Iconic best describes Thriller, but is it Michael Jackson’s greatest album? 

From a sales perspective and the ability to capture the zeitgeist; absolutely! However, the more I reflect on the album, the more I find that it isn’t as cohesive as the masterpiece that is Off The Wall. It also isn’t as energetic as Bad and while Dangerous rounds out his most successful solo era releases, and is a little too lengthy, it too is a stronger album. 

Don’t get me wrong, dear reader, Thriller is an exceptional release, but once you get past the fanfare and key singles that came from the album, the album-only songs don’t necessarily ensure that Thriller is a fluid album experience from start to finish. Nevertheless, one thing is indisputable and that is that Thriller forever changed the world of music upon its release in 1982. 

As a game-changing cultural phenomenon, Thriller continues to captivate audiences, transcending generations, to this day and remains one of the greatest releases from 1982. Of course, it wasn’t just the music that made Thriller so successful, for it arrived hot on the heels of the MTV era and Jackson took thorough advantage of this new platform ensuring that his music videos were every bit the visual spectacle counterpart to his audible wonders.

In many respects, had it not been for the emerging music video revolution and the Motown 25: Yesterday, Today, Forever television special, where Jackson performed Billie Jean and debuted the moonwalk, one must question if Thriller, Jackson’s sixth solo studio album, would have been the cultural landmark it turned out to be.

Album artwork, certainly in the 80s, played a key role in attracting an audience and while Thriller was successful for a multitude of reasons, the iconic cover art would have been stunning when seen on the shelves of your local record store. It isn’t far-fetched to suggest that the artwork alone could have sold the album for it has a unique quality that allows it to stand out from the crowd. With a level of visual sophistication, you immediately get a sense that what you’re about to hear is something very special. While we shouldn’t judge a book, or a record, by its cover, it is often true that compelling artwork mimics intriguing music and in this case, Thriller doesn’t disappoint. 

However, with over 700 different versions of Thriller, modern collectors face an incredible challenge in finding an edition that best suits their tastes. The good news is that due to its high production, most fans will be content to listen to any version of the album. There are, of course, reasons why one may wish to own multiple copies of Thriller but I find myself content with not only the Hi-Res Lossless Apple Music stream, an Apple Digital Master, but with my 2009 Music On Vinyl (MOV) reissue edition that I’m fortunate to own. Yes, I could track down the various versions, many of which are highly regarded, but I increasingly find myself tiring of such endeavours as it becomes more about finding perfection than simply appreciating the music I love. 

As to which edition I prefer, both have their unique qualities. The Apple Music stream is exquisite and if you haven’t got a physical copy, the stream is likely all you will ever need; it’s that good! However, the vinyl reissue is musically fluid with exceptional dynamics and plenty of bass punch. It’s a lovely all-rounder. The only flaw that I can speak of is that there is a little too much sibilance throughout Side 2 of the record. The sibilance becomes less apparent when playing on my smaller, less revealing system, but it’s something that some of you may find distracting. That said, Jackson does have a small lisp in his vocals anyway, but it’s an issue here as it is amplified a little. Additionally, there are some minor musical elements that sound too distant in the mix on the vinyl reissue, whereas they are much clearer on the streaming counterpart. Again, these issues are not major, and most music lovers won’t even notice them, but if you choose to pick up the vinyl reissue from 2009 as I have, knowledge of this may help you make an informed decision. 

Before taking a look at the songs that make up Thriller, I wanted to take a moment to acknowledge the 2008 reissue and its series of remixes with various artists. Yes, it was officially sanctioned, but I don’t classify it as being true to the Thriller album experience. Subsequently, this review will focus on the core nine tracks that make up the original release of the album. The subsequent bonus material that was on the 2008 reissue remains readily available for those of you who are interested. The 2001 Special Edition is a little more uncommon and truthfully, I never appreciated the bonus songs, and interviews, tacked onto the backend of the album. It really should have been released as a separate disc, but alas, that is one edition that I’ll never experience the Fear Of Missing Out (FOMO) over. Finally, the Dolby Atmos mix on Apple Music is adequate. At this stage, I’ve been listening to Thriller in stereo for over four decades and the surround mix offers me nothing new. In my mind, Thriller should always be a stereo-only release.

Wanna Be Startin' Somethin’ is a superb funk-styled opening track that is a fantastic complementary counterpart, in Jackson’s catalogue, to Don’t Stop Till You Get Enough. With a dynamic rhythm and mix to match, Jackson’s vocal delivery is as catchy as the infectious melody. If you’re sitting still while listening to this song, you’re listening wrong as your body wants to move involuntarily to one of the greatest album openers of all time. 

Baby Be Mine offers a smooth disco-styled flow that slows the tempo somewhat. It should by all metrics be a jolt to the senses, especially following the album’s energetic opener, but the sequenced flow ensures that Baby Be Mine is not distracting in its chosen position.

The Girl Is Mine (with Paul McCartney) is playful and a little gimmicky, yet that is similar to the style these two master musicians had utilised previously with Say Say Say. Still, the interplay between these two legends is simply wonderful and while The Girl Is Mine is far from my favourite Thriller era tune; Thriller simply wouldn’t be the same without this light-hearted pop song. 

Thriller is a synthetic disco-funk masterpiece that is eerie, captivating, and a true musical marvel. The spooky atmosphere, incorporating Vincent Price’s unique voice-over, ensures that Thriller is not only the perfect title track but a song that remains part of the social consciousness to this day. In fact, Thriller doesn’t sound dated at all; thanks to the exceptional production. That aspect alone is surprising, especially considering 80s-era sound effects were applied to the mix, but good music will always stand the test of time and Thriller is timeless. 

Beat It is arguably the heaviest rock and roll song the King Of Pop ever recorded and is so good that I also consider it to be one of the greatest rock and roll songs of the 80s; an unlikely candidate, yes, but it’s right up there with the best of the best. Of course, it doesn’t hurt having the one and only Eddie Van Halen performing one of the greatest guitar solos ever recorded. Add Jackson’s dynamic vocal presentation, and the song’s anti-violence message, and you’re left with a song that can only be described as an anthemic rocker.

Billie Jean is dance meets funk with a touch of soul and R&B. Much like the other landmark songs on this release, as soon as you hear the first note, you know it's a Michael Jackson song. The captivating bassline and infectious rhythm further ensure Billie Jean will remain an earworm long after the album has concluded.

Human Nature is a soothing ballad that shifts the tone for the rest of the album. While it’s a lovely tune in its own right, and a perfect song for the album, I find that it’s one that I rarely seek out on its own. It isn’t that I dislike it, anything but, it just isn’t a standout when a record, such as Thriller, has so many other exceptional songs.

P.Y.T. (Pretty Young Thing) is so bad it’s good. It really is the embodiment of 80s pop with a touch of disco that our senses thoroughly enjoy, for it’s impossible not to dance along to this classic tune. 

The Lady In My Life is a simply gorgeous song to close the album on as Jackson’s tender vocal reaches right into your soul, encouraging you to spin the record again.

Thriller is ultimately a testament to Michael Jackson's versatility and ability to create music that resonates with a broad audience. While I don't rank it as his greatest release, and feel it is overrated, it is successful because it’s extraordinarily good. From energetic dance tracks to soulful ballads, Thriller offers a diverse range of musical experiences that will stay with you well after the album has ended, thereby making it an exceptional release in the world of music and one of the best albums released in the 80s.