x1
TI - Paper Trail - gold x1
December 21 2008:
Kings Of Leon - Only By The Night - plat x3
Duffy - Rockferry - plat x3
Billy T James - The Comic Genius Of Billy T James - plat x3
Pink - Funhouse - plat x2
AC/DC - Black Ice - plat x2
The Priests - The Priests - plat x2
Lady Gaga - The Fame - plat x1
Herbs - Lights Of The Pacific: The Very Best Of - plat x1
Lionel Richie - The Definitive Collection - plat x1
Andre Rieu - Waltzing Matilda: New Zealand Edition - plat x1
Linkin Park - Road To Revolution: Live At Milton Keynes - gold x1
Britney Spears - Circus - gold x1
Ne-Yo - Year Of The Gentleman - gold x1
December 14 2008:
Coldplay - Viva La Vida Or Death And Hall His Friends - plat x2
Billy T James - The Comic Genius Of Billy T James - plat x2
High School Musical Cast - High School Musical 3: Senior Year - plat x1
The Priests - The Priests - plat x1
Rob Guest - Rob Guest: 1950-2008 - plat x1
Bic Runga - Try To Remember Everything - gold x1
Hannah Montana - Hannah Montana 1 OST - gold x1
Simply Red - 25: Greatest Hits - gold x1
December 7 2008:
Tiki Taane - Past, Present, Future - plat x2
Josh Groban - A Collection - gold x1
Billy T James - The Comic Genius Of Billy T James - gold x1
Dido - Safe Trip Home - gold x1
November 30 2008:
Metallica - Metallica - plat x10
Kings Of Leon - Only By The Night - plat x2
the feelers - The Best: 1998-2008 - plat x1
The Killers - Day & Age - gold x1
Nickelback - Dark Horse - gold x1
Enya - And Winter Came - gold x1
Camp Rock Cast - Camp Rock OST - gold x1
The Priests - The Priests - gold x1
Andre Rieu - Waltzing Matilda: New Zealand Edition - gold x1
November 23 2008:
ABBA - ABBA Gold - plat x16
Miley Cyrus - Breakout - plat x1
Guns N Roses - Chinese Democracy - plat x1
the feelers - The Best: 1998-2008 - gold x1
Hayley Westenra - River Of Dreams: The Best Of - gold x1
Herbs - Lights Of The Pacific: The Very Best Of - gold x1
Il Divo - The Promise - gold x1
Rob Guest - Rob Guest: 1950-2008 - gold x1
Celine Dion - My Love: Ultimate Essential - gold x1
Madeleine Peyroux - Half The Perfect World - gold x1
Lady Gaga - The Fame - gold x1
November 16 2008:
High School Musical Cast - High School Musical 3: Senior Year - gold x1
November 9 2008:
Nesian Mystik - Elevator Musiq - gold x1
Various - Outrageous Fortune: Repeat Offenders - gold x1
November 2 2008:
Pink - Funhouse - plat x1
AC/DC - Black Ice - plat x1
October 19 2008:
Slipknot - All Hope Is Gone - gold x1
October 5 2008:
Miley Cyrus - Breakout - gold x1
September 28 2008:
Kings Of Leon - Only By The Night - plat x1
The Veronicas - Hook Me Up - gold x1
September 21 2008:
Mamma Mia Cast - Mamma Mia: The Movie - plat x2
Dave Dobbyn - Anotherland - gold x1
September 14 2008:
Metallica - Death Magnetic - plat x1
September 7 2008:
Duffy - Rockferry - plat x2
August 31 2008:
The Black Seeds - Solid Ground - gold x1
August 17 2008:
No Doubt - Tragic Kingdom - plat x5
Chris Brown - Exclusive - plat x2
August 10 2008:
Eminem - Encore - plat x5
Mamma Mia Cast - Mamma Mia: The Movie - plat x1
Def Leppard - Rock Of Ages: Definitive Collection - gold x1
Supertramp - Retrospectacle: Anthology - gold x1
August 3 2008:
Neil Diamond - The Essential - plat x3
Billy Joel - The Essential - plat x1
July 27 2008:
U2 - The Best Of 1980 - 1990 - plat x9
Mamma Mia Cast - Mamma Mia: The Movie - gold x1
July 13 2008:
Disturbed - Indestructible - plat x1
July 6 2008:
ABBA - ABBA Gold - plat x15
Sublime - Sublime - plat x5
Creedence Clearwater Revival - Chronicle - gold x1
June 29 2008:
Hollie Smith - Long Player - plat x2
Tiki Taane - Past, Present, Future - plat x1
Flight Of The Conchords - Flight Of The Conchords - plat x1
June 15 2008:
Westlife - Unbreakable: 2008 NZ Tour Edition - plat x2
Coldplay - Viva La Vida Or Death And All His Friends - plat x1
Neil Diamond - Home Before Dark - gold x1
Seether - Finding Beauty In Negative Spaces - gold x1
June 8 2008:
Disturbed - Indestructible - gold x1
June 1 2008:
Robert Cray - Strong Persuader - plat x4
Hayley Westenra - My Gift To You - plat x3
Duffy - Rockferry - plat x1
The Who - Then And Now - gold x1
May 18 2008:
Leona Lewis - Spirit - plat x1
May 11 2008:
Frank Sinatra - Nothing But The Best - gold x1
May 4 2008:
Flight Of The Conchords - Flight Of The Conchords - gold x1
Willie Nelson - Legend: The Very Best Of - gold x1
April 27 2008:
Duffy - Rockferry - gold x1
OneRepublic - Dreaming Out Loud - gold x1
April 20 2008:
Geoff Sewell - Believe - gold x1
Shihad - Beautiful Machine - gold x1
April 13 2008:
Jimi Hendrix - Experience Hendrix: The Best - plat x3
Dave Dobbyn - Available Light - plat x2
Kanye West - The College Dropout - gold x1
The Cure - Greatest Hits - gold x1
April 6 2008:
Joe Cocker - Classic Cocker - gold x1
Lynyrd Skynyrd - All Time Greatest Hits - gold x1
March 30 2008:
Hannah Montana - Hannah Montana 2: Meet Miley Cyrus - gold x1
March 23 2008:
Amy Winehouse - Back To Black - plat x2
Ozzy Osbourne - The Essential Ozzy Osbourne - plat x1
Britney Spears - Blackout - gold x1
Concord Dawn - Chaos By Design - gold x1
March 2 2008:
Jack Johnson - Sleep Through The Static - plat x1
Chris Brown - Exclusive - plat x1
Tom Jones - Greatest Hits - plat x1
Jurassic 5 - Quality Control - gold x1
February 17 2008:
Rod Stewart - Story So Far: The Very Best Of - plat x4
OpShop - Second Hand Planet - plat x2
Anika Moa - In Swings The Tide - plat x1
Robert Plant And Alison Krauss - Raising Sand - plat x1
February 10 2008:
KORA - KORA - plat x1
The Phoenix Foundation - Happy Ending - gold x1
February 3 2008:
Rihanna - Good Girl Gone Bad - plat x1
Leona Lewis - Spirit - gold x1
Jack Johnson - Sleep Through The Static - gold x1
January 27 2008:
Tiki Taane - Past, Present, Future - gold x1
January 13 2008:
The Eagles - Long Road Out Of Eden - plat x3
Robert Plant And Alison Krauss - Raising Sand - gold x1
Bon Jovi - Lost Highway - gold x1
January 6 2008:
Foo Fighters - Echoes, Silence, Patience And Grace - plat x2
The Black Seeds - Into The Dojo - plat x2
High School Musical Cast - High School Musical 2 OST - plat x2
Chris Brown - Exclusive - gold x1
Jim Reeves - All Time Greatest Hits - gold x1
December 16 2007:
Led Zeppelin - Mothership - plat x3
Paul Potts - One Chance - plat x3
Various - Outrageous Fortune: West Side Rules - plat x2
Prince Tui Teka - The Man, The Legend - plat x1
Andrea Bocelli - Vivere: The Best Of - plat x1
Amy Winehouse - Back To Black - plat x1
Santana - Ultimate Santana - plat x1
Boney M - Christmast With Boney M - gold x1
Mark Knopfler And Emmyloy Harris - All The Roadrunning - gold x1
December 9 2007:
Led Zeppelin - Mothership - plat x2
The Eagles - Long Road Out Of Eden - plat x2
Timbaland - Shock Value - plat x2
Will Martin - A New World - plat x1
matchbox twenty - Exile On Mainstream - plat x1
Various - Andrew Lloyd Webber: Gold - plat x1
Luciano Pavarotti - Forever - plat x1
Anika Moa - In Swings The Tide - gold x1
Andrea Bocelli - Vivere: The Best Of - gold x1
Van Morrison - Still On Top: Greatest Hits - gold x1
Nelly Furtado - Folklore - gold x1
Westlife - Back Home - gold x1
December 2 2007:
Justin Timberlake - FutureSex / LoveSounds - plat x3
OpShop - Second Hand Planet - plat x1
Alicia Keys - As I Am - gold x1
Whitney Houston - The Ultimate Collection - gold x1
David Gray - Greatest Hits - gold x1
Spice Girls - Greatest Hits - gold x1
Elizabeth Marvelly - Elizabeth Marvelly - gold x1
November 25 2007:
Kings Of Leon - Because Of The Times - plat x1
Various - Outrageous Fortune: West Side Rules - plat x1
Atlas - Reasons For Voyaging - gold x1
Celine Dion - Taking Chances - gold x1
November 18 2007:
Led Zeppelin - Mothership - plat x1
November 11 2007:
Will Martin - A New World - gold x1
Various - Outrageous Fortune: West Side Rules - gold x1
Hairspray Cast - Hairspray OST - gold x1
November 4 2007:
John Fogerty - The Long Road Home - plat x2
The Eagles - Long Road Out Of Eden - plat x1
Luciano Pavarotti - Forever - gold x1
Eric Clapton - Complete Clapton - gold x1
Bruce Springsteen - Magic - gold x1
Santana - Ultimate Santana - gold x1
Bob Dylan - Dylan - gold x1
Limp Bizkit - Greatest Hitz - gold x1
Colbie Caillat - Coco - gold x1
October 28 2007:
KORA - KORA - gold x1
matchbox twenty - Exile On Mainstream - gold x1
The Mint Chicks - Crazy? Yes! Dumb? No! - gold x1
October 14 2007:
Linkin Park - Minutes To Midnight - plat x2
James Blunt - All The Lost Souls - plat x1
High School Musical Cast - High School Musical 2 OST - plat x1
Kanye West - Graduation - gold x1
October 7 2007:
50 Cent - Curtis - gold x1
Salmonella Dub - Heal Me - gold x1
Katchafire - Say What You're Thinking - gold x1
Andre Rieu - La Vie Est Belle - gold x1
September 30 2007:
Scribe - Rhyme Book - gold x1
September 23 2007:
Foo Fighters - Echoes, Silence, Patience And Grace - plat x1
The Game - Doctor's Advocate - gold x1
James Blunt - All The Lost Souls - gold x1
September 9 2007:
Timbaland - Shock Value - plat x1
September 2 2007:
Ryan Adams - Gold - gold x1
August 26 2007:
Paul Potts - One Chance - plat x2
Sean Kingston - Sean Kingston - gold x1
High School Musical Cast - High School Musical 2 OST - gold x1
Scissor Sisters - Scissor Sisters - gold x1
August 19 2007:
Smashing Pumpkins - Zeitgeist - gold x1
Rihanna - Good Girl Gone Bad - gold x1
Elvis Presley - The King - gold x1
The Clash - The Singles - gold x1
August 12 2007:
Paul Potts - One Chance - plat x1
The Police - The Police - gold x1
Bob Marley - Rastaman Vibration - gold x1
T-Pain - Epiphany - gold x1
August 5 2007:
Paul Potts - One Chance - gold x1
July 22 2007:
Pink - I'm Not Dead - plat x2
Fergie - The Dutchess - plat x1
Timbaland - Shock Value - gold x2
July 15 2007:
Crowded House - Time On Earth - gold x1
July 8 2007:
Fat Freddy's Drop - Based On A True Story - plat x8
Bon Jovi - Crossroads: The Best Of - plat x6
U2 - Zooropa - plat x4
The Traveling Wilburys - The Traveling Wilburys Collection - plat x1
Velvet Revolver - Libertad - gold x1
The White Stripes - Icky Thump - gold x1
Russell Watson - The Voice: The Ultimate Collection - gold x1
July 1 2007:
Akon - Konvicted - plat x2
June 24 2007:
Guns N Roses - Greatest Hits - plat x6
Brooke Fraser - Albertine - plat x4
Hollie Smith - Long Player - plat x1
Shapeshifter - Soulstice - plat x1
Disturbed - Ten Thousand Fists - plat x1
OpShop - Second Hand Planet - gold x1
June 17 2007:
Hayley Westenra - Pure - plat x12
The Killers - Sam's Town - plat x2
Gwen Stefani - The Sweet Escape - plat x1
Christina Aguilera - Back To Basics - plat x1
Fergie - The Dutchess - gold x1
June 10 2007:
The Traveling Wilburys - The Traveling Wilburys Collection - gold x1
May 27 2007:
Regina Spektor - Begin To Hope - gold x1
Hollie Smith - Long Player - gold x1
Michael Buble - Call Me Irresponsible - gold x1
Maroon 5 - It Won't Be Soon Before Long - gold x1
May 20 2007:
Bread - The Sound Of Bread - plat x5
Linkin Park - Minutes To Midnight - plat x1
Van Morrison - Van At The Movies - gold x1
Daughtry - Daughtry - gold x1
May 13 2007:
Hayley Westenra - Treasure - plat x2
Human Nature - Reach Out: The Motown Record - gold x1
Linkin Park - Minutes To Midnight - gold x1
May 06 2007:
Bush - Sixteen Stone - plat x2
Sam Cooke - Portrait Of A Legend: 1951-1964 - gold x1
Avril Lavigne - The Best Damn Thing - gold x1
Stevie Wonder - Love Songs - gold x1
Fall Out Boy - From Under The Cork Tree - gold x1
April 29 2007:
Nelly Furtado - Loose - plat x2
Pink - I'm Not Dead - plat x1
Beyonce - B'Day - plat x1
Hinder - Extreme Behaviour - plat x1
April 22 2007:
Kings Of Leon - Because Of The Times - gold x1

Awards and Nominations Year Award Nominated Work Category Result Source1988 American Music Awards "Bad" Best Men's Soul/Rhythm-n-Bluz Single Grammy AwardsBad Album of the Year Best Engineer Producer of the Year "Bad" Best Men's Pop Vocal Best Men's Rhythm-n-Bluz Vocal "Man in the Mirror"MTV Video Awards "Bad" Best Choreography"The Way You Make Me Feel" Japan Gold Disc AwardsBad Album of the Year Best Rock/Folk Album of the Foreign Solo Exhibitor 1989 BRIT Awards"Smooth Criminal"Best Music Video Choice's People's Awards"Smooth Criminal"Best Music Choice's Crime's Crime's Crime's Crime's Crime's Crime'

"The meaning of life is contained in every single expression of life."
Born Michael Joseph Jackson on Aug. 29, 1958, in Gary, Indiana. Died June 25, 2009
While Michael Jackson had a Top 5 album and No. 1 hit on his hands with his second solo album, 1972's Ben and its title track,it was 1979's chart-topper "Don't Stop 'Til You Get Enough" from his third album, Off The Wall, that cemented Jackson in the pop stratosphere. Released in 1982, Thriller marked his first No. 1 album, and it stayed there for an unprecedented 37 weeks.
Jackson earned his first career GRAMMY at the 22nd GRAMMY Awards when "Don't Stop 'Til You Get Enough" won for Best R&B Vocal Performance, Male. Jackson graced the GRAMMY stage once in 1988 at the 38th GRAMMYs, performing "The Way You Make Me Feel" and "Man In The Mirror."
At the 26th GRAMMY Awardsin 1984, Jackson became the first artist to win eight GRAMMYs in one night, a feat that has only been tied one other time when Santana won eight GRAMMYs for 2000.
Michael Jackson is best remembered for his 1985 African famine relief efforts through the song "We Are The World" and the charity USA For Africa. He also introduced millions to the missions of the Elizabeth Taylor AIDS Foundation and the Make-A-Wish Foundation.
"The meaning of life is contained in every single expression of life."
Born Michael Joseph Jackson on Aug. 29, 1958, in Gary, Indiana. Died June 25, 2009
While Michael Jackson had a Top 5 album and No. 1 hit on his hands with his second solo album, 1972's Ben and its title track,it was 1979's chart-topper "Don't Stop 'Til You Get Enough" from his third album, Off The Wall, that cemented Jackson in the pop stratosphere. Released in 1982, Thriller marked his first No. 1 album, and it stayed there for an unprecedented 37 weeks.
Jackson earned his first career GRAMMY at the 22nd GRAMMY Awards when "Don't Stop 'Til You Get Enough" won for Best R&B Vocal Performance, Male. Jackson graced the GRAMMY stage once in 1988 at the 38th GRAMMYs, performing "The Way You Make Me Feel" and "Man In The Mirror."
At the 26th GRAMMY Awardsin 1984, Jackson became the first artist to win eight GRAMMYs in one night, a feat that has only been tied one other time when Santana won eight GRAMMYs for 2000.
Michael Jackson is best remembered for his 1985 African famine relief efforts through the song "We Are The World" and the charity USA For Africa. He also introduced millions to the missions of the Elizabeth Taylor AIDS Foundation and the Make-A-Wish Foundation.

Awards and Nominations Year Award Nominated Work Category Result Source1988 American Music Awards "Bad" Best Men's Soul/Rhythm-n-Bluz Single Grammy AwardsBad Album of the Year Best Engineer Producer of the Year "Bad" Best Men's Pop Vocal Best Men's Rhythm-n-Bluz Vocal "Man in the Mirror"MTV Video Awards "Bad" Best Choreography"The Way You Make Me Feel" Japan Gold Disc AwardsBad Album of the Year Best Rock/Folk Album of the Foreign Solo Exhibitor 1989 BRIT Awards"Smooth Criminal"Best Music Video Choice's People's Awards"Smooth Criminal"Best Music Choice's Crime's Crime's Crime's Crime's Crime's Crime'

Awards and Nominations Year Award Nominated Work Category Result Source1988 American Music Awards "Bad" Best Men's Soul/Rhythm-n-Bluz Single Grammy AwardsBad Album of the Year Best Engineer Producer of the Year "Bad" Best Men's Pop Vocal Best Men's Rhythm-n-Bluz Vocal "Man in the Mirror"MTV Video Awards "Bad" Best Choreography"The Way You Make Me Feel" Japan Gold Disc AwardsBad Album of the Year Best Rock/Folk Album of the Foreign Solo Exhibitor 1989 BRIT Awards"Smooth Criminal"Best Music Video Choice's People's Awards"Smooth Criminal"Best Music Choice's Crime's Crime's Crime's Crime's Crime's Crime'

On March 2, 1988, the GRAMMY Awards returned for the first time in seven years to New York City for its 30th birthday party. “This is a historic building,” host Billy Crystal explained, talking about Radio City Music Hall. “Because it’s the only building Donald Trump doesn’t own...yet.”
No single star owned the night of the 30th Annual GRAMMY Awards show, but in terms of both awards and performances, this proved to be a very good night for many of music’s elite. Take U2: The Irish rock gods won Album Of The Year and Best Rock Performance By A Duo Or Group With Vocal for The Joshua Tree. Accepting the latter award, U2 guitarist The Edge offered the most memorable run of thank yous in GRAMMY history, proclaiming, “I’d like to thank Desmond Tutu for his courage, Martin Luther King, Bob Dylan for ‘Tangled Up In Blue,’ Flannery O’Connor, Jimi Hendrix, Walt Disney, John the Baptist, Georgie Best, Gregory Peck, James T. Kirk, Morris Pratt, Dr. Ruth, Fawn Hall, Batman and Robin, Lucky the Dog, Pee Wee Herman, the YMCA, Eddie the Eagle, sumo wrestlers throughout the world, and, of course, Ronald Reagan.”
Bono — never one to be outdone in the speaking department — took a more serious tone in accepting the GRAMMY for Album Of The Year, explaining that U2 set out to make soul music. “It’s not about being black or white, or the instruments you play or whether you use a drum machine or not. It’s a decision to reveal or conceal. And without it people like Prince would be nothing more than [the] brilliant song-and-dance man that he is, but he’s much more than that. People like Bruce Springsteen would be nothing more than a great storyteller, but he’s much more than that. Without it...U2 certainly wouldn’t be here, and we are here, and I wouldn’t want to be anywhere else than New York City tonight.”
New York City figured prominently in many of the night’s most magical moments, including an incredible Big Apple music segment that featured wonderful turns for George Benson performing his hit cover of “On Broadway,” a remarkably energetic Cab Calloway doing “Minnie The Moocher,” Tito Puente and Celia Cruz (“Quimbara”), Lou Reed (“Walk On The Wild Side”), Run-D.M.C. (“Tougher Than Leather”), Michael Brecker (substituting for an ailing Miles Davis), Marcus Miller and David Sanborn (“Tutu”), and Billy Joel performing “New York State Of Mind.” Later, Billy Crystal revealed that he and homeboy Billy Joel had more than a first name in common. “My first paying job as a comedian was opening for Billy Joel at Fairleigh Dickinson in Teaneck, New Jersey,” Crystal explained. “Now I’m here doing this show and he’s a five-time GRAMMY-winner.”
Also winning was a big celebration of doo-wop — “the stuff we sang in the men’s room in high school because the echo was so great,” as Crystal said in the introduction. With famed New York disc jockey Jocko Henderson as the narrator, the extended, harmonic convergence included appearances by the Angels, the Cadillacs, Dion, the Flamingos and the Regents, along with Lou Reed, Ruben Blades and Buster Poindexter.
An even earlier rock great, Little Richard, made a brilliantly hysterical and rapturously received commotion in co-presenting with Poindexter the Best New Artist award to Jody Watley. Before announcing the actual winner, Little Richard repeatedly declared himself the winner, as well as a “brown Jew from Georgia” and “the architect of rock and roll.” Later, Crystal announced that Little Richard would be releasing new versions of his old hits — “Long Tall Shirley,” “Good Golly Miss Molly Goldberg” and “Tutti Frutti, So Sue Me.”
Somewhat less winning was the often hilarious Jackie Mason whose stand-up performance met considerable audience resistance when he came across to many as being less than properly respectful to the rightly beloved Quincy Jones. On the other hand, Jones’ collaborator Michael Jackson nearly stole the show performing “The Way You Make Me Feel” and “Man In The Mirror” with great finesse and style. Whitney Houston also made a big impression — opening the telecast with “I Wanna Dance With Somebody (Who Loves Me),” the same song that earned her the Best Pop Vocal Performance, Female, GRAMMY later in the evening.
All in all, the GRAMMYs’ 30th anniversary party in Radio City turned out to be something Bono would approve of — a pretty soulful night of music.

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Use
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1988
MTV VIDEO MUSIC AWARDS
held September 7, 1988 at Gibson
Amphitheatre, Los Angeles, CA
hosted by Arsenio Hall
MTV
Video Music Awards History of Winners
1988
MTV VIDEO MUSIC AWARDS
held September 7, 1988 at Gibson
Amphitheatre, Los Angeles, CA
hosted by Arsenio Hall
MTV
Video Music Awards History of Winners
INXS
"Need You Tonight /
Mediate"
[ from Kick ]
Prince
"U Got The Look"
[ from Sign O' The Times ]
Suzanne
Vega
"Luka"
[from Standing ]Solitude
Guns
N' Roses
"Welcome To The Jungle"
[from Appetite For Destruction ]
Prince
"U Got The Look"
[from Sign O' The Times ]
Pink
Floyd
"Learning To Fly"
[from A Momentary Lapse Of
Reason ]
Los Lobos
"La Bamba"
[from soundtrack ] La Bamba
George
Michael
"Father Figure"
(Andy Morahan & George
Michael)
[ from Faith ]
Janet
Jackson
"The Pleasure
Principle"
(Barry Lather)
[from Control ]
Squeeze
"Hourglass"
(Jim Francis & Dave Barton)
[from Babylon And On ]
Squeeze
"Hourglass"
(Jim Francis & Dave Barton)
[from Babylon And On ]
INXS
"Need You Tonight /
Mediate"
(Richard Lowenstein)
[ from Kick ]
Sting
"We'll Be Together"
(Bill Pope)
[ from Nothing Like The Sun ]
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[ Artist ／ Label ]
レベッカ／CBS・ソニーグループ
[ Artist ／ Label ]
中山美穂／キングレコード
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松田聖子／CBS・ソニーグループ
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石原裕次郎／テイチク
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[ Title ]
ガラスの十代
[ Artist ]
光GENJI
[ Lyricist ]
飛鳥涼
[ Composer ]
飛鳥涼
[ Arranger ]
佐藤準
[ Mixer ]
黒田勝也
[ Label ]
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光GENJI
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飛鳥涼
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飛鳥涼
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POISON
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BREATH
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[ Title ]
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[ Title ]
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[ Label ]
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[ Artist ]
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[ Label ]
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[ Title ]
オータム
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[ Artist ]
U2
[ Label ]
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[ Title ]
BAD
[ Artist ]
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[ Label ]
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[ Label ]
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1989
13 / 02 / 1989 - Royal Albert Hall, London
Hosted By Mick Fleetwood & Samantha Fox
- Fairground Attraction
- Best British Album
- Annie Lennox
- Best British Female
- Erasure
- Best British Group
- Phil Collins
- Best British Male
- Bros
- Best British Newcomer
- Fairground Attraction
- Best British Single
- Trevor Pinnock
- Best Classical Recording
- U2
- Best International Group
- Michael Jackson
- Best International Male
- Tracy Chapman
- Best International Newcomer
- Michael Jackson
- Best Music Video
- Buster
- Best Soundtrack/Cast Recording
- Cliff Richard
- Outstanding Contribution
- Fairground Attraction
- Best British Album
- Annie Lennox
- Best British Female
- Erasure
- Best British Group
- Phil Collins
- Best British Male
- Bros
- Best British Newcomer
- Fairground Attraction
- Best British Single
- Trevor Pinnock
- Best Classical Recording
- U2
- Best International Group
- Michael Jackson
- Best International Male
- Tracy Chapman
- Best International Newcomer
- Michael Jackson
- Best Music Video
- Buster
- Best Soundtrack/Cast Recording
- Cliff Richard
- Outstanding Contribution

- Favorite Actress in a Dramatic Motion Picture
- Meryl Streep
- Favorite All-Around Female Star
- Cher
- Favorite Male Musical Performer
- Randy Travis
- Favorite Female Musical Performer
- Whitney Houston
- Favorite Music Video
- "Smooth Criminal"
- Favorite Female Performer in a New TV Series
- Roseanne Barr
- Favorite New TV Comedy Program
- Roseanne
- Favorite TV Mini-Series
- War and Remembrance
- Favorite Favorite Motion Picture
- Gone With The Wind
- Favorite Actor in a Comedy Motion Picture
- Eddie Murphy
- Favorite Actor in a Dramatic Motion Picture
- Dustin Hoffman
- Favorite Female TV Performer
- Phylicia Rashad
- Favorite Male Performer in a New TV Series
- John Goodman

There are some people in show business history whom you recognize by only one name: Beyoncé, Gladys, Aretha, Patti, Smokey, Diana, Luther and…Michael.
To commemorate the fourth anniversary of Michael Jackson’s untimely passing, this month’s edition of Soul Train History Book will focus on Michael’s solo work on Soul Train and Soul Train-related programming.
The late King of Pop was a performer ever since the age of 5, when he and his band of brothers, the Jackson 5, played in local clubs and bars in their hometown of Gary, Indiana. They made such a big name for themselves that they eventually played arenas such as Harlem’s Apollo Theater, Chicago’s Regal Theater, and Philadelphia’s Uptown Theater opening for big name acts like James Brown, Jackie Wilson, The O’Jays and many others. Although all of the brothers were talented, Michael was always the standout.
When Motown Records Chairman Berry Gordy saw the Jackson 5‘s audition tape, he enthused about the whole group, but he was especially impressed with Michael. So tBerry signed the group to his Motown Records, label and the rest is history.
Soul Train creator and host Don Cornelius promoted a concert at Chicago’s Regal Theater in 1967 when he was a radio deejay at Chicago’s WVON. The Jackson 5 was the opening act for Gladys Knight & The Pips on this show and Don, like everyone else in attendance, was in awe of the entire group, particularly young Michael’s showmanship.
As a group, the Jacksons appeared on Soul Train four times. On three of those appearances, Michael did solo performances. He also made an appearance on Soul Train once all by himself when his brothers were not present. Any solo performance or appearance by Michael on Soul Train, as on any program he performed with or without his brothers, had all of his fans watching with bated interest and excitement.
Michael’s very first solo performance on Soul Train was in October 1973 on a special show which spotlighted The Jackson 5’s current album Get It Together. About halfway in the show, Michael was alone on stage with Don Cornelius, joking that Michael was “thanking him for teaching him all of the heavy dance moves” he had executed earlier in the show. He asked Michael if he wanted him to show him any other moves to which Michael jokingly replied, “Yeah, you can teach me a couple of more things.” Don and Michael laughed after Don told him, “When I get more time.”
Don reminisced about how he remembered Michael and his brothers performing in and around Chicago before signing with Motown, and how they were such a sensation that “no one else wanted to share the same stage with The Jackson 5.” Don wanted to know from Michael who was an influence on his performing ability; Michael responded that since the group didn’t have any songs out at the time, they would study and do songs by James Brown, the Temptations and the Supremes. Don noted that Michael used to do James Brown’s moves very well. He then asked Michael to perform his most recent solo hit, the poignant “With a Child’s Heart.”
Seeing Michael perform this touching song, in light of his untimely death and how he spoke often about his missed childhood due to being in show business, makes one a little emotional. If anyone didn’t know that this song was originally recorded by Stevie Wonder in 1966, one would think the song was written specifically for Michael. Lines such as “no grown up thoughts to lead our hearts astray” and “nothing’s gonna get, nothing’s gonna get me down” truly touch the heart with Michael’s incredible vocal.
The song reached number #14 on the soul singles charts and no higher than #50 on the pop charts, but the chart showings don’t reflect the beauty of this song. It’s one of Michael’s best and is a cherished classic.
Michael’s next solo appearance on Soul Train was on the show’s September 1974 taping. By the time this episode aired in most areas on October 5, 1974, the Jackson 5’s latest album Dancing Machine had been released. So when viewers watching Soul Train that day saw that Michael Jackson was going to be a guest, many assumed he was going to be doing songs from a new solo album, presumably the solo album that was being produced by Stevie Wonder, a story that was printed in various magazines. However, when Don Cornelius was about to introduce Michael, he was holding the group’s Dancing Machine album in his hand telling the audience that Michael was going to “help us check out some of the terrific tunes on the hot new Jackson 5 album entitled Dancing Machine.” Michael, looking dapper in his pink suit, received thunderous applause from the Soul Train Gang as he did his first number, the funky, mid-tempo “Whatever You Got, I Want,” which went number three on the soul singles chart but no higher than number 38 on the pop charts–kind of a blow for the group after the tremendous success of their most recent single “Dancing Machine.”
Stevie Wonder also had written and produced tunes for a Jackson 5 album as well, but both the group’s songs and Michael’s songs produced by Stevie remained in Motown’s vaults until one of those tracks, “Buttercup,” was released in 2010 as part of a CD compilation. Interestingly enough, during those recording sessions, the Jackson 5 did “doo doo wop” background vocals on Stevie Wonder’s number one soul and pop hit “You Haven’t Done Nothin,” which was a message to the then scandal-plagued President Richard Nixon.
Viewers who were watching this episode of Soul Train were puzzled. Where were Tito, Marlon, Jackie and Jermaine? Why were they not on stage performing with Michael?
After the Jackson 5 were a smash at the MGM Grand Hotel in Las Vegas, the powers-that-be at Motown had boosted the group’s fee for making personal appearances, especially on television. It was learned that Don Cornelius could not afford the new performance fee Motown was asking to have all five brothers appear on his program. So since Michael did most of the lead vocals on the new album, as with previous albums, it was decided that he would come on Soul Train by himself to promote three of its tracks which featured his lead vocals.
The Dancing Machine album, which Michael had said in interviews he was not pleased with and was not as good as it could have been, was basically comprised of previously unreleased tunes that Motown Records put together in an obvious attempt to cash in on the huge success of the “Dancing Machine” single. Most of the songs on this album were recorded during the sessions for the Get it Together album, with the exception of their outstanding track “I Am Love,” which was supposed to be the concept for the new album, but Motown rejected the concept, and threw that track along with “Dancing Machine” and other previously unreleased tunes to fill up the album.
Michael didn’t look too enthused when Don was interviewing him about the album, half-heartedly stating his favorite tracks from the album. Don noted that the album was inspired by the success of the single “Dancing Machine,” which Michael said sold 4 million, but that the group’s biggest selling single was “I’ll Be There.” Don also asked about the group’s performance in Las Vegas, and Michael replied that the group always wanted to play Vegas (however, the group wasn’t initially happy about doing Vegas when their father Joseph Jackson made arrangements for them to perform there).
Later in the show, Michael did a question-and-answer session with the Soul Train Gang. Numerous hands went up from people who had many questions to ask him. This is rare to see since this was one of the only times Michael ever took questions from an audience on a television show. The gang asked many interesting questions, such as one by a dancer who asked Michael if he thought that the Jackson 5 influenced a lot of the other young groups. Michael more than happily answered, “Yeah, that is true.” He added that after his group came on the scene, the Osmonds and other groups followed. That statement received thunderous applause and approval from the Soul Train Gang.
Another dancer asked Michael about the movie he and his brothers were working on. Michael answered that the movie was scheduled to start shooting in November with tentative stars Bill Cosby and Cicely Tyson (he had incorrectly said Liza Minnelli, prompting him and the Soul Train Gang to laugh).
The movie that was being referred to was “Isoman Cross & Sons,” which was written and going to be produced and directed by veteran actor Raymond St. Jacques and was going to star the Jackson 5 as slaves in 19th century America. Joseph Jackson had a huge press party a few months earlier to make the announcement about the movie. Unfortunately, the movie never materialized and was never made.
Michael then performed a beautiful ballad from the album entitled “If I Don’t Love You This Way.” He closed the show with a percolating track called “What You Don’t Know,” causing Soul Train dancer Little Joe Chism to blow his party whistle and the Soul Train Gang to scream and cheer.
A sister group, MDLT, who had been performing with the Jackson 5 as an opening act for their concerts in 1974, also performed two tracks on this episode, the second being one that the Jackson 5 wrote and produced for them entitled “What’s Your Game?” It was released on Joseph Jackson’s new label Ivory Tower Records, and their Soul Train appearance helped boost the single up to 89 on the soul single charts.
The Dancing Machine album went to number 16 on the pop album charts, becoming the Jackson 5’s last gold album at Motown. The album did not score at all on the soul album charts. It was rumored that the powers-that-be at Motown were angry that the group’s smash Las Vegas act and them writing and producing songs for their dad’s new record label as well as doing a movie were moves controlled by their dad and not Motown. So somehow the album’s sales were not accurately reported for the soul album chart, causing it not to appear on the chart at all, which was Motown’s way of telling the group who was ultimately in control of their recording career.
The next time Michael performed solo on Soul Train was on a show taped in December 1975, featuring tunes from his Forever, Michael album, the last studio album he recorded for Motown. He also performed two tracks with his brothers on this program, the disco stomper “Forever Came Today” and the superb ballad “All I Do Is Think of You.”
Michael did three tracks, his number 4 soul and number 23 pop hit “Just A Little Bit of You,” which was a danceable, bouncy track and one of Michael’s best cuts; the classy and touching ballad “One Day in Your Life,” which Motown released as a single in 1981 to compete with Michael’s new work at the Epic Records label; and the heartfelt tune “We’ve Got Forever.”
Don asked Michael what his hobbies were, to which Michael replied reading books and feeding the birds in his bird collection. On the subject of school, Michael told Don he attended a private school with other celebrity child stars such as Danny Bonaduce from the by-then defunct TV program The Partridge Family. Don asked if Danny was a good kid and Michael half-heartedly replied, “Yeah, I guess you can say that.” “That’s not what you told me before,” Don countered. “You told me that Danny gets into trouble at school, right?” “Yeah, sometimes,” Michael responded. Little did Michael know that his classmate watched Soul Train also.
Michael’s comments about Danny nearly caused him to get into a fight with his classmate the Monday after this program aired. Danny recalled in his book and on the nineties program An Evening With Clint Holmes that when he went to school that Monday and saw Michael, he screamed, “Jackson, I’m gonna kick your butt!” He then said all of a sudden, Michael’s brothers appeared from out of nowhere and when he saw what a big guy Tito was, he backed down. “Yessir, the Jackson 5 can beat up the Partridge Family,” Danny Bonaduce joked.
Michael told Don of his future plans, which included recording other artists and doing movies which he stated he really wanted to give a try. When Don told Michael that he had the looks for being an actor, Michael shrugged off the remark (Don, like many other people, had no idea the agony Michael was going through at this time battling acne).
Michael’s promotion of Forever, Michael was an attempt to boost sales of the album, which sold poorly when it was released in January 1975. While fairly successful on the soul album charts at number 10, it peaked no higher than 101 on the pop album charts. This was one of the motivating factors which led Joseph to search for a new record label, one which would promote his sons better as well as give them the opportunity to write and produce their own material, which Motown would not allow.
Michael’s last solo performance on Soul Train was on the January 1979 taping, a tenth anniversary salute to the Jacksons career in the entertainment industry as well as a promotion for their new album on Epic entitled Destiny. Before Michael performed during a solo spot, Don Cornelius asked him about his work on his new motion picture The Wiz. “It was a lot of fun,” Michael said. “I had to be in makeup everyday for six months.” Don asked him if acting was hard, and Michael told him other actors such as Sidney Poitier and Ryan O’Neal helped him to prepare for the role. Michael then performed the dreamy, moody ballad “Push Me Away,” the second track off the group’s Destiny album.
Michael’s very last appearance on Soul Train was a cameo spot to further discuss his work in The Wiz (this segment was taped the same day of the tenth anniversary salute of the group). “It was terrific, something I always wanted to do,” Michael told Don. “It was a lot of fun working with all the greats–Sidney Lumet, Quincy Jones, everybody.” They played a clip from the film featuring Diana Ross as Dorothy and Michael Jackson as the Scarecrow singing “Ease On Down the Road.” Michael explained to Don that the scene had to be shot a couple of times since the road they danced on was actually a hill so they were really “easing on up the road,” and they were out of breath during the filming of the scene. Don asked Michael if he would come back to Soul Train despite the fact that he was a big movie star. Michael laughed and replied, “Definitely!” Alas, this was Michael’s swan song appearance on Soul Train. From 1979 on, Michael became a megastar by way of his Off the Wall and Thriller albums.
Although Michael no longer performed on Soul Train, his affiliation with the show did not cease. His music was always a constant favorite on the show. Songs such as “Don’t Stop Til You Get Enough,” “P.Y.T.,” “Bad,” “Smooth Criminal,” “Jam” and others were played heavily on the show. He also took several honors at the Soul Train Music Awards. In 1988, he received awards for the Best Soul Single Male for “Bad” and Best R&B Album of the Year for his album Bad. Because he was on tour, he was unable to personally accept the awards.
At the third annual Soul Train Music Awards, Eddie Murphy and legendary movie actress and Michael’s dear friend Elizabeth Taylor presented him with the Heritage Award for Career Achievement and the very first Sammy Davis Jr. Award for Entertainer of the Year. This was where Elizabeth bestowed him with the title “King of Pop, Rock & Soul” (Michael’s former PR person Bob Jones claimed that he coined the term “King of Pop” at Michael’s urging and it was placed on banners at arenas during Michael’s Bad tour throughout 1988). When Michael came out to receive his award amidst a standing ovation, Eddie humorously adjusted the microphone for Michael, a funny dig at Michael for asking him to adjust the microphone stand at the American Music Awards three months earlier. Michael also received awards for Best R&B Contemporary Single, Male for “Man in the Mirror” and Best R&B Contemporary Video for “Man in the Mirror.”
At the seventh annual Soul Train Music Awards, TV viewers and those in attendance at the ceremony were shocked to see Michael on crutches which he later explained was due to him twisting his ankle while rehearsing (Bob Jones, Michael’s former PR person claimed in his book The Man Behind the Mask that once Michael returned to his Neverland estate, he threw his crutches to the ground and started dancing around saying, “It’s a miracle!,” believing Michael pulled a publicity stunt during the awards ceremony). Nevertheless, Michael came to not only receive several awards, but to also present an award to Eddie Murphy for that year’s Heritage Award for career achievement. “Isn’t it nice to see him (Michael) getting out and giving people awards?” Eddie joked. Michael himself received the Humanitarian of the Year Award, Best R&B Soul Album for Dangerous and Best R&B Soul Single, Male for “Remember the Time.” Michael also performed “Remember the Time” while sitting in a throne. Although he couldn’t dance due to his injury, his energy was still high as he did a lot of hand and neck movements with the audience repeatedly chanted, “Go Michael! Go Michael!” and got a standing ovation for his efforts. His appearance on the show was part of a strategy to boost sales of his Dangerous album by making several TV appearances, most notably his half-time performance on the Super Bowl and his interview with Oprah Winfrey, which was watched by 90 million people around the world.
In November 1995, Michael took part in a 25th anniversary special saluting the Soul Train television series. Aside from being an anniversary special, it inducted several R&B music stars into the program’s hall of fame, including Michael Jackson, Barry White, Diana Ross, Patti Labelle, Whitney Houston, Al Green and others (notoriously missing were the Godfather of Soul James Brown and Queen of Soul Aretha Franklin).
For some reason, Michael’s performances for the special were filmed on a separate night apart from the main ceremony. Michael did a truly incredible performance of his song “Dangerous” along with his new number one hit “You Are Not Alone.” During the number, a teenage girl came out of the audience and went on to stage to hug Michael, but that was pre-planned before the ceremony.
Over the years, Michael also worked with Don Cornelius to have artists on his record label, MJJ Music, to appear on Soul Train. Artists from his label that performed on the show were his nephews’ group 3T, his sister Rebbie Jackson, Tatyana Ali, a kid hip-hop duo called Quo consisting of Wade Robson and DeWayne Turrentine, Men of Vizion (who recorded the Jacksons’ hit “Show You the Way to Go”) and Brownstone. All of the artists met with good success while on the label. When appearing on Soul Train, they all spoke fondly of working with Michael.
In 2009, the year Michael passed way, he received a posthumous honor as Entertainer of the Year at the Soul Train Awards. Indeed, Michael Jackson’s music, career and legend will never die and he will always touch people around the world for many years to come with “love, peace and soul.”
–Stephen McMillian
Stephen McMillian is a journalist, writer, actor, filmmaker, dancer/performer, soul music and movie historian and Soul Train historian as well as a former Soul Train dancer.
He is the legend person in world.
Thanks for sharing about the legend of pop dancing.

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1989
MTV VIDEO MUSIC AWARDS
held September 6, 1989 at Gibson
Amphitheatre, Los Angeles, CA
hosted by Arsenio Hall
MTV
Video Music Awards History of Winners
1989
MTV VIDEO MUSIC AWARDS
held September 6, 1989 at Gibson
Amphitheatre, Los Angeles, CA
hosted by Arsenio Hall
MTV
Video Music Awards History of Winners
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