Editors’ Notes Bad may not have all the timeless prestige of its predecessor, Thriller, but it’s just as full of heart and purpose. Over rockier rhythms, Jackson sounds gleeful and impassioned, whether he’s making a profound humanitarian plea (“Man in the Mirror”), raging with lust (“Dirty Diana”), or narrating a suave play-by-play (“Smooth Criminal”). And when he’s slaying the dance floor, his voice is spine-tingling—his nuanced falsetto goes from subtle to ferocious in the space of a single line—once again proving that Jackson is pop's one true master of ceremony.

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