Off the Wall was a massive success, spawning four Top Ten hits (two of them number ones), but nothing could have prepared Michael Jackson for Thriller. Nobody could have prepared anybody for the success of Thriller, since the magnitude of its success was simply unimaginable -- an album that sold 40 million copies in its initial chart run, with seven of its nine tracks reaching the Top Ten (for the record, the terrific "Baby Be Mine" and the pretty good ballad "The Lady in My Life" are not like the others). This was a record that had something for everybody, building on the basic blueprint of Off the Wall by adding harder funk, hard rock, softer ballads, and smoother soul -- expanding the approach to have something for every audience. That alone would have given the album a good shot at a huge audience, but it also arrived precisely when MTV was reaching its ascendancy, and Jackson helped the network by being not just its first superstar, but first black star as much as the network helped him. This all would have made it a success (and its success, in turn, served as a new standard for success), but it stayed on the charts, turning out singles, for nearly two years because it was really, really good. True, it wasn't as tight as Off the Wall -- and the ridiculous, late-night house-of-horrors title track is the prime culprit, arriving in the middle of the record and sucking out its momentum -- but those one or two cuts don't detract from a phenomenal set of music. It's calculated, to be sure, but the chutzpah of those calculations (before this, nobody would even have thought to bring in metal virtuoso Eddie Van Halen to play on a disco cut) is outdone by their success. This is where a song as gentle and lovely as "Human Nature" coexists comfortably with the tough, scared "Beat It," the sweet schmaltz of the Paul McCartney duet "The Girl Is Mine," and the frizzy funk of "P.Y.T. (Pretty Young Thing)." And, although this is an undeniably fun record, the paranoia is already creeping in, manifesting itself in the record's two best songs: "Billie Jean," where a woman claims Michael is the father of her child, and the delirious "Wanna Be Startin' Something," the freshest funk on the album, but the most claustrophobic, scariest track Jackson ever recorded. These give the record its anchor and are part of the reason why the record is more than just a phenomenon. The other reason, of course, is that much of this is just simply great music.
| Tom Bahler Keyboards, Synclavier | |
| Brian Banks Producer, Programming, Synthesizer, Synthesizer Programming | |
| Steve Bates Assistant Engineer | |
| John Bettis Composer | |
| Michael Boddicker Emulator, Keyboards, Synthesizer, Vocoder | |
| Bruce Cannon Effects, Sound Effects | |
| Leon "Ndugu" Chancler Drums | |
| Paulinho Da Costa Percussion | |
| Mark Ettel Assistant Engineer | |
| Matt Forger Engineer, Technical Engineer | |
| David Foster Synthesizer, Synthesizer Arrangements | |
| Humberto Gatica Engineer | |
| Gary Grant Flugelhorn, Trumpet | |
| Bernie Grundman Mastering | |
| Nelson Hayes Sound Effects, Stomp Board | |
| Howard Hewett Vocals, Vocals (Background) | |
| Jerry Hey Arranger, Conductor, Flugelhorn, Horn Arrangements, String Arrangements, Trumpet | |
| Bunny Hull Vocals, Vocals (Background) | |
| Craig Huxley Synthesizer | |
| James Ingram Arranger, Composer, Handclapping, Keyboards, Portasound, Vocals (Background) | |
| Janet Jackson Vocals, Vocals (Background) | |
| La Toya Jackson Vocals, Vocals (Background) | |
| Michael Jackson Arranger, Composer, Drums, Guitar, Handclapping, Horn Arrangements, Primary Artist, Producer, Rhythm Arrangements, Sound Effects, Stomp Board, Synthesizer Arrangements, Vocal Arrangement, Vocals, Vocals (Background) | |
| Paul Jackson, Jr. Guitar | |
| Mac James Lettering | |
| Gregg Jampol Assistant Engineer | |
| Louis Johnson Bass, Bass (Electric), Guitar (Bass), Handclapping | |
| Quincy Jones Arranger, Composer, Producer, Rhythm Arrangements, Vocal Arrangement | |
| Donn Landee Engineer | |
| Becky Lopez Vocals, Vocals (Background) | |
| Jeremy Lubbock Conductor | |
| Steve Lukather Arranger, Bass (Electric), Guitar | |
| Anthony Marinelli Programming, Synthesizer Programming | |
| Paul McCartney Featured Artist, Guest Artist, Performer, Vocals | |
| David Paich Arranger, Keyboards, Piano, Rhythm Arrangements, Synthesizer, Synthesizer Arrangements | |
| Dean Parks Guitar | |
| Greg Phillinganes Fender Rhodes, Handclapping, Keyboards, Programming, Synthesizer | |
| Jeff Porcaro Drums | |
| Steve Porcaro Arranger, Composer, Programming, Synthesizer, Synthesizer Programming | |
| Vincent Price Guest Artist, Rap, Vocals | |
| Steven Ray Handclapping, Sound Effects | |
| Bill Reichenbach, Jr. Trombone | |
| Stephen Saper Engineer | |
| Greg Smith Keyboards, Synthesizer | |
| Bruce Swedien Effects, Engineer, Mixing, Sound Effects | |
| Rod Temperton Arranger, Composer, Rhythm Arrangements, Synthesizer, Synthesizer Arrangements, Vocal Arrangement | |
| Julia Tillman Waters Vocals | |
| Valadé Stylist | |
| Eddie Van Halen Guitar, Soloist | |
| Gerald Vinci Concert Master | |
| Julia Waters Vocals (Background) | |
| Oren Waters Vocals, Vocals (Background) | |
| Maxine Willard Waters Vocals, Vocals (Background) | |
| David Williams Guitar | |
| Larry Williams Flute, Saxophone, Wind | |
| Bill Wolfer Keyboards, Programming, Synthesizer | |
| Dick Zimmerman Photography |
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1983
T
|
Beat It Best Male Rock Vocal Performance | Michael Jackson |
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1983
T
|
Beat It Record Of The Year | Michael Jackson / Quincy Jones |
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1983
T
|
Billie Jean Best Male R&B Vocal Performance | Michael Jackson |
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1983
T
|
Billie Jean Best R&B Song | Michael Jackson |
|
1983
A
|
Thriller Album Of The Year | Michael Jackson / Quincy Jones |
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1983
A
|
Thriller Best Engineered Recording, Non Classical | Bruce Swedien |
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1983
A
|
Thriller Best Male Pop Vocal Performance | Michael Jackson |