It was nothing compared with what was to come, but the men in suits must have been nervous. Michael Jackson, whose breakthrough solo effort 'Off The Wall', had made him a Soul/R&B superstar in his own right, was surely losing the plot ? and his mojo. Why else would he record the follow-up with members of a band best known for that sappy hit 'Africa'? Why else would he perform a duet with Paul McCartney who, post-'Ebony and Ivory' was at the height of his Embarrassing Phase? And why else, short of a brain tumour, would he call up rock guitarist Eddie Van Halen to noodle all over one of his songs?

They needn't have worried. The resulting album, a little something called 'Thriller', went on to become the biggest-selling album. Ever. And that despite the inclusion of cringeworthy collaboration 'The Girl Is Mine' which reaches its nadir when Jacko tells Macca: "I'm a lover not a fighter".

Twenty five years later the song still sucks, but emphasises Jackson's vision and insight circa 1982. He knew that by teaming up with a former Beatle he'd be able to reach older listeners, Van Halen's solo would bring in the rock kids, and danceable, radio-friendly tunes would cater to his core audience. There was something for everyone.

But he also knew the plan rested on having a good song or two. 'Thriller' has eight. McCartney's tune is the only dud. With its "You're a vegetable" lyrics and glittering disco rhythms, album opener 'Wanna Be Startin' Somethin'' remains a party classic and a towering testament to Quincy Jones' larger than life production style. In hindsight, the producer's touch seems less deft on 'Baby Be Mine', which, with those primitive synthesizers and Motown bassline, is showing its age in 2008.

In stark contrast, the title track still sounds as dangerous today as it did a quarter of a century ago ? from that instantly recognisable keyboard line to Vincent Price's maniacal cackle. 'Beat It' also still punches like a prize fighter ? despite the Weird Al Yankovic parody 'Eat It' ? with the guitar work providing a template for the big-hair bands later in the decade.

Defiantly standing its ground, 'Billie Jean' is easily the grooviest song about a paternity suit, and not even SWV's sampling of 'Human Nature' in their '93 hit 'Right Here' has tainted the song's uncomplicated beauty. With Jackson on top vocal smoothness, it provides a moment of true, unashamed tenderness before returning to the club (and those cheesy synths) for hands-in-the-air/pelvic-thrusting declarations of love with 'P.Y.T.'

Often forgotten amongst the big hits, 'The Lady In My Life' reveals that, before he went sickly saccharine with 'Heal The World' et al, MJ once knew where the line between sentimental and crass was. It also brings to a close the album that proves Jackson did at one time deserve the King of Pop crown.

With those days long gone, 'Thriller' has been reissued with five bonus tracks: today's pretenders to the throne updating the 25-year-old songs. They needn?t have bothered. Will.i.am might have removed McCartney from 'The Girl Is Mine', but has replaced Paul with something even worse ? himself, endlessly repeating phrases like "she mine" and "the way I rock" over a default Garageband beat. His 'P.Y.T.' is lazier and more listless, but his take on 'Beat It' is even worse. It has all the fight of a comatose slug as he mutes the distinctive guitar riff while Fergie rasps along feebly.

Kanye West fares better with 'Billie Jean', upping the drama by slowing it down and adding a tense string arrangement, but the rapper can't resist spoiling the mood with some of his own inappropriate "uh uh ah huhs". But his intrusion is nothing compared to Akon's reworking of 'Wanna Be Startin' Somethin'', which effectively reduces Jackson to a backing singer. Dumb move if you sound like a chipmunk on helium yourself.

If these 2008 versions are intended to prove that nobody can match Jackson in his prime, they've succeeded. But the original 'Thriller' album proves that already?