The jig was up and the stories were out there, and Michael kept telling on himself. Bad and Dangerous are confessions, but as time goes on, the pain begins to consume Michael. This is “the Teddy Riley album,” and in some ways the peak of new jack swing, way after the genre really peaked. Michael’s voice is constricted, and he sounds angry or self-pitying, and nothing else. It’s a fantastic album. New jack swing was in part a digital version of Motown funk, or a blend of Motown and hip-hop, so it makes sense that Michael’s anxiety gasp and percussive air tricks work perfectly. This is musically intense, all sharp edges, as Michael bids farewell to paterfamilias Quincy and tries one last time to save himself before he drifts into paranoia, completely. There’s a case to be made this is the last real Michael album, especially interesting for “Keep The Faith,” a not-subtle attempt to steal George Michael’s vibe.