Jump to content

Billie Jean: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
m Reverted edits by 216.103.145.178 to last revision by Kingpin13 (HG)
Line 50: Line 50:
Having resolved their differences, Jones had Jackson sing his vocal overdubs through a six-foot-long (2 m) cardboard tube.<ref name="The 500 Greatest Songs Since You Were Born: Number 1"/> Jackson's entire lead vocal was performed in one take; he had received vocal training every morning throughout the production.<ref name="Wadhams"/> [[Jazz]] [[saxophonist]] [[Tom Scott (musician)|Tom Scott]] played the [[lyricon]], a rare wind-controlled synthesizer. [[Bass guitar]]ist [[Louis Johnson (bassist)|Louis Johnson]] was then brought in. Johnson played his part on every guitar he owned, Jackson finally settling for a [[Yamaha]] bass.<ref name="The 500 Greatest Songs Since You Were Born: Number 1"/> [[Greg Phillinganes]] was also drafted in; he played the [[Musical keyboard|keyboard]]. He later said of the song, "'Billie Jean' is hot on every level. It’s hot rhythmically. It’s hot sonically, because the instrumentation is so minimal, you can really hear everything. It’s hot melodically. It’s hot lyrically. It’s hot vocally. It affects you physically, emotionally, even spiritually."<ref name="The 500 Greatest Songs Since You Were Born: Number 1"/>
Having resolved their differences, Jones had Jackson sing his vocal overdubs through a six-foot-long (2 m) cardboard tube.<ref name="The 500 Greatest Songs Since You Were Born: Number 1"/> Jackson's entire lead vocal was performed in one take; he had received vocal training every morning throughout the production.<ref name="Wadhams"/> [[Jazz]] [[saxophonist]] [[Tom Scott (musician)|Tom Scott]] played the [[lyricon]], a rare wind-controlled synthesizer. [[Bass guitar]]ist [[Louis Johnson (bassist)|Louis Johnson]] was then brought in. Johnson played his part on every guitar he owned, Jackson finally settling for a [[Yamaha]] bass.<ref name="The 500 Greatest Songs Since You Were Born: Number 1"/> [[Greg Phillinganes]] was also drafted in; he played the [[Musical keyboard|keyboard]]. He later said of the song, "'Billie Jean' is hot on every level. It’s hot rhythmically. It’s hot sonically, because the instrumentation is so minimal, you can really hear everything. It’s hot melodically. It’s hot lyrically. It’s hot vocally. It affects you physically, emotionally, even spiritually."<ref name="The 500 Greatest Songs Since You Were Born: Number 1"/>


The song was mixed by [[Bruce Swedien]] ninety-one times—unusual for Swedien, who usually mixed a song once.<ref name="Halstead 36-37"/> Jones had told Swedien to create a drum sound that no one had ever heard before. The audio engineer was also told to add a different element, "sonic personality". "What I ended up doing was building a drum platform and designing some special little things, like a bass drum cover and a flat piece of wood that goes between the snare and the hi-hat", Swedien later wrote. "The bottom line is that there aren't many pieces of music where you can hear the first three or four notes of the drums, and immediately tell what the piece of music is." He concluded, "But I think that is the case with 'Billie Jean'—and that I attribute to sonic personality."<ref name="The 500 Greatest Songs Since You Were Born: Number 1"/><ref name="Halstead 36-37"/>
The song was mixed by [[Bruce Swedien]] ninety-one times—unusual for Swedien, who usually mixed a song once.<ref name="Halstead 36-37"/> Jones had told Swedien to create a drum sound that no one had ever heard before. The audio engineer was also told to add a different element, "sonic personality". "What I ended up doing was building a drum platform and designing some special little things, like a bass drum cover and a flat piece of wood that goes between the snare and the hi-hat", Swjkkfhkhdfhdhfkidhfuiwhfredien later wrote. "The bottom line is that there aren't many pieces of music where you can hear the first three or four notes of the drums, and immediately tell what the piece of music is." He concluded, "But I think that is the case with 'Billie Jean'—and that I attribute to sonic personality."<ref name="The 500 Greatest Songs Since You Were Born: Number 1"/><ref name="Halstead 36-37"/>


==Composition==
==Composition==

Revision as of 20:15, 7 January 2010

For the tennis player, see Billie Jean King.
"Billie Jean"
Song
B-side"It's the Falling in Love"/"Can't Get Outta the Rain"

"Billie Jean" is a dance-pop R&B song by American recording artist Michael Jackson. It was written by Jackson and produced by Quincy Jones for the singer's sixth solo album, Thriller (1982). Originally disliked by Jones, the track was almost removed from the album after he and Jackson had numerous disagreements. The song's lyrics refer to a real-life experience, in which a mentally ill female fan claimed that Jackson had fathered one of her twins. The song is well known for its distinctive bass line and Jackson's vocal hiccups. The song was mixed 91 times by Bruce Swedien before it was finalized. Following the successful chart performance of "The Girl Is Mine", "Billie Jean" was released on January 2, 1983, as the album's second single. "Billie Jean" was a worldwide commercial and critical success; it became one of the best-selling singles of 1983,[2] and topped both the US and UK charts simultaneously. Cited as one of the most revolutionary songs in history,[3] "Billie Jean" was certified platinum in 1989.

Honored numerous times—including two Grammy Awards, one American Music Award and an induction into the Music Video Producers Hall of Fame—the song and corresponding music video propelled Thriller into the best-selling album of all time. The song was promoted with a short film that broke down MTV's racial barrier as the first video by a black artist to be played in heavy rotation by the channel,[4][5] and an Emmy-nominated performance on Motown 25: Yesterday, Today, Forever, in which Jackson premiered "the moonwalk." The song was also promoted through Jackson's Pepsi commercials; during the filming of one commercial, Jackson's scalp was severely burned. Covered and sampled by modern artists, "Billie Jean" sealed Jackson's status as an international pop icon.[3]

Background

Jackson stated in his autobiography, Moon Walk, that the song was based on the groupies he and his brothers encountered while part of The Jackson 5. "There never was a real Billie Jean. The girl in the song is a composite of people my brothers have been plagued with over the years. I could never understand how these girls could say they were carrying someone's child when it wasn't true."[6][7]

Jackson biographer J. Randy Taraborrelli promoted the theory that "Billie Jean" was derived from a real life experience the singer faced in 1981. The Magic & The Madness documents how a young woman wrote a letter to Jackson, informing the singer that he was the father of one of her twins.[8][9] Jackson, who regularly received letters of this kind, had never met the woman in question and ignored it. The woman sent more letters to Jackson, claiming that she loved him and wanted to be with him. She wrote of how happy they would be, bringing up the child together. She pondered how Jackson could ignore his own flesh and blood. The letters disturbed the singer to the extent that he suffered nightmares.[8]

Following the letters, Jackson received a parcel containing a photograph of the fan, as well as a letter and a gun. Jackson was horrified—the letter asked that the pop star kill himself on a certain day and at a specific time. The fan would do the same once she had killed their baby. She wrote that if they could not be together in this life, then they would be in the next. Afterward, the Jacksons discovered that the female fan had been sent to a psychiatric hospital.[8]

Recording

Quincy Jones felt "Billie Jean" was too weak to be a part of Thriller.

Jackson wrote "Billie Jean" with his female fans in mind,[8] and later stated that when writing the song he knew it would be a hit. "A musician knows hit material. Everything has to feel in place. It fulfills you and it makes you feel good. That’s how I felt about 'Billie Jean'. I knew it was going to be big when I was writing it."[6][10] The singer explained that he was so absorbed by the song that, in one instance, he did not notice that his car had caught fire as he drove down a freeway with a friend until a passing motorcyclist informed him. Jackson noted, "The kid probably saved our lives."[6][10]

The pop star faced numerous disagreements with the song's producer. Quincy Jones did not want "Billie Jean" to appear on Thriller; he felt that the song was too weak to be part of the collection.[8] The producer disliked the demo and did not care for the song's bass line.[11] Jones wanted to cut Jackson's 29 second introduction, which Jackson insisted be kept. "I said, 'Michael we’ve got to cut that intro'", Jones later recalled. "He said, 'But that’s the jelly!'...'That’s what makes me want to dance'. And when Michael Jackson tells you, 'That’s what makes me want to dance', well, the rest of us just have to shut up."[10] Jones also wanted to change the track's title to "Not My Lover", believing that people would think the song referred to the tennis player Billie Jean King. Jackson refused to change the title and asked Jones to give him co-producing credits for the track; he felt that the demo tape sounded exactly like the finished product. In addition, Jackson wanted extra royalties. Jones granted neither and the two fell out for several days.[8][11]

Having resolved their differences, Jones had Jackson sing his vocal overdubs through a six-foot-long (2 m) cardboard tube.[10] Jackson's entire lead vocal was performed in one take; he had received vocal training every morning throughout the production.[7] Jazz saxophonist Tom Scott played the lyricon, a rare wind-controlled synthesizer. Bass guitarist Louis Johnson was then brought in. Johnson played his part on every guitar he owned, Jackson finally settling for a Yamaha bass.[10] Greg Phillinganes was also drafted in; he played the keyboard. He later said of the song, "'Billie Jean' is hot on every level. It’s hot rhythmically. It’s hot sonically, because the instrumentation is so minimal, you can really hear everything. It’s hot melodically. It’s hot lyrically. It’s hot vocally. It affects you physically, emotionally, even spiritually."[10]

The song was mixed by Bruce Swedien ninety-one times—unusual for Swedien, who usually mixed a song once.[11] Jones had told Swedien to create a drum sound that no one had ever heard before. The audio engineer was also told to add a different element, "sonic personality". "What I ended up doing was building a drum platform and designing some special little things, like a bass drum cover and a flat piece of wood that goes between the snare and the hi-hat", Swjkkfhkhdfhdhfkidhfuiwhfredien later wrote. "The bottom line is that there aren't many pieces of music where you can hear the first three or four notes of the drums, and immediately tell what the piece of music is." He concluded, "But I think that is the case with 'Billie Jean'—and that I attribute to sonic personality."[10][11]

Composition

"Billie Jean"
"Billie Jean" was written by Jackson, the lyrics based upon a real life experience. Laced with interjections and vocal hiccups, the song features a prominent and repetitive bass line.
Problems playing this file? See media help.

"Billie Jean" is considered a dance-pop R&B song. It opens with a standard rock drum beat: kick, snare and hi-hat, heavily employing the use of reverberation. The pattern continues unchanged throughout the entire song. After four bars, a repetitive bass line enters. It never rests for more than an eighth note and centers on a seventh. Each time it passes through the tonic the note is doubled by a distorted synth bass, played in unison with a shaker or keilbasa. This accompaniment is followed by a repetitive four-note synth, played staccato with a deep reverb. The defining chord progression is then established. Jackson's quiet vocals enter, accompanied by a finger-snap, which comes and goes during the verses, as the rhythm and chord progression repeats.[7]

According to Inside the Hits, the lyrics refer to the commotion created by Billie Jean on a dance floor. She entices the crowd with a seductive come-on before luring Jackson to her bedroom, through the fragrance of her perfume. Jackson's vocal range spanned from a high baritone to a falsetto and he usually wrote melodies to show this range. However, in the verses of "Billie Jean", the singer's vocals range from a tenor to a low falsetto. A four note falsetto is showcased in the chorus and, during the last line, Jackson peaks at a full octave.[7]

Following the two sharp repeats of "do think twice", at the end of the third verse, a cello-like synth cuts the chords of the fourth verse. Upon hearing that the baby's eyes resembles Jackson's, a voice laments, "oh no". This is met with Jackson's signature falsetto "hee hee".[7] The bridge debuts the strings, holding a pedal tone tonic with the exception of two lines and a chord leading into the chorus. Violins are then played, followed by a three-note minor guitar solo. During the solo, vocal shouts, screams and laughs are added. Throughout this, the chord progression remains unaltered and is laced with Jackson's vocal hiccups. All the musical and vocal elements are brought together in the final chorus. In the fade, Jackson repeats the denial of fathering Billie Jean's child.[7]

Jackson also added the 'hee-hee-hee' sound in addition to the vocal hiccups.

Release and reception

On November 30, 1982, Thriller was released to critical and commercial success.[12] A month later, on January 2, 1983, "Billie Jean" was released as the album's second single, following Jackson's successful duet with Paul McCartney on "The Girl is Mine".[13][14] The song topped Billboard's Hot 100 chart, where it remained for seven weeks. Topping the R&B chart within three weeks, "Billie Jean" was Jackson's fastest-rising number one single since "ABC", "The Love You Save" and "I'll Be There" in 1970. Remaining at number one for nine weeks, the single was eventually toppled by George Clinton's "Atomic Dog".[13] The song peaked at number nine on the Hot Adult Contemporary Tracks chart.[14] Reaching number one in the UK Singles Chart, "Billie Jean" and Thriller topped both the singles and album charts in the same week. This occurred on both sides of the Atlantic simultaneously; a feat very few acts have ever achieved. The song was the third best-selling single of 1983 in the United States, and ninth in the United Kingdom.[13] The song also reached number one in Australia, Spain and Switzerland, and the top ten in Austria, Italy, New Zealand, Norway and Sweden.[15]

In a Rolling Stone review, Christopher Connelly describes "Billie Jean" as a "lean, insistent funk number whose message couldn't be more blunt: 'She says I am the one/But the kid is not my son'". He adds that the track is a "sad, almost mournful song, but a thumping resolve underlies his [Jackson's] feelings".[16] Blender states that the song is "one of the most sonically eccentric, psychologically fraught, downright bizarre things ever to land on Top 40 radio". Adding that it was "frighteningly stark, with a pulsing, cat-on-the-prowl bass figure, whip-crack downbeat and eerie multi-tracked vocals ricocheting in the vast spaces between keyboards and strings". Overall, the magazine described the track as "a five-minute-long nervous breakdown, set to a beat".[10] Stylus Magazine said of the song, "It’s one of the best representations of film noir in pop music, ending with no resolution except a single mother and selfish, careless scumball."[17] In a review of Thriller 25, Allmusic observes that "Billie Jean" is "startling" in its "futuristic funk".[18] The track also won praise from Jackson biographers. Nelson George stated that Jerry Hey's string arrangement added danger to "Billie Jean", with J. Randy Taraborrelli adding that it was "dark and sparse" by Quincy Jones' production standards.[8][19]

MT Reviews awarded the song a 10/10 rating and named Billie Jean as "The greatest song in the history of music. The gorgeous bassline, the psychological and stark atmosphere constructed by Jackson's composition... That sweet voice, the vocal hiccups... Billie Jean is unsurpassed in its sheer uniqueness, quality and downright genius. This is Jackson at his very, very best."

"Billie Jean" has been recognized with numerous awards. At the 1984 Grammy Awards the song earned Jackson two of a record eight awards; Best R&B Song and Best R&B Male Vocal Performance. Winning the Billboard Music Award for favourite dance/disco 12" LP, their 1980's poll named "Billie Jean" as the "Black Single of the Decade". The American Music Awards recognized the track as the Favourite Pop/Rock Single. Cash Box honoured the song with the awards for Top Pop Single and Top Black Single. The track was recognised with the Top International Single award by the Canadian Black Music Awards, and rewarded with the Black Gold Award for Single of the Year. "Billie Jean" has also been awarded for its sales, winning the National Association of Recording Merchandisers Gift of Music award for best selling single in 1984. By 1989, the standard format single was certified platinum by the Recording Industry Association of America, for shipments of at least one million units.[20][21] The digital sales of "Billie Jean" were certified gold in 2005, for shipments of at least 500,000 units.[22] The total number of digital downloads in the US, as of March 2009, stands at 864,000.[23]

Promotion

Music video

Jackson landing on his toes and illuminating a tile in the music video for "Billie Jean".

The short film for Jackson's "Billie Jean" is considered the video that brought MTV, a fairly new and unknown music channel, into mainstream attention. It was one of the first videos by a black artist to be played regularly by the channel, as it had felt that black music was "not rock enough."[4][5] Directed by Steve Barron, the video shows a trench-coated photographer following Jackson through city streets. The paparazzo never catches the singer, and even when photographed, Jackson fails to materialise on the developed picture. Dancing his way to Billie Jean's hotel room, Jackson walks along a sidewalk and causes each tile to light up at his touch, symbolizing the singer's fame being recognized wherever he goes.[4][24] Performing a quick spin, Jackson jumps and lands, freeze framed, on his toes. Upon arriving at the hotel, Jackson climbs the staircase to Billie Jean's room. Each step illuminates as he touches it and a burnt-out "Hotel" sign illuminates as he passes. Arriving at the scene, the photographer watches as Jackson disappears under the covers of Billie Jean's bed. Trailed by the police, he is then arrested for spying on the couple.[4] Jackson sported a new look for the video; Jheri curled hair and a surgically sculpted nose. Jackson's look, a black leather suit with a pink shirt and red bow tie, was copied by children around the US. Imitation became so severe that despite pupil protests Bound Brook High School banned students from wearing a single white glove like Jackson had on Motown 25.[4]

Walter Yetnikoff, the president of Jackson's record label, CBS, approached MTV to play the "Billie Jean" video. Yetnikoff became enraged when MTV refused to play the video, and threatened to go public with MTV's stance on black musicians. "I said to MTV, ‘I’m pulling everything we have off the air, all our product. I’m not going to give you any more videos. And I’m going to go public and tell them about the fact you don’t want to play music by a black guy.’"[10] MTV relented and played the "Billie Jean" video in heavy rotation.[10] Following the airing of the video, Thriller went on to sell an additional 10 million copies.[25] The company later denied claims of racism in their broadcasting.[26] The short film earned Jackson the Billboard Video Award for Best Overall Video and he was inducted into the Music Video Producers Hall of Fame in 1992.[20] In a 2005 poll of 31 pop stars, video directors, agents and journalists conducted by telecommunications company 3, the music video was ranked fifth in their "Top 20 Music Videos Ever".[27] The video was also ranked as the 35th greatest music video in a list compiled by MTV and TV Guide at the millennium.[28]

Motown 25

File:MichaelJacksonMoonwalk.ogg
Jackson debuting the moonwalk during his acclaimed performance of "Billie Jean" on Motown 25.

On March 25, 1983, Jackson performed "Billie Jean" to critical and popular acclaim. Staged at the Pasadena Civic Auditorium, Motown 25: Yesterday, Today, Forever was a celebration of Motown Records' twenty-fifth anniversary which featured the most popular Motown acts. The Motown stars were to reunite for one evening, paying tribute to Berry Gordy and acknowledging his effect on their lives. Jackson initially refused the invitation, stating that he did not want to perform live, or perform with his brothers again. Jackson reconsidered after a personal visit from Gordy, for whom the singer had great respect. Jackson would perform on the condition that he have a solo spot. Gordy agreed and it was decided that the singer would perform "Billie Jean".[29]

Following performances by Marvin Gaye, Smokey Robinson and Mary Wells, the Jacksons took to the stage for their first group performance in eight years. The Jacksons sang a medley of their old hits, finishing with "I'll Be There", then left Michael alone on stage. After addressing the audience, Jackson went into his routine. Wearing black pants, leather penny loafers and a single white rhinestone glove, Jackson snapped a fedora to his head and struck a pose—his right hand on his hat and his left leg bent. Throwing the hat aside, Jackson sung "Billie Jean".[29] Then, during a musical interlude, the singer executed a move which many claim to have sealed his status as a pop icon.[30][31] Gliding backwards, Jackson performed the moonwalk, before spinning on his heels and landing en pointe.[29] It was the first time Jackson had performed the moonwalk in public, having practiced it in his kitchen prior to the show.[32]

The program was watched by 50 million people and earned Jackson an Emmy nomination.[33][34] With the performance Jackson reached a new audience and increased the sales of Thriller, which eventually became the best-selling album of all-time.[32] The day after the show aired, Jackson was called by his childhood idol Fred Astaire who commended the singer. Another childhood idol, Sammy Davis, Jr., later received Jackson's black sequined jacket, having admired it during the performance.[32]

Jackson stated that he was disappointed in his performance; he had wanted to remain on his toes longer than he had.[29] Jackson subsequently said that "Billie Jean" was one of his favourite songs to perform live, but only when he did not have to do it that way. "The audience wants a certain thing - I have to do the moonwalk in that spot", he later said. "I'd like to do a different version."[20]

In a Top 100 list, compiled by VH1 and Entertainment Weekly in 2000, Jackson's performance was ranked as the sixth greatest rock 'n' roll TV moment.[35] Five years later, Entertainment Weekly named Jackson's Motown 25 performance as one of the most important pop culture moments in history. "It was a moment that crossed over in a way that no live musical performance ever had. There was a messianic quality to it", Entertainment Weekly editor Steve Daly commented.[36]

Pepsi commercials

In 1984, Pepsi sponsored The Jacksons' Victory Tour. In return, Michael and his brothers were to star in two commercials for the company.[37] Jackson had reworked "Billie Jean" for the commercial and titled it "Pepsi Generation". The song was used as the official jingle for the commercials and released as a 7" promo single. The launch of "The Choice of a New Generation" campaign in February 1984 was attended by 1,600 people who were issued with a programme and a 7" single.[38] During the filming of the second commercial a firework exploded and Jackson's hair caught fire, leaving the singer needing reconstructive surgery.[39][40][41] The commercials were premiered at the Grammy Awards, with Jackson wearing a hairpiece to cover his burns as he collected a record eight awards.[37][42]

Billie Jean 2008

Jackson's original version of "Billie Jean" was remixed by hip-hop rap artist and producer Kanye West for Thriller 25, a 25th anniversary reissue of Jackson's Thriller. Entitled "Billie Jean 2008", the remix garnered a mixed reception, most critics feeling that it was impossible to improve upon the original. Bill Lamb, of About.com, described the remix as "lifeless", adding that it sounded like West had "entered the studio fully intimidated by the genius of the original".[43] Pitchfork Media's Tom Ewing explained that a guest verse "might have added dynamics to the mix's clumsy claustrophobia".[44] Mike Joseph, reviewing Thriller 25 for PopMatters, described the track listing of the reissue as "pleasant" - West's "lazy" remix the only exception. He adds, "You’ve been given the opportunity to remix the most iconic single from one of the most iconic albums of all time, and all you can do is stick a drum machine on top of the song’s original arrangement?".[45] Rob Sheffield, of Rolling Stone, disliked the removal of the original bass line, comparing it to "putting Bobby Orr on the ice without a hockey stick".[46] IGN's Todd Gilchrist praised West's reworking, stating that it was a "pretty great track". He added, "it almost overplays the track's originally understated drama, his additions enhance the song and demonstrate that in a contemporary context."[47]

Cover and sample versions

"Billie Jean" has been covered and sampled on numerous occasions. One of the earliest samples of "Billie Jean" was in 1983, when Clubhouse mixed Steely Dan's "Do It Again" with "Billie Jean". The subsequent track, "Do it Again/Billie Jean", charted at number 11 in the UK and number 75 on the Hot 100 in America. Detroit musicians Slingshot covered the remix, taking it to number 25 on the R&B singles charts.[28]

LL Cool J sampled "Billie Jean" on "Who's Afraid of the Big Bad Wolf", which he contributed for Simply Mad About the Mouse in 1991. In 2009 he sampled the song again for his tribute to Michael, entitled "Billie Jean Dream." It is essentially rapped through the eyes of Jackson, addressing his numerous controversies, his status as a musical icon and even his marriage to Lisa Marie Presley. The rapper stated that Jackson wrote the song for him in a dream. R&B group BLACKstreet covered "Billie Jean" as the official remix of their single "No Diggity" in 1996. The song reached number one on the Hot 100 & R&B singles charts in the US, remaining there for four weeks. It peaked at number nine in the UK.[28] PopMatters described the song's inclusion on No Diggity: The Very Best of Blackstreet as a "horrible mistake"; "their rendition doesn’t fall under the umbrella of Very Best anything".[48]

The Bar-Kays parodied "Billie Jean" on "Dirty Dancers", featured on the 1996 album The Best of the Bar-Kays, Volume 2. The Bates covered the song in 1996; it peaked at number 67 on the UK Singles Chart. Linx recorded the track in 1997, retitling it "Billie Jean Got Soul". Chanté Moore also sampled "Billie Jean", for her song "I Started Crying" from the 1999 album This Moment Is Mine.[28] Ian Brown took "Billie Jean" to number five on the UK charts in 2000, it appearing on the B-side of "Dolphins Were Monkeys". Brown later commented, "I love Jackson. I want to do a Jackson EP with 'Thriller', 'Beat It', 'Billie Jean' and 'Rockin' Robin' or 'ABC' on it. Hopefully I'll get it done". The singer later covered "Thriller" on his second solo album, Golden Greats.[28][49] In 2001, Pras sampled "Billie Jean" on his cover of "Avenue", featured on the Ghetto Supastar album. Babyface also sampled the track on the "G-Clef Billie Jean Remix" of "There She Goes", a song from Face2Face.[28]

"Billie Jean" was recorded by American rock musician Chris Cornell for his Carry On album in 2007. Cornell said of his cover, "I didn't plan on it. It just sort of happened organically. I changed the music quite a bit, I didn't touch the lyrics. And it's not a joke. I took a completely different approach to it, musically."[50] Cornell had previously performed the song live in Europe, including an acoustic set in Stockholm, Sweden in September, 2006.[28][50] He later added, "I was getting ready to do some acoustic shows on a promotional tour for Revelations and I just wanted to have fun with it."[51] The cover received favourable reviews from critics, MTV noting the "bluesier, more pained and impassioned feel" which stripped away "any pop elements of the original".[51] The Los Angeles Times described the track as "a grim, spooky take" on Jackson's "Billie Jean", adding that it's "amusing enough, even if it sounds a lot more like Metallica's 'Nothing Else Matters'". The newspaper concluded that "Jackson's mega hit survives the stunt translation".[52] Coldplay also covered the song in their recent Viva La Vida Tour [53]

Legacy

Michael Jackson's "Billie Jean" has been cited as one of the most revolutionary songs in the history of pop music.[3] Accompanying a single with a high-production music video was groundbreaking. Referenced by performers such as Justin Timberlake, Chris Brown and Usher, "Billie Jean" aided Thriller in becoming the biggest selling album of all time.[3][54] The Guardian reflected that "more thought went into the production of this single than would go into the entire recording careers of Axl Rose, Coldplay, Shania Twain or Gwen Stefani".[3] The performances of the song overshadowed the track; many preferred watching Jackson perform the song rather than simply listening to it. The song and accompanying performances would solidify Jackson's status as a pop icon.[3]

Frequently listed in greatest song polling lists, "Billie Jean" was named the greatest dance record of all time by BBC Radio 2 listeners. Revealing the winner, presenter Zoe Ball said, "I'm delighted that Billie Jean has been voted the greatest dance record ever made. This is Jackson at his best. This track is way up there for me - Jacko's rendition of it at the Motown 25th anniversary show has got to be one of the great live performances of all time. The bass line is awesome, the production is killer. It's just perfect."[55] In a list compiled by Rolling Stone and MTV in 2000, the song was listed as the sixth greatest pop song since 1963. "I Want You Back" and "Beat It" were placed at numbers nine and 22 respectively. The Beatles' "Yesterday", which Jackson owned the rights to, was placed at number one.[56]

In a 2005 poll conducted by Sony Ericsson, "Billie Jean" was ranked as the world's third favorite song. Over 700,000 people in 60 different countries cast their votes. Voters from the UK placed "Billie Jean" at number one, ahead of "Thriller", with a further five of the top ten being solo recordings by Jackson. "Billie Jean" was ranked number one on Blender's 500 Greatest Songs Since You Were Born list and number two on VH1's 100 Greatest Songs Of The Past 25 Years.[57][58] The song was placed at number seven in MTV Europe's All-Time Top Ten R&B Songs. In a survey of over 600,000 people, Channel 4 and HMV revealed "Billie Jean" as the 16th best song in the Music of the Millenium poll.[28] Rolling Stone magazine placed "Billie Jean" in the 58th spot on its list of the 500 Greatest Songs of All Time and it appears on The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.[59]

In an interview, R&B artist Pharrell Williams stated that "Billie Jean" was one of his favorite songs. "It is hard to say if there is a greater song than "Billie Jean". I think there will never be a song like this one again, with this bass line, with this kind of effect, this eternalness, this perfection."[60] Alex Kapranos of the band Franz Ferdinand said, "It's the best bass line ever written."[61] The song has featured in the film Charlie's Angels and the 2002 video game Grand Theft Auto: Vice City. When re-released, as part of the Visionary campaign in 2006, "Billie Jean" charted at number 11 in the UK. Remaining in the top 200 for over 40 weeks, it was the most successful reissue by some distance.[28] To this day, "Billie Jean" is still in heavy rotation; it is played on over 90% of the world's radios and receives more than 250,000 spins per week in clubs around the world.[60]

Credits

Charts

Chart (1983) Peak
position
Austrian Singles Chart 2[15]
Dutch Singles Chart 4[63]
French Singles Chart 1[64]
German Singles Chart 2[65]
Irish Singles Chart 1[66]
Italian Singles Chart 7[67]
Norwegian Singles Chart 6[68]
Spanish Singles Chart 1[69]
Swedish Singles Chart 2[70]
Swiss Singles Chart 1[71]
UK Singles Chart 1[13]
US Billboard Hot 100 1[13]
US R&B Singles Chart 1[13]
Chart (2009) Peak
position
Australian Singles Chart 7[72]
Austrian Singles Chart 15
Danish Singles Chart 8[73]
Dutch Singles Chart 3[74]
Finnish Singles Chart 11[75]
French Digital Singles Chart 1[76]
Irish Singles Chart 11[77]
Italian Singles Chart 5[78]
New Zealand Singles Chart 15[79]
Norwegian Singles Chart 5[80]
Swiss Singles Chart 2[71]
Turkey Top 20 Chart 9[81]
UK Singles Chart 10[82]
U.S. Billboard Hot Digital Songs[83] 4

Certification

Country Certification Sales
New Zealand Gold[84] 7,500
United States Diamond 10,000,000

Track Listing

Visionary Single

  • Cd Side:
  1. Billie Jean (Album Version) - 4:54
  2. Billie Jean ("12" Version) - 6:23
  • Dvd Side:
  1. Billie Jean (Music Video) - 4:54

Notes

  1. ^ The Eighties Club: The Politics and Pop Culture of the 1980s: "On the dance floor, David Bowie's "Let's Dance" and Michael Jackson's "Billie Jean" defined the post-disco beat." Retrieved on August 11, 2009.
  2. ^ "The Billboard Hot 100 - 1983". Retrieved 2009-07-07.
  3. ^ a b c d e f "How Billie Jean changed the world". The Guardian. (July 12, 2007). Retrieved February 21, 2009. {{cite web}}: Check date values in: |date= (help); Italic or bold markup not allowed in: |publisher= (help)
  4. ^ a b c d e Campbell, p. 58
  5. ^ a b http://news.sky.com/skynews/Home/Sky-News-Archive/Article/20080641168549
  6. ^ a b c Jackson, pp. 192–194
  7. ^ a b c d e f Wadhams, pp. 418–422
  8. ^ a b c d e f g Taraborrelli, pp. 223–224
  9. ^ Murphy, Sport (January 27, 2008). "Man in the moonwalk". New York Post. Retrieved February 15, 2009. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  10. ^ a b c d e f g h i j "The 500 Greatest Songs Since You Were Born: Number 1". Blender. (October, 2005). {{cite news}}: |access-date= requires |url= (help); Check date values in: |date= (help); Italic or bold markup not allowed in: |publisher= (help)
  11. ^ a b c d Halstead, pp. 36–37
  12. ^ Taraborrelli, p. 222
  13. ^ a b c d e f Halstead, pp. 37–38
  14. ^ a b George, p. 39
  15. ^ a b "Austrian Singles Chart Archives". austriancharts.at. Retrieved February 21, 2009.
  16. ^ "Rolling Stone's Thriller review". Rolling Stone. Retrieved February 21, 2009. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  17. ^ "Thriller - The Diamond". Stylus Magazine. Retrieved February 21, 2009.
  18. ^ "Allmusic's Thriller 25 review". Allmusic. Retrieved February 21, 2009.
  19. ^ George, p. 23
  20. ^ a b c Halstead, pp. 38–40
  21. ^ George, pp. 39–43
  22. ^ "RIAA database". Recording Industry Association of America. Retrieved February 24, 2009.
  23. ^ Grein, Paul (March 18, 2009). "Week Ending March 15, 2009: The Idol With The Most". Yahoo! Music. Retrieved March 26, 2009.
  24. ^ Weitner, Sean. "Michael Jackson: A Life in Film". Flak magazine. Retrieved February 15, 2009. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  25. ^ Cocks, Jay (December 26, 1983). "Sing a Song of Seeing". Time. Retrieved February 15, 2009. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  26. ^ http://findarticles.com/p/articles/mi_m1355/is_14_110/ai_n16807343/
  27. ^ Smith, David (January 30, 2005). "Cash tops Thriller with best video ever". The Guardian. Retrieved February 15, 2009. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  28. ^ a b c d e f g h i Halstead, pp. 39–41
  29. ^ a b c d Taraborrelli, pp. 234–240
  30. ^ Leopold, Todd (June 6, 2005). "Michael Jackson: A life in the spotlight". CNN. Retrieved February 15, 2009.
  31. ^ Cannon, Bob. "A Giant Step for Jackson". Entertainment Weekly. Retrieved February 15, 2009. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  32. ^ a b c Campbell, pp. 65–68
  33. ^ "A Glance at the Career of Michael Jackson". Fox News Channel. (June 14, 2005). Retrieved February 15, 2009. {{cite web}}: Check date values in: |date= (help)
  34. ^ Harris, Chris (January 14, 2008). "Michael Jackson, Akon Are 'Startin' Somethin' On Thriller 25 Track". MTV. Retrieved February 15, 2009.
  35. ^ "Top Rock TV Moment A Really Big Show". CBS News. (July 24, 2000). Retrieved February 15, 2009. {{cite web}}: Check date values in: |date= (help)
  36. ^ "The 25 Most Important Pop Culture Moments". CNN. (September 1, 2005). Retrieved February 15, 2009. {{cite web}}: Check date values in: |date= (help)
  37. ^ a b Taraborrelli, pp. 279–289
  38. ^ Halstead, p. 205
  39. ^ "Ailing". Time. (February 6, 1984). Retrieved February 15, 2009. {{cite web}}: Check date values in: |date= (help); Italic or bold markup not allowed in: |publisher= (help)
  40. ^ "Singer Has Operation To Repair Burn Scar". The New York Times. (April 19, 1984). Retrieved February 15, 2009. {{cite web}}: Check date values in: |date= (help); Italic or bold markup not allowed in: |publisher= (help)
  41. ^ Zoglin, Richard (February 13, 1984). "Too Much Risk on the Set?". Time. Retrieved February 15, 2009. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  42. ^ "The 26th Annual Grammy Awards". Time. (March 19, 1984). Retrieved February 15, 2009. {{cite web}}: Check date values in: |date= (help); Italic or bold markup not allowed in: |publisher= (help)
  43. ^ Lamb, Bill. "About.com's Thriller 25 review". New York City: About.com (The New York Times Company). Retrieved February 21, 2009.
  44. ^ Ewing, Tom (February 15, 2008). "Pitchfork Media's Thriller 25 review". Pitchfork Media. Retrieved February 21, 2009.
  45. ^ Joseph, Mike. "PopMatters' Thriller 25 review". PopMatters. Retrieved February 21, 2009.
  46. ^ Sheffield, Rob. "Rolling Stone's Thriller 25 review". Rolling Stone. Retrieved February 21, 2009. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  47. ^ Gilchrist, Todd. "IGN's Thriller 25 review". IGN. Retrieved February 21, 2009.
  48. ^ Sanders, J. Victoria (December 3, 2003). "No Diggity: the Very Best of Blackstreet review". PopMatters. Retrieved February 21, 2009.
  49. ^ "Brown's Thriller killer!". NME. (March 17, 2000). Retrieved February 21, 2009. {{cite web}}: Check date values in: |date= (help); Italic or bold markup not allowed in: |publisher= (help)
  50. ^ a b Harris, Chris (November 8, 2006). "Chris Cornell Tackles Gospel — And Michael Jackson? — On Solo LP". MTV. Retrieved February 21, 2009.
  51. ^ a b Harris, Chris (April 23, 2007). "Chris Cornell Ready To Carry On As Solo Artist: 'I'm Best In My Own World'". MTV. Retrieved February 21, 2009.
  52. ^ Appleford, Steve (June 5, 2007). "Pop album review". Los Angeles Times. Retrieved February 21, 2009. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  53. ^ http://www.thesun.co.uk/sol/homepage/showbiz/bizarre/2534717/Coldplay-cover-Michael-Jackson-hit-Billie-Jean.html
  54. ^ Rayner, Ben (February 10, 2008). "The return of Michael Jackson's Thriller". The Toronto Star. Retrieved February 21, 2009. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  55. ^ "Billie Jean voted top dance song". BBC. (July 15, 2008). Retrieved February 21, 2009. {{cite web}}: Check date values in: |date= (help)
  56. ^ "Yesterday is top pop song". BBC. (November 17, 2000). Retrieved February 21, 2009. {{cite web}}: Check date values in: |date= (help)
  57. ^ "The 500 Greatest Songs Since You Were Born". Blender (magazine). (April 1, 2009). Retrieved November 14, 2009. {{cite web}}: Check date values in: |date= (help); Text "Blender" ignored (help)
  58. ^ "VH1's 100 Best Songs of the Past 25 Years". VH1. (June 12, 2003). Retrieved November 14, 2009. {{cite web}}: Check date values in: |date= (help)
  59. ^ http://www.rockhall.com/exhibithighlights/500-songs-gj/
  60. ^ a b Thriller 25: The Book, p. 26
  61. ^ "Special Commemorative Edition: Michael Jackson 1958-2009". TIME Magazine. July 2009: 33. {{cite journal}}: Check date values in: |date= (help); Cite journal requires |journal= (help)
  62. ^ Jackson, Michael. Thriller booklet. Sony BMG.
  63. ^ "Dutch Singles Chart Archives". dutchcharts.nl. Retrieved February 21, 2009.
  64. ^ "French Singles Chart Archives". infodisc.fr. Retrieved January 02, 2010. {{cite web}}: Check date values in: |accessdate= (help)
  65. ^ "German Singles Chart Archives". charts-surfer.de. Retrieved February 24, 2009.
  66. ^ http://www.irishcharts.ie/search/placement
  67. ^ "Italian Singles Chart Archives". italiancharts.com. Retrieved February 21, 2009.
  68. ^ "Norwegian Singles Chart Archives". norwegiancharts.com. Retrieved February 21, 2009.
  69. ^ "Spanish Singles Chart Archives". spanishcharts.com. Retrieved February 21, 2009.
  70. ^ "Swedish Singles Chart Archives". swedishcharts.com. Retrieved February 21, 2009.
  71. ^ a b "Swiss Singles Chart Archives". hitparade.ch. Retrieved July 18, 2009.
  72. ^ http://www.ariacharts.com.au/pages/charts_display.asp?chart=1U50
  73. ^ "Danish Singles Chart".
  74. ^ "Dutch Singles Chart".
  75. ^ Suomen virallinen lista
  76. ^ "Download Single Top 50 France - 27/06/2009".
  77. ^ "Irish Singles Chart".
  78. ^ "Italian Singles Chart".
  79. ^ "New Zealand Singles Chart".
  80. ^ "Norwegian Singles Chart".
  81. ^ "Billboard Türkiye Top 20". Billboard Türkiye (in Turkish). July 6, 2009. Retrieved 2009-07-06.
  82. ^ "Singles chart for 04/07/2009". Chart Stats. Retrieved 2 July 2009.
  83. ^ Billboard Hot Digital Songs
  84. ^ http://www.rianz.org.nz/rianz/chart.asp

References

Preceded by Billboard's Hot R&B/Hip-Hop Songs number-one single
February 12, 1983 – April 9, 1983 		Succeeded by
Preceded by UK number-one single
February 27, 1983 		Succeeded by
Preceded by Billboard Hot 100 number-one single
March 5, 1983 – April 16, 1983 		Succeeded by
Preceded by Australian Kent Music Report number-one single
April 9, 1983 – May 9, 1983 		Succeeded by
Retrieved from "https://en.wikipedia.org/w/index.php?title=Billie_Jean&oldid=336460801"