Michael Jackson - Thriller (1LP, 33RPM, Box set, 1STEP)
Michael Jackson - Thriller (1LP, 33RPM, Box set, 1STEP)
Michael Jackson - Thriller (1LP, 33RPM, Box set, 1STEP)
Michael Jackson - Thriller (1LP, 33RPM, Box set, 1STEP)

Michael Jackson - Thriller (1LP, 33RPM, Box set, 1STEP)

VAT included in price for European Union countries, may be adjusted based on delivery country at check out.
Average shipping time : 2 to 4 working days. Shipping is free within European Union (except for specific territories) above 99€ purchase up to 50kg. Shipping costs on quote above 50kg – quote request to be send to : contact@audiosoundmusic.com. No return policy for countries outside of European Union


Michael Jackson - vocal [click here to see more vinyl featuring Michael Jackson]

Vocal – Paul McCarney (A3), Vincent Price (A4)

Backing Vocals – Becky Lopez (A1, B4), Bunny Hull (A1, B4), Howard Hewett (B4), James Ingram (A1, B4), Janet Jackson (B4), Julia Waters (A1), LaToya Jackson (B4), Maxine Waters (A1), Oren Waters (A1)

Bass – Louis Johnson (A1, B5), Louis Johnson (A3, B2, B4), Steve Lukather (B1)

Drums – Jeff Porcaro (A3, B1, B3, B5), Ndugu Chancler (A2, B2, B4)

Guitar – Eddie Van Halen (B1), David Williams (A1, A2, A4, B2), Dean Parks (A3), Paul Jackson (B1, B4, B5), Steve Lukather (A3, B1, B3)

Handclaps – Greg Phillinganes (B4), James Ingram (B4), Louis Johnson (B4), Steven Ray (B4)

Keyboards – Greg Phillinganes (A1 to B2, B4, B5), James Ingram (B4), Tom Bahler (B1)

Percussion – Paulinho Da Costa (A1, B3)

Piano – David Paich (A3)

Saxophone, Flute – Larry Williams (tracks: A1, A2, A4)

Synthesizer – Anthony Marinelli (tracks: A2, A4), Bill Wolfer (tracks: A1, B1, B2), Brian Banks (tracks: A2, A4), David Foster (tracks: A3), David Paich (tracks: A2, B3, B5), Greg Smith (tracks: B2), Michael Boddicker (tracks: A1, A2, B2 to B5), Rod Temperton (tracks: A4), Steve Porcaro (tracks: A2, A3, B1, B3, B4)

Synthesizer – Greg Smith (B1)

Trombone – Bill Reichenbach (A1, A2, A4)

Trumpet, Flugelhorn – Gary Grant (A1, A2, A4), Jerry Hey (A1, A2, A4)


1 LP, box set

Limited to 40,000 numbered copies

Original analog Master tape : YES

UltraDisc One-Step (UDS1)

Heavy Press : 180g SuperVinyl

Record color : black

Speed : 33 RPM

Size : 12'’



Record Press : RTI

Label : MOFI

Original label : EPIC

Recorded April 14 – November 8, 1982 at Westlake Studio (Los Angeles)

Recorded by Bruce Swedien, Don Landee (B1)

Engineered by Matt Forger

Mixed by Bruce Swedien

Produced by Quincy Jones

Originaly released in 1982

To be issued in November 2022



Side A

  1. Wanna Be Startin' Somethin'
  2. Baby Be Mine
  3. The Girl Is Mine
  4. Thriller            

Side B

  1. Beat It
  2. Billie Jean
  3. Human Nature
  4. P.Y.T. (Pretty Young Thing)
  5. The Lady in My Life


Awards :

Has sold more than 70 million copies

1000 Recordings You Must Hear Before You Die - Ranked 508

TIME deemed it "the greatest pop album of all time."

The Independent called it "the most inspiring album of all time."

Rolling Stone 500 Greatest Albums of All Time - Rated 12/500!

Rolling Stone 500 Greatest Songs of All Time - "Beat It" - Rated 344/500!

1984 Grammy Awards :

  • Album Of The Year
  • Best Pop Vocal Performance, Male (for "Thriller")
  • Best R&B Vocal Performance, Male (for "Billie Jean")
  • Best Rock Vocal Performance, Male (for "Beat It")
  • Record Of The Year (for "Beat It")
  • Producer Of The Year (Non-Classical)
  • Best Engineered Recording, Non-Classical

Grammy Hall of Fame


Reviews :

« Off the Wall was a massive success, spawning four Top Ten hits (two of them number ones), but nothing could have prepared Michael Jackson for Thriller. Nobody could have prepared anybody for the success of Thriller, since the magnitude of its success was simply unimaginable -- an album that sold 40 million copies in its initial chart run, with seven of its nine tracks reaching the Top Ten (for the record, the terrific "Baby Be Mine" and the pretty good ballad "The Lady in My Life" are not like the others). This was a record that had something for everybody, building on the basic blueprint of Off the Wall by adding harder funk, hard rock, softer ballads, and smoother soul -- expanding the approach to have something for every audience. That alone would have given the album a good shot at a huge audience, but it also arrived precisely when MTV was reaching its ascendancy, and Jackson helped the network by being not just its first superstar, but first black star as much as the network helped him. This all would have made it a success (and its success, in turn, served as a new standard for success), but it stayed on the charts, turning out singles, for nearly two years because it was really, really good. True, it wasn't as tight as Off the Wall -- and the ridiculous, late-night house-of-horrors title track is the prime culprit, arriving in the middle of the record and sucking out its momentum -- but those one or two cuts don't detract from a phenomenal set of music. It's calculated, to be sure, but the chutzpah of those calculations (before this, nobody would even have thought to bring in metal virtuoso Eddie Van Halen to play on a disco cut) is outdone by their success. This is where a song as gentle and lovely as "Human Nature" coexists comfortably with the tough, scared "Beat It," the sweet schmaltz of the Paul McCartney duet "The Girl Is Mine," and the frizzy funk of "P.Y.T. (Pretty Young Thing)." And, although this is an undeniably fun record, the paranoia is already creeping in, manifesting itself in the record's two best songs: "Billie Jean," where a woman claims Michael is the father of her child, and the delirious "Wanna Be Startin' Something," the freshest funk on the album, but the most claustrophobic, scariest track Jackson ever recorded. These give the record its anchor and are part of the reason why the record is more than just a phenomenon. The other reason, of course, is that much of this is just simply great music. » AllMusic Review by Stephen Thomas Erlewine


UltraDisc One-Step : Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S 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. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.


Ratings :

AllMusic : 5 / 5 , Discogs : 4.5 / 5

Recently viewed