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We Say...
Jackson made one truly dangerous move on this album: He broke with collaborator Quincy Jones to hook up with “new jack swing” producer-of-that moment Teddy Riley. No wonder many sounds on the CD seem stuck in their time - especially those on the percussive end, including the ‘90s slapping rhythm of “Why You Wanna Trip On Me,” or the hollow, popping beat of “In The Closet.” What saves the albums are the melodic hooks in its more fluid tracks. “Remember The Time” has the swank of the hits off “Wall,” along with a bass line that demands movement.
Unfortunately, by this time in Jackson’s career we have to deal with too many songs about saving humanity (“Jam,” “Planet Earth” or “Heal The World”), not to mention a racial harmony number (“Black And White”) so over-stated, even the subtext of Jackson’s own crossover career can’t lend it nuance. Worse still is the tear-jerker “Gone Too Soon” which, if played at a funeral, would more likely inspire eye-rolls than tears.
Even with some of the album being unlistenable, Dangerous shows Jackson’s continued brio as a singer, not to mention his power as a rhythmic force — one that deserves better than Riley’s gimmicky beats. -
They Say...
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. 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. 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. 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. But, there's a lot to be said for professional craftsmanship at its peak, and Dangerous has plenty of that, not just on such fine singles as "In the Closet," "Remember the Time," or the blistering "Jam," but on album tracks like "Why You Wanna Trip on Me." No, it's not perfect -- it has a terrible cover, a couple of slow spots, and suffers from CD-era ailments of the early '90s, such as its overly long running time and its deadening Q Sound production, which sounds like somebody forgot to take the Surround Sound button off. Even so, Dangerous captures Jackson at a near-peak, delivering an album that would have ruled the pop charts surely and smoothly if it had arrived just a year earlier. But it didn't -- it arrived along with grunge, which changed the rules of the game nearly as much as Thriller itself. Consequently, it's the rare multi-platinum, number one album that qualifies as a nearly forgotten, underappreciated record. [In 2001, a remastered edition was released with a detailed booklet]
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| 01. |  |
Jam |
5:38 |
|
| 02. | |
Why You Wanna Trip On Me |
5:23 |
|
| 03. | |
In The Closet |
6:31 |
|
| 04. | |
She Drives Me Wild |
3:40 |
|
| 05. | |
Remember The Time |
3:59 |
|
| 06. | |
Can't Let Her Get Away |
4:58 |
|
| 07. | |
Heal The World
|
6:24 |
|
| 08. | |
Black Or White |
4:15 |
|
| 09. | |
Who Is It |
6:33 |
|
| 10. | |
Give In To Me |
5:29 |
|
| 11. | |
Will You Be There |
7:40 |
|
| 12. | |
Keep The Faith |
5:57 |
|
| 13. | |
Gone Too Soon |
3:22 |
|
| 14. | |
Dangerous |
6:58 |
|
14 Total Tracks, 76:47 Total Length
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Credits
- Sandra Crouch - Choir Arrangement // Michael Jackson - Arranger // Michael Jackson - Vocals // Michael Jackson - Vocals (Background) // Michael Jackson - Producer // Michael Jackson - Main Performer // Michael Jackson - Executive Producer // Michael Jackson - Vocal Arrangement // Michael Jackson - Rhythm Arrangements // René Moore - Arranger // René Moore - Keyboards // Bryan Loren - Percussion // Bryan Loren - Moog Lead // Elaine Anderson - Assistant Engineer // Andraé Crouch - Vocals // Andraé Crouch - Choir Arrangement // John Bahler - Vocal Arrangement // John Bahler - Choir Arrangement // George DelBarrio - String Arrangements // Michael Boddicker - Synthesizer // Michael Boddicker - Keyboards // Michael Boddicker - Keyboard Programming // Michael Boddicker - Sequencers // Dan Bosworth - Assistant Engineer // Bill Bottrell - Bass // Bill Bottrell - Guitar // Bill Bottrell - Percussion // Bill Bottrell - Drums // Bill Bottrell - Producer // Bill Bottrell - Engineer // Bill Bottrell - Mellotron // Bill Bottrell - Mixing // Brad Buxer - Synthesizer // Brad Buxer - Percussion // Brad Buxer - Drums // Brad Buxer - Keyboards // Brad Buxer - Keyboard Programming // Bob Campbell - Production Coordination // Wayne Cobham - Programming // Wayne Cobham - Sequencing // David Coleman - Art Direction // David Coleman - Design // Paulinho Da Costa - Percussion // Paulinho Da Costa - Percussion // Richard Cottrell - Engineer // Matt Forger - Engineer // Matt Forger - Mixing // Endre Granat - Concert Master // Linda Harmon - Soprano (Vocal) // Jean-Marie Horvat - Engineer // Jean-Marie Horvat - Mixing // Paul Jackson, Jr. - Guitar // Terry Jackson - Bass // Terry Jackson - Guitar (Bass) // Louis Johnson - Bass // Louis Johnson - Guitar (Bass) // L.T.B. - Rap // Christa Larson - Vocals // Julie Last - Assistant Engineer // Rhett Lawrence - Synthesizer // Rhett Lawrence - Keyboards // Johnny Mandel - Conductor // Johnny Mandel - Orchestral Arrangements // Marty Paich - Conductor // Marty Paich - Conductor // Marty Paich - Conductor // Marty Paich - Keyboards // Marty Paich - Keyboards // Marty Paich - Keyboards // Marty Paich - Keyboard Programming // Marty Paich - Keyboard Programming // Marty Paich - Keyboard Programming // Marty Paich - Orchestral Arrangements // Marty Paich - Orchestral Arrangements // Marty Paich - Orchestral Arrangements // Jasun Martz - Keyboards // David Paich - Synthesizer // Jeff Porcaro - Drums // Greg Phillinganes - Rhythm Arrangements // Tim Pierce - Guitar // Steve Porcaro - Synthesizer // Steve Porcaro - Keyboards // Steve Porcaro - Keyboard Programming // Judy Ross - Production Coordination // Thom Russo - Engineer // Thom Russo - Production Coordination // Thom Russo - Assistant Engineer // Thom Russo - Technical Director // Barton Stevens - Assistant Engineer // Bruce Swedien - Synthesizer // Bruce Swedien - Arranger // Bruce Swedien - Drums // Bruce Swedien - Keyboards // Bruce Swedien - Producer // Bruce Swedien - Engineer // Bruce Swedien - Vocal Arrangement // Bruce Swedien - Mixing // Keston Wright - Production Coordination // Rail Jon Rogut - Assistant Engineer // Nancy Donald - Production Coordination // Nancy Donald - Art Direction // Craig Brock - Assistant // Ivy Skoff - Production Coordination // Laura Grover - Production Coordination // Orion Crawford - Production Coordination // Jai Winding - Keyboards // Jai Winding - Keyboard Programming // Sam Emerson - Photography // Mark Ryden - Art Direction // Mark Ryden - Illustrations // John Chamberlin - Assistant Engineer // Evelyn Burgueno - Production Coordination // Christine Schultz - Production Coordination // Ed Winquest - Production Coordination // Janet Zeitoun - Production Coordination // Brad Sundberg - Assistant Engineer // Brad Sundberg - Technical Director // Paul Levy - Production Coordination // Dave Way - Engineer // Dave Way - Mixing // Heavy D - Rap // Larry Stessel - Production Coordination
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