Feb 14

MICHAEL JACKSON – “Blood On The Dancefloor”

Popular84 comments • 8,081 views

#765, 3rd May 1997

blooddance “Blood On The Dancefloor” dates from the 1991 Dangerous sessions – and its rigid, peg-legged Teddy Riley production, full of choppy, cut-up synths, would fit with some of that record’s harsher contours – but it works as a coda to his Popular career, too. Surely “Earth Song” would have been a grander way to go out, fitting the heal-the-world fantasies of Jackson the philanthropist. But “Blood On The Dancefloor” is a truer epilogue – a narrow, claustrophobic song, the sound of Jackson slipping into what we know now as his twilight years. At this point, he’s still younger than I am writing this. But it’s not just hindsight that makes him sound worn out and ragged here.

In his glory days, a Jackson song would marry indelible tunes to mercurial performance, and dance across genres daring pop to keep up. Now what’s left is an instinct for how to structure a song – the hooks here are by no means his best but he knows when to drop them – an emotional palette shared by nobody else in pop, and a bag of vocal tics. “Blood On The Dancefloor” criss-crosses Jackson’s multiple voices to unnerving effect.

He’s using at least three different tones here. On the chorus – and its “to escape the world…” lead-in – he’s using his late-career anguished voice, the howl he unleashed to full effect at the end of “Earth Song”. At the start of the verses, he’s using his Bad-era tough-guy voice, but interspersing guttural, almost feral barks and grunts after the end of every line. And the verses devolve into a third voice – up close against your ear, words and sense breaking down into a tumble of muttered, consonants, with Jackson multi-tracking to talk over himself. It’s the cold sweat wordrush of “Smooth Criminal” taken to its incomprehensible endpoint. The effect is one of horrid, haunted, intimacy.

It’s a dramatization of a crack-up: “Blood On The Dancefloor” is an angry, fearful song – one of many, stretching back at least to its forebear “Billie Jean”, except here the ensnaring, vengeful woman is actually murdering Jackson. And it’s set as a tragedy – the King of Pop butchered, like Caesar, in the place of his greatest power. The meaning – an allegory for the accusations swirling around him – is transparent. Except, of course, the song predates them. Sometimes a paranoid fantasy is just a paranoid fantasy.

It’s an ugly, uneasy record, certainly a minor Jackson single, but Iike a lot of his later songs, I find it fascinating. Whichever of Jackson or Riley put the tiny vamps of keyboard at the ends of occasional lines deserves enormous credit – they keep the song moving, distract you from its nasty side enough to keep the song feeling like spectacle, not voyeurism. That momentum, the shrieked pre-chorus hook, and the delayed-gratification relief of the chords under the final chorus are why I enjoy “Blood On The Dancefloor” as much as I do. But the close-up whispering sections are effectively creepy – a clammy, Gollumish performance. Even here, the last time we’ll see him, Jackson is trying new ideas, pushing his performances, and making pop that sounds stiff and uncomfortable, but which could only be his.



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  1. 61
    Tommy Mack on 28 Feb 2014 #

    58/59 – was that K & The Ws (assume it’s bunnied?)

  2. 62
    Rory on 28 Feb 2014 #

    #61 Can we spoil the spoiler bunny? No, it wasn’t bunnied.

  3. 63
    Tom on 28 Feb 2014 #

    Yeah, 16 years of hurt wasn’t enough to get it to #1!

  4. 64


  5. 65
    Tommy Mack on 28 Feb 2014 #

    Oh shit, I’ve only just remembered it wasn’t Walking On Sunshine. What was it called? Shine a Light? Meh. I can’t even muster enough enthusiasm to say it was terrible.

  6. 66
    tm on 28 Feb 2014 #

    Finally listened to BOTDf: turns out I knew it all along: solid enough Dangerous-era MJ to these ears, some great touches (the bassline, some of the keyboard stabs) but it wouldn’t have been a stand out track had it been on the original album. Also it’s a pretty weak intro for MJ. 6.

  7. 67
    Kat but logged out innit on 28 Feb 2014 #

    Agreed that ‘Love Shine A Light’ was weak sauce but I didn’t care. Even my terrible indie-snobbishness couldn’t stop me watching Eurovision and rooting for whoever. I think I’ve only missed ONE since I was first old enough to stay up for the voting and that was 2004 – Ruslana and her Wild Dances.

  8. 68
    Lazarus on 28 Feb 2014 #

    #57 re: General public being able to identify MJ’s UK number 1s, I reckon if you asked a sample of reasonably pop-savvy 20-50 year olds 90% would get Billie Jean, 70% Black or White and Earth Song, 50% One Day in your Life, 35% I Just Can’t Stop Loving You and maybe 20% this. Deservedly. You can barely hear him on the verse, which I’ve forgotten before we’re through the chorus, and I’ve forgotten the chorus within three minutes of the song finishing … 4.

  9. 69
    Lazarus on 28 Feb 2014 #

    Too late to edit – I’m going with 75% You Are Not Alone – memorable video and not that long ago (as long as we’re not asking people who never listen to anything but Radio 4, of course …)

  10. 70
    Speedwell54 on 1 Mar 2014 #

    Re 57 & 68. I agree that “Blood On The Dance Floor” is his least memorable No1and I think a few would struggle to bring Earth Song to the table chiefly due to the title not being mentioned. (If it had been called “What about us ?” or “Aaaaahhhhhh”, there might be a few more takers.)

    Forgive my pedantry here, but on THIS post and subsequent comments about THIS song, thus far, no one can get the ‘bloody’ title right. It’s “Dance Floor” not Dancefloor or BOTDF not BOTD or BOTDf. Rant over.

  11. 71
    Doctor Casino on 2 Mar 2014 #

    This is a fine enough track, but very much an ‘album cut’ – sure I’ve heard it before, just as sure I won’t remember it much tomorrow. Grab-bag of tics, yes, but at this point really feels like autopilot and suffers from the lag between its home album and its release, which makes it feel like he’s venturing back into very well-trodden territory: this is the clatter of “Jam” trying to reach the intensity of “Who Is It?” without delivering the payoffs of either. 4 or 5 – I bet it does sound pretty good on the dancefloor.

  12. 72
    ciaran on 2 Mar 2014 #

    Not a bad effort but BOTD sounds very much like 5-10 years out of time.

    I enjoyed it at the time but it wasn’t played all that much on the radio.Surprised Tom liked it as much. Surprisingly pleasant now. 6

  13. 73
    Weej on 3 Mar 2014 #

    Isn’t this the oddest number one in a while? It sounds like a remix of the sixth single off an album, not a comeback, but that’s what a fanbase hit is all about, I suppose. MJ sounds like the oldest new jack swinger in town, stuck seven years behind, which in the 90s R&B world is an age. It’s a shame this is our final chance to talk about him, but Earth Song should really have been his swansong.

  14. 74
    Martin F. on 4 Mar 2014 #

    Since it’s related to the recent part of the discussion thread, the BBC’s attempt to cap the subsequent stretch of hurt at 17 years was premiered tonight:


    Quite the name for a no-name, although I suppose we’re talking about a competition that counts Lena Meyer-Landrut and Emmelie de Forest among its recent winners.

  15. 75
    Tom on 4 Mar 2014 #

    Oh dear.

  16. 76
    Chelovek na lune on 4 Mar 2014 #

    Not sure the “power to the people” bit will go down well in , especially, Azerbaijan. Certainly not the worst entry we’ve ever put up.

  17. 77
    Rahma on 15 Mar 2014 #

    Well I was born in 1996… I grew up in the era when Michael Jackson was in a a less flattering light than before….. He was in the headlines for lawsuit after lawsuit not to mention the bogus allegations.. But I loved him lool. He Is very popular in my age group. So I disagree with you ALL. MJ has a fanbase filled with people of all ages.. In death he is bigger than Beyonce, Rihanna, Madonna Justin Timberlake and I could go on. Give the KING some credit ya’ll let him rest. I was 13 when he died and it shocked me and I was amazed that a someone could could have that effect.. I mean the whole world froze when he died… Leave him be. History to me is his best album its is like a musical diary..it wouldn’t appeal to people but nvm

  18. 78
    sbahnhof on 5 Apr 2015 #

    Rahma, with your words you have opened our hearts and melted our minds. I, for one, promise never to question the power of the king of pop, and — oh she’s gone.

  19. 79
    Adam on 5 Apr 2015 #

    Do his fans ever discuss the possibility that treating him as the Messiah possibly LED to his psychological downfall? They all seem to focus on their collective persecution complex — been that way since the early 90s. I’m fascinated by pop’s constellation of cults and this one is Sirius.

  20. 80
    weej on 6 Apr 2015 #

    At this point Michael Jackson’s story seems like a premonition of many of the revelations of the last five years – i.e hero-worshipping someone because they are talented or famous, letting them feel that the normal rules of morality don’t apply to them somehow, inevitable bad things (or at the very least allegations of) resulting… If anything this has resulted in making his look both more human and more likely to be guilty.

  21. 81
    Teenage Ebola Victim on 4 Apr 2021 #

    Was listening today for the relative novelty value of a true obscurity by a megastar that still got to number one. Something with no lasting cultural imprint, unheard by anyone since it topped the charts.

    Anyway, since the last comment on this thread, there has been some development in the Michael Jackson story. I can’t see this addressed anywhere on the blog, but perhaps it was considered in the comments for Remix (Ignition), which I haven’t really gone through since I was addictively reading this blog sunbathing in a field in the first, scariest lockdown.

    To supplement some 2014 discussion of whether Jackson would at some point be able to get a posthumous bunny, I just wanted to note the trivial point that he very nearly did. However, it was nothing to do with (as was speculated above) the release with Freddy Mercury, which sank without a trace.

    He made it to the #2 spot in the high summer of 2018, held off by a rather dull bunny, which I have a slight personal connection to and am therefore loath to criticise. The credit was as a featured artist on a track by a ubiquitous and massively bunnyable artist that this project will not get to (at the current rate) until the 2030s. This was a true near-miss, since the artist he piggy-backed on was still in their Bryan-Adams-worrying, imperial phase and it entered at #2, staying in the top 20 for seven weeks, much better than any of Jackson’s singles since 1995 (MITM aside, I’m guessing).

    Since the Finding Neverland documentary premiered in January 2019, I suggest that this was his absolute last chance. Indeed, since the lead artist in question has faced some (needless to say far, far less lurid, nowhere near as serious, not criminal and certainly not on the same scale) questions about their own conduct with underage people, I could be uncharitable and say that they of all people would not have wanted to release a record with Michael Jackson if it had been six months later. Indeed, they promptly dropped the song from their live setlist after the documentary came out.

    So that should be it.

  22. 82
    Gareth Parker on 2 May 2021 #

    I actually rather like this and I think Tom is correct with his 7/10 mark. Had to revisit this one as I hadn’t heard it for a while.

  23. 83
    Mr Tinkertrain on 15 Mar 2022 #

    Big old ‘meh’ for this one. I didn’t mind Stranger In Moscow at the time, or the remix of History that charted after this, but this is just half-arsed. At the time I’d obviously heard of Michael Jackson but didn’t know much of his classic stuff and to me he just seemed like a has-been relic of the 80s. 4.

    Great title for a song though. I presume Sophie Ellis-Bextor took some inspiration from it.

  24. 84
    Ryan on 22 Mar 2022 #

    I actually have a soft spot for this one. Sure it’s not one of Michael Jackson’s best of all time and certainly not one of his most memorable and it does look odd as one of his #1 singles but as already pointed out it’s not the only one there. I particularly like the bridge towards the end where he repeats the title line. I’d probably give it a 7/10. If Man In The Mirror had gone to the top posthumously that would have been a more significant end to his chart-topping career though.

    RE #81: I think that 2018 song was a midweek #1 wasn’t it? I remember being a bit surprised when it didn’t make the top at the end of the week, not that it’s a loss. MJ’s vocals sound badly processed to my ears. It almost certainly was his last chance to get a final #1. Not that his old classics aren’t still popular, Thriller still gets wheeled out every Halloween for example but I can’t see anyone taking the bother to sample his unreleased material again for the clout of having him credited on their track. Those days are over.

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