Michael Jackson - BAD (2LP, 45RPM, Box Set, 1Step)
Prix habituel
€195,00
Frais de livraison calculé avant le réglement.
Du fait des vacances d'été, il n'y aura pas d'éxpédition du 1er au 16 août.
Toutes nos excuses pour ce désagrément
NOUS NE POUVONS PAS NOUS ENGAGER SUR UNE DATE DE LIVRAISON POUR LES VINYLES & CD/SACD EN PRE-COMMANDE
Les Labels prennent parfois plusieurs mois pour livrer les vinlyes & CD/SACD en pré-commande
La TVA est incluse dans le prix pour les pays de l'Union Européenne, et ajustée sur la base du pays de destination au moment du paiement.
L'expédition est gratuite au sein de l'Union Européenne au dessus de 99€ d'achat, sauf pour les produits d'occasion et certaines destinations, et jusqu'à 50kg. Au dessus de 50kg, frais d'expédition sur demande à contact@audiosounmusic.com. Il n'y a pas de politique de retour pour les pays hors Union Européenne.
Lead vocals, backing vocals, handclaps, finger snaps – Michael Jackson [click here to see more Vinyl/SACD featuring Michael Jackson]
Stevie Wonder – Guest vocals, synthesizer solo (B3)
Siedah Garrett – Guest vocals (C3); Backing vocals (C2)
The Andraé Crouch Choir – Choir (C2)
The Winans – Backing vocals (C2)
John Robinson – Drums (A1–B2, D1, D2)
Douglas Getschal – Drum programming (A1–B2, D1)
David Williams – Guitar (A1–B1, C1, D1, D2)
Eric Gale – Guitar (A2)
Bill Bottrell – Guitar (B1); Drums (D2)
Michael Landau – Guitar (B3)
Paul Jackson Jr. – Guitar (C1, D1)
Dann Huff – Guitar (C2, C3)
Steve Stevens – Guitar solo (D1)
Nathan East – Bass (C3)
Leon "Ndugu" Chancler – Drums (C3)
Miko Brando – Drums (B1)
Ollie E. Brown – Drums (B1, B3); Percussion (A2); Handclaps (C2)
Bruce Swedien – Drums (B3, D2)
Humberto Gatica – Drums (B3)
Greg Phillinganes – Synthesizers (A1–B1, B3, C3); Synthesizer solo (A1); Keyboards (C2)
John Barnes – Synthesizers (A1–B2, C1, D1, D2); Piano (C3)
Michael Boddicker – Synthesizers (A1–B3, D1, D2)
David Paich – Synthesizers (B2, C3)
Christopher Currell – Synclavier (A1–B3, C1, C3–D2); Keyboards (A1); Effects (B1); Finger snaps (A2)
Rhett Lawrence – Synthesizers (B3, C1)
Glen Ballard – Synthesizers (C2)
Randy Kerber – Synthesizers (C2)
Randy Waldman – Synthesizers (D1)
Jimmy Smith – Hammond organ (A1)
Paulinho da Costa – Percussion (A1–B3, C3)
Kim Hutchcroft – Saxophone (A1–B1, B3, C1, D2)
Larry Williams – Saxophone (A1, A2, B3, C1, C3); Synthesizers (B2, B3)
Gary Grant – Trumpet (A1–B1, B3, C1, D2)
Jerry Hey – Trumpet (A1–B1, B3, C1, D2)
The Andraé Crouch Choir – Choir (C2)
2 LPs, Box Set - Deluxe slipcase
Limited to 6,000 numbered copies
Original analog Master tape : YES
Mitsubishi X-80 16-bit/48kHz digital master to analog console to lathe
One-Step
Heavy Press : 180g
Record color : black
Speed : 45 RPM
Size : 12'’
Stereo
Studio
Record Press : Fidelity Record Pressing
Label : MOFI
Original Label : Epic
Recorded January 1985 – July 1987 at Westlake (Los Angeles)
Recorded and mixed by Bruce Swedien
Engineered by Humberto Gatica
Produced by Quincy Jones and Michael Jackson
Originally released in 1987
Reissued in 2026
Tracks:
Side A:
- Bad
- The Way You Make Me Feel
Side B:
- Speed Demon
- Liberian Girl
- Just Good Friends
Side C:
- Another Part of Me
- Man in the Mirror
- I Just Can’t Stop Loving You
Side D:
- Dirty Diana
- Smooth Criminal
- Leave Me Alone
Awards:
Rolling Stone 500 Greatest Albums of All Time - Ranked 194/500
1000 Recordings You Must Hear Before You Die - Ranked 607
American Music Awards (1989) : Favorite Soul/R&B Song – "Bad"
Soul Train Music Awards (1988)
- Best R&B/Soul Album – Male – Bad
- Best R&B/Soul Single – Male – "Bad"
NAACP Image Awards (1988): Outstanding Album – Bad
Brit Awards (1988) : International Solo Artist
Brit Awards (1989)
- International Male Solo Artist
- British Video of the Year – "Smooth Criminal"
Grammy Awards (1990) : Best Music Video – Short Form – "Leave Me Alone"
Reviews :
Sourced from the original masters, housed in a deluxe slipcase, pressed at Fidelity Record Pressing, strictly limited to 6,000 numbered copies, and including the bonus track “Leave Me Alone” (left off original vinyl editions), Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of BAD delivers the album in audiophile quality for the first time.
Rendered on this reissue with enhanced balance, presence, physicality, imaging, and weight, BAD showcases Jackson’s signature vocals with lifelike detail and dimensions. This collectible set plays with a level of energy, crispness, and smoothness that throws into relief the innovative technology and instrumentation that help provide the foundations for Jackson’s brilliant compositions.
The keepsake packaging of this BAD UD1S set further befits the album's preeminent status. Housed in an open-ended slipcase, it features a special foil-stamped jacket and faithful graphics. Aurally and visually, this reissue is for everyone who desires to fully immerse themselves in everything involved with the record-setting album — including the iconic album cover.
« The downside to a success like Thriller is that it's nearly impossible to follow, but Michael Jackson approached Bad much the same way he approached Thriller -- take the basic formula of the predecessor, expand it slightly, and move it outward. This meant that he moved deeper into hard rock, deeper into schmaltzy adult contemporary, deeper into hard dance -- essentially taking each portion of Thriller to an extreme, while increasing the quotient of immaculate studiocraft. He wound up with a sleeker, slicker Thriller, which isn't a bad thing, but it's not a rousing success, either. For one thing, the material just isn't as good. Look at the singles: only three can stand alongside album tracks from its predecessor ("Bad," "The Way You Make Me Feel," "I Just Can't Stop Loving You"), another is simply OK ("Smooth Criminal"), with the other two showcasing Jackson at his worst (the saccharine "Man in the Mirror," the misogynistic "Dirty Diana"). Then, there are the album tracks themselves, something that virtually didn't exist on Thriller but bog down Bad not just because they're bad, but because they reveal that Jackson's state of the art is not hip. And they constitute a near-fatal dead spot on the record -- songs three through six, from "Speed Demon" to "Another Part of Me," a sequence that's utterly faceless, lacking memorable hooks and melodies, even when Stevie Wonder steps in for "Just Good Friends," relying on nothing but studiocraft. Part of the joy of Off the Wall and Thriller was that craft was enhanced with tremendous songs, performances, and fresh, vivacious beats. For this dreadful stretch, everything is mechanical, and while the album rebounds with songs that prove mechanical can be tolerable if delivered with hooks and panache, it still makes Bad feel like an artifact of its time instead a piece of music that transcends it. » by AllMusic Review - Stephen Thomas Erlewine
One-Step : Instead of utilizing the industry-standard three-step lacquer process, One-Step uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, One-Step is created for the ultimate in sound quality. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, One-Step produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process.
Ratings :
AllMusic : 4.5 / 5 , Discogs : 4.38 / 5