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Here we go, pop fans, the waiting is over, the guessing and wondering can now stop, heís back. I was going crazy waiting to buy this album, I didnít 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 ainít 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! Iím gonna break it down for you song by song, so that I can give you guys a complete run down of ëInvincibleí. Everyone sitting comfortably? Good, well letís 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 canít hear any of Brandyís backing vocals in the song, hmmm, must be going deaf in old age. By the way peeps, the sample rap was from ëI Canít Stop The Reign.í
Heartbreaker: Once again, I was impressed by the intro, itís got the syncopated stop-start beats seen recently in Destinyís Childís latest album, and in all of Timbalandís work for Aaliyah and Ginuwine. Sure, some people will say that it doesnít sound like a typical Michael Jackson song, but at least itís fresh. Itís got some attitude to the bassline, and has got a neat little bridge to it. The vocal style is slightly ëharderí and edgier than I expected- I thought Rodney Jerkins would have promoted the more soulful style, as was harnessed in ëYou Rock My Worldí. 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 ëThe Game Is Overí 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 Rileyís student, Rodney Jerkins sure did learn how to put a decent bassline together- itís a killer hook. Solid bounce, good range bass, good flutter from the treble. Bruce Swedien, who produced on most of Michaelís albums since ëBadí, makes his return on this song. Heís 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 ëhee heeí . Hooray for the good olí 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. Itís a modern ëRock With Youí variation. Hardcore fans may say that itís not a typical song for MJ, but he has to stay relevant. Otherwise he would bomb!
Heaven Can Wait. Hereís the song that marks ëDangerousí producer Teddy Rileyís first contribution to the album. Itís got this bassline that incorporates Teddyís 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 Swedienís 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 ëDangerousí album! Jacksonís ad libbing towards the end is a bit weak by his standards. The backing vocals by Freeze and Que mask this well. Thereís a nice string arrangement at the end. Good song that could have been better without Michael Jackson and Bruce Swedien putting their oars in. Itís a case of too many cooks spoiling the broth.
You Rock My World: Hey guys, weíve 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 ëshom oní 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 youíll understand what I mean). I can visualise Michael Jackson dancing when I listen to this song, in other words, itís a catchy tune! That boy good! 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: itís 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. Thereís no hook to it as such, and just drifts along. Yeah, itís ok to listen to , but is no classic. Jacko does return to his falsetto-vocal style as last heard in the ëOff The Wallí 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 wouldíve been better suited to a group, with a different vocalist for each verse. The backing vocals are solid though. Itís reminiscent of earlier works, especially with the horns and brass instruments playing- nostaligic.
Speechless: First note from this song reminded me of ëYou Are Not Aloneí. The lyrics are well put together, although it sounds a bit dated. I guess itís just his age showing. Heck Iíd like to see people like us be in their mid-forties and still walk the walk and talk the talk! I donít think so! This is one of the orchestral tracks that has a choral backing. I gotta say that the chorus could have been stronger, itís a bit repetitive, and simple. Bit cabaret-ish. At least itís a short song, at about three and a half minutes long! Itís not the sort of song I wanted to see on the album. I wanted ëin your faceí songs that you could shake your butt to.
2000 Watts: Teddyís 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 wasnít experiencing technical problems. The voice is deeper, and harder. I thought to myself, is this Michael Jackson?? Itís a solid RnB song, and would probably be a bigger hit had someone else had sung it. People will say that its not Jackoís 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 Michaelís going through the producerís list of whoís who. Babyface is the latest one. This song has the characteristic guitar (played by ëFace) as well as the haunting, floating backing vocals. Although, the lyrics arenít too hot, and lacks a killer punch. Reminds me of the ballads from earlier albums, but not as good. I was disappointed with Babyfaceís 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 Iím happy. The title suggests an autobiographical, self-referential song, and youíd be right to assume so. Itís one of them songs that is like ëLeave Me Aloneí from the ëBadí album, or ëTabloid Junkieí from the ëHIStoryí album. Itís got a slower, rockier pace. Reminds me of his earlier cover version of ëCome Togetherí. I thought that musically, ëLeave Me Aloneí was the strongest of the trio, but I like ëTabloid Junkieí for itís sheer impact and presence. Competent guitar solo from David Thompson. I reckon thereís no real need for this sort of song. Invasion of privacy is the price that you have to pay for fame. Itís an ok song, not awesome, and not crap.
Donít Walk Away: Thereís 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. Itís a song that is less RnB and more pop/MOR. A departure for Teddy, and adds another string onto Michaelís bow. Nice stripped out song that is good to chill out to. Sure it ainít in the same league as ëHuman Natureí 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. Itís an evolution of ëYou Are Not Aloneí which was also written by Kelly. Itís got a nice clicky bassline and is memorable by the absence of bass and low range drums in general. Itís a good song, and R Kelly has succeeded in not making a song that was as overblown as ëThe Storm Is Overí Iím gaggin just thinking abut that song. Back to ëCryí, 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 ëMan In The Mirrorí 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 donít like the ëmessageí songs, cos I feel as though they donít 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 itís bland, and lets me honest, you canít dance to a song about lost kids can ya? For this song think ëHeal The Worldí part 2, or a s
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 canít hear any of Brandyís backing vocals in the song, hmmm, must be going deaf in old age. By the way peeps, the sample rap was from ëI Canít Stop The Reign.í
Heartbreaker: Once again, I was impressed by the intro, itís got the syncopated stop-start beats seen recently in Destinyís Childís latest album, and in all of Timbalandís work for Aaliyah and Ginuwine. Sure, some people will say that it doesnít sound like a typical Michael Jackson song, but at least itís fresh. Itís got some attitude to the bassline, and has got a neat little bridge to it. The vocal style is slightly ëharderí and edgier than I expected- I thought Rodney Jerkins would have promoted the more soulful style, as was harnessed in ëYou Rock My Worldí. 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 ëThe Game Is Overí 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 Rileyís student, Rodney Jerkins sure did learn how to put a decent bassline together- itís a killer hook. Solid bounce, good range bass, good flutter from the treble. Bruce Swedien, who produced on most of Michaelís albums since ëBadí, makes his return on this song. Heís 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 ëhee heeí . Hooray for the good olí 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. Itís a modern ëRock With Youí variation. Hardcore fans may say that itís not a typical song for MJ, but he has to stay relevant. Otherwise he would bomb!
Heaven Can Wait. Hereís the song that marks ëDangerousí producer Teddy Rileyís first contribution to the album. Itís got this bassline that incorporates Teddyís 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 Swedienís 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 ëDangerousí album! Jacksonís ad libbing towards the end is a bit weak by his standards. The backing vocals by Freeze and Que mask this well. Thereís a nice string arrangement at the end. Good song that could have been better without Michael Jackson and Bruce Swedien putting their oars in. Itís a case of too many cooks spoiling the broth.
You Rock My World: Hey guys, weíve 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 ëshom oní 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 youíll understand what I mean). I can visualise Michael Jackson dancing when I listen to this song, in other words, itís a catchy tune! That boy good! 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: itís 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. Thereís no hook to it as such, and just drifts along. Yeah, itís ok to listen to , but is no classic. Jacko does return to his falsetto-vocal style as last heard in the ëOff The Wallí 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 wouldíve been better suited to a group, with a different vocalist for each verse. The backing vocals are solid though. Itís reminiscent of earlier works, especially with the horns and brass instruments playing- nostaligic.
Speechless: First note from this song reminded me of ëYou Are Not Aloneí. The lyrics are well put together, although it sounds a bit dated. I guess itís just his age showing. Heck Iíd like to see people like us be in their mid-forties and still walk the walk and talk the talk! I donít think so! This is one of the orchestral tracks that has a choral backing. I gotta say that the chorus could have been stronger, itís a bit repetitive, and simple. Bit cabaret-ish. At least itís a short song, at about three and a half minutes long! Itís not the sort of song I wanted to see on the album. I wanted ëin your faceí songs that you could shake your butt to.
2000 Watts: Teddyís 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 wasnít experiencing technical problems. The voice is deeper, and harder. I thought to myself, is this Michael Jackson?? Itís a solid RnB song, and would probably be a bigger hit had someone else had sung it. People will say that its not Jackoís 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 Michaelís going through the producerís list of whoís who. Babyface is the latest one. This song has the characteristic guitar (played by ëFace) as well as the haunting, floating backing vocals. Although, the lyrics arenít too hot, and lacks a killer punch. Reminds me of the ballads from earlier albums, but not as good. I was disappointed with Babyfaceís 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 Iím happy. The title suggests an autobiographical, self-referential song, and youíd be right to assume so. Itís one of them songs that is like ëLeave Me Aloneí from the ëBadí album, or ëTabloid Junkieí from the ëHIStoryí album. Itís got a slower, rockier pace. Reminds me of his earlier cover version of ëCome Togetherí. I thought that musically, ëLeave Me Aloneí was the strongest of the trio, but I like ëTabloid Junkieí for itís sheer impact and presence. Competent guitar solo from David Thompson. I reckon thereís no real need for this sort of song. Invasion of privacy is the price that you have to pay for fame. Itís an ok song, not awesome, and not crap.
Donít Walk Away: Thereís 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. Itís a song that is less RnB and more pop/MOR. A departure for Teddy, and adds another string onto Michaelís bow. Nice stripped out song that is good to chill out to. Sure it ainít in the same league as ëHuman Natureí 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. Itís an evolution of ëYou Are Not Aloneí which was also written by Kelly. Itís got a nice clicky bassline and is memorable by the absence of bass and low range drums in general. Itís a good song, and R Kelly has succeeded in not making a song that was as overblown as ëThe Storm Is Overí Iím gaggin just thinking abut that song. Back to ëCryí, 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 ëMan In The Mirrorí 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 donít like the ëmessageí songs, cos I feel as though they donít 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 itís bland, and lets me honest, you canít dance to a song about lost kids can ya? For this song think ëHeal The Worldí part 2, or a s
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Here we go, pop fans, the waiting is over, the guessing and wondering can now stop, heís back. I was going crazy waiting to buy this album, I didnít 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 ainít 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! Iím gonna break it down for you song by song, so that I can give you guys a complete run down of ëInvincibleí. Everyone sitting comfortably? Good, well letís 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 canít hear any of Brandyís backing vocals in the song, hmmm, must be going deaf in old age. By the way peeps, the sample rap was from ëI Canít Stop The Reign.í
Heartbreaker: Once again, I was impressed by the intro, itís got the syncopated stop-start beats seen recently in Destinyís Childís latest album, and in all of Timbalandís work for Aaliyah and Ginuwine. Sure, some people will say that it doesnít sound like a typical Michael Jackson song, but at least itís fresh. Itís got some attitude to the bassline, and has got a neat little bridge to it. The vocal style is slightly ëharderí and edgier than I expected- I thought Rodney Jerkins would have promoted the more soulful style, as was harnessed in ëYou Rock My Worldí. 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 ëThe Game Is Overí 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 Rileyís student, Rodney Jerkins sure did learn how to put a decent bassline together- itís a killer hook. Solid bounce, good range bass, good flutter from the treble. Bruce Swedien, who produced on most of Michaelís albums since ëBadí, makes his return on this song. Heís 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 ëhee heeí . Hooray for the good olí 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. Itís a modern ëRock With Youí variation. Hardcore fans may say that itís not a typical song for MJ, but he has to stay relevant. Otherwise he would bomb!
Heaven Can Wait. Hereís the song that marks ëDangerousí producer Teddy Rileyís first contribution to the album. Itís got this bassline that incorporates Teddyís 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 Swedienís 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 ëDangerousí album! Jacksonís ad libbing towards the end is a bit weak by his standards. The backing vocals by Freeze and Que mask this well. Thereís a nice string arrangement at the end. Good song that could have been better without Michael Jackson and Bruce Swedien putting their oars in. Itís a case of too many cooks spoiling the broth.
You Rock My World: Hey guys, weíve 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 ëshom oní 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 youíll understand what I mean). I can visualise Michael Jackson dancing when I listen to this song, in other words, itís a catchy tune! That boy good! 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: itís 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. Thereís no hook to it as such, and just drifts along. Yeah, itís ok to listen to , but is no classic. Jacko does return to his falsetto-vocal style as last heard in the ëOff The Wallí 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 wouldíve been better suited to a group, with a different vocalist for each verse. The backing vocals are solid though. Itís reminiscent of earlier works, especially with the horns and brass instruments playing- nostaligic.
Speechless: First note from this song reminded me of ëYou Are Not Aloneí. The lyrics are well put together, although it sounds a bit dated. I guess itís just his age showing. Heck Iíd like to see people like us be in their mid-forties and still walk the walk and talk the talk! I donít think so! This is one of the orchestral tracks that has a choral backing. I gotta say that the chorus could have been stronger, itís a bit repetitive, and simple. Bit cabaret-ish. At least itís a short song, at about three and a half minutes long! Itís not the sort of song I wanted to see on the album. I wanted ëin your faceí songs that you could shake your butt to.
2000 Watts: Teddyís 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 wasnít experiencing technical problems. The voice is deeper, and harder. I thought to myself, is this Michael Jackson?? Itís a solid RnB song, and would probably be a bigger hit had someone else had sung it. People will say that its not Jackoís 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 Michaelís going through the producerís list of whoís who. Babyface is the latest one. This song has the characteristic guitar (played by ëFace) as well as the haunting, floating backing vocals. Although, the lyrics arenít too hot, and lacks a killer punch. Reminds me of the ballads from earlier albums, but not as good. I was disappointed with Babyfaceís 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 Iím happy. The title suggests an autobiographical, self-referential song, and youíd be right to assume so. Itís one of them songs that is like ëLeave Me Aloneí from the ëBadí album, or ëTabloid Junkieí from the ëHIStoryí album. Itís got a slower, rockier pace. Reminds me of his earlier cover version of ëCome Togetherí. I thought that musically, ëLeave Me Aloneí was the strongest of the trio, but I like ëTabloid Junkieí for itís sheer impact and presence. Competent guitar solo from David Thompson. I reckon thereís no real need for this sort of song. Invasion of privacy is the price that you have to pay for fame. Itís an ok song, not awesome, and not crap.
Donít Walk Away: Thereís 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. Itís a song that is less RnB and more pop/MOR. A departure for Teddy, and adds another string onto Michaelís bow. Nice stripped out song that is good to chill out to. Sure it ainít in the same league as ëHuman Natureí 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. Itís an evolution of ëYou Are Not Aloneí which was also written by Kelly. Itís got a nice clicky bassline and is memorable by the absence of bass and low range drums in general. Itís a good song, and R Kelly has succeeded in not making a song that was as overblown as ëThe Storm Is Overí Iím gaggin just thinking abut that song. Back to ëCryí, 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 ëMan In The Mirrorí 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 donít like the ëmessageí songs, cos I feel as though they donít 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 itís bland, and lets me honest, you canít dance to a song about lost kids can ya? For this song think ëHeal The Worldí part 2, or a s
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 canít hear any of Brandyís backing vocals in the song, hmmm, must be going deaf in old age. By the way peeps, the sample rap was from ëI Canít Stop The Reign.í
Heartbreaker: Once again, I was impressed by the intro, itís got the syncopated stop-start beats seen recently in Destinyís Childís latest album, and in all of Timbalandís work for Aaliyah and Ginuwine. Sure, some people will say that it doesnít sound like a typical Michael Jackson song, but at least itís fresh. Itís got some attitude to the bassline, and has got a neat little bridge to it. The vocal style is slightly ëharderí and edgier than I expected- I thought Rodney Jerkins would have promoted the more soulful style, as was harnessed in ëYou Rock My Worldí. 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 ëThe Game Is Overí 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 Rileyís student, Rodney Jerkins sure did learn how to put a decent bassline together- itís a killer hook. Solid bounce, good range bass, good flutter from the treble. Bruce Swedien, who produced on most of Michaelís albums since ëBadí, makes his return on this song. Heís 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 ëhee heeí . Hooray for the good olí 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. Itís a modern ëRock With Youí variation. Hardcore fans may say that itís not a typical song for MJ, but he has to stay relevant. Otherwise he would bomb!
Heaven Can Wait. Hereís the song that marks ëDangerousí producer Teddy Rileyís first contribution to the album. Itís got this bassline that incorporates Teddyís 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 Swedienís 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 ëDangerousí album! Jacksonís ad libbing towards the end is a bit weak by his standards. The backing vocals by Freeze and Que mask this well. Thereís a nice string arrangement at the end. Good song that could have been better without Michael Jackson and Bruce Swedien putting their oars in. Itís a case of too many cooks spoiling the broth.
You Rock My World: Hey guys, weíve 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 ëshom oní 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 youíll understand what I mean). I can visualise Michael Jackson dancing when I listen to this song, in other words, itís a catchy tune! That boy good! 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: itís 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. Thereís no hook to it as such, and just drifts along. Yeah, itís ok to listen to , but is no classic. Jacko does return to his falsetto-vocal style as last heard in the ëOff The Wallí 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 wouldíve been better suited to a group, with a different vocalist for each verse. The backing vocals are solid though. Itís reminiscent of earlier works, especially with the horns and brass instruments playing- nostaligic.
Speechless: First note from this song reminded me of ëYou Are Not Aloneí. The lyrics are well put together, although it sounds a bit dated. I guess itís just his age showing. Heck Iíd like to see people like us be in their mid-forties and still walk the walk and talk the talk! I donít think so! This is one of the orchestral tracks that has a choral backing. I gotta say that the chorus could have been stronger, itís a bit repetitive, and simple. Bit cabaret-ish. At least itís a short song, at about three and a half minutes long! Itís not the sort of song I wanted to see on the album. I wanted ëin your faceí songs that you could shake your butt to.
2000 Watts: Teddyís 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 wasnít experiencing technical problems. The voice is deeper, and harder. I thought to myself, is this Michael Jackson?? Itís a solid RnB song, and would probably be a bigger hit had someone else had sung it. People will say that its not Jackoís 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 Michaelís going through the producerís list of whoís who. Babyface is the latest one. This song has the characteristic guitar (played by ëFace) as well as the haunting, floating backing vocals. Although, the lyrics arenít too hot, and lacks a killer punch. Reminds me of the ballads from earlier albums, but not as good. I was disappointed with Babyfaceís 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 Iím happy. The title suggests an autobiographical, self-referential song, and youíd be right to assume so. Itís one of them songs that is like ëLeave Me Aloneí from the ëBadí album, or ëTabloid Junkieí from the ëHIStoryí album. Itís got a slower, rockier pace. Reminds me of his earlier cover version of ëCome Togetherí. I thought that musically, ëLeave Me Aloneí was the strongest of the trio, but I like ëTabloid Junkieí for itís sheer impact and presence. Competent guitar solo from David Thompson. I reckon thereís no real need for this sort of song. Invasion of privacy is the price that you have to pay for fame. Itís an ok song, not awesome, and not crap.
Donít Walk Away: Thereís 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. Itís a song that is less RnB and more pop/MOR. A departure for Teddy, and adds another string onto Michaelís bow. Nice stripped out song that is good to chill out to. Sure it ainít in the same league as ëHuman Natureí 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. Itís an evolution of ëYou Are Not Aloneí which was also written by Kelly. Itís got a nice clicky bassline and is memorable by the absence of bass and low range drums in general. Itís a good song, and R Kelly has succeeded in not making a song that was as overblown as ëThe Storm Is Overí Iím gaggin just thinking abut that song. Back to ëCryí, 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 ëMan In The Mirrorí 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 donít like the ëmessageí songs, cos I feel as though they donít 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 itís bland, and lets me honest, you canít dance to a song about lost kids can ya? For this song think ëHeal The Worldí part 2, or a s