‘ Every song should be a killer.’ The menacing words Michael Jackson came upwith forty years ago when he Thriller wanted to make with Quincy Jones,linger to this day. The record became the best-selling album of all time andimmediately transformed the entire music industry. But how did that actuallyhappen?
Gunter Van AsscheNovember 17, 202217:16
The numbers
More than 70 million copies sold
Reached Platinum 34 times in the United States alone
Won eight Grammys, a record number
Sixth solo album by Michael Jackson
Shooting budget of $750,000
Spent 37 weeks non-stop on the US charts
Seven of the nine songs became singles
black or white? Michael Jackson broke down all racial boundaries
The success of Thriller cannot be measured solely by gargantuan sales. AsMichael Jackson made his way into music history, Thriller a new benchmarkfor blockbusters. The record raised the bar for video quality, but also forhow superstars market themselves.
The success of Thriller gave Jackson an unprecedented reputation. Thecultural significance to every black American is unprecedented, but he wasalso a great hero in breaking racial barriers in popular music. Thriller wasthe lubricant for generations and colors.
The record earned Jackson regular airplay on MTV, but also led to a meetingwith US President Ronald Reagan at the White House. Thriller was one of thefirst albums to use music videos as a promotional tool, bringing the record towhite TV audiences in droves. The videos for ‘Billie Jean’, ‘Beat It’ and’Thriller’ are also considered today as the butter to consider music videos asa serious art form.
The album ‘Thriller’.Image rv
“Our whole idea was to make music for the masses and part of the big picturewas to take the record company to a mass market,” said Ron Weisner a few yearsback. During Thriller he was Jackson’s co-manager. “If you were a blackartist, you were put in a black music department. That meant the marketingcampaign happened with an ad in it jet and Ebony. Our attitude withJackson was let the public decide, don’t just present it on a black market.”
From the moment the pop and R&B promotion teams of record label Epic Recordsplayed the opening track ‘Don’t Stop ‘Til You Get Enough’ from the previousrecord, Off the Wall they knew they had a big chart hit on their hands. Thatsingle meant the unprecedented step of bringing singles to white and blackradio stations at the same time to promote. Actually, ‘Don’t Stop ‘Til You GetEnough’ gave the impetus to Thriller.
The gluttony of the industry was fed
Thriller was the first major album release to happen simultaneouslyworldwide. And also the first record that took almost two years instead of theusual six or eight months. Even more, Thriller was too __ the first album todeliver seven singles to radio – more than double the usual figure.
Gradually redefined Thriller the expectations for blockbuster releases.Beginning in 1984, Columbia also released seven singles from BruceSpringsteen’s album Born in the USA , all of which entered the top ten ofthe Billboard Hot 100. Around the same time, Warner Bros. five singles from_Purple Rain_ from Prince. Mercury purged seven singles Hysteria from DefLeppard, who all went on to hit the charts. All three albums eventually soldmore than 10 million copies in the United States alone.
The industry’s gluttony was generously fueled by Thriller. In early 1984,when Epic Records executives presented their list of new releases at the CBSRecords convention in Hawaii, they couldn’t resist adding to the success theyalready had. In between sales pitches for new albums, epic truck stock footagewas shown worldwide, with a thundering voiceover announcing, “Here goesanother load of albums from Michael Jacksons Thriller!”
Who The Wolf of Wall Street you’ve seen, don’t be surprised. All others, ofcourse. Thriller gave a much-needed boost to the music business, which wassuffering from its second slump in barely three years. At the time, Billboardreported that album sales had declined seriously between 1980 and 1982. AfterJackson, Cyndi Lauper, Culture Club and REO Speedwagon also delivered majorblockbusters.
Jackson in 1988.Image AP
Disappointment leads to a new sound
Jackson and Quincy Jones’ working relationship mostly revolved aroundcreativity, despite the success. “You don’t make records to say how manyyou’re going to sell,” Jones says today. “That is not in your control. Youmake something that touches you and hopefully touches someone else.” All told,they spent four months analyzing more than 700 demos. In the end they ended upwith nine songs. On the final cut, four of those were replaced by “The Lady inMy Life,” “PYT (Pretty Young Thing),” “Human Nature,” and “Beat It.”
What Jackson and Jones envisioned was to Thriller balance between R&B andpop, disco and rock, funk and ballads. “At one point we thought we were done,”remembers Greg Phillinganes, who played the keys on Off the Wall and_Thriller_. But Quincy Jones stopped him. Phillinganes: “We needed certainmissing elements. Michael was quite disappointed with the record at the time,but that’s how we got extras like ‘Lady’ and ‘Beat It’.”
That last song came about with Eddie Van Halen because they wanted to make ablack rock ‘n’ roll song, says Jones. “’My Sharona’ by The Knack was numberone in the charts at the time and we wanted to survive the disco hype at thesame time. We actually wanted to find a way to transcend all that. With God’sblessing we climbed out of that valley with a world number.”
MTV was not the only engine, but an important one
Screen time was what changed the course of Jackson’s career. On May 16, 1983,NBC Motown 25: Yesterday, Today, Forever on which he performed an instantlyiconic rendition of “Billie Jean.” His sequined glove and James Brown-inspiredmoonwalk brought fame to eternity. The next day, Fred Astaire called Jacksonto congratulate him. “That was staggering,” Weisner recalls. “Everyonesometimes forgets there were so many other Motown legends on that show. Thenext day everyone was just talking about Michael.”
By that time the demand for Thriller got so big that Weisner said factorieshad slowed down the pressing of other albums to make more copies of them. Andthat was before the video for the title track itself. The videos for “BillieJean” and “Beat It” catapulted Jackson to stardom, but it was the fourteen-minute clip for “Thriller” that became a pop culture sensation. It was madefor the sum of 1 million dollars and canned by a film director, John Landis.
“Most of the videos we made with $30,000 or $40,000,” record peeps recalled atthe time. Most executives reportedly fell off their seats when they saw thebudget. MTV eventually paid more than $1 million for the exclusive rights tobroadcast the clip. It was the first time it paid a label for a clip. Ofcourse they were right on target: Jackson’s label boss, Walter Yetnikoff, oncethreatened to publicly denounce MTV as big racists for not bringing ‘BillieJean’.
‘Thriller’ jeopardized the milking of radio singles
As essential as MTV was to the success of Thriller , the radio was even moreimportant. In front of Thriller came out, record companies promoted onlythree or four singles for most albums. The label also did not want to releasesingles unless they had a chance to reach the top ten.
As long as the promo guys thought that was possible, songs from the recordkept appearing. In the end it became seven, of the nine songs. Unseen. Theyalso all ended up in the top ten of the American charts. Even more notably,between the release of ‘PYT (Pretty Young Thing)’ and ‘Thriller’, sister labelColumbia released ‘Say, Say, Say’, another duet between Jackson and McCartney.It immediately hit number one.
Finally stood Thriller 122 weeks on the Billboard 200, leading record labelEpic to one of its greatest periods of prosperity. Given the decline in albumsales and the rise of digital downloads, it is unlikely that another albumwill ever again dominate radio, video or the collective consciousness as_Thriller_ did.
Jackson in 1984, at the Grammy Awards. ‘Thriller’ won a record number ofawards.Image Getty
The influence of this record remains unparalleled
Dawn FM of The Weeknd is clearly through Thriller inspired. “Michael issomeone I admire,” the Canadian artist told The Weeknd GQ. “He’s not a realperson, you know? When I started music, I aspired to be him.” He’s not alone:from Bent Van Looy who swears by ‘Human Nature’ to hard rock bands and hip-hop acts who envy the buttery smooth beats, many contemporary artists andproducers try to capture the sound of Thriller copy or match.
Although that is not given to many mortal people. “Before ‘Beat It’ we workedfive days and nights without sleeping. It got so bad that at one point thestudio speakers overheated and caught fire,” recalled Quincy Jones in themagazine Rollingstone. Since then it has been a dilemma that the magazinesometimes presents to its interviewees. But no artist who wants to ventureinto that possible death experience.