By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
Michael was magic, in a way almost impossible to explain to tweeners weened on Justin Timberlake and Chris Brown. How to describe magic? Bereft of YouTube, TiVos, or even VCRs, a nation of junior-high students went to school the day after Motown 25: Yesterday, Today and Forever aired with visions of MJ lip-synch-ing "Billie Jean" still imprinted on their eyeballs, mimicking moves with photographic reflexes like Monica Dawson on Heroes. Decades before Jay-Z, MJ could spit a verse or a chorus on a songRockwell's "Somebody's Watching Me" or the Jacksons' "State of Shock"and chart a hit single. Thriller was so monstrously huge it was a fuckin' toy: You could buy picture-disc vinyl LPs at Toys "R" Us, aisles down from the Transformers and Rubik's Cubes.
Before its 80 weeks in the Billboard Top 10 and the eight Grammys and the first time Carlos DeJesus introduced the 14-minute "Thriller" video on New York Hot Tracks, Thriller was known for, y'know, the music. "Mama-ko, mama-sa, mama-ma-ko-sa" was African saxophonist Manu Dibango's original chant on "Soul Makossa"a scat of makossa, a Duala word meaning "I dance"and MJ both bastardized and immortalized it forever four minutes into "Wanna Be Startin' Somethin'." (The mantra's so tribally indelible it's now driving Rihanna's techno-pop hit "Don't Stop the Music.") But the sentiment was in the right place: Off the Wall might be a stronger dance album than Thriller, but "Somethin' " still gets asses shakin' 25 years later.
For Sony's Thriller 25 anniversary release, will.i.am, Kanye West, Fergie, and Akon breathe some postmillennial energy into five of the album's old mixes that we know and love, packaged with the unreleased 1982-era "For All Time," plus a DVD of the Motown 25 excerpt and "Thriller," "Beat It," and "Billie Jean" videos. Funny how five years ago, Britney Spears would've been the obvious pop-hottie shoo-in to dip "Beat It" into the fountain of youth for a project like this; now, Fergie gets the call. Even more ironic is how, at this point in his career, MJ stands to gain more from these associations than do the guests involved.
Well, she doesn't fuck up "Beat It 2008" at all, though she's pretty interchangeableany Pussycat Doll or Danity Kaneer would do. Will's remix has his synthy signature coursing throughout a duet between Fergie and the 24-year-old Michael Jackson; he also makes "The Girl Is Mine 2008" Hot 97ready with an Eric Breminiscent beat and retro swaths of keyboard, with new vocals from MJ. Akon's dub, "Wanna Be Startin' Somethin' 2008," starts with plaintive piano before bustin' out with a modern r&b shuffle that passes as a decent modernization; this time, the Duala intonation deteriorates even further (something like "I'ma-say, mama-sa, ma-mama comme ça"). "PYT 2008" clinches will.i.am's bid to produce the eventual MJ comeback attempt, the best of all his Thriller 25 work: Mike's alleged penchant for young things will never cross your mind. Kanye's stab at "Billie Jean 2008" is the least remarkable here, alas, though like Fergie, he can't be said to have fucked it up. The unearthed "For All Time" follows the mid-tempo "Human Nature" model and could very well become a mellow hit today, even in its old age.
As for Thriller itself, how does it hold up after a quarter-century? "Billie Jean" is still a slick production (peace to Quincy Jones) with bite, a kick-in-the-teeth snare drum hammering over a killer bassline prefiguring hip-hop's beatbox innovations; hard to believe this album only spawned three videos, but of the triumvirate, "Billie Jean" needed the least help getting over. As a tune, "Thriller" is horror-movie schlock that's completely forgiven thanks to Playboy Playmate Ola Ray and the zombie dance routine that quite literally launched hundreds of tightly choreographed pop-tart careers. "The Girl Is Mine" is schmaltz, but I'll take it over "Say Say Say," the other if-MJ-was-Lennon McCartney duet. And then there's "Beat It," with the most hyperkinetic guitar solo on a Michael Jackson record ever (peace to Eddie Van Halen), despite the many, many subsequent attempts ("Dirty Diana," "Black or White," etc.). Thriller remains the nine-song standard that every aspiring prince of pop still pines over way into the 21st century: hands down, the consummate crossover album.