Michael Jackson
Dangerous

At the beginning of the nineties, Michael Jackson decided to part ways artistically from producer and friend Quincy Jones to give a new direction to his musical career. Thus, in 1991, Dangerous was released, an album that immediately distanced itself from the more immediate and direct melodies of Bad, which had been released just four years earlier, fitting into the new jack swing trend that was so in vogue at the time and promoted by r&b artists like Bobby Brown. The first element that stands out when listening to the album is the extraordinary quality of audio and mixing that make the auditory experience truly enjoyable. The album presents a perfect blend between the more driving rhythms of tracks like Jam and Can’t Let Her Get Away and the sweet and harmonious melodies of others like the renowned Heal The World and the melancholic Gone Too Soon. In a pattern so dear to Jackson, this album also makes room for a rock track, Black Or White, certainly the most commercial one of the album. However, the highlight of the album is the last track, which also gives the album its title, Dangerous. How to define the genre of this track? Dance pop? R&B? Funk? I wouldn’t know how to answer, I only know that it represents Jacksonian music at its best, continuing the narrative already opened with iconic tracks such as Billie Jean and Smooth Criminal. The chorus of this track gets stuck in your head and decides not to leave. Obviously, die-hard rock & roll fans or those who cannot separate the artist from his personal life will turn up their noses. Precisely because it is a genre difficult to define and, at the same time, conceived only by Jackson, leaving aside the terrible imitations of the years to come, this extraordinary artist is placed on the Olympus of the greatest composers of popular music ever.

In conclusion: we are faced with a remarkable album, rich in high-level productions, up-to-date with the times, and that find their highest expression in the concluding track.