Presseartikel zu Bad 25

Review: Spike Lee's Bad 25 excels with look at Michael Jackson the artist Special
By David Silverberg
Sep 11, 2012 - 39 mins ago in Entertainment

It would be easy to make a documentary about Michael Jackson's controversial career and personal life; but instead of widening the scope, Spike Lee perfectly examines the making of the iconic Bad album produced 25 years ago.

Luckily, you don't have to be an MJ fan to appreciate Bad 25, screening at the Toronto International Film Festival. The lengthy doc moves along at a quick pace to explain the artistry behind the 1987 album, without assuming we know everything about the King of Pop, who passed away in 2009.
Glücklicherweise musst Du kein MJ-Fan sein um Bad 25 zu genießen, gezeigt beim Internat. Filmfestival in Toronto. Die lange Doku bewegt sich um die Kunst hinter dem 1987-Album zu erklären, ohne anzunehmen, dass wir alles über den King of Pop wissen, der 2009 verstarb.

Rather, Lee (When the Levees Break) opts to introduce us briefly to the stardom and hoopla behind the musician, and then move smoothly to what MJ always liked to call his short films (translation: music videos).

Somehow, Lee got a hold of rare footage of Martin Scorcese shooting the Bad video, and the material is truly fascinating. We learn Jackson wanted Bad to reestablish his relationship with his black fans, making him look tough and hard. Choreographers were interviewed to discuss the "street moves" added to the dance sequences, a theme recurring in various videos MJ produced.

Song by song, Lee takes us through the Bad album, peppered with talking heads that always add some insight into the artist: ?uestlove from the Roots talks about the album's influence on hip-hop, Kanye West gushes over MJ's fashion sense, and Justin Bieber admires the mind-blowing lean move in the Smooth Criminal video. An MJ confidante reveals the "Annie are you OK?" line from the same track refers to a CPR dummy Jackson practiced on, ending a 25-year-old lyrical mystery.

What really makes this doc a must-see is the insider look at what made MJ so talented. He wasn't just a triple threat; he could sing, dance, perform, produce and write his own songs, something you don't see too much today in the music biz. Lee finds the right people, such as Bad's sound engineers, to divulge how MJ approached his songs, right down to the sound levels.
Was die Doku zu einem Must-see macht ist der Insider-Blick auf das was MJ so talentiert machte. Er war nicht nur eine 3-fach-Begabung. Er konnte singen, tanzen, performen, produzieren und seine eigenen Songs schreiben, etwas was Du nicht häufig im Musik-Buisiness erlebst. Lee findet die richtigen Leute, wie die Bad-Sound-Ingineure um zu zeigen wie MJ seine Songs machte, runter zu den Song-Levels.

Comparisons may be made to This is it, the doc following MJ's rehearsals in London before his death, but Bad 25 goes much deeper into The Man behind the legend. We see a boy who hates being bullied by the press when the film looks at the song Leave me alone. We see a singer with incredible vocal range, who could go baritone if he chose, but instead opts for a high voice because he feels comfortable there. We see a man so ambitious he marks down on paper the number of albums he wants to sell: 100 million (no problem reaching that milestone).
Vergleiche mögen gemacht werden mit TII, die Doku von MJ`s Proben in London vor seinem Tod, aber Bad 25 geht viel tiefer in den Mann hinter der Legende. Wir sehen einen Jungen der es hasst von der Presse gemobbt zu werden wenn der Film auf den Song Leave me alone schaut. Wir sehen einen Sänger mit einer unglaublichen Vokalbreite, der Bariton erzielen kann, aber es vorzog in die hohe Stimme zu gehen, weil er sich dort wohl fühlt. Wir sehen einen Mann so ambitioniert, dass er auf Papier schreibt wie viel Alben er verkaufen will. 100 Millionen (kein Problem diesen Meilenstein zu erreichen).

You would think a doc on Jackson would include interviews with his family, especially his sister Janet. But nary a Jackson is to be found, a move that serves the doc well: it's an homage to Bad, not a profile of the artist and his beginnings. Sure, we learn where MJ got some of his dance moves (Fred Astaire was a major incluence), but the doc doesn't want to travel down the path of family roots. Nor does Lee want to step into the murky waters of the child molestation scandals or his relationship with Lisa Marie Presley. Instead, the film trains its lens on Michael the artist and that's it.

The only jarring section are the interviews over MJ's death. Every interviewee is asked where they were when his death was announced, and while that may be revealing to some extent, it acts as a manipulative trick to instigate tears and grief we hadn't felt up until now. His death can't be glossed over, but I'm not sure all those recollections of "I was in my car" or "I was shopping for milk" really added any value to MJ's sudden passing. Those were 15 minutes Lee got have better spent on, say, MJ's perspective on death. There must be something in all those archival interviews, no?

Bad 25 will serve as one of the best documentaries of an album, perhaps even of a music legend. When the credits roll, you can't help but rush home to hear the Bad album all over again, this time with fresh insights into old songs.
Bad 25 wird als einer der besten Dokumentationen über ein Album bestehen, vielleicht sogar von einer Musiklegende. Wenn die Credits vorbeiziehen, kommst Du nicht umher nach Hause zu eilen und das Bad Album wieder und wieder zu hören mit frischen Einsichten in die alten Songs.

Read more: http://www.digitaljournal.com/articl...#ixzz26C42SnaU

Ich finde dieses Bad 25-Projekt ist ein wahnsinnig wichtiges und ich finde gut organisiertes Projekt für Michael`s Legacy und seine Anerkennung als Künstler.

http://www.weser-kurier.de/sta…trieben-_arid,373525.html

Michael Jackson: Bad - 25th Anniversary Deluxe Edition- 12.09.2012

Perfekt wäre untertrieben
Von Ben Hiltrop
Michael Jackson hatte nach der Veröffentlichung von "Thriller" (1982) ein großes Problem: Wie sollte er jemals diesen Meilenstein der modernen Pop-Musik toppen können?

Die Frage, welches der beiden Alben nun besser sei, spaltet die MJ-Fangemeinde bis heute. Fakt ist aber, dass Michael Jackson mit "Bad" eine Platte erschuf, die an Gigantomanie nicht zu übertreffen sein sollte - kein Musiker ihm schaffte Vergleichbares. Welcher Künstler konnte es sich erlauben, einen eigenen Kinofilm herauszubringen, der voll und ganz auf die Promotion von "Bad" zurechtgeschneidert war? Satte 67 Millionen US-Dollar sollte "Moonwalker"(1988) an den Kassen einspielen, und der Film war im Grunde genommen nichts weiter, als eine lose Aneinanderreihung von Musik-Video-Clips und einer kurzen Michael-Jackson-Rahmenhandlung.

Wenn die Wörter "Neuauflage", "Remastered" oder "Jubiläums-Edition" auftauchen, ist der Vorwurf des Ausverkaufs der - in den meisten Fällen - toten Künstler schnell hervorgezogen. Im Falle von "Bad - 25th Anniversary" ist es glücklicherweise anders. Der Fan hat die Auswahl zwischen zwei Editionen. Die einfache Standard-Ausführung beinhaltet die CD-Version des Albums - also inklusive des Songs "Leave me alone", der auf LP und MC noch nicht enthalten war - und eine Bonus-Platte mit 13 absolut raren Demo-Versionen, Rough-Cuts, alternativen Remixen sowie der französischen und spanischen Version von "I Can't Stop Loving You".

Doch die volle Packung kriegt man erst in Form der Deluxe-Edition: Auf zwei weiteren Discs - einer CD und einer dazugehörigen DVD - gibt es einen Live-Mitschnitt von der "Bad"-Welttour, als Michael Jackson 1988 im Londoner Wembley-Stadion 74.000 Fans zum kollektiven Ausrasten brachte. Nach heutigen technischen Maßstäben kann der Mitschnitt von damals selbstverständlich mit keiner Hochglanz-Produktion mithalten. Muss er aber auch nicht. In den knapp zwei Stunden zeigt der "King Of Pop", warum er unmissverständlich der absolute König der modernen Pop-Musik war und immer bleiben wird: sein Gesang, seine Tanzbewegungen, seine Show, sein Charisma - bis heute unerreicht. "Bad - 25th Anniversary" lohnt sich für alle, auch für diejenigen, die diesen Meilenstein der Musik - egal in welcher Form - ihr Eigen nennen wollen.

25 Jahre I’m Bad von Michael Jackson

13. September 2012

Er feierte zwei Tage zuvor seinen 29ten Geburtstag, als am 31. August 1987 sein siebentes Studioalbum „Bad“ veröffentlicht wurde. Das Album verkaufte sich an die 45 Millionen Mal und wurde mit über 50 Platin-Schallplatten ausgezeichnet. 22 Jahre später verstarb Michael Jackson, der King of Pop, und hinterließ eine Lücke im internationalen Music Business und in den Herzen von Millionen Fans, die nie wieder geschlossen werden kann. Zu seinen Ehren und zum 25. Jubiläum des rekordverdächtigen Albums veröffentlicht Epic/Legacy Recordings in Zusammenarbeit mit Michael Jackson Estate am 14. September 2012 eine sensationelle „Deluxe“-Edition.

Das Package umfasst die Original-CD und eine von zwei zusätzlichen CDs mit dreizehn Tracks. Unter diesen Goodies finden sich sechs bislang unveröffentlichte Demoaufnahmen, die Michael Jackson in seinem damaligen Tonstudio im kalifornischen Encino aufgenommen hatte. Ebenso kommt man in den Genuss der drei Bonustracks der im Jahr 2001 erweiterten Edition von „Bad“, darunter auch die unveröffentlichte Version des Klassikers „I Just Can’t Stop Loving You“, die Michael Jackson auf Französisch sang („Je Ne Veux Pas La Fin De Nous“). Weiters gibt es in der Deluxe-Edition eine von der britischen Electro-Music-Band Nero geremixte Fassung von „Speed Demon“, die im Original von Quincy Jones produzierte wurde. Der US-Rapper Pitbull und der niederländische DJ Afrojack wagten sich an eine Neuinterpretation von „Bad“. Abgerundet wird die „Deluxe“-Edition durch eine dritte CD und eine DVD des nie zuvor gesehenen Livekonzerts von Michael Jackson im Wembley-Stadion vom 16. Juli 1988 vor 72.000 Fans.

Manche mögen sich wundern, ob Demoaufnahmen wirklich auf die Jubiläumsausgabe von „Bad“ mussten. Wäre Michael Jackson von ihrer Qualität überzeugt gewesen – so manche Kritik –, wären sie doch ohnehin auf die Original-CD gekommen. Doch diese Bedenken sind unbegründet. Vielmehr zeugen diese Aufnahmen von der genialen Kreativität, der permanenten Selbstkritik und dem Streben nach absoluter Perfektion des King of Pop.

Recherche und geschrieben Heidi Grün

Quelle: http://www.musik-schlagzeile.d…-von-michael-jackson.html

Ganz interessantes Interview über Bad und die Badtour..ich werde es aber nicht übersetzen...höchsten später vlt. paar Auszüge...

In the summer of 1986, Thriller hung around Michael Jackson’s neck like a mammoth, neon albatross; a 25-million-copies-sold albatross to be exact. Indeed, it is now well documented that the biggest pop star to ever moonwalk across the planet wanted to bury music’s most commercially/culturally successful album of all time (now 42 million and climbing in America alone). To achieve this ridiculous coup, Jackson envisioned a follow-up work that was bolder, more musically groundbreaking, and grander in epic songwriting scale.

When the dust settled months after its much-anticipated August 31, 1987 release, Jackson’s Bad album did not meet the late Gloved-One’s over-the-top ambitions of quadrupling his previous landmark 1982 statement in sales. But it did something much more impressive. The no. 1 Billboard album displayed a genius talent who grew exponentially as a songsmith, producer, and vocalist. Unlike previous releases, 1979’s glorious Off The Wall and the monster that is Thriller, this time Jackson ran the show, leaving all-world producer Quincy Jones to settle on backseat driver duties.

Which is Why Tuesday’s release of BAD 25—a deluxe package featuring three discs that includes a remastered version of the original album; remixes by electronic music visionaries Afrojack and Nero; unreleased songs; and the first ever commercial DVD of the 1988 Wembley Stadium concert from Jackson’s record-breaking Bad tour—is an intriguing set. Let the music historians and insiders dwell on how Bad “failed” to meet the record industries’ (and MJ’s) grandiose sales expectations. Brush aside Bad’s impressive U.S. numbers of more than 20 million copies off the shelves. And set aside its movie-quality barrage of award-winning music videos. It’s all about the songs, which includes five no. 1 singles. “The Way You Make Me Feel,” “Smooth Criminal,” “Man In The Mirror,” “Liberian Girl”…this is greatness, y’all.
To discuss BAD 25, VIBE caught up with members of Jackson’s Bad-era band including acclaimed keyboardist Greg Phillinganes, guitarist Jon Clark, and choreographer Vince Patterson. From what it was like to work with a hungry Jackson in the recording studio during the making of Bad and their time on the record-breaking madness of the Bad tour to the one person Jackson viewed as his true competition, this is a Q&A that shows Why MJ remains a transcendent figure nearly three years after his death. Bad, indeed.

VIBE: For Michael, there was a lot to live up to with the release of Bad. By now we’ve all heard the stories about how he was intent on destroying the record sales of Thriller. But Michael was also intent on raising the bar artistically with Bad from the album to the tour. Can you talk about his mindset going into that era, album and tour?
Greg Phillinganes: He simply wanted to top Thriller.
He was aiming for 100 million copies, so says the legend, correct?
Greg: Yes, but there’s a fine line between having a goal and being unrealistic [laughs]. Thriller broke all the records. It became this massive iconic success that it is today. But Michael was driven [during those Bad album sessions]. By this time he had way more songwriting and production input in the music. It was still up to Quincy [Jones] to keep everything solid and make sure we didn’t lose touch with reality.
Was there any moment during those Bad studio sessions that you thought, this is surreal…I’m playing for Michael Jackson!
Greg: All the time. I remember making “The Way You Make Me Feel” in the studio. Michael would stand right next to me when I would do my [keyboard] part. He would just groove and bob his head and snap his fingers.
That had to be intimidating, right?
Greg: Well, the thing is Michael was very much into the character of not only each song, but each part of the song. Sometimes you don’t realize how brilliant he was. I know it’s now funny for me to say that, but you actually forget Michael’s sheer brilliance in not only dancing, but in his songwriting and singing. My God, he was great! You could to see the extent of his influences: Fred Astaire, James Brown, Sammy Davis Jr…everybody.
Patterson: From a dancing aspect, Michael always wanted to raise the bar. He was never a choreographer except for his own movements. But he still knew what he wanted from the [other dancers]. I was involved in videos for “Beat It,” “Thriller,” and all of the ones off the Bad CD, including “Smooth Criminal” and “The Way You Make Me Feel.” And you know Michael did really evolve.
He was also a serial perfectionist, right?
Vince: [Laughs] Yes! I’ll give you an example from the “Smooth Criminal” [video shoot]. There’s this one dance phrase that repeats itself in the video. I gave it to Michael and he stood in front of the mirror for four hours doing just the same count again and again and again! I kept coming over and saying, “Michael come on…you can take a break.” And Michael told me, “No, Vincent…I want to do this ‘til it’s perfect.” Michael was a taskmaster on himself.

And that inhuman drive carried over to the actual Bad concerts?
Jon Clark: True. My job on the tour was to play the guitar parts that you heard on the Bad album. I knew all the guys that played on his albums like Paul Jackson and David Williams. I can tell you what Michael gave me as a guy coming in as support for my role as the guitar player on that tour. It was life changing for me. Michael told me one thing when we first met…he said, “You know, guitars make me dance.” What do you say to that [laughs]?
You just play your ass off…
Jon: [Laughs] Yes…that’s exactly what you do! We were all watching the Bad concert movie the other day. You notice that the speed and pace of the show was just amazing. I looked back at Greg, who was Michael’s music director, and I said, “I can’t believe we were doing that show at this fast of a tempo.” But at the same time, not one note or one groove or one space in the music changed. The spirit of the songs never changed because Michael set the tempo.
There are many readers who may be Too young to remember. But could you describe just how mammoth the Bad tour was during that time?
Jon: It’s important to note that at the time the Bad tour was the biggest production ever. We were in London and someone said that this was the biggest tour they had ever seen…bigger than U2, bigger than everyone. And I just remember during the “Billie Jean” section there was a special light that was developed just for Michael’s tour. It was made just for him to do his thing on “Billie Jean”.
Vince: That was spectacular. But you know what was even more spectacular? Watching Michael dance from behind! But this is what also blew me away, Keith. In terms of that time we thought the Bad tour was huge. And it was. We thought what we were actually constructing on the stage was huge, but looking back at it in comparison to what happens today this was basically a very simple, simple show.
How so?
Vince: There were no set changes or costume changes. The only time Michael left the stage is when he graciously left the stage and gave those amazing musicians the chance to really show the world what they could do. But this was a very simple tour. It was about the musicians, the music, the dancing and Michael’s performance. That’s what blew me away.
Greg: The true bigness of the Bad tour was the size of the actual set. We were building sets in the stadium as opposed to the arenas. We had several bags of airplane regulation landing lights [laughs]. They would blind the hell out of you when they first turned on. But Michael’s favorite toy was the cherry picker. It was the extended ladder with an arm that moved out, so he was able to dangle off of it over the crowd.
Jon: Dangerously dangle off it [laughs].
Greg: Right…the fans loved it, but it scared the hell out of the insurance guy [laughs].

As groundbreaking as the Bad tour was musically the instruments that were being used on the Bad album were groundbreaking as well. The keyboard work was state-of-the-art from the Synclavier to the Synth Axxe. How cutting edge was the actual work on the Bad album?
Greg: It was very cutting edge. The Synclavier had just become the major player in synthesizers. We carried two full-blown units. And they were not cheap.
How much of a task was it to transfer the sounds on Bad to an actual live format? I could imagine how daunting it would be to bring songs like “Bad” or “Smooth Criminal” to a live setting given the technical work it took to record those tracks.
Greg: I had already made those sounds on the Bad album. I created them in the studio, so I totally had an advantage. But the new technology really helped everyone on the Bad tour when it came to creating the support tracks…the things we couldn’t actually play from the album. The Synth Axxe was part of that [arsenal]. We were able to maximize the strengths of everyone in the band. One of our band members, Chris [Currell], was really brought on as a programmer. He wasn’t really into performing, but man, we dressed him up. Chris ended up looking like one of the members of KISS [laughs]. He ended up making a solo out of playing samples!
Jon: That freaked me out, Greg. It was actually brilliant.
Greg: Yeah…the guys was playing a freaking solo with nothing but samples on the Synclavier. And he was doing it in time. He wore it out every night.
Jon: I was subbing for people like Ray Parker Jr. and Paul Jackson Jr. That was my gig. So I learned a lot from these guys. When the Bad tour came around I kind of had an idea of what I needed to do. It wasn’t a George Michael gig, it wasn’t a James Brown gig…it was a Michael Jackson gig.

And a Michael Jackson gig is a whole different ballgame, right?
Jon: It really was. But here’s the thing. David Williams was Michael’s favorite guitar player. And it’s impossible to play like this guy, but I knew what he was doing. For me, as a musician, I knew what I needed to do programming wise. I spent many, many, many hours getting it right; all the hours spent programming guitar sounds for me and Jennifer [Batten] for that tour. So I got it right away.
But as with most Michael Jackson productions, choreography was just as important as the music. Vince, did you have a tougher road recreating some of Michael’s music videos, especially from the Bad album?
Vince: A lot went into that. The tour started in Japan, and once they decided they were going to go around the world I was pulled in. I sat with Mike and Greg and talked about changing the order of some of the songs around and what pieces would go in it. But because it was Michael and everything was movement related, everybody was dancing. I don’t care if they were standing behind keyboards or playing drums. I wanted to make sure that everybody had something to do movement wise. It was more than just re-creating the videos.
You guys were playing stadiums that held 70,000 plus people. Did you ever look out onto that massive crush of people, shit your pants and say, “This is insane”?
Jon: Kind of…I did…yes [laughs].
Vince: I forgot how it looked when Michael threw his hat out in the audience and when there was that quick shot of these people I thought, “Oh, my God…they are gonna rip each other’s arms off!”
Jon: I never shit my pants when I looked out into the crowd [laughs]. But I will tell you that you will never know what it feels like to see 70,000 people swaying while you are playing “Man In The Mirror.”
Greg: It’s like watching the movie Saving Private Ryan. When they are storming the beach and there’s not a word spoken, you just hear bullets and screams. My first experience on the Bad tour in Tokyo when those airplane lights opened, it was like Saving Private Ryan. You didn’t hear anything…you just saw. I saw Michael’s eyes looking at me and he came over. It was just a surreal moment. I can’t express it to you. It was all in slow motion.
Michael was really known as the ultimate competitor. He looked at other artists in terms of what they did musically and performance wise and wanted to top them. During the Bad era who was the one person that Mike looked at and said, “Oh, I have to raise my game to another level”?
Jon: That had to be Prince [laughs]. During the Thriller and Bad eras, it what just those two guys—Michael and Prince. And they both knew it. Everyone has read about that infamous summit that Quincy put together. Only Quincy could bring Michael and Prince together in one house and try to convince them to do “Bad.” But Prince [decided not to be a part] of the song. You could see the friendly rivalry between those two, even on their tours and in their videos. Michael would tend to hone in on some of things Prince was doing. They were both amazing and brilliant.
Imagine those conversations…
Greg: Crazy. But the craziest thing is at the Wembley shows I personally set out to make a statement. During the band solos I would play tunes from artists that I would find out were in the audience. So I had heard Prince was at the show. So I did a whole separate section of “It’s Gonna Be A Beautiful Night” by Prince. I’m talking about the groove, the breakdown and everything! We stepped down to the front of the stage and got the audience to clap on the four. We wore that shit out [laughs]. And I still don’t know if Prince was really in the audience. But the bad news is that session will not be included in this DVD because Prince decided not to give us the rights. And I wish he would change his mind.
Jon: And you know what, it was just an homage to him.
Greg: And that’s the irony…
Vince: There was a mantra that Michael had always said for as long as I’ve ever known him. He would pull you aside and say, “We gotta do something that the world has never seen before. I want to give something to the people out there that loves us that they’ve never seen before.” That was Michael’s goal…to constantly break the boundaries. And that goes for anything he was doing whether it was an album, a live tour or a short film. That’s Why Michael was so competitive. That was his drive.

Looking back at Michael Jackson’s Bad album, what is the overall legacy of that work?
Greg: Bad showed off his solo artistry because Michael was more involved production wise and songwriting wise. Yes, he worked with Quincy…but it was not quite as much as Off The Wall and Thriller. You saw the transition of Michael becoming more of a solo force behind the scenes and away from the Jacksons. By the time he went into Dangerous, Quincy was no longer there. Michael started bringing in different producers to express his musical ideas. I think Bad is the most definitive expression of Michael’s craft.
http://www.vibe.com/article/ba…nd-competitive-obsessions

Albumklassiker mit Zugaben

Über 40 Millionen mal verkaufte sich Michael Jacksons Album "Bad" von 1987 und zeigte nach "Thriller" einen musikalisch veränderten Superstar. 25 Jahre später kommt nun die Doppel-CD "Bad 25" heraus: eine Deluxe-Version mit bisher unveröffentlichtem Bonusmaterial.

Es fing ja nicht gut an. Die Vorabsingle zu "Bad 25" war vor einigen Monaten eine Remix-Version des Titelsongs, die nicht nur statt des legendären Grooves mit der raffinierten Lücke einen beschleunigten Dancebeat von der Stange bekommen hatte, sondern auch einen ungebetenen Gast: den Rapper Pitbull. ...

zum Weiterlesen:
dradio.de

Ein Artikel, bei dem man auch Kommentare abgeben kann

Michael Jacksons wahres Meisterstück

Warum das Album, das vor genau 25 Jahren erschien, zu Unrecht im Schatten von „Thriller“ steht.

Einen wirklich großen Künstler macht nicht aus, ein fast schon lächerlich großartiges und erfolgreiches Album auf den Martk zu bringen. Einen großen Künstler macht aus, danach ein Album herauszubringen, das dieses Niveau hält. ...

RP-online

Hach ich freue mich über diese doch guten bis sehr guten Kritiken und über die bombastischen für Spikes Film erst!!
Woah, kann kaum abwarten - obwohl hab ja genug Stoff zum Trösten bis es soweit ist

September 20, 2012

Überwältigendes Lob für Bad 25

Critics lauded "Bad25" when it debuted on September 18 commemorating the 25th anniversary of Michael's album that changed pop music history.

Entertainment Weekly gave Bad25 an "A," saying it is "a potent reminder of just how much "Bad's pulsing pop holds up." The Houston Chronicle called Bad25 "a layered, loving tribute" while the Seattle Post Intelligencer called Bad25 "a positively electrifying celebration of this often underrated album."

Of the DVD of Michael's 1988 Wembley concert from the landmark "Bad" tour included in the deluxe package, the Huffington Post compared it to "the equivalent of the Beatles at Shea Stadium in 1965" but added, "make no mistake: , Jackson's performance here eclipses even his most talented predecessors."

Kritiker lobten "Bad25" als es am 18. September debütierte zum Gedenken an den 25. Jahrestag von Michael`s Album, dass die Pop-Musik Geschichte veränderte.

Entertainment Weekly hat Bad25 ein "A" gegeben, sagt es ist "eine starke Erinnerung daran, wie viel" Bad pulsierender Pop enthält. "The Houston Chronicle nannte Bad25" eine geschichtete, liebevolle Hommage ", während die Seattle Post Intelligence Bad25" eine positiv elektrisierende Feier dieses oft unterschätzten Albums nennt. "

Die DVD von Michaels 1988 Wembley-Konzert aus der wegweisenden "Bad"-Tour, die im Deluxe-Paket enthalten ist wurde von der Huffington Post"als Äquivalent der Beatles im Shea Stadium in 1965" verglichen, fügte aber hinzu, "keinen Fehler zu machen:, Jackson überstrahlte in seiner Leistung sogar seine begabtesten Vorgänger.

Read what critics are saying about Bad25...
Lesen Sie was die Kritiker zu Bad 25 sagen

Anmerkung von mir :Für die Links zu den vollen Reviews in den Link gehen:

Entertainment Weekly
"A... The three discs and one DVD of live, remixed, and premastered material here are a potent reminder of just how much Bad's pulsing pop holds up. "
Read the full review.

"A. .. Die drei Scheiben und eine Live- DVD, Remixe und premastered Material sind eine potente Erinnerung daran, wie viel Bad pulsierenden Pop enthält."
Lesen Sie den kompletten Test.

Vibe
"It's all about the songs, which includes five no. 1 singles. "The way you make me feel," "Smooth Criminal," "Man in the mirror," "Liberian Girl"…this is greatness, y'all."
Read the full review.
"Es ist alles über die Songs, die fünf-Nr. 1-Singles enthält wie." The way you make me feel "," Smooth Criminal "," Man in the mirror ","Liberian Girl "... das ist Größe, y'all."
Lesen Sie den kompletten Test.

Seattle Post Intelligencer
"Marking the quarter century mark since the release of Michael Jackson's work of pop genius, Bad 25 is a positively electrifying celebration of this often underrated album. "
Read the full review.
"Markierend eine Vierteljahrhundert- Marke seit der Veröffentlichung von Michael Jackson`s Arbeit von Pop-Genie, ist Bad 25 eine positiv elektrisierende Feier dieses oft unterschätzten Albums."
Lesen Sie den kompletten Test.

Houston Chronicle
"This is a layered, loving tribute whose power ultimately resides in the genius of the original album."
Read the full review.

NBC News' The Grio
"Bad25: A Michael Jackson masterpiece gets its due."
Read the full review.
"Bad25: Ein Michael Jackson Meisterwerk bekommt seinen Grund."
Lesen Sie den kompletten Test.

Huffington Post
"The Wembley shows are the equivalent of the Beatles at Shea Stadium in 1965. But make no mistake: Jackson's performance here eclipses even his most talented predecessors."
Read the full review.
"Die Wembley-Shows sind das Äquivalent der Beatles im Shea Stadium in 1965 Aber machen Sie keinen Fehler:. Jacksons Leistung hier überstrahlt sogar seine begabtesten Vorgänger."
Lesen Sie den kompletten Test.

Showbiz411.com
"Fans will love all the versions of "Bad25," believe me."
Read the full review.
"Fans werden alle Versionen von Bad25 lieben", "glauben Sie mir."
Lesen Sie den kompletten Test

BBC
"An awesome, evergreen and essential pop masterpiece."
Read the full review.
"Ein toller, atemberaubender Evergreen und bedeutendes Pop-Meisterstück."
Lesen Sie den vollen Text

Blog Critics
"… Bad is a treasure chest of indelible pop hooks, tasteful arrangements, devastating dance grooves, and some impeccable vocal performances."
Read the full review.
"... Bad ist eine Schatzkammer von unauslöschlichen Pop-Hooks, geschmackvollen Arrangements, verheerenden Dance-Grooves und einigen unglaublichen Gesangseinlagen."
Lesen Sie den kompletten Test.

Source : http://www.michaeljackson.com/…cebook&utm_campaign=bad25

Das geht alles runter wie Honiiiiig!
Ich freue mich sooooo
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