MICHAEL JACKSON
Invincible
Epic
In his first studio album since 1991’s Dangerous, Michael Jackson has finally released Invincible, a record filled with 16 brand-spanking new singles. But the hubris in the title of this comeback bid is nearly as embarrassing as his appearance.
A reported $30 million, countless visits to the recording studio, and nerve-racking perfectionism were some of the items that plagued the recording of Invincible. Hoping to launch his career back to the pinnacle of his 80s heyday and to once again put the “King of Pop” moniker to good use, Jackson hoped for a present-day Thriller. But the record comes off more like filler than any sort of thriller.
The album spirals off in so many different directions it seems like Jackson didn’t know where exactly he wanted to take his new sound. Such is the case when hiring an army of producers, having access to an unlimited cash supply and being allotted infinite time. A concrete game plan apparently was never established during the early stages of the album. What we get then is a jarred combination of ballads and up tempo songs that hold the album together like a string suspending a bridge. Every good album has a general theme tying one song to the other without excessive stuffing and packing. Invincible doesn’t.
The album mellows in so much digital technology and so much lush and delicate instrumentation that it’s nearly cringe worthy.
The first three songs, “Unbreakable,” “Heartbreaker,” and the title track try so hard to underscore Jackson’s musical impact but fail so miserably in their jaded attempts to set the album at an electrifying pace. Following in the footsteps of ‘N Sync’s sheepish dance beats, Jackson goes all out with aggressive synths that even this dance tycoon will have difficulty dancing to (it’s awfully sad how Jackson has had to cling on to the lame hot shot upstarts of ‘N Sync to hopefully lure some of the group’s teen fan base as his own). The lyrics on these Rodney Jerkins-produced tracks are drowned out by the thumping beats and bass, leaving us with Jackson’s gulping and hiccupping.
The ballads would more appropriately accompany a soul album. Nevertheless, the music receives a welcome reception during the appropriately titled “Break of Dawn” and “Heaven Can Wait” as the dizzying effects of the opening tracks finally diminish. “Cry,” an R. Kelly-produced single and the second release off Invincible, basks in Jackson’s tender vocals and motivational lyrics as he sings, “You can change the world (I can’t do it by myself).” It’s no wonder the song has become a Sept. 11 anthem. And if you can look beyond the eyebrow raising high falsetto, “Butterflies” is another great ballad. The slow rhythm allows the balance of audible vocals and music and avoids using the same old R’B formula plaguing many of today’s hits.
The rest of the ballads seem too restrained for Jackson. You can nearly feel Jackson’s energy bursting through the seams of “You Are My Life” and “Speechless,” as the slow pace leaves him anything but.
“You may apply your 3-D glasses,” a laughable octave-enriched voice advises us on “2000 Watts.” A whirlwind track was the clear intent here but “futuristic” bombs and blasts are comparable to ‘N Sync’s own “Digital Getdown.” Jackson’s vocals are showered in techno and electronic explosions but fail to elicit any fireworks. The lyrics promised something great here – “Bass note, treble, stereo control, how low you go” and “Press play, don’t stop, rotate, too hot.” But the improper knob twirls of Teddy Riley wish-wash away the potential of what would have otherwise been an undisputed dance floor anthem.
“You Rock My World” drips in R’B goop, but its steadfast dance beat and strings make this song one of the most seamless singles on Invincible. Much like the lead single, the album is retained in Jackson’s old stages. But that seems to be the precise point of the album. Sony, or Jackson himself, was afraid that if a newly refined voice were introduced he would alienate his fan base and a new audience would go unfounded.
Jackson never forgets the children, and this album is no exception. “The Lost Children” is nothing more than a swaying heart warmer. It’s a trick he’s employed before, but the song’s praiseworthy message makes up for what it lacks musically.
“Privacy” is a retaliatory battle cry from the tabloid-stalked pop star. Throaty vocals and beats heavier than the estate of his Neverland Ranch have the single nearly reaching Bad’s great “Leave Me Alone” momentum.
The cluelessly titled album ends with the “Thriller”-inspired “Threatened” complete with creepy Rod Serling lines. But the single fails to reach the er…thrilling heights of its predecessor.
It’s easy to dog poor Michael. His eccentricities, larger-than-life persona, and slumping sales have made him the perfect target of bitter critics who fail to evaluate his music and rather focus on the freak show.
Most appalling, however, is the resolute conviction of critics that Jackson’s career is completely over. Jackson’s career shines like a bright beacon. A person with the mega-watt superstardom of Jackson’s doesn’t just fall of the face of the Earth. True, his career shines less brightly than his prime, but it is far from extinguished.
Sadly, Invincible will do little to convince the cynics otherwise. But even though Invincible is a mostly lackluster comeback effort, it has enough decent tracks to remain in the spotlight and to help Jackson reclaim the throne as the “King of Pop.”
