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I didn't include all the best ofs and special edition releases in the poll, but feel free to chose another one not listed above.
I voted for Thriller
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What's your favourite MJ album cover?
#1
MJSunshine 
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Posted 29 May 2010 - 07:20 AM
Which one do you like most?
I didn't include all the best ofs and special edition releases in the poll, but feel free to chose another one not listed above.
I voted for Thriller
I didn't include all the best ofs and special edition releases in the poll, but feel free to chose another one not listed above.
I voted for Thriller
Promote to Article
#2
MJPC
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Posted 30 May 2010 - 06:03 PM
MJSunshine, on 29 May 2010 - 07:20 AM, said:
Which one do you like most?
I didn't include all the best ofs and special edition releases in the poll, but feel free to chose another one not listed above.
I voted for Thriller
I didn't include all the best ofs and special edition releases in the poll, but feel free to chose another one not listed above.
I voted for Thriller
Dangerous!! That's true album art!
#3
MJSunshine
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Posted 31 May 2010 - 05:24 AM
I have found some additional information about the Off The Wall and Thriller album cover shootings. Hope you enjoy reading:
Off the Wall
Designer Mike Salisbury is the man behind the imprint on a multitude of diverse products from HALO, the world’s most popular video game, Rolling Stone, Surfer and Playboy magazines to O’Neill and Gotcha surfwear and Levi’s 501 jeans (a brand Salisbury created). He is also responsible for creating Michael Jackson’s iconic image in black pants, glittery socks, loafers and a single white glove.
After seeing Jackson in the The Wiz, Salisbury contacted his agent. “I knew his agent and called him to say that Michael Jackson was going to be the biggest star ever and I would be anxious to work on something with him,” said Salisbury. “Michael’s agent called me in to his office and showed me an album cover mock up for his solo album and asked me what I thought. I told him that it looked like a cheap ad for the children’s department at Macy’s. ‘I know,’ he said. ‘It sucks.’ I thought Michael Jackson had the potential to be huge—the biggest, so I suggested he let me develop some ideas.”
Salisbury returned to the agent’s office with several variations of his concept, which only seemed to perplex the agent. “I explained that I was creating a metaphor. I told him that Michael was just a kid out from under his dad so I think the album cover should make a statement that his solo debut is as big as Sinatra coming on stage in Vegas. I explained the concept by pointing to the fashion type drawing and saying, I put him in a tuxedo. That says big deal!”
“The agent hemmed and hawed and was just about to dismiss the whole nutty idea when a little, high-pitched voice softly squeaked, ‘I like it,’ and Michael stepped out from behind the drape covering the large office window. ‘Let’s just do it,’ he said, and so we did,” explained Salisbury.
Jackson liked everything about Salisbury’s concept from the get-go and only requested one change. “‘I want to wear white socks,’ Michael whispered to me. They have to be über socks then…really glamorous,” remembered Salisbury.
MJBeforecoverart.jpgThe photo shoot was taken at the Griffith Observatory at the Hollywood Planetarium. Salisbury’s wife at the time found an Yves St. Laurent woman’s tux in Beverly Hills that fit Michael. “I also told him to get loafers like Gene Kelly wore in An American in Paris. When we went to shoot the photo, I instructed him, to roll up his pant legs, put his fingers in his pockets and pull his pants up like Gene Kelly—to show off the socks. The loafers really made the white socks work. By the way, the socks were custom-made for Michael by famous Hollywood costume designer Bob Mackie.
“Michael drove up the hill to where we were at in the front of the building, the same location where they shot the knife fight in the movie, Rebel Without a Cause,” Salisbury continued. “He was just 21 and had a new Rolls Royce. It was smashed up a bit and he was driving badly.”
There was no place for Jackson to change and Salisbury and his team were under a time constraint because they had no permit to shoot there. “Fortunately for us, the women’s restroom was open and like a real trouper he ran in there and put on the tux,” Salisbury noted.
After reviewing his first shot for the album cover, Salisbury didn’t think it showed the real Michael. “We were rushed and Michael was just not that into it,” he said. “I thought he was a little too serious. We needed to shoot this differently. I mean, this album cover was just for him, not him and four other brothers. I suggested we re-shoot it and when we did, I directed him to be more animated. I suggested he smile and exaggerate the pulling up of his pants and get into it like he was dancing. He was a great sport and agreed to do the re-shoot. We did the second photo shoot against a wall and voilá! There was our cover for ‘Off the Wall.’”
The white socks were so successful in drawing attention to Michael and his dance moves, there was a conversation about doing gloves, too. “I felt that would start looking literally Mickey Mouse (and of course Michael was a big Mickey Mouse fan). Between the agent and Michael and me, we got it down to one white glitzy glove. Another great move for attention,” Salisbury concluded.
Source: blog.albumartexchange.com
Thriller
[...]
Shoot Day
The day of the shoot arrive. I hired one of the best fashion stylists in LA to gather a large variety of wardrobe, and we began the arduous process of selecting attire for the cover and inside spread. After about an hour of weeding through the wardrobe, Michael couldn't find anything he was crazy about. I started to panic. His eyes lit up when he noticed the white suit that I was wearing. He said, "That's the look I like, do we have anything like that?" We didn't. Time was fleeting. I was concerned about having enough time to execute my cover ideas. I indicated that we were about the same height and build and if he would like to wear mine. That was exactly what he wanted. Fortunately for the session and the time involved, the suit fit like it was tailored for him.
We had decided prior to the session that Michael would have a tiger cub in the photograph so we had a selection for him to choose from. He loved a six week old cub but was very squeamish about letting it get to close to his face because of possible scratches. Throughout the session I had to get Michael to forget about getting scratched, and to focus his attention on me and my direction.
During breaks Michael would stand in front of a full length mirror and practice continual spins. I was privileged to get a personal preview of those legendary ones that are now so familiar to us all. He just would come alive in front of that mirror. It was fascinating, because he had such a shy and subdued manner throughout the photo session, but in front of that mirror, dancing, he was electric and that was the first time that I realized that I was witnessing something very special.
For lunch he ordered a special meal brought in from a vegetarian restaurant on 3rd Avenue, which was his favorite in town. In fact, a few months later Michael hired that chef as he personal cook for his home and his touring.
The photo session lasted about 6 hours with three different set-ups and no particular problems out of the ordinary. I was very impressed with Michael's diligence as had someone from his production company using a counter to count every click of the camera to make sure that he saw that every frame was presented to him once finished. This spoke elegantly as to his constant and detailed professionalism. At the days end, we said good-bye, and arranged to meet in a few days to go over the results.
About four days later the photos were ready and we met at the recording studio on Beverly Boulevard. Michael was in the middle of finishing up one of the tracts, so I set up my light table and spread out the transparencies so he could see them all at one time.
The Album Cover
Michael walked out of the studio into the reception area where my presentation was set up. He was in a very good mood. He looked over the transparencies and was very excited and pleased with what he saw. He said "There are so many good ones here, how can I ever make a decision?" He told me to hold on a minute, and then ran back into the studio. After a moment, he came back out with Quincy Jones, who was producing the album and was evidently very respected by Michael. Quincy took one look at the transparencies and with a confident smile, without any hesitation, pointed to one, and said "That's your cover, Michael!"
I was totally impressed by that decision as that was the fastest I have ever seen anyone select a final transparency for anything, and it was a good choice. Michael was extremely happy. Quincy was happy. CBS was happy. I was ecstatic, and judging by the fact that it is still the highest selling album in history, I can say without doubt that it was the correct choice and the world was happy." It has become an artistic icon. Who would have suspected that the click of the camera, 1/60th of a second, would create the unforgettable image it has become in history.
The following are a few of my personal thoughts and observations I would like to share. As having had the opportunity to be close to Michael during some very private discussions as we worked and conversed together off and on for those 15 years. I do feel that I have a sense of who he really was. [...]
Source: Snapgalleries
Off the Wall
Designer Mike Salisbury is the man behind the imprint on a multitude of diverse products from HALO, the world’s most popular video game, Rolling Stone, Surfer and Playboy magazines to O’Neill and Gotcha surfwear and Levi’s 501 jeans (a brand Salisbury created). He is also responsible for creating Michael Jackson’s iconic image in black pants, glittery socks, loafers and a single white glove.
After seeing Jackson in the The Wiz, Salisbury contacted his agent. “I knew his agent and called him to say that Michael Jackson was going to be the biggest star ever and I would be anxious to work on something with him,” said Salisbury. “Michael’s agent called me in to his office and showed me an album cover mock up for his solo album and asked me what I thought. I told him that it looked like a cheap ad for the children’s department at Macy’s. ‘I know,’ he said. ‘It sucks.’ I thought Michael Jackson had the potential to be huge—the biggest, so I suggested he let me develop some ideas.”
Salisbury returned to the agent’s office with several variations of his concept, which only seemed to perplex the agent. “I explained that I was creating a metaphor. I told him that Michael was just a kid out from under his dad so I think the album cover should make a statement that his solo debut is as big as Sinatra coming on stage in Vegas. I explained the concept by pointing to the fashion type drawing and saying, I put him in a tuxedo. That says big deal!”
“The agent hemmed and hawed and was just about to dismiss the whole nutty idea when a little, high-pitched voice softly squeaked, ‘I like it,’ and Michael stepped out from behind the drape covering the large office window. ‘Let’s just do it,’ he said, and so we did,” explained Salisbury.
Jackson liked everything about Salisbury’s concept from the get-go and only requested one change. “‘I want to wear white socks,’ Michael whispered to me. They have to be über socks then…really glamorous,” remembered Salisbury.
MJBeforecoverart.jpgThe photo shoot was taken at the Griffith Observatory at the Hollywood Planetarium. Salisbury’s wife at the time found an Yves St. Laurent woman’s tux in Beverly Hills that fit Michael. “I also told him to get loafers like Gene Kelly wore in An American in Paris. When we went to shoot the photo, I instructed him, to roll up his pant legs, put his fingers in his pockets and pull his pants up like Gene Kelly—to show off the socks. The loafers really made the white socks work. By the way, the socks were custom-made for Michael by famous Hollywood costume designer Bob Mackie.
“Michael drove up the hill to where we were at in the front of the building, the same location where they shot the knife fight in the movie, Rebel Without a Cause,” Salisbury continued. “He was just 21 and had a new Rolls Royce. It was smashed up a bit and he was driving badly.”
There was no place for Jackson to change and Salisbury and his team were under a time constraint because they had no permit to shoot there. “Fortunately for us, the women’s restroom was open and like a real trouper he ran in there and put on the tux,” Salisbury noted.
After reviewing his first shot for the album cover, Salisbury didn’t think it showed the real Michael. “We were rushed and Michael was just not that into it,” he said. “I thought he was a little too serious. We needed to shoot this differently. I mean, this album cover was just for him, not him and four other brothers. I suggested we re-shoot it and when we did, I directed him to be more animated. I suggested he smile and exaggerate the pulling up of his pants and get into it like he was dancing. He was a great sport and agreed to do the re-shoot. We did the second photo shoot against a wall and voilá! There was our cover for ‘Off the Wall.’”
The white socks were so successful in drawing attention to Michael and his dance moves, there was a conversation about doing gloves, too. “I felt that would start looking literally Mickey Mouse (and of course Michael was a big Mickey Mouse fan). Between the agent and Michael and me, we got it down to one white glitzy glove. Another great move for attention,” Salisbury concluded.
Source: blog.albumartexchange.com
Thriller
[...]
Shoot Day
The day of the shoot arrive. I hired one of the best fashion stylists in LA to gather a large variety of wardrobe, and we began the arduous process of selecting attire for the cover and inside spread. After about an hour of weeding through the wardrobe, Michael couldn't find anything he was crazy about. I started to panic. His eyes lit up when he noticed the white suit that I was wearing. He said, "That's the look I like, do we have anything like that?" We didn't. Time was fleeting. I was concerned about having enough time to execute my cover ideas. I indicated that we were about the same height and build and if he would like to wear mine. That was exactly what he wanted. Fortunately for the session and the time involved, the suit fit like it was tailored for him.
We had decided prior to the session that Michael would have a tiger cub in the photograph so we had a selection for him to choose from. He loved a six week old cub but was very squeamish about letting it get to close to his face because of possible scratches. Throughout the session I had to get Michael to forget about getting scratched, and to focus his attention on me and my direction.
During breaks Michael would stand in front of a full length mirror and practice continual spins. I was privileged to get a personal preview of those legendary ones that are now so familiar to us all. He just would come alive in front of that mirror. It was fascinating, because he had such a shy and subdued manner throughout the photo session, but in front of that mirror, dancing, he was electric and that was the first time that I realized that I was witnessing something very special.
For lunch he ordered a special meal brought in from a vegetarian restaurant on 3rd Avenue, which was his favorite in town. In fact, a few months later Michael hired that chef as he personal cook for his home and his touring.
The photo session lasted about 6 hours with three different set-ups and no particular problems out of the ordinary. I was very impressed with Michael's diligence as had someone from his production company using a counter to count every click of the camera to make sure that he saw that every frame was presented to him once finished. This spoke elegantly as to his constant and detailed professionalism. At the days end, we said good-bye, and arranged to meet in a few days to go over the results.
About four days later the photos were ready and we met at the recording studio on Beverly Boulevard. Michael was in the middle of finishing up one of the tracts, so I set up my light table and spread out the transparencies so he could see them all at one time.
The Album Cover
Michael walked out of the studio into the reception area where my presentation was set up. He was in a very good mood. He looked over the transparencies and was very excited and pleased with what he saw. He said "There are so many good ones here, how can I ever make a decision?" He told me to hold on a minute, and then ran back into the studio. After a moment, he came back out with Quincy Jones, who was producing the album and was evidently very respected by Michael. Quincy took one look at the transparencies and with a confident smile, without any hesitation, pointed to one, and said "That's your cover, Michael!"
I was totally impressed by that decision as that was the fastest I have ever seen anyone select a final transparency for anything, and it was a good choice. Michael was extremely happy. Quincy was happy. CBS was happy. I was ecstatic, and judging by the fact that it is still the highest selling album in history, I can say without doubt that it was the correct choice and the world was happy." It has become an artistic icon. Who would have suspected that the click of the camera, 1/60th of a second, would create the unforgettable image it has become in history.
The following are a few of my personal thoughts and observations I would like to share. As having had the opportunity to be close to Michael during some very private discussions as we worked and conversed together off and on for those 15 years. I do feel that I have a sense of who he really was. [...]
Source: Snapgalleries
#5
Andy St'Clair
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Posted 08 June 2010 - 07:48 AM
Dangerous for sure, that cover is mysterious, is pure art.
It was possibly the first piece of graphic design in which I became interested in life.
It was possibly the first piece of graphic design in which I became interested in life.
#6
MilkChocolateTink37
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Posted 10 June 2010 - 04:48 PM
Hadn't really thought too much about the pre-OTW covers, as I was so young...I was only about 5 or 6 when OTW came out, but I remember enough to know that I was seriously crushing on Michael and I loved his voice. When I bought OTW on CD, I was a bit ticked off and saddened to find it wasn't the same as I remembered...I think I know whose doing it was...and why...I'm not mad any more, just sad...
Thriller...My mom bought that...We played it so much...I loved the cover on it, we would open up the album and look at the picture inside...I loved the liner...because it had Michael's drawings in it...I was even more in love after that, because I loved that he could draw as well as sing and dance...I heard that he was interested in taking art classes...it makes me sad(der) that he never got to do that.
BAD...I'm glad they went with the art that's on the cover now, rather than what was initially proposed...It just didn't fit. I'm just glad Michael listened...
Dangerous...I've got a puzzle with the artwork to this cover on it...So many layers...I love how it showcases Michael's beautiful eyes as well...
HIStory and Blood on the Dance Floor...I was late to the party on these...so I never really put too much thought into them...I know HIStory had quite the ad campaign...In a way it fit though, because Michael was larger than life.
Invincible...I love this album...I would even go so far as to say it's my favorite...Like Thriller, it's what's going on in the liner art that caught my attention...I love the collage panel art...I've got a blow up of some of the artwork...I like the way the photos capture Michael's power...his intensity...
It's very hard for me to pick a favorite...it may sound like a copout, but I love all Michael's albums for different reasons and in different ways...
Thriller...My mom bought that...We played it so much...I loved the cover on it, we would open up the album and look at the picture inside...I loved the liner...because it had Michael's drawings in it...I was even more in love after that, because I loved that he could draw as well as sing and dance...I heard that he was interested in taking art classes...it makes me sad(der) that he never got to do that.
BAD...I'm glad they went with the art that's on the cover now, rather than what was initially proposed...It just didn't fit. I'm just glad Michael listened...
Dangerous...I've got a puzzle with the artwork to this cover on it...So many layers...I love how it showcases Michael's beautiful eyes as well...
HIStory and Blood on the Dance Floor...I was late to the party on these...so I never really put too much thought into them...I know HIStory had quite the ad campaign...In a way it fit though, because Michael was larger than life.
Invincible...I love this album...I would even go so far as to say it's my favorite...Like Thriller, it's what's going on in the liner art that caught my attention...I love the collage panel art...I've got a blow up of some of the artwork...I like the way the photos capture Michael's power...his intensity...
It's very hard for me to pick a favorite...it may sound like a copout, but I love all Michael's albums for different reasons and in different ways...
#7
MJSunshine
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Posted 11 June 2010 - 06:36 PM
Thank you for all your personal comments.
I agree with what you said about the BAD album cover. I like the alternative one in some way, too, but the final one really fits to the album.
I agree with what you said about the BAD album cover. I like the alternative one in some way, too, but the final one really fits to the album.
#11
iheartmichaelj
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Posted 20 July 2010 - 09:31 AM
Dangerous! 
#12
Michael_Jackson's_Girl
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Posted 14 September 2010 - 01:26 AM
Love the Thriller one
#13
Ben S
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Posted 21 October 2010 - 05:45 PM
My favorite Michael Jackson album cover is Bad. I love the whole of Michael's look, handsome face, and cool hairstyle and pop star clothes. Also the graphic used for the title Bad still looks brilliant 23yrs after it's release. I think the Bad album cover is a very strong image.
I love the original Off The Wall album cover, it's funky and also laid back at the same time and suits the feel of the album, and of course Michael looks supercool and ready to "Burn This Disco Out". I also love the re-issue Off The Wall (Special Edition) album cover, which is very cool, but the original is better. I also love the Thriller album, amazing photo of Michael and I like the graphic for the title Thriller.
I'm not really too keen on Michael's album covers from Dangerous through to Invincible (at the sametime, I'm not too keen on these album covers, yet I still think they are good, but they could have been better). I find them fairly weak, and I'm not very impressed with the illustrations used for Dangerous and Blood On The Dance Floor, though I will say like all of Michael's album covers they never date and always look fresh. I was always pleased Michael did something different with the Dangerous album cover from his previous 3 albums, which were photos if him.
Michael made use of illustration on his albums in the 1990's, I would love to have designed or done an illustration for one of Michael's albums. I think Michael should have done the illustration for the Dangerous and Blood On The Dance Floor albums. I love Michael's drawings, especially the drawing on the inside sleeve of the original vinyl release of Thriller, of Michael and a girl watching a movie, with a monsters hand around them. That drawing has a lot of presence, and that's what I expect from an illustration.
I love the original Off The Wall album cover, it's funky and also laid back at the same time and suits the feel of the album, and of course Michael looks supercool and ready to "Burn This Disco Out". I also love the re-issue Off The Wall (Special Edition) album cover, which is very cool, but the original is better. I also love the Thriller album, amazing photo of Michael and I like the graphic for the title Thriller.
I'm not really too keen on Michael's album covers from Dangerous through to Invincible (at the sametime, I'm not too keen on these album covers, yet I still think they are good, but they could have been better). I find them fairly weak, and I'm not very impressed with the illustrations used for Dangerous and Blood On The Dance Floor, though I will say like all of Michael's album covers they never date and always look fresh. I was always pleased Michael did something different with the Dangerous album cover from his previous 3 albums, which were photos if him.
Michael made use of illustration on his albums in the 1990's, I would love to have designed or done an illustration for one of Michael's albums. I think Michael should have done the illustration for the Dangerous and Blood On The Dance Floor albums. I love Michael's drawings, especially the drawing on the inside sleeve of the original vinyl release of Thriller, of Michael and a girl watching a movie, with a monsters hand around them. That drawing has a lot of presence, and that's what I expect from an illustration.
#14
MJSunshine
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Posted 23 October 2010 - 01:36 PM
Ben S, on 21 October 2010 - 05:45 PM, said:
I would love to have designed or done an illustration for one of Michael's albums.
What would they look like, do you have any ideas? Maybe for an alternate HIStory cover?
#17
Gazaprincess
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Posted 18 November 2010 - 02:08 PM
my favorite MJalbum cover is BAD.mj is soooooooooo cute sweet 
sweet
#19
liberiangirl_mj
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Posted 13 January 2011 - 07:18 PM
I love Bad cover so much!!! he's so beautiful and so sexy there!!!! also Dangerous, Thriller and Invincible
♥♥ you came and you changed my world Michael ♥♥
