If it is hardly as effervescent or joyous as either of those records, chalk it up to his suffocating stardom, which results in a set of songs without much real emotional center, either in their substance or performance. The end result of this is a much sharper, harder, riskier album than Bad, one that has its eyes on the street, even if its heart gets middle-class soft on "Heal the World." The shift in direction and change of collaborators has liberated Jackson, and he's written a set of songs that is considerably stronger than Bad, often approaching the consistency of Off the Wall and Thriller. So, it was time for a change-up, something even a superstar as huge as Michael Jackson realized, so he left Quincy Jones behind, hired Guy mastermind Teddy Riley as the main producer, and worked with a variety of other producers, arrangers, and writers, most notably Bruce Swedien and Bill Bottrell. ![]() Despite the success of Bad, it was hard not to view it as a bit of a letdown, since it presented a cleaner, colder, calculated version of Thriller - something that delivered what it should on the surface, but wound up offering less in the long run.
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