Michael Jackson’s last great album

It might be a little hard to imagine today, but in the early 90s, Michael Jackson was quite possibly the greatest star the earth has ever worn.

Far ahead of all Elvis, James Brown, Prince, Madonna, Drake, Adele and other Taylor Swift, far ahead of even any sportsman, actor or president, each of his actions triggered a wave of hysteria of insane magnitude (cosmetic surgery operations, purchase of Elephant Man’s bones, photo of him sleeping in an oxygen chamber…).

It must be said that at that time Michael Jackson was much more than music. It was pictures, it was show, it was entertainment like no one had ever seen before.

Michael Jackson was the America of Pepsi, the one that thanks to its soft power brought down the walls and pushed ever further the frontiers of its triumphant capitalism.

Obviously, such a status is not without constraints, especially when you are the author of the best-selling album in the history of music, Thriller.

At the dawn of his eighth album, now in his thirties, MJ is very aware that he should not rest on his laurels. Eager not to miss the new generation train, he therefore decides to change his mind.

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Rather than record a few unreleased tracks to accompany the release of a best-of as his Sony record company presses, he separates from his mentor Quincy Jones, to enlist the services of a young rising producer, Teddy Riley.

Maneuvering behind the most hype At the moment (Keith Sweat, Bobby Brown, Guy…), Riley can boast of having created a new musical genre on his own: the new jack swing – a kind of modernized rnb at the crossroads of hip hop and soul.

Accompanied in addition to the faithful Bill Bottrell (lyricist and composer) and Bruce Swedien (his sound engineer), Michael then locked himself in the studio for 18 months.

60 songs and 10 million dollars spent (!) Later, he unveils on November 26, 1991 Dangerous.

Back in detail on this disc like no other.

1. Jam

A sound of broken glass and the album which starts without warning on the hats of the wheel with a first track with an implacable rhythm.

Teddy Riley pure juice which announces one could not more clearly new musical orientation.

Difficult to do more punchy as a starting point.

R.E.P Heavy D.

2. Why You Wanna Trip on Me

The traditional song “Yeh-yeah, the media are mean to me and better deal with the real issues”.

If at first glance the theme may be off-putting (because MJ consciously staged his eccentricities, because you know what afterwards), it is nonetheless more relevant than ever in a world that lives with its nose glued to everything that clicks.

When it comes to music, on the other hand, the performance is impeccable, again with the objective of moving every part of the body.

3. In the Closet

Probably the most erotic song of MJ’s entire catalog.

For six minutes, he recounts a relationship intended to remain secret with a woman, all punctuated by very explicit groans, as well as “Give me” and others « hee-hee » equally provocative.

So certainly, it is not Madonna of the same time either (invited to the microphone, the latter had also refused on the grounds that she found the concept a little too much. “Nice”), but much like the Neptunes did with Justin Timberlake ten years later, Teddy Riley was able to sexualize Jackson just enough.

The clip with Naomi Campbell adds a layer.

4. She Drives Me Wild

A track in line with what has been proposed previously, this time with a Michael whose the vocals are on the verge of aggression, plus a rapper who assists him, Aquil Davidson, a member of Wreckx-N-Effect (a group produced by Riley Editor’s note).

Although very pleasant, a slight tone below.

5. Remember the Time

New jack swing update sort of Rock With You (a very disco-influenced track on which MJ almost whispers), Remember The Time equally valid for its unstoppable melody that for his clip.

Returned since in the legend, he saw among the biggest African-American celebrities of the moment (Eddie Murphy, the model Iman, the basketball player Magic Johnson, the Pharcyde …) replay the Egypt of the pharaohs.

As crazy as it was unprecedented for the time.

6. Can’t Let Her Get Away

Twin song of She Drives Me Wild, despite its foolproof funk, it struggles to really justify its place on the tracklist.

This is a bit the problem with disks of this size: the good-titles-but-nothing-more fatally suffer from comparison with others.

After six row tracks produced by Teddy Riley, Can’t Let Get Her Away Brand the end of the first part of Dangerous which is about to take on a more pop tone.

7. Heal the World

In the genre good big ballad mixed with good big feelings, this is what is done better more caricature (eco-neuneu message, children in the choir, words that one would believe copied / pasted to a Unicef ​​leaflet…).

And yet, despite its big flaws, hard to completely hate Heal The World and its deluge of candor.

8. Black or White

On November 14, 1991, the music video for Black or White was broadcast simultaneously in 27 different countries. 500 million spectators scattered around the globe were then amazed to discover MJ loudly denouncing racism, dancing with the peoples of the world, playing together in the middle of the street, then transforming himself into a black panther.

An unforgettable moment for those who lived it, especially since artistically Black or White accomplished the synthesis between the raw side of a Beat It and the Disney side of a Man In The Mirror.

The perfect globalized anthem.

9. Who Is It

A particularly dark story of love betrayal sublimated by the flute tunes which accompany the instrumental beatboxed by Michael.

Interpreted with restraint, this fifth single gives Dangerous a much more adult coloring.

Classic vintage.

10. Give In to Me

After briefly appearing on Black or White, Slash comes here to honor as it should be the traditional guitar solo on an album by Michael Jackson (Eddie Van Halen on Thriller, Steve Stevens on Bad…).

For the youngest, Slash in 1991 was one of the biggest stars in world music. : chief scraper of Guns N’Roses, he composed some of the most iconic riffs of rock (Sweet Child O’Mine), from power ballads do you want some here (November Rain), gave concerts packed in the biggest stadiums on the planet, all this top hat on the head and bottle of Jack Daniel’s in hand.

And not to spoil anything, in harmony with its host, he delivers here a four-star service.

Another highlight.

11. Will You Be There

Direction the church with these almost eight minutes which summon the heavy artillery to uplift the spirits – orchestra, choir and extract from the Ninth Symphony de Beethoven.

Grandiloquence is therefore the order of the day, but the passion instilled by MJ is such that when the latter concludes the discussions by reciting a poem, it is difficult not to feel that someone is really there for you.

12. Keep the Faith

Gospel always, a song that encourages you to move forward, to believe in yourself, to pursue your dreams, to be nice to your neighbor…

In-house know-how requires it, it is effective, even if in comparison much less busy because frankly telephoned.

13. Gone Too Soon

A song written to pay tribute to Ryan White, a teenager close to Michael who died of AIDS.

Good intentions unfortunately do not automatically translate into good music, Gone Too Soon pick it up hands down the palm for the heaviest song on the record.

Yes, Dangerous would have been much better without ballads.

14. Dangerous

Back to business with Teddy Riley to conclude the debates with a track which in the manner of Billie Jean Where Dirty Diana portrays an unrepentant seductress

Contagious beat, the right amount of sexual tension, interpretation in tune, no virtuoso dance in live… the same way as Jam brilliantly opened the debates, Dangerous brilliantly closes the exercise.

Verdict: the last time Michael Jackson was Michael Jackson

What surprises perhaps most when you listen to Dangerous again thirty years after the fact, is how the 77 minutes of music offered mix contrasts.

At the crossroads between the formula developed by Jackson throughout the 1980s and this new black music which has not yet established itself as a standard, both very personal and thought to please the greatest number, conformist and daring, demonstration of strength and finesse, the album nevertheless manages to keep in balance over time.

Of course, not everything is always perfect, but the tops are so high that they largely make you forget the rest.

And then hey, a few months later Dangerous, it’s still the very last time MJ walked on water, he who a few months later will begin his descent into hell when a first complaint will be filed against him for sexual abuse of a minor.

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