Michael Jackson | Michael



Album Review: Michael Jackson Michael
By Peggy Oliver
 
Over a year and a half has gone since the King of Pop left this world barely at over a half-century of age. Shortly after his death, most fans and faithful movie goers naturally flocked to Jackson’s This Is It, which concentrated on the selection and rehearsal process for what was to be billed as his giant final farewell tour. I observed the film myself and witnessed the perfectionist personality at work making sure every note, dance step and staging earned Michael’s stamp of approval. Then there was the immediate increase of his back catalog sales (roughly 35 million units sold) that followed his passing. That said I now turn to the posthumous project, Michael, certainly lacking endorsements by Jackson’s family and numerous professional colleagues from will.i.am to Quincy Jones.   And there were the countless controversies swirling around such as if the voice belonged to Michael’s voice, or if his voice was altered; and how much control belonged to Michael (who is credited as co-producer on almost all tracks).  Considering what has been written by the media and relayed by industry insiders covering several internet site blocks, I simply choose to focus on most of the final contents (ten tracks in all), beginning with the current single, “Hold My Hand.”
 
Usually I won’t debate the subject of singles, hit or otherwise, released by the label. “Hold My Hand” is one major exception. The main gripe is that the song credits Akon in a duet with Michael. And though it is hard to quantify if “Hold My Hand” was actually chosen due to Akon’s popularity, Michael is practically overshadowed by the track’s co-producer, which is a major letdown.


 
“Hollywood Tonight” receives my highest kudos on Michael. The funky rhythms courtesy of co-producer Teddy Riley (who put his new jack swing stamp on Michael’s Dangerous) and a storyline about a young lady’s journey in becoming a star definitely has Michael’s imprint - lyrically and musically.
 
For those who treasure Michael’s inspirational ballads such as “You Are Not Alone” and “Feed the World,” “Keep Your Head Up” seems to have all the elements in place including a strong gospel style choir. Does it have as much impact as the aforementioned classic? It generates only a few sparks in comparison. The trip-hop production by Tricky is OK at best.
 
“(I Like) The Way You Love Me” renders an old school R&B feel, sort of an El DeBarge type aura. But unfortunately, Ron ‘Neff-U’ Feemster’s stiff production and near soulless lead vocal weigh the song down to mediocrity.
 
Where the lead on the previous track seemed limp, the opposite can be said for “Monster,” once again under the guidance of co-producer Riley. The continuity, however, is temporarily unraveled by rapper 50 Cent.
 
Reflecting Michael’s affection for rock and urban music, the Lenny Kravitz-produced, “I Can’t Make It Another Day” is an above average piece. Granted this song is not in the same ballpark as “Beat It” with Slash’s riveting guitar solo and one of Michael’s best vocal performances ever. But at least the lead voice has not been altered, compared to some of the other selections on Michael.
 
“Behind The Mask,” an intriguing collaboration between the synth pop band Yellow Magic Orchestra and Michael, is fueled by the meaty funk from co-producer John McLain, who was instrumental with Janet Jackson’s work at A&M Records including her breakthrough project - Rhythm Nation.
 
Now that Michael –the album is out for general listening consumption, numerous verdicts will be out from the fans and the critics. As for what my ears soaked in, I was expecting much worse as there are shades of Michael’s vocal exuberance and nuances. But overall, this collection still cannot touch what Michael brought to the table in the eighties with Thriller and Off The Wall. On the five star scale, I will administer just a two-and-a-half.
 
Peggy Oliver
The Urban Music Scene  

 

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