Burning The Ground Exclusive
In 1987, Michael Jackson faced what seemed like an impossible task, following the biggest-selling album of all time, Thriller. Most artists would have played it safe. Jackson did the opposite. He came back louder, tougher, and with something to prove. The result was “Bad,” a song that wasn’t just a hit single, it was a statement.
Released on September 7, 1987, as the second single from the album of the same name, “Bad” introduced a sharper and more aggressive side of Jackson. Gone was some of the wide-eyed wonder of Off the Wall and Thriller. In its place was confidence, attitude, and swagger. Written by Jackson himself and co-produced with Quincy Jones, “Bad” was built to make an impact. It reached No. 1 on the Billboard Hot 100 on October 24, 1987, where it stayed for two consecutive weeks, becoming Jackson’s eighth U.S. No. 1 single.
Musically, “Bad” is driven by a punchy bassline, sharp percussion, and one of Jackson’s most commanding vocal performances. He spits out the lyrics with urgency and bravado, delivering lines that feel more like challenges than pop hooks. It was Jackson stepping into a harder streetwise image, even if he was still unmistakably Michael.
The inspiration for the song reportedly came from a real-life story Jackson had read about a student from a private school who was killed after returning to his old neighborhood and trying to prove he still belonged there. Jackson took that idea and transformed it into a song about identity, respect, and survival. It became less about being “bad” in the criminal sense and more about strength and self-definition.
Of course, no discussion of “Bad” is complete without the short film. Directed by Martin Scorsese, the full 18-minute video was far more ambitious than the average music promo of the era. Set in New York and filmed in black and white, it starred a young Wesley Snipes in one of his earliest screen appearances. The film gave the song a cinematic edge and helped cement the visual identity of the entire Bad era.
The choreography also became iconic. Jackson once again turned movement into part of the song’s DNA. The snapping, the sharp footwork, the aggressive stance, it all made “Bad” instantly recognizable. It was one of those performances that people tried to imitate the minute they saw it.
The larger Bad album went on to make history, becoming the first album ever to produce five Billboard Hot 100 No. 1 singles, with “Bad” serving as one of its defining moments. It proved Jackson could survive the shadow of Thriller, even if critics at the time insisted on comparing the two.
Looking back now, “Bad” stands as one of the essential Michael Jackson singles. It was bold, stylish, and fearless. It showed that he wasn’t interested in repeating himself. He wanted to push forward, even under enormous pressure.
Nearly four decades later, “Bad” still sounds like an artist refusing to stand still.
Because sometimes the best response to impossible expectations is simple:
You ask, “Who’s bad?”
And Michael answers it himself.
SIDE A:
Bad (Dance Extended Mix Includes ‘False Fade’ ) 8:24
Remix – Bruce Swedien
Bad (7″ Single Mix) 4:08
SIDE B:
Bad (Dance Remix Radio Edit) 4:55
Remix – Bruce Swedien
Bad (Dub Version) 4:07
Bad (A Cappella) 3:49
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
| Chart (1987) | Peak position |
|---|---|
| Australia (Australian Music Report) | 4 |
| Austria (Ö3 Austria Top 40) | 9 |
| Belgium (Ultratop 50 Flanders) | 1 |
| Canada Retail Singles (The Record) | 1 |
| Canada Top Singles (RPM) | 5 |
| Canada Adult Contemporary (RPM) | 1 |
| Denmark (IFPI) | 1 |
| Europe (European Hot 100 Singles) | 1 |
| Finland (Suomen virallinen singlelista) | 6 |
| France (SNEP) | 4 |
| Hungary (MAHASZ) | 6 |
| Ireland (IRMA) | 1 |
| Italy (Musica e Dischi) | 1 |
| Italy Airplay (Music & Media) | 6 |
| Netherlands (Dutch Top 40) | 1 |
| Netherlands (Single Top 100) | 1 |
| New Zealand (Recorded Music NZ) | 2 |
| Norway (VG-lista) | 2 |
| South Africa (EMA) | 4 |
| Spain (AFYVE) | 3 |
| Sweden (Sverigetopplistan) | 4 |
| Switzerland (Schweizer Hitparade) | 3 |
| UK Singles (OCC) | 3 |
| US Billboard Hot 100 | 1 |
| US Adult Contemporary (Billboard) | 33 |
| US Dance Club Songs (Billboard), Remix | 1 |
| US Dance Singles Sales (Billboard), Remix | 1 |
| US Hot Black Singles (Billboard) | 1 |
| US Hot Crossover (Billboard) | 1 |
| US Cash Box Top 100 | 1 |
| US CHR/Pop Airplay (Radio & Records) | 1 |
| West Germany (GfK) | 4 |
RELEASE INFORMATION:
Label: Epic – 49 07462
Format: Vinyl, 12″, 33 ⅓ RPM, Single
Country: US
Released: 1987
Genre: Electronic
Style: Dance-pop
CREDITS:
- Art Direction – Nancy Donald, Tony Lane (2)
- Co-producer, Written-By – Michael Jackson
- Lettering [“Bad” Lettering] – Jeffrey Spear
- Mastered By – Bernie Grundman
- Photography By – Sam Emerson
- Producer – Quincy Jones
- Recorded By, Mixed By – Bruce Swedien
NOTES:
Also Available: Michael Jackson’s LP “Bad” on Epic Records, Cassettes and Compact Disc.
Buy the 12″ at DISCOGS
VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND
THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon Concorde Music Black
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
Audio Interface: MOTU M4
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Artwork Scans: Epson Workforce WF-7610 Professional Printer/Scanner
SOFTWARE:
Recording/Editing: Adobe Audition 25 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator
RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi
**24bit FLAC Only Available For Seven Days!
Password: burningtheground
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I’m aware of the MEGA link, but unfortunately, it has been taken down. I apologize for the inconvenience. I don’t mind if you all share links, but please do it privately. Do Not Share links in the comments. I will remove your comment and ban you from commenting.
Thank you, Paul
Hi Paul! Would you mind putting up an alternative link for the 24-bit version please? I’m guessing that because you haven’t done so already that it probably isn’t an option. Which is also fine, as I am enjoying the 16-bit version immensely – what a fantastic restoration! Love it! Also, have you considered Archive.org as a permanent storage option for all your amazing mixes? Importantly, I am not talking about Archive.org as a source to download them, for us mere mortals, but as a place to store them in one place for future generations. I feel they really are that… Read more »
It’s not enough to simply store this entire valuable music library. We need the new generations of young people to listen to the best decades of music—the ’70s, ’80s, and ’90s are essential—and this is our responsibility to our children. In my case, I have my children listen to one song a day from these decades. They keep a logbook where they write down the artist and song title along with a brief history. My teenagers love this music and not today’s music (reggaeton, urban music).
filestore.to? (as Eurythmics today)
Hello.
If someone have the 24bit/96kHz, please share a link with me.
hardcore.titan@gmail.com
Best regards.
The day is was posted, the wifi was out
I need the 24/96 Version
If someone can post me a Google drive link to my email: jrgardy03@gmail.com , be appreciated
Always on a day the building’s wifi goes out, & I missed this
This is why I detest Bill Gates
I’ve never seen a “limited post” alert here before and sorry I was busy and didn’t see it earlier last week. I’m sure Paul is being hassled behind the scenes by the heavy handed publishing nitwits just like Adam “Professor Of Rock”, Rick Beato and all the others who aspire to educate and bring classic music to the new generations who were not around, as well as inform those of us who may have missed a few as we were busy with our lives. At least he didn’t DARE post anything by Eagles here… These music industry clowns don’t realize… Read more »
Miss getting this
Thanks for posting! I am a big fan of his music, but have not really explored his remix collection. I have no idea why!! But this will be a good start to go back and listen to other versions. Thanks for posting!
Thank you Paul.
Disappointed that I missed the 24-bit files, but at least the 16-bit is still available. I prefer to get the highest quality possible, but my 48-year-old ears probably wouldn’t notice the difference, LOL.
Are you able to say why the 24-bit got nixed? I’m guessing a legal request, but I assume that would also apply to the 16-bit.
I apologise if I’ve said (typed) too much.
MEGA removed it.
Did anyone manage to grab the 24-bit version before it was removed? I’m desperate to hear Paul’s rip of this record in high res. This album and especially this song in particular brings back wonderful memories of a much better world.
+1 please
After Thriller clearly the strategy was for MJ to have more street sensibility… And boy did it work! Everything hit harder – the music had more edge and his image was definitely tougher. No small coincidence that Steve Stevens was recruited on guitar! A brilliant move that was unprecedented on the charts. It’s actually amazing to look at the world-wide chart performance and see all the No. 1’s, not to mention top 5’s and top 10’s. I’m actually surprised you never posted this before Paul, but BIG thank you for this in your exclusive ‘Paulity’ of course!!
Retro Hound, you’re right on the money. That shift toward a tougher, more street-aware image was very intentional, and it gave Bad a completely different energy right out of the gate. Bringing in Steve Stevens was a masterstroke. That kind of rock guitar cutting through a pop/R&B track at that level wasn’t common on the charts, and it added a real bite to the overall sound of the album. It helped separate Bad from Thriller in a big way. And yeah, when you look at the worldwide chart performance, it’s staggering. All those No. 1s and top placements across so… Read more »
24 bit file is gone from mega 🙁
1980’s Michael Jackson was magical – it is hard to believe there were only two album releases the whole decade. Seemed like more, didnt it?! Nothing can really top Thriller but Bad came close.
This vinyl is outstanding. What a great set of mixes. Bad is definitely in my top 3 singles from the album. That bassline is unforgettable, the music film (not music video!) a classic. Even the Weird Al parody was something else.
Thanks for this one Paul, absolutely outstanding.
JP, you nailed it. It really does feel like there were more than just those two albums, but they were so massive they filled the whole decade on their own. I agree, nothing was going to top Thriller, but Bad didn’t even try to be the same record. It had its own attitude, and tracks like “Bad” made that clear right out of the gate. That bassline still hits just as hard today. And yes, the short film is on another level. Calling it a music film is the right way to put it. It turned a single into an… Read more »
Thank you Paul. You can’t run an 80s Party without playing MJ. Bad is a worthy successor to the Album Thriller, but it cannot surpass it. Quincy Jones is a Monster Producer. He has consistently managed to bring together amazing musicians, the credits on the album Thriller alone are world-class.
Edit: Paul can you pls. check the download link for the 24/96 file? It is not working.
yeah, that link got nuked fast…would love to grip a mirrored reup somewhere if possible, even if it’s just a super limited thing in the comments…! maybe someone else here who’s already gotten it could help out? pretty plz? hehe
Toxicaudio, you’re absolutely right. Try spinning an 80s set without MJ, and it just feels incomplete. Those tracks are part of the DNA of that decade. I agree on Bad versus Thriller. It’s a tough shadow to stand in, and Bad went a different route instead of chasing the same formula. That’s part of why it still holds up so well on its own. And yes, Quincy Jones was on another level. The way he assembled musicians, shaped arrangements, and pushed for precision without losing feel is something you can hear all over those records. The Thriller sessions especially read… Read more »
I remember staying up late that night for the premiere of the full video. Crazy stuff. Martin Scorsese produced it…. and it features a young Wesley Snipes!!!
I think this entire album stood out in terms of production. They used so much state-of-the-art equipment!
The only upsetting thing about the album is that they never released any remixes for “DIRTY DIANA“, which was my favorite song on that album with that amazing guitar solo by Steve Stevens!
Axel, that premiere really was an event. You had to be there to feel it. It blurred the line between music and film in a way nobody else was doing at that level. And yeah, seeing a young Wesley Snipes in that role still catches people off guard. Small correction though, the short film was directed by Martin Scorsese, not produced by him, but your point stands. It had that cinematic weight all over it. Totally with you on the production. Quincy Jones and Michael were pushing everything forward. Early digital gear, the Synclavier, layered percussion, tight editing. It all… Read more »
“Bad” is still one of the most forward-thinking pop records ever made. The production by Quincy Jones and Michael Jackson sits right at that perfect intersection of analogue warmth and emerging digital precision, those drum sounds hit hard but still breathe, and the synth layers feel sharp without sounding dated. What stands out most is how minimal it actually is. Compared to Thriller, which was very layered and cinematic, “Bad” strips things back and leans into rhythm, attitude, and space. The bassline drives everything, the guitar stabs are aggressive, and the vocal production is rawer, almost confrontational at times. As… Read more »
Cam, that’s a great breakdown. You’re really hearing what makes this track tick. That balance you mentioned, analogue warmth meeting early digital precision, is exactly where Bad lives. Quincy Jones and Michael Jackson were right on the edge of that transition, and instead of it sounding cold or clinical, they made it hit harder. Those drums snap, but they still have air around them. I like that you called out the minimalism too. People don’t always think of “Bad” that way, but when you strip it down, it’s really about space and groove. That bassline carries everything, and the arrangement… Read more »
This album is especially valued for its extended mixes, which accentuate the track’s streetwise and rhythmic character: Bad (Dance Extended Mix Includes ‘False Fade’): A masterclass in editing. The Hammond organ solo (performed by Jimmy Smith) is extended, and the famous “False Fade” tricks the listener before returning with a burst of rhythm. Bad (7″ Single Mix): The standard radio-ready version. Bad (Dance Remix Radio Edit): A condensed version of the dance mix. Bad (Dub Version): A more minimalist version that highlights the bassline and synthesizer arrangements, removing much of the lead vocals. Bad (A Cappella): Allows you to appreciate… Read more »
Thanks for the great breakdown, Ruben appreciate it.
MJ returned with a new sound and a new face, reborn and ready for the world. Of course now, when I hear this I can’t help but think of how this was originally envisioned as a collaboration with Prince… Discussions were made, but once Prince saw the lyrics… he apparently said “Your Butt is mine…. I can’t do that.” It cracks me up every time I hear it now… I think of MJ singing that to Prince in the subway station, Prince there in his buttless pants… Of course this had an extra layer, as a former Jehovah’s Witness, a… Read more »
Joey, that Prince story never gets old. It’s one of those “what if” moments in pop history. The idea of Prince and Michael Jackson trading lines on “Bad” is wild, but yeah, that opening lyric was always going to be a sticking point. Prince had a very specific sense of image and control, and you can picture him drawing the line right there. And honestly, as much as the collaboration would have been historic, the solo version works because it’s so locked into Michael’s persona at that moment. He needed that statement to be his alone. That second point you… Read more »
Such a monster song (and video) back in the day! It was a big hit for a long time as it felt it was consistently on the airwaves in the USA for over a year. Although I love(d) the acappella, I was pretty disappointed with the mixes of this song (released Sep 1987) as well as MJ’s other mixes of the mid-80s era…not sure why he didn’t leverage Shep Pettibone or others during this time period. Maybe MJ felt the simple extended mixes were just fine and/or the songs were already perfectly perfect before remixing. 🙂 Not a big deal… Read more »
It’s actually pretty interesting that MJ did not use Shep, probably because he was a perfectionist, whereas Prince did. Maybe because Prince was finished with the track and ok to let others re-envision it????
Fred, I hear you on that. It really did feel like “Bad” never left the airwaves back then. Total saturation, but somehow it never got old. I get what you’re saying about the mixes too. Compared to what was happening in the clubs at the time, they do feel a bit restrained. Especially when you had someone like Shep Pettibone turning pop tracks into full-on club journeys. MJ’s camp leaned more toward extended versions than true reinventions during that stretch. My take is that Michael Jackson and Quincy Jones were very protective of the core arrangements. Those tracks were so… Read more »
Paul, the music here speaks for itself! Hard hitting, and like you said, it’s delivered with attitude and Jackson’s irresistible swagger. I loved this new musical phase for Michael. I can only imagine the worry he must have had in following up his “Thriller” LP. The pressure must have been intense!! I’m glad he stayed with Quincy Jones. The guy made Michael’s magic even more wonderful. I like to remember the music and the dance moves of Michael Jackson. Although he has a complicated legacy, I still choose to remember the music and the way that music made me feel.… Read more »
Jeff, that’s really well said. You can feel that pressure when you look back at it, following something like Thriller could have crushed most artists. Instead, he leaned into a different attitude and made a statement with it. Sticking with Quincy Jones was a big part of that. They understood how to push things forward without losing what made it special in the first place. There’s a confidence in Bad that feels earned, not forced. And I get what you mean about how you choose to remember it. For a lot of us, those songs are tied to very specific… Read more »
This is one I remember buying on cassette maxi single! Later I replaced it with a promo cd single. Love the false fade mix. The video was premiered on prime time TV and we taped it, of course. Interesting for the time it was the 2nd single yet first video! Bizarrely the album was reissued covertly several times with various subtle mix changes (including Bad). Makes it kind of sad because I’m thinking the currently available version is not the one that hit shelves initially. Was an interesting time and I played that album to death. Also of note, the… Read more »
ING, that’s a great set of memories right there. The cassette maxi, taping the premiere, opening night of the tour, you really caught that era from every angle. That “false fade” mix is such a cool touch. It keeps you on your toes and gives the track a bit of drama that the standard version doesn’t have. Stuff like that is exactly why these singles are worth digging into. You’re also right about the rollout. It’s still somewhat surprising that “Bad” was the second single, yet it effectively launched the visual era with its prime-time debut. That short film changed… Read more »
yay!! thanks!!
You’re welcome, Raymond.