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Michael Jackson - 'Invincible'
Here we go, pop fans, the waiting is over, the guessing and wondering can now stop, he's back. I was going crazy waiting to buy this album, I didn't even listen to it before buying it, just went into the shop, picked up a copy, and paid for it and promptly went home! The question is, has he got what it takes to be the trendsetter and groundbreaker? I ain't gonna beat around the bush, some will love the album, whilst some will hate it. I personally like the album, and am currently writing this review whilst listening to it the first time around! I'm gonna break it down for you song by song, so that I can give you guys a complete run down of 'Invincible'. Everyone sitting comfortably? Good, well let's begin..
Unbreakable: They often say first impressions count, and I gotta say I was impressed. The piano solo intro has a killer hook, and has a retro sound to it, although Rodney Jerkins has done a sterling job in keepin the arrangement and vibe modern and fresh. The track has a bounce to it, and can be recognised as a Michael Jackson song. In this sense jerkins has succeeded, cos he wanted to give Jackson the magic of old, but keep it sounding modern. This was, at one stage meant to be the title cut from the album, but it was deemed because it featured the Notorious B.I.G, was unsuitable because some people would have said that Biggie was being used by Jacko to boost sales. To be honest, I can't hear any of Brandy's backing vocals in the song, hmmm, must be going deaf in old age. By the way peeps, the sample rap was from 'I Can't Stop The Reign.'
Heartbreaker: Once again, I was impressed by the intro, it's got the syncopated stop-start beats seen recently in Destiny's Child's latest album, and in all of Timbaland's work for Aaliyah and Ginuwine. Sure, some people will say that it doesn't sound like a typical Michael Jackson song, but at least it's fresh. It's got some attitude to the bassline, and has got a neat little bridge to it. The vocal style is slightly 'harder' and edgier than I expected- I thought Rodney Jerkins would have promoted the more soulful style, as was harnessed in 'You Rock My World'. In essence, this is a modern Michael Jackson song. Like it or hate it, the choice is yours. I just realised, the song reminds me of 'The Game Is Over' off the new NSYNC album, and this is due to the fact that Alex Greggs helped put together the track- he is the link between NSYNC and Jacko! Call me a sad git for knowing that, you know you want to!
Invincible: Teddy Riley's student, Rodney Jerkins sure did learn how to put a decent bassline together- it's a killer hook. Solid bounce, good range bass, good flutter from the treble. Bruce Swedien, who produced on most of Michael's albums since 'Bad', makes his return on this song. He's a welcome addition, after all, he worked with Quincy Jones in the past! I liked the verses, but I felt that the chorus could have been stronger, the breaking down of the title into its syllables was not the best treatment in my opinion. Little note, this is the first song so far that Michael sings 'hee hee' . Hooray for the good ol' days! Not the strongest song, but the verses, music and bassline make it far from being the weakest song.
Break Of Dawn: The synthesisers make a come back in this mid tempo RnB number. The soul is back in the voice, and has a old school vibe to it. Newcomer Dr. Freeze makes his debut under the tutelage of Teddy Riley. Geez can Teddy teach how to produce or what! Freeze also gets to donate his backing vocals to the track. This song is a contemporary track that oozes polish and class. The lyrics are tight, and shows that Jacko can do a sensual love song with the best of the young guns. It's a modern 'Rock With You' variation. Hardcore fans may say that it's not a typical song for MJ, but he has to stay relevant. Otherwise he would bomb!
Heaven Can Wait. Here's the song that marks 'Dangerous' producer Teddy Riley's first contribution to the album. It's got this bassline that incorporates Teddy's classic double beat bassline, like the one used for Blackstreet. Dr. Freeze, Bruce Swedien all feature in production. That might be one of the problems of the track. To me, its meant to be a typical Teddy track, but Swedien's input changes the vibe to it a bit, making it a bit more softer RnB. Teddy needed to do this track alone. He has the pedigree, he did do half of the 'Dangerous' album! Jackson's ad libbing towards the end is a bit weak by his standards. The backing vocals by Freeze and Que mask this well. There's a nice string arrangement at the end. Good song that could have been better without Michael Jackson and Bruce Swedien putting their oars in. It's a case of too many cooks spoiling the broth.
You Rock My World: Hey guys, we've all heard this song. Darkchild gave us a flavour of old school MJ vocals and modern basslines. I love the way the bass is accentuated in the chorus, it makes the chorus really stand out. In my opinion this is one of the standout tracks on the album. Having Chris Tucker at the start was a nice inclusion. His mimicking of Michael saying 'shom on' is a classic. Nice hint of self parody of Michael, as well as a clever bit of publicity associating himself with a well known fan (if in doubt see both Rush Hour films, then you'll understand what I mean). I can visualise Michael Jackson dancing when I listen to this song, in other words, it's a really catchy tune! This is what I mean when I say a trademark Michael Jackson song. Toe-tapping is required to a song like this. Backing vocals are real tight, and lead vocals show that a great artist can never permanently lose their touch.
Butterflies: it's always a risk when you use a relative unknown on the most important album of your career. I feel as though this song lacks presence, and identity. There's no hook to it as such, and just drifts along. Yeah, it's ok to listen to , but is no classic. Jacko does return to his falsetto-vocal style as last heard in the 'Off The Wall' album. The bassline is ok, nice click to it in the background. One of the reasons this song does not work for me is that only Andre Harris and Martha Ambrousis wrote it. Every other song has input from Michael, and as a result the song suffers. A weaker track, but still a solid track. I think that this song would've been better suited to a group, with a different vocalist for each verse. The backing vocals are solid though. It's reminiscent of earlier works, especially with the horns and brass instruments playing- nostaligic.
Speechless: First note from this song reminded me of 'You Are Not Alone'. The lyrics are well put together, although it sounds a bit dated. I guess it's just his age showing. Heck I'd like to see people like us be in their mid-forties and still walk the walk and talk the talk! I don't think so! This is one of the orchestral tracks that has a choral backing. I gotta say that the chorus could have been stronger, it's a bit repetitive, and simple. Bit cabaret-ish. At least it's a short song, at about three and a half minutes long! It's not the sort of song I wanted to see on the album. I wanted 'in your face' songs that you could shake your booty to.
2000 Watts: Teddy's back at it again. The title of the song had me expecting a killer track, and I got it. Characteristic ad libs from Teddy, big bass, and lyrics that have nothing to do with love (yay!). One thing that grabbed me by the ears and swung me around was the realisation that it sounds NOTHING like Michael Jackson! I had to hear the song again, checking my woofer making sure that I wasn't experiencing technical problems. The voice is deeper, and harder. I thought to myself, is this Michael Jackson?? It's a solid RnB song, and would probably be a bigger hit had someone else had sung it. People will say that its not Jacko's style, but it is my cup of tea. Got a nice musical interlude for Jacko to dance to, and definitely sounds fresh. A funky song to mark the second half of the album. New Jack Swing as done by Michael Jackson.
You Are My Life: Seems like Michael's going through the producer's list of who's who. Babyface is the latest one. This song has the characteristic guitar (played by 'Face) as well as the haunting, floating backing vocals. Although, the lyrics aren't too hot, and lacks a killer punch. Reminds me of the ballads from earlier albums, but not as good. I was disappointed with Babyface's feeble contribution. Maybe the rumours are true, Babyface is losing it. Bit too sugary and soppy for my liking. It is well produced, but the chorus is pretty dire to say the least. Were they not listening to the song when recording it?
Privacy: Rodney Jerkins is back for this one, and already I'm happy. The title suggests an autobiographical, self-referential song, and you'd be right to assume so. It's one of them songs that is like 'Leave Me Alone' from the 'Bad' album, or 'Tabloid Junkie' from the 'HIStory' album. It's got a slower, rockier pace. Reminds me of his earlier cover version of 'Come Together'. I thought that musically, 'Leave Me Alone' was the strongest of the trio, but I like 'Tabloid Junkie' for it's sheer impact and presence. Competent guitar solo from David Thompson. I reckon there's no real need for this sort of song. Invasion of privacy is the price that you have to pay for fame. It's an ok song, not awesome, and not crap.
Don't Walk Away: There's a Babyface type intro, but is in fact a Teddy Riley song. Nice lyrics, and its essentially a decent, solid mid-tempo-ballad. Richard Stites does a decent job adding his backing vocals, and the string arrangement by Teddy is top-notch. It's a song that is less RnB and more pop/MOR. A departure for Teddy, and adds another string onto Michael's bow. Nice stripped out song that is good to chill out to. Sure it ain't in the same league as 'Human Nature' but a good track. I liked it.
Cry: Professional critics have been hyping this song up as a major song. The master of the epic song, R. Kelly wrote and produced the song. It's an evolution of 'You Are Not Alone' which was also written by Kelly. It's got a nice clicky bassline and is memorable by the absence of bass and low range drums in general. It's a good song, and R Kelly has succeeded in not making a song that was as overblown as 'The Storm Is Over' I'm gaggin just thinking abut that song. Back to 'Cry', nice arrangement, good lyrics, good song. I like the use of the choir at the end of the song-sounds great loud, but nowhere near as good as the 'Man In The Mirror' choir. I reckon this might be the next single if he releases a ballad. Maybe needs to be bit more memorable.
The Lost Children: A bad idea. I don't like the 'message' songs, cos I feel as though they don't stick to the theme of the album. Also, the allegations of years gone by should have made him avoid reminding the cynics out there about what may have happened. I fell as though it's bland, and lets me honest, you can't dance to a song about lost kids can ya? For this song think 'Heal The World' part 2, or a sequel to Earth Song, without the lame chorus. How bout another song that would blow us away like 'Thriller' or something? Listen to the fans, not your ego and management, Jacko! Destined to be a christmas song.
Whatever Happens: We're getting towards the end of the album, and this is Teddy's last contribution. Carlos Santana makes an appearance, and is one of the standout tracks. Teddy demonstrates that he can do non- New Jack Swing songs. Good guitar work from Santana, solid production form Teddy, and Michael sang well. The orchestral backing is a nice inclusion, makes it sound swish. MJ does some decent ad libbing and sounds as relevant as ever on the track.
Threatened: This is how he must be feeling at this moment in time. This is an ok song, Rodney Jerkins uses a good bouncy bassline, but could've been a little more different from basslines heard in the past. Darkchild didn't live up to his claim that the album was full of new beats. Teddy did the business, but Darkchild used variations of the same blueprint. He didn't produce clones, but some cynics may claim he did. Another self-referential song, that sample CBS's Rod Sterling. Nice touch, helped fill out the song, and give it a little more complexity.
Right folks, that's it- Invincible all reviewed. Here's the bottom line. No matter what Michael Jackson released he was gonna get dissed. If he released a 'Thriller mark 2' they'd say he was using an old formula and not being up to date. If he was to release an experimental album, then they'd say he lost the plot. I reckon 'Invincible' falls in between the two. It's got some good songs on it, like '2000 watts', 'You Rock My World' and 'Whatever Happens' but also has songs like 'The Lost Children', 'You Are My Life' and 'Butterflies' . I'd personally sad that it isn't as good as 'Off The Wall'. 'Thriller', 'Bad' or 'Dangerous' but superior to the new songs on 'HIStory' and 'History in the Mix'. A decent attempt, but if he had spent more time listening to the fans, and less time writing about the lost children, he could've reclaimed his throne as the King of Pop. Of the sixteen songs on the album, I liked about ten of them, which ain't bad!
Aside from the album, you gotta remember Michael Jackson's role in music today. He is the role model for many a pop star at the moment. Think about Usher, his performance style has been lifted from Jacko. The throwing around of the mic stand is straight outta 'Smooth Criminal'. Sisqo dons the fedora, does the spins, moonwalks and stuff. Justin Timberlake, in my opinion is one of the more talented followers, he's got the moves, that's for sure. Even the whole idea of dancing with a troupe of dancers was thought up for 'Thriller' and everyone has done it since. In Britney Spears' rendition of 'Satisfaction' they final ad libs over the chorus is based on that of 'Smooth Criminal'. Note that Darkchild did the Britney track. No-one can fuse pop, rock and RnB quite like Jacko. He may not be up to the standards of times gone by, but if 'Invincible' was done by someone else, it may well have been acclaimed. He still is a legend in my eyes, and this may be the wake up call that has been long overdue. I regard Michael Jackson as a product of the times. When 'Off The Wall' was released, disco was very big, an this was reflected in the content. 'Thriller' was released at a time when disco was fusing with soul, and I'd say that 'Thriller' was the best ever example of this. Also, it was a very brave album, who had heard of a song like 'Thriller' before its release? 'Bad' came at a time when soft rock was big, and 'Dangerous' was released when RnB was increasing in popularity. The problem is that Michael Jackson's fanbase have grown up and changed their musical tastes, remember his is a career lasting for 30 years. Old fans won't like what he's done, but younger fans will think of him possibly as 'uncool'. I am lucky enough to have grown up around music and appreciate all sorts of music and am pretty open minded.
'Invincible' is an evolution of 'Dangerous'- RnB is becoming more and more mainstream, just check out anything done by Stargate, or the Max Martin Chieron production studios based in Sweden (Backstreet Boys, Britney, NSYNC), Destiny's Child. Even Sisqo is RnB-pop thanks to the likes of Tim and Bob who did the 'Thong Song'. I think though that although MJ was a barometer for the time, the innovation seen in earlier yearss was never found again. For Michael Jackson to find the old magic there is only one answer: the right production and writing team. Here's my dream team- Quincy Jones executive producing, Rod Temperton as the main writer along with Quincy and Michael, Teddy Riley and Rodney Jerkins working as co-producers to QJ and Temperton, allowing a contemporary feel. Free Michael up from his 'message' songs, and put the funk back into his music. Do videos with the director of 'Thriller', as well as Hype Williams. I was wondering, where was the songs done with The Neptunes, Swizz Beatz, Sisqo, and Destiny's Child. Heck, I'm just glad the rumoured Will Smith- MJ duet didn't materialise! Another thing, if Jacko wants to do a decent ballad, Beyonce Knowles can produce killer tracks. A new duet with Stevie Wonder would be awesome, following up the amazing 'Just Good Friends'. Other good partners in a duet would be Michael McDonald, Luther Vandross, or a great one would be Charlie Wilson of the Gap Band. Sure they're of a generation gone by, byt the quality of the song is paramount. In 1988, Stevie Wonder was not at the height of his powers, but the song rocks . The sound that I would recommend for the album is a mixture of RnB, keeping it fresh, but also a new fusion of rock and pop, in the aftermath of Limp Bizkit etc. Edgy guitars would work brilliantly. A couple of disco/soul songs, limiting ballads to say three or four out of sixteen or so. He has to avoid being too trendy, cos he has a unique style of his own, his trademark. The key concept is songs that people can dance to, after all that is what the public remember Michael Jackson for. Is this Michael Jackson's last album, I predict we'll see the next one within four years. Hope you liked the review, I'm outta here.
Here we go, pop fans, the waiting is over, the guessing and wondering can now stop, he's back. I was going crazy waiting to buy this album, I didn't even listen to it before buying it, just went into the shop, picked up a copy, and paid for it and promptly went home! The question is, has he got what it takes to be the trendsetter and groundbreaker? I ain't gonna beat around the bush, some will love the album, whilst some will hate it. I personally like the album, and am currently writing this review whilst listening to it the first time around! I'm gonna break it down for you song by song, so that I can give you guys a complete run down of 'Invincible'. Everyone sitting comfortably? Good, well let's begin..
Unbreakable: They often say first impressions count, and I gotta say I was impressed. The piano solo intro has a killer hook, and has a retro sound to it, although Rodney Jerkins has done a sterling job in keepin the arrangement and vibe modern and fresh. The track has a bounce to it, and can be recognised as a Michael Jackson song. In this sense jerkins has succeeded, cos he wanted to give Jackson the magic of old, but keep it sounding modern. This was, at one stage meant to be the title cut from the album, but it was deemed because it featured the Notorious B.I.G, was unsuitable because some people would have said that Biggie was being used by Jacko to boost sales. To be honest, I can't hear any of Brandy's backing vocals in the song, hmmm, must be going deaf in old age. By the way peeps, the sample rap was from 'I Can't Stop The Reign.'
Heartbreaker: Once again, I was impressed by the intro, it's got the syncopated stop-start beats seen recently in Destiny's Child's latest album, and in all of Timbaland's work for Aaliyah and Ginuwine. Sure, some people will say that it doesn't sound like a typical Michael Jackson song, but at least it's fresh. It's got some attitude to the bassline, and has got a neat little bridge to it. The vocal style is slightly 'harder' and edgier than I expected- I thought Rodney Jerkins would have promoted the more soulful style, as was harnessed in 'You Rock My World'. In essence, this is a modern Michael Jackson song. Like it or hate it, the choice is yours. I just realised, the song reminds me of 'The Game Is Over' off the new NSYNC album, and this is due to the fact that Alex Greggs helped put together the track- he is the link between NSYNC and Jacko! Call me a sad git for knowing that, you know you want to!
Invincible: Teddy Riley's student, Rodney Jerkins sure did learn how to put a decent bassline together- it's a killer hook. Solid bounce, good range bass, good flutter from the treble. Bruce Swedien, who produced on most of Michael's albums since 'Bad', makes his return on this song. He's a welcome addition, after all, he worked with Quincy Jones in the past! I liked the verses, but I felt that the chorus could have been stronger, the breaking down of the title into its syllables was not the best treatment in my opinion. Little note, this is the first song so far that Michael sings 'hee hee' . Hooray for the good ol' days! Not the strongest song, but the verses, music and bassline make it far from being the weakest song.
Break Of Dawn: The synthesisers make a come back in this mid tempo RnB number. The soul is back in the voice, and has a old school vibe to it. Newcomer Dr. Freeze makes his debut under the tutelage of Teddy Riley. Geez can Teddy teach how to produce or what! Freeze also gets to donate his backing vocals to the track. This song is a contemporary track that oozes polish and class. The lyrics are tight, and shows that Jacko can do a sensual love song with the best of the young guns. It's a modern 'Rock With You' variation. Hardcore fans may say that it's not a typical song for MJ, but he has to stay relevant. Otherwise he would bomb!
Heaven Can Wait. Here's the song that marks 'Dangerous' producer Teddy Riley's first contribution to the album. It's got this bassline that incorporates Teddy's classic double beat bassline, like the one used for Blackstreet. Dr. Freeze, Bruce Swedien all feature in production. That might be one of the problems of the track. To me, its meant to be a typical Teddy track, but Swedien's input changes the vibe to it a bit, making it a bit more softer RnB. Teddy needed to do this track alone. He has the pedigree, he did do half of the 'Dangerous' album! Jackson's ad libbing towards the end is a bit weak by his standards. The backing vocals by Freeze and Que mask this well. There's a nice string arrangement at the end. Good song that could have been better without Michael Jackson and Bruce Swedien putting their oars in. It's a case of too many cooks spoiling the broth.
You Rock My World: Hey guys, we've all heard this song. Darkchild gave us a flavour of old school MJ vocals and modern basslines. I love the way the bass is accentuated in the chorus, it makes the chorus really stand out. In my opinion this is one of the standout tracks on the album. Having Chris Tucker at the start was a nice inclusion. His mimicking of Michael saying 'shom on' is a classic. Nice hint of self parody of Michael, as well as a clever bit of publicity associating himself with a well known fan (if in doubt see both Rush Hour films, then you'll understand what I mean). I can visualise Michael Jackson dancing when I listen to this song, in other words, it's a really catchy tune! This is what I mean when I say a trademark Michael Jackson song. Toe-tapping is required to a song like this. Backing vocals are real tight, and lead vocals show that a great artist can never permanently lose their touch.
Butterflies: it's always a risk when you use a relative unknown on the most important album of your career. I feel as though this song lacks presence, and identity. There's no hook to it as such, and just drifts along. Yeah, it's ok to listen to , but is no classic. Jacko does return to his falsetto-vocal style as last heard in the 'Off The Wall' album. The bassline is ok, nice click to it in the background. One of the reasons this song does not work for me is that only Andre Harris and Martha Ambrousis wrote it. Every other song has input from Michael, and as a result the song suffers. A weaker track, but still a solid track. I think that this song would've been better suited to a group, with a different vocalist for each verse. The backing vocals are solid though. It's reminiscent of earlier works, especially with the horns and brass instruments playing- nostaligic.
Speechless: First note from this song reminded me of 'You Are Not Alone'. The lyrics are well put together, although it sounds a bit dated. I guess it's just his age showing. Heck I'd like to see people like us be in their mid-forties and still walk the walk and talk the talk! I don't think so! This is one of the orchestral tracks that has a choral backing. I gotta say that the chorus could have been stronger, it's a bit repetitive, and simple. Bit cabaret-ish. At least it's a short song, at about three and a half minutes long! It's not the sort of song I wanted to see on the album. I wanted 'in your face' songs that you could shake your booty to.
2000 Watts: Teddy's back at it again. The title of the song had me expecting a killer track, and I got it. Characteristic ad libs from Teddy, big bass, and lyrics that have nothing to do with love (yay!). One thing that grabbed me by the ears and swung me around was the realisation that it sounds NOTHING like Michael Jackson! I had to hear the song again, checking my woofer making sure that I wasn't experiencing technical problems. The voice is deeper, and harder. I thought to myself, is this Michael Jackson?? It's a solid RnB song, and would probably be a bigger hit had someone else had sung it. People will say that its not Jacko's style, but it is my cup of tea. Got a nice musical interlude for Jacko to dance to, and definitely sounds fresh. A funky song to mark the second half of the album. New Jack Swing as done by Michael Jackson.
You Are My Life: Seems like Michael's going through the producer's list of who's who. Babyface is the latest one. This song has the characteristic guitar (played by 'Face) as well as the haunting, floating backing vocals. Although, the lyrics aren't too hot, and lacks a killer punch. Reminds me of the ballads from earlier albums, but not as good. I was disappointed with Babyface's feeble contribution. Maybe the rumours are true, Babyface is losing it. Bit too sugary and soppy for my liking. It is well produced, but the chorus is pretty dire to say the least. Were they not listening to the song when recording it?
Privacy: Rodney Jerkins is back for this one, and already I'm happy. The title suggests an autobiographical, self-referential song, and you'd be right to assume so. It's one of them songs that is like 'Leave Me Alone' from the 'Bad' album, or 'Tabloid Junkie' from the 'HIStory' album. It's got a slower, rockier pace. Reminds me of his earlier cover version of 'Come Together'. I thought that musically, 'Leave Me Alone' was the strongest of the trio, but I like 'Tabloid Junkie' for it's sheer impact and presence. Competent guitar solo from David Thompson. I reckon there's no real need for this sort of song. Invasion of privacy is the price that you have to pay for fame. It's an ok song, not awesome, and not crap.
Don't Walk Away: There's a Babyface type intro, but is in fact a Teddy Riley song. Nice lyrics, and its essentially a decent, solid mid-tempo-ballad. Richard Stites does a decent job adding his backing vocals, and the string arrangement by Teddy is top-notch. It's a song that is less RnB and more pop/MOR. A departure for Teddy, and adds another string onto Michael's bow. Nice stripped out song that is good to chill out to. Sure it ain't in the same league as 'Human Nature' but a good track. I liked it.
Cry: Professional critics have been hyping this song up as a major song. The master of the epic song, R. Kelly wrote and produced the song. It's an evolution of 'You Are Not Alone' which was also written by Kelly. It's got a nice clicky bassline and is memorable by the absence of bass and low range drums in general. It's a good song, and R Kelly has succeeded in not making a song that was as overblown as 'The Storm Is Over' I'm gaggin just thinking abut that song. Back to 'Cry', nice arrangement, good lyrics, good song. I like the use of the choir at the end of the song-sounds great loud, but nowhere near as good as the 'Man In The Mirror' choir. I reckon this might be the next single if he releases a ballad. Maybe needs to be bit more memorable.
The Lost Children: A bad idea. I don't like the 'message' songs, cos I feel as though they don't stick to the theme of the album. Also, the allegations of years gone by should have made him avoid reminding the cynics out there about what may have happened. I fell as though it's bland, and lets me honest, you can't dance to a song about lost kids can ya? For this song think 'Heal The World' part 2, or a sequel to Earth Song, without the lame chorus. How bout another song that would blow us away like 'Thriller' or something? Listen to the fans, not your ego and management, Jacko! Destined to be a christmas song.
Whatever Happens: We're getting towards the end of the album, and this is Teddy's last contribution. Carlos Santana makes an appearance, and is one of the standout tracks. Teddy demonstrates that he can do non- New Jack Swing songs. Good guitar work from Santana, solid production form Teddy, and Michael sang well. The orchestral backing is a nice inclusion, makes it sound swish. MJ does some decent ad libbing and sounds as relevant as ever on the track.
Threatened: This is how he must be feeling at this moment in time. This is an ok song, Rodney Jerkins uses a good bouncy bassline, but could've been a little more different from basslines heard in the past. Darkchild didn't live up to his claim that the album was full of new beats. Teddy did the business, but Darkchild used variations of the same blueprint. He didn't produce clones, but some cynics may claim he did. Another self-referential song, that sample CBS's Rod Sterling. Nice touch, helped fill out the song, and give it a little more complexity.
Right folks, that's it- Invincible all reviewed. Here's the bottom line. No matter what Michael Jackson released he was gonna get dissed. If he released a 'Thriller mark 2' they'd say he was using an old formula and not being up to date. If he was to release an experimental album, then they'd say he lost the plot. I reckon 'Invincible' falls in between the two. It's got some good songs on it, like '2000 watts', 'You Rock My World' and 'Whatever Happens' but also has songs like 'The Lost Children', 'You Are My Life' and 'Butterflies' . I'd personally sad that it isn't as good as 'Off The Wall'. 'Thriller', 'Bad' or 'Dangerous' but superior to the new songs on 'HIStory' and 'History in the Mix'. A decent attempt, but if he had spent more time listening to the fans, and less time writing about the lost children, he could've reclaimed his throne as the King of Pop. Of the sixteen songs on the album, I liked about ten of them, which ain't bad!
Aside from the album, you gotta remember Michael Jackson's role in music today. He is the role model for many a pop star at the moment. Think about Usher, his performance style has been lifted from Jacko. The throwing around of the mic stand is straight outta 'Smooth Criminal'. Sisqo dons the fedora, does the spins, moonwalks and stuff. Justin Timberlake, in my opinion is one of the more talented followers, he's got the moves, that's for sure. Even the whole idea of dancing with a troupe of dancers was thought up for 'Thriller' and everyone has done it since. In Britney Spears' rendition of 'Satisfaction' they final ad libs over the chorus is based on that of 'Smooth Criminal'. Note that Darkchild did the Britney track. No-one can fuse pop, rock and RnB quite like Jacko. He may not be up to the standards of times gone by, but if 'Invincible' was done by someone else, it may well have been acclaimed. He still is a legend in my eyes, and this may be the wake up call that has been long overdue. I regard Michael Jackson as a product of the times. When 'Off The Wall' was released, disco was very big, an this was reflected in the content. 'Thriller' was released at a time when disco was fusing with soul, and I'd say that 'Thriller' was the best ever example of this. Also, it was a very brave album, who had heard of a song like 'Thriller' before its release? 'Bad' came at a time when soft rock was big, and 'Dangerous' was released when RnB was increasing in popularity. The problem is that Michael Jackson's fanbase have grown up and changed their musical tastes, remember his is a career lasting for 30 years. Old fans won't like what he's done, but younger fans will think of him possibly as 'uncool'. I am lucky enough to have grown up around music and appreciate all sorts of music and am pretty open minded.
'Invincible' is an evolution of 'Dangerous'- RnB is becoming more and more mainstream, just check out anything done by Stargate, or the Max Martin Chieron production studios based in Sweden (Backstreet Boys, Britney, NSYNC), Destiny's Child. Even Sisqo is RnB-pop thanks to the likes of Tim and Bob who did the 'Thong Song'. I think though that although MJ was a barometer for the time, the innovation seen in earlier yearss was never found again. For Michael Jackson to find the old magic there is only one answer: the right production and writing team. Here's my dream team- Quincy Jones executive producing, Rod Temperton as the main writer along with Quincy and Michael, Teddy Riley and Rodney Jerkins working as co-producers to QJ and Temperton, allowing a contemporary feel. Free Michael up from his 'message' songs, and put the funk back into his music. Do videos with the director of 'Thriller', as well as Hype Williams. I was wondering, where was the songs done with The Neptunes, Swizz Beatz, Sisqo, and Destiny's Child. Heck, I'm just glad the rumoured Will Smith- MJ duet didn't materialise! Another thing, if Jacko wants to do a decent ballad, Beyonce Knowles can produce killer tracks. A new duet with Stevie Wonder would be awesome, following up the amazing 'Just Good Friends'. Other good partners in a duet would be Michael McDonald, Luther Vandross, or a great one would be Charlie Wilson of the Gap Band. Sure they're of a generation gone by, byt the quality of the song is paramount. In 1988, Stevie Wonder was not at the height of his powers, but the song rocks . The sound that I would recommend for the album is a mixture of RnB, keeping it fresh, but also a new fusion of rock and pop, in the aftermath of Limp Bizkit etc. Edgy guitars would work brilliantly. A couple of disco/soul songs, limiting ballads to say three or four out of sixteen or so. He has to avoid being too trendy, cos he has a unique style of his own, his trademark. The key concept is songs that people can dance to, after all that is what the public remember Michael Jackson for. Is this Michael Jackson's last album, I predict we'll see the next one within four years. Hope you liked the review, I'm outta here.
thank you boy goat
*thinks*
hmm are you serious?
*thinks*
hmm are you serious?
No.
oh my gawd thats way too long for my brain to take
just answer me this in a simple yes or no
is michael jacksons new album any good?
just answer me this in a simple yes or no
is michael jacksons new album any good?
Anyone seen Se7en?
John Doe's diaries?
(I think you know what I mean)
John Doe's diaries?
(I think you know what I mean)
This would even scare Dan...
I talk
Crikey.
Michael Jackson - 'Invincible'
Here we go, pop fans, the waiting is over, the guessing and wondering can now stop, he's back. I was going crazy waiting to buy this album, I didn't even listen to it before buying it, just went into the shop, picked up a copy, and paid for it and promptly went home! The question is, has he got what it takes to be the trendsetter and groundbreaker? I ain't gonna beat around the bush, some will love the album, whilst some will hate it. I personally like the album, and am currently writing this review whilst listening to it the first time around! I'm gonna break it down for you song by song, so that I can give you guys a complete run down of 'Invincible'. Everyone sitting comfortably? Good, well let's begin..
Unbreakable: They often say first impressions count, and I gotta say I was impressed. The piano solo intro has a killer hook, and has a retro sound to it, although Rodney Jerkins has done a sterling job in keepin the arrangement and vibe modern and fresh. The track has a bounce to it, and can be recognised as a Michael Jackson song. In this sense jerkins has succeeded, cos he wanted to give Jackson the magic of old, but keep it sounding modern. This was, at one stage meant to be the title cut from the album, but it was deemed because it featured the Notorious B.I.G, was unsuitable because some people would have said that Biggie was being used by Jacko to boost sales. To be honest, I can't hear any of Brandy's backing vocals in the song, hmmm, must be going deaf in old age. By the way peeps, the sample rap was from 'I Can't Stop The Reign.'
Heartbreaker: Once again, I was impressed by the intro, it's got the syncopated stop-start beats seen recently in Destiny's Child's latest album, and in all of Timbaland's work for Aaliyah and Ginuwine. Sure, some people will say that it doesn't sound like a typical Michael Jackson song, but at least it's fresh. It's got some attitude to the bassline, and has got a neat little bridge to it. The vocal style is slightly 'harder' and edgier than I expected- I thought Rodney Jerkins would have promoted the more soulful style, as was harnessed in 'You Rock My World'. In essence, this is a modern Michael Jackson song. Like it or hate it, the choice is yours. I just realised, the song reminds me of 'The Game Is Over' off the new NSYNC album, and this is due to the fact that Alex Greggs helped put together the track- he is the link between NSYNC and Jacko! Call me a sad git for knowing that, you know you want to!
Invincible: Teddy Riley's student, Rodney Jerkins sure did learn how to put a decent bassline together- it's a killer hook. Solid bounce, good range bass, good flutter from the treble. Bruce Swedien, who produced on most of Michael's albums since 'Bad', makes his return on this song. He's a welcome addition, after all, he worked with Quincy Jones in the past! I liked the verses, but I felt that the chorus could have been stronger, the breaking down of the title into its syllables was not the best treatment in my opinion. Little note, this is the first song so far that Michael sings 'hee hee' . Hooray for the good ol' days! Not the strongest song, but the verses, music and bassline make it far from being the weakest song.
Break Of Dawn: The synthesisers make a come back in this mid tempo RnB number. The soul is back in the voice, and has a old school vibe to it. Newcomer Dr. Freeze makes his debut under the tutelage of Teddy Riley. Geez can Teddy teach how to produce or what! Freeze also gets to donate his backing vocals to the track. This song is a contemporary track that oozes polish and class. The lyrics are tight, and shows that Jacko can do a sensual love song with the best of the young guns. It's a modern 'Rock With You' variation. Hardcore fans may say that it's not a typical song for MJ, but he has to stay relevant. Otherwise he would bomb!
Heaven Can Wait. Here's the song that marks 'Dangerous' producer Teddy Riley's first contribution to the album. It's got this bassline that incorporates Teddy's classic double beat bassline, like the one used for Blackstreet. Dr. Freeze, Bruce Swedien all feature in production. That might be one of the problems of the track. To me, its meant to be a typical Teddy track, but Swedien's input changes the vibe to it a bit, making it a bit more softer RnB. Teddy needed to do this track alone. He has the pedigree, he did do half of the 'Dangerous' album! Jackson's ad libbing towards the end is a bit weak by his standards. The backing vocals by Freeze and Que mask this well. There's a nice string arrangement at the end. Good song that could have been better without Michael Jackson and Bruce Swedien putting their oars in. It's a case of too many cooks spoiling the broth.
You Rock My World: Hey guys, we've all heard this song. Darkchild gave us a flavour of old school MJ vocals and modern basslines. I love the way the bass is accentuated in the chorus, it makes the chorus really stand out. In my opinion this is one of the standout tracks on the album. Having Chris Tucker at the start was a nice inclusion. His mimicking of Michael saying 'shom on' is a classic. Nice hint of self parody of Michael, as well as a clever bit of publicity associating himself with a well known fan (if in doubt see both Rush Hour films, then you'll understand what I mean). I can visualise Michael Jackson dancing when I listen to this song, in other words, it's a really catchy tune! This is what I mean when I say a trademark Michael Jackson song. Toe-tapping is required to a song like this. Backing vocals are real tight, and lead vocals show that a great artist can never permanently lose their touch.
Butterflies: it's always a risk when you use a relative unknown on the most important album of your career. I feel as though this song lacks presence, and identity. There's no hook to it as such, and just drifts along. Yeah, it's ok to listen to , but is no classic. Jacko does return to his falsetto-vocal style as last heard in the 'Off The Wall' album. The bassline is ok, nice click to it in the background. One of the reasons this song does not work for me is that only Andre Harris and Martha Ambrousis wrote it. Every other song has input from Michael, and as a result the song suffers. A weaker track, but still a solid track. I think that this song would've been better suited to a group, with a different vocalist for each verse. The backing vocals are solid though. It's reminiscent of earlier works, especially with the horns and brass instruments playing- nostaligic.
Speechless: First note from this song reminded me of 'You Are Not Alone'. The lyrics are well put together, although it sounds a bit dated. I guess it's just his age showing. Heck I'd like to see people like us be in their mid-forties and still walk the walk and talk the talk! I don't think so! This is one of the orchestral tracks that has a choral backing. I gotta say that the chorus could have been stronger, it's a bit repetitive, and simple. Bit cabaret-ish. At least it's a short song, at about three and a half minutes long! It's not the sort of song I wanted to see on the album. I wanted 'in your face' songs that you could shake your booty to.
2000 Watts: Teddy's back at it again. The title of the song had me expecting a killer track, and I got it. Characteristic ad libs from Teddy, big bass, and lyrics that have nothing to do with love (yay!). One thing that grabbed me by the ears and swung me around was the realisation that it sounds NOTHING like Michael Jackson! I had to hear the song again, checking my woofer making sure that I wasn't experiencing technical problems. The voice is deeper, and harder. I thought to myself, is this Michael Jackson?? It's a solid RnB song, and would probably be a bigger hit had someone else had sung it. People will say that its not Jacko's style, but it is my cup of tea. Got a nice musical interlude for Jacko to dance to, and definitely sounds fresh. A funky song to mark the second half of the album. New Jack Swing as done by Michael Jackson.
You Are My Life: Seems like Michael's going through the producer's list of who's who. Babyface is the latest one. This song has the characteristic guitar (played by 'Face) as well as the haunting, floating backing vocals. Although, the lyrics aren't too hot, and lacks a killer punch. Reminds me of the ballads from earlier albums, but not as good. I was disappointed with Babyface's feeble contribution. Maybe the rumours are true, Babyface is losing it. Bit too sugary and soppy for my liking. It is well produced, but the chorus is pretty dire to say the least. Were they not listening to the song when recording it?
Privacy: Rodney Jerkins is back for this one, and already I'm happy. The title suggests an autobiographical, self-referential song, and you'd be right to assume so. It's one of them songs that is like 'Leave Me Alone' from the 'Bad' album, or 'Tabloid Junkie' from the 'HIStory' album. It's got a slower, rockier pace. Reminds me of his earlier cover version of 'Come Together'. I thought that musically, 'Leave Me Alone' was the strongest of the trio, but I like 'Tabloid Junkie' for it's sheer impact and presence. Competent guitar solo from David Thompson. I reckon there's no real need for this sort of song. Invasion of privacy is the price that you have to pay for fame. It's an ok song, not awesome, and not crap.
Don't Walk Away: There's a Babyface type intro, but is in fact a Teddy Riley song. Nice lyrics, and its essentially a decent, solid mid-tempo-ballad. Richard Stites does a decent job adding his backing vocals, and the string arrangement by Teddy is top-notch. It's a song that is less RnB and more pop/MOR. A departure for Teddy, and adds another string onto Michael's bow. Nice stripped out song that is good to chill out to. Sure it ain't in the same league as 'Human Nature' but a good track. I liked it.
Cry: Professional critics have been hyping this song up as a major song. The master of the epic song, R. Kelly wrote and produced the song. It's an evolution of 'You Are Not Alone' which was also written by Kelly. It's got a nice clicky bassline and is memorable by the absence of bass and low range drums in general. It's a good song, and R Kelly has succeeded in not making a song that was as overblown as 'The Storm Is Over' I'm gaggin just thinking abut that song. Back to 'Cry', nice arrangement, good lyrics, good song. I like the use of the choir at the end of the song-sounds great loud, but nowhere near as good as the 'Man In The Mirror' choir. I reckon this might be the next single if he releases a ballad. Maybe needs to be bit more memorable.
The Lost Children: A bad idea. I don't like the 'message' songs, cos I feel as though they don't stick to the theme of the album. Also, the allegations of years gone by should have made him avoid reminding the cynics out there about what may have happened. I fell as though it's bland, and lets me honest, you can't dance to a song about lost kids can ya? For this song think 'Heal The World' part 2, or a sequel to Earth Song, without the lame chorus. How bout another song that would blow us away like 'Thriller' or something? Listen to the fans, not your ego and management, Jacko! Destined to be a christmas song.
Whatever Happens: We're getting towards the end of the album, and this is Teddy's last contribution. Carlos Santana makes an appearance, and is one of the standout tracks. Teddy demonstrates that he can do non- New Jack Swing songs. Good guitar work from Santana, solid production form Teddy, and Michael sang well. The orchestral backing is a nice inclusion, makes it sound swish. MJ does some decent ad libbing and sounds as relevant as ever on the track.
Threatened: This is how he must be feeling at this moment in time. This is an ok song, Rodney Jerkins uses a good bouncy bassline, but could've been a little more different from basslines heard in the past. Darkchild didn't live up to his claim that the album was full of new beats. Teddy did the business, but Darkchild used variations of the same blueprint. He didn't produce clones, but some cynics may claim he did. Another self-referential song, that sample CBS's Rod Sterling. Nice touch, helped fill out the song, and give it a little more complexity.
Right folks, that's it- Invincible all reviewed. Here's the bottom line. No matter what Michael Jackson released he was gonna get dissed. If he released a 'Thriller mark 2' they'd say he was using an old formula and not being up to date. If he was to release an experimental album, then they'd say he lost the plot. I reckon 'Invincible' falls in between the two. It's got some good songs on it, like '2000 watts', 'You Rock My World' and 'Whatever Happens' but also has songs like 'The Lost Children', 'You Are My Life' and 'Butterflies' . I'd personally sad that it isn't as good as 'Off The Wall'. 'Thriller', 'Bad' or 'Dangerous' but superior to the new songs on 'HIStory' and 'History in the Mix'. A decent attempt, but if he had spent more time listening to the fans, and less time writing about the lost children, he could've reclaimed his throne as the King of Pop. Of the sixteen songs on the album, I liked about ten of them, which ain't bad!
Aside from the album, you gotta remember Michael Jackson's role in music today. He is the role model for many a pop star at the moment. Think about Usher, his performance style has been lifted from Jacko. The throwing around of the mic stand is straight outta 'Smooth Criminal'. Sisqo dons the fedora, does the spins, moonwalks and stuff. Justin Timberlake, in my opinion is one of the more talented followers, he's got the moves, that's for sure. Even the whole idea of dancing with a troupe of dancers was thought up for 'Thriller' and everyone has done it since. In Britney Spears' rendition of 'Satisfaction' they final ad libs over the chorus is based on that of 'Smooth Criminal'. Note that Darkchild did the Britney track. No-one can fuse pop, rock and RnB quite like Jacko. He may not be up to the standards of times gone by, but if 'Invincible' was done by someone else, it may well have been acclaimed. He still is a legend in my eyes, and this may be the wake up call that has been long overdue. I regard Michael Jackson as a product of the times. When 'Off The Wall' was released, disco was very big, an this was reflected in the content. 'Thriller' was released at a time when disco was fusing with soul, and I'd say that 'Thriller' was the best ever example of this. Also, it was a very brave album, who had heard of a song like 'Thriller' before its release? 'Bad' came at a time when soft rock was big, and 'Dangerous' was released when RnB was increasing in popularity. The problem is that Michael Jackson's fanbase have grown up and changed their musical tastes, remember his is a career lasting for 30 years. Old fans won't like what he's done, but younger fans will think of him possibly as 'uncool'. I am lucky enough to have grown up around music and appreciate all sorts of music and am pretty open minded.
'Invincible' is an evolution of 'Dangerous'- RnB is becoming more and more mainstream, just check out anything done by Stargate, or the Max Martin Chieron production studios based in Sweden (Backstreet Boys, Britney, NSYNC), Destiny's Child. Even Sisqo is RnB-pop thanks to the likes of Tim and Bob who did the 'Thong Song'. I think though that although MJ was a barometer for the time, the innovation seen in earlier yearss was never found again. For Michael Jackson to find the old magic there is only one answer: the right production and writing team. Here's my dream team- Quincy Jones executive producing, Rod Temperton as the main writer along with Quincy and Michael, Teddy Riley and Rodney Jerkins working as co-producers to QJ and Temperton, allowing a contemporary feel. Free Michael up from his 'message' songs, and put the funk back into his music. Do videos with the director of 'Thriller', as well as Hype Williams. I was wondering, where was the songs done with The Neptunes, Swizz Beatz, Sisqo, and Destiny's Child. Heck, I'm just glad the rumoured Will Smith- MJ duet didn't materialise! Another thing, if Jacko wants to do a decent ballad, Beyonce Knowles can produce killer tracks. A new duet with Stevie Wonder would be awesome, following up the amazing 'Just Good Friends'. Other good partners in a duet would be Michael McDonald, Luther Vandross, or a great one would be Charlie Wilson of the Gap Band. Sure they're of a generation gone by, byt the quality of the song is paramount. In 1988, Stevie Wonder was not at the height of his powers, but the song rocks . The sound that I would recommend for the album is a mixture of RnB, keeping it fresh, but also a new fusion of rock and pop, in the aftermath of Limp Bizkit etc. Edgy guitars would work brilliantly. A couple of disco/soul songs, limiting ballads to say three or four out of sixteen or so. He has to avoid being too trendy, cos he has a unique style of his own, his trademark. The key concept is songs that people can dance to, after all that is what the public remember Michael Jackson for. Is this Michael Jackson's last album, I predict we'll see the next one within four years. Hope you liked the review, I'm outta here.
Here we go, pop fans, the waiting is over, the guessing and wondering can now stop, he's back. I was going crazy waiting to buy this album, I didn't even listen to it before buying it, just went into the shop, picked up a copy, and paid for it and promptly went home! The question is, has he got what it takes to be the trendsetter and groundbreaker? I ain't gonna beat around the bush, some will love the album, whilst some will hate it. I personally like the album, and am currently writing this review whilst listening to it the first time around! I'm gonna break it down for you song by song, so that I can give you guys a complete run down of 'Invincible'. Everyone sitting comfortably? Good, well let's begin..
Unbreakable: They often say first impressions count, and I gotta say I was impressed. The piano solo intro has a killer hook, and has a retro sound to it, although Rodney Jerkins has done a sterling job in keepin the arrangement and vibe modern and fresh. The track has a bounce to it, and can be recognised as a Michael Jackson song. In this sense jerkins has succeeded, cos he wanted to give Jackson the magic of old, but keep it sounding modern. This was, at one stage meant to be the title cut from the album, but it was deemed because it featured the Notorious B.I.G, was unsuitable because some people would have said that Biggie was being used by Jacko to boost sales. To be honest, I can't hear any of Brandy's backing vocals in the song, hmmm, must be going deaf in old age. By the way peeps, the sample rap was from 'I Can't Stop The Reign.'
Heartbreaker: Once again, I was impressed by the intro, it's got the syncopated stop-start beats seen recently in Destiny's Child's latest album, and in all of Timbaland's work for Aaliyah and Ginuwine. Sure, some people will say that it doesn't sound like a typical Michael Jackson song, but at least it's fresh. It's got some attitude to the bassline, and has got a neat little bridge to it. The vocal style is slightly 'harder' and edgier than I expected- I thought Rodney Jerkins would have promoted the more soulful style, as was harnessed in 'You Rock My World'. In essence, this is a modern Michael Jackson song. Like it or hate it, the choice is yours. I just realised, the song reminds me of 'The Game Is Over' off the new NSYNC album, and this is due to the fact that Alex Greggs helped put together the track- he is the link between NSYNC and Jacko! Call me a sad git for knowing that, you know you want to!
Invincible: Teddy Riley's student, Rodney Jerkins sure did learn how to put a decent bassline together- it's a killer hook. Solid bounce, good range bass, good flutter from the treble. Bruce Swedien, who produced on most of Michael's albums since 'Bad', makes his return on this song. He's a welcome addition, after all, he worked with Quincy Jones in the past! I liked the verses, but I felt that the chorus could have been stronger, the breaking down of the title into its syllables was not the best treatment in my opinion. Little note, this is the first song so far that Michael sings 'hee hee' . Hooray for the good ol' days! Not the strongest song, but the verses, music and bassline make it far from being the weakest song.
Break Of Dawn: The synthesisers make a come back in this mid tempo RnB number. The soul is back in the voice, and has a old school vibe to it. Newcomer Dr. Freeze makes his debut under the tutelage of Teddy Riley. Geez can Teddy teach how to produce or what! Freeze also gets to donate his backing vocals to the track. This song is a contemporary track that oozes polish and class. The lyrics are tight, and shows that Jacko can do a sensual love song with the best of the young guns. It's a modern 'Rock With You' variation. Hardcore fans may say that it's not a typical song for MJ, but he has to stay relevant. Otherwise he would bomb!
Heaven Can Wait. Here's the song that marks 'Dangerous' producer Teddy Riley's first contribution to the album. It's got this bassline that incorporates Teddy's classic double beat bassline, like the one used for Blackstreet. Dr. Freeze, Bruce Swedien all feature in production. That might be one of the problems of the track. To me, its meant to be a typical Teddy track, but Swedien's input changes the vibe to it a bit, making it a bit more softer RnB. Teddy needed to do this track alone. He has the pedigree, he did do half of the 'Dangerous' album! Jackson's ad libbing towards the end is a bit weak by his standards. The backing vocals by Freeze and Que mask this well. There's a nice string arrangement at the end. Good song that could have been better without Michael Jackson and Bruce Swedien putting their oars in. It's a case of too many cooks spoiling the broth.
You Rock My World: Hey guys, we've all heard this song. Darkchild gave us a flavour of old school MJ vocals and modern basslines. I love the way the bass is accentuated in the chorus, it makes the chorus really stand out. In my opinion this is one of the standout tracks on the album. Having Chris Tucker at the start was a nice inclusion. His mimicking of Michael saying 'shom on' is a classic. Nice hint of self parody of Michael, as well as a clever bit of publicity associating himself with a well known fan (if in doubt see both Rush Hour films, then you'll understand what I mean). I can visualise Michael Jackson dancing when I listen to this song, in other words, it's a really catchy tune! This is what I mean when I say a trademark Michael Jackson song. Toe-tapping is required to a song like this. Backing vocals are real tight, and lead vocals show that a great artist can never permanently lose their touch.
Butterflies: it's always a risk when you use a relative unknown on the most important album of your career. I feel as though this song lacks presence, and identity. There's no hook to it as such, and just drifts along. Yeah, it's ok to listen to , but is no classic. Jacko does return to his falsetto-vocal style as last heard in the 'Off The Wall' album. The bassline is ok, nice click to it in the background. One of the reasons this song does not work for me is that only Andre Harris and Martha Ambrousis wrote it. Every other song has input from Michael, and as a result the song suffers. A weaker track, but still a solid track. I think that this song would've been better suited to a group, with a different vocalist for each verse. The backing vocals are solid though. It's reminiscent of earlier works, especially with the horns and brass instruments playing- nostaligic.
Speechless: First note from this song reminded me of 'You Are Not Alone'. The lyrics are well put together, although it sounds a bit dated. I guess it's just his age showing. Heck I'd like to see people like us be in their mid-forties and still walk the walk and talk the talk! I don't think so! This is one of the orchestral tracks that has a choral backing. I gotta say that the chorus could have been stronger, it's a bit repetitive, and simple. Bit cabaret-ish. At least it's a short song, at about three and a half minutes long! It's not the sort of song I wanted to see on the album. I wanted 'in your face' songs that you could shake your booty to.
2000 Watts: Teddy's back at it again. The title of the song had me expecting a killer track, and I got it. Characteristic ad libs from Teddy, big bass, and lyrics that have nothing to do with love (yay!). One thing that grabbed me by the ears and swung me around was the realisation that it sounds NOTHING like Michael Jackson! I had to hear the song again, checking my woofer making sure that I wasn't experiencing technical problems. The voice is deeper, and harder. I thought to myself, is this Michael Jackson?? It's a solid RnB song, and would probably be a bigger hit had someone else had sung it. People will say that its not Jacko's style, but it is my cup of tea. Got a nice musical interlude for Jacko to dance to, and definitely sounds fresh. A funky song to mark the second half of the album. New Jack Swing as done by Michael Jackson.
You Are My Life: Seems like Michael's going through the producer's list of who's who. Babyface is the latest one. This song has the characteristic guitar (played by 'Face) as well as the haunting, floating backing vocals. Although, the lyrics aren't too hot, and lacks a killer punch. Reminds me of the ballads from earlier albums, but not as good. I was disappointed with Babyface's feeble contribution. Maybe the rumours are true, Babyface is losing it. Bit too sugary and soppy for my liking. It is well produced, but the chorus is pretty dire to say the least. Were they not listening to the song when recording it?
Privacy: Rodney Jerkins is back for this one, and already I'm happy. The title suggests an autobiographical, self-referential song, and you'd be right to assume so. It's one of them songs that is like 'Leave Me Alone' from the 'Bad' album, or 'Tabloid Junkie' from the 'HIStory' album. It's got a slower, rockier pace. Reminds me of his earlier cover version of 'Come Together'. I thought that musically, 'Leave Me Alone' was the strongest of the trio, but I like 'Tabloid Junkie' for it's sheer impact and presence. Competent guitar solo from David Thompson. I reckon there's no real need for this sort of song. Invasion of privacy is the price that you have to pay for fame. It's an ok song, not awesome, and not crap.
Don't Walk Away: There's a Babyface type intro, but is in fact a Teddy Riley song. Nice lyrics, and its essentially a decent, solid mid-tempo-ballad. Richard Stites does a decent job adding his backing vocals, and the string arrangement by Teddy is top-notch. It's a song that is less RnB and more pop/MOR. A departure for Teddy, and adds another string onto Michael's bow. Nice stripped out song that is good to chill out to. Sure it ain't in the same league as 'Human Nature' but a good track. I liked it.
Cry: Professional critics have been hyping this song up as a major song. The master of the epic song, R. Kelly wrote and produced the song. It's an evolution of 'You Are Not Alone' which was also written by Kelly. It's got a nice clicky bassline and is memorable by the absence of bass and low range drums in general. It's a good song, and R Kelly has succeeded in not making a song that was as overblown as 'The Storm Is Over' I'm gaggin just thinking abut that song. Back to 'Cry', nice arrangement, good lyrics, good song. I like the use of the choir at the end of the song-sounds great loud, but nowhere near as good as the 'Man In The Mirror' choir. I reckon this might be the next single if he releases a ballad. Maybe needs to be bit more memorable.
The Lost Children: A bad idea. I don't like the 'message' songs, cos I feel as though they don't stick to the theme of the album. Also, the allegations of years gone by should have made him avoid reminding the cynics out there about what may have happened. I fell as though it's bland, and lets me honest, you can't dance to a song about lost kids can ya? For this song think 'Heal The World' part 2, or a sequel to Earth Song, without the lame chorus. How bout another song that would blow us away like 'Thriller' or something? Listen to the fans, not your ego and management, Jacko! Destined to be a christmas song.
Whatever Happens: We're getting towards the end of the album, and this is Teddy's last contribution. Carlos Santana makes an appearance, and is one of the standout tracks. Teddy demonstrates that he can do non- New Jack Swing songs. Good guitar work from Santana, solid production form Teddy, and Michael sang well. The orchestral backing is a nice inclusion, makes it sound swish. MJ does some decent ad libbing and sounds as relevant as ever on the track.
Threatened: This is how he must be feeling at this moment in time. This is an ok song, Rodney Jerkins uses a good bouncy bassline, but could've been a little more different from basslines heard in the past. Darkchild didn't live up to his claim that the album was full of new beats. Teddy did the business, but Darkchild used variations of the same blueprint. He didn't produce clones, but some cynics may claim he did. Another self-referential song, that sample CBS's Rod Sterling. Nice touch, helped fill out the song, and give it a little more complexity.
Right folks, that's it- Invincible all reviewed. Here's the bottom line. No matter what Michael Jackson released he was gonna get dissed. If he released a 'Thriller mark 2' they'd say he was using an old formula and not being up to date. If he was to release an experimental album, then they'd say he lost the plot. I reckon 'Invincible' falls in between the two. It's got some good songs on it, like '2000 watts', 'You Rock My World' and 'Whatever Happens' but also has songs like 'The Lost Children', 'You Are My Life' and 'Butterflies' . I'd personally sad that it isn't as good as 'Off The Wall'. 'Thriller', 'Bad' or 'Dangerous' but superior to the new songs on 'HIStory' and 'History in the Mix'. A decent attempt, but if he had spent more time listening to the fans, and less time writing about the lost children, he could've reclaimed his throne as the King of Pop. Of the sixteen songs on the album, I liked about ten of them, which ain't bad!
Aside from the album, you gotta remember Michael Jackson's role in music today. He is the role model for many a pop star at the moment. Think about Usher, his performance style has been lifted from Jacko. The throwing around of the mic stand is straight outta 'Smooth Criminal'. Sisqo dons the fedora, does the spins, moonwalks and stuff. Justin Timberlake, in my opinion is one of the more talented followers, he's got the moves, that's for sure. Even the whole idea of dancing with a troupe of dancers was thought up for 'Thriller' and everyone has done it since. In Britney Spears' rendition of 'Satisfaction' they final ad libs over the chorus is based on that of 'Smooth Criminal'. Note that Darkchild did the Britney track. No-one can fuse pop, rock and RnB quite like Jacko. He may not be up to the standards of times gone by, but if 'Invincible' was done by someone else, it may well have been acclaimed. He still is a legend in my eyes, and this may be the wake up call that has been long overdue. I regard Michael Jackson as a product of the times. When 'Off The Wall' was released, disco was very big, an this was reflected in the content. 'Thriller' was released at a time when disco was fusing with soul, and I'd say that 'Thriller' was the best ever example of this. Also, it was a very brave album, who had heard of a song like 'Thriller' before its release? 'Bad' came at a time when soft rock was big, and 'Dangerous' was released when RnB was increasing in popularity. The problem is that Michael Jackson's fanbase have grown up and changed their musical tastes, remember his is a career lasting for 30 years. Old fans won't like what he's done, but younger fans will think of him possibly as 'uncool'. I am lucky enough to have grown up around music and appreciate all sorts of music and am pretty open minded.
'Invincible' is an evolution of 'Dangerous'- RnB is becoming more and more mainstream, just check out anything done by Stargate, or the Max Martin Chieron production studios based in Sweden (Backstreet Boys, Britney, NSYNC), Destiny's Child. Even Sisqo is RnB-pop thanks to the likes of Tim and Bob who did the 'Thong Song'. I think though that although MJ was a barometer for the time, the innovation seen in earlier yearss was never found again. For Michael Jackson to find the old magic there is only one answer: the right production and writing team. Here's my dream team- Quincy Jones executive producing, Rod Temperton as the main writer along with Quincy and Michael, Teddy Riley and Rodney Jerkins working as co-producers to QJ and Temperton, allowing a contemporary feel. Free Michael up from his 'message' songs, and put the funk back into his music. Do videos with the director of 'Thriller', as well as Hype Williams. I was wondering, where was the songs done with The Neptunes, Swizz Beatz, Sisqo, and Destiny's Child. Heck, I'm just glad the rumoured Will Smith- MJ duet didn't materialise! Another thing, if Jacko wants to do a decent ballad, Beyonce Knowles can produce killer tracks. A new duet with Stevie Wonder would be awesome, following up the amazing 'Just Good Friends'. Other good partners in a duet would be Michael McDonald, Luther Vandross, or a great one would be Charlie Wilson of the Gap Band. Sure they're of a generation gone by, byt the quality of the song is paramount. In 1988, Stevie Wonder was not at the height of his powers, but the song rocks . The sound that I would recommend for the album is a mixture of RnB, keeping it fresh, but also a new fusion of rock and pop, in the aftermath of Limp Bizkit etc. Edgy guitars would work brilliantly. A couple of disco/soul songs, limiting ballads to say three or four out of sixteen or so. He has to avoid being too trendy, cos he has a unique style of his own, his trademark. The key concept is songs that people can dance to, after all that is what the public remember Michael Jackson for. Is this Michael Jackson's last album, I predict we'll see the next one within four years. Hope you liked the review, I'm outta here.