Bad

<i>Bad</i> may not have all the timeless prestige of its predecessor, <i>Thriller</i>, 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.