The idea of polarized attitudes towards a posthumous Michael Jackson release is no more surprising than the circumstances of the release itself. Though new albums from deceased artists is not a new concept, it's arguable that Tupac Shakur's estate set the modern precedent, with numerous full albums of songs constructed around ever-decreasing samples and demoes of the man himself.
The appetite for Michael Jackson material is huge, and it's undeniable that Sony will be hoping for MJ to keep their music division in the black for many years to come. Whether or not Jackson will suffer similarly declining quality as the vaults are plundered remains to be seen - but make no bones about it, 'Michael' the first of many albums to come, is uniformly excellent and can stand amongst his most solid and consistent work.
As has already been addressed here, as in life, scurrilous rumours abound questioning the authenticity of the vocals and songs presented here - but facts are facts, and a fairly comprehensive press release from Michael Jackson's estate provides a rebuttal to such claims that only the hardiest of conspiracy theorists could ignore.
Michael Jackson's comeback had been a long time in the planning, with the gloved one hiring a slew of top-notch producers and collaborators for a series of studio sessions with a goal to releasing a modern, pop record befitting of the legacy of the greatest pop performer of all time. The album was to be his first since 2001's 'Invincible' - a record, much like it's predeccesor 'HIStory' who's release was marred by allegations and innuendo.
Unfortunately unlike the darkly-brilliant 'HIStory', much of 'Invincible' was slight, R&B influenced fair that found Jackson playing catch-up rather than innovating and pushing forward. Though it has it's defenders, the album was generally regarded to be a disappointment.
Many critics had given up on the idea of a MJ resurgence. Although he was found innocent in court, the press onslaught on his private life was unceasing and his reputation was too far gone, still tarnished in the minds of the general public. Added to that, his health seemed to be in a severe decline and by 2008 he had not performed a full concert in well over a decade. Few would bet on him being able to ever to mount a serious attempt at a comeback.
And yet in that same year, it seemed his fans returned in full force - perhaps it was just the right time - and when a surprisingly well looking Michael announced his proposed 'This Is It' shows for 2009, a record-breaking 50 concerts were quickly sold out at the enormous venue. Jackson was reportedly surprised and touched, and one can only imagine how this outpouring of affection was inspiring him to hasten work on his long awaited, similarly bombastic studio comeback. It's realistic to think, had the tragic events of June 2009 not occured, that we would be seeing that album right about now, completed fully in his vision. As it is, it is trusted Jackson friends and collaborators such as Teddy Riley and Akon who have been tasked with completing the work, following his signposts, notes and tracks. They have done the man proud.
Yes, he was a perfectionist, and yes it is unquestionable that the album we now have is markedly different than MJ's finished product would have been. But listening to the sheer quality of these songs - the hooks, the rhythms, the variations - it is difficult to believe that this is an album he would not have been proud of. At just over 40 minutes it is far more cohesive a listen than his previous 2 studio efforts (which while both having some inspired moments, both clocked in at over 70), and it's 10 track, all singles material format harkens back to his chart-obliterating 'Thriller'/'Bad' heyday.
Which is not to say that the album is retro or overtly nostalgic. Of course, the irresistable and much imitated vocal tics and yelps are present in full force, as is Jackson's unparalleled sense of melody, but this is very clearly a 21st century 'Michael'.
Track-by-track
1. Hold My Hand (featuring Akon)
First leaked in demo form back in 2008, this song instantly evokes classic unity ballads such as 'You Are Not Alone', albeit in a more upbeat, uptempo form. Akon's voice sounds terrific alongside Michael's, and its clear that they had a deep understanding of each others musical sensibilities. Since it's initial, premature release, a choir has been added (tastefully mind you) along with other bells and whistles. Curiously, a different vocal take of Michael appears to have been used ('things will get better' has strangely become 'things will be better' in each instance). This is a classic MJ anthem with modern R&B flair.
2. Hollywood Tonight
Latin influence can be detected in this allegorical tale of the pitfalls of fame. While this is, unsurprisingly, a recurring theme on the album (after all, it would be difficult to name anyone who had lived their life in the media's steely glare more than Jackson) it is tackled in a less isolated, angry way than on previous occasions. Funky and danceable with a great chorus, and probably one that the remix artists will be looking forward to tackling.
3. Keep Your Head Up
Maintaining the overall theme of optimism through adversity, this Tricky produced slice of pop is Michael at his sweetest both vocally and lyrically and one of the most old-school MJ songs on the album. Probably the best track from the Cascio sessions.
4. I Like The Way You Love Me
This slice of heavily Motown influenced smooth R&B also saw a demo release, though this time at least an official one on 2004's box set 'The Ultimate Collection'. The album's most direct love song, it's finger-snapping rhythm and Temptations-style backing vocals make for a very enjoyable trip back to Jackson's roots. The song opens with a smile-inducing home-recording demonstrating Michael's not unremarkable beatboxing skills.
5. Monster (Featuring 50 Cent)
Likely to be many fans' favorite, 'Monster' is a stomping urbane powerhouse in the 'Thriller'/'Ghosts' vein, and boasts one of the albums most memorable choruses; "Monster / He's a monster / He's an animal". Tackling public perceptions head on was a cathartic experience in Michael's later music, but this is perhaps the most rewarding track in that oeuvre, marrying its sense of bitterness and injustice with relentlessly hard breakbeats and a memorable (and mercifully, not out of place) 50 Cent rap interlude. Apparently MJ had approached 50 Cent with a view to having him appear on the song prior to his death, although the erstwhile Curtis Jackson's contribution wasn't completed until after the fact. It is pleasing to know that songs like this one have been completed to Michael's specifications wherever possible, and the result is not just one of the very best songs on this album, but one of the greatest songs of his later career.
6. Best Of Joy
If any song on 'Michael' could be accused of being a little slight, it's 'Best Of Joy'. While it features some nice, intimate vocals it is dwarfed in it's mid-tempo, cheerful balladry by sharing disc (or download) space with the superior 'Hold My Hand' and 'Keep Your Head Up'. That being said, it was reputedly one of Jackson's favorite songs earmarked for his next album and is certainly justified in it's inclusion here if that was the case. Also it's 'I am forever, we are forever' hook will likely strike a chord with devoted fans. Here it serves as more of a bridge, tying the album together. Its backing is also more complex than initially appears, and so repeated listens can be quite rewarding.
7. Breaking News
This riff-laden press baiter was controversially unveiled as the album's first streaming track on Michael's official website and seems to have taken on a life of its own. For all the talk, it is a quintessential Jackson single - instantly memorable, catchy as hell and remarkably self-aware. It is also the first adult Michael song to mention Michael by name in it's lyrics, and this too seems to have been delivered in a slightly tongue-in-cheek fashion (listen to the backing vocals breathless 'Michael JACK-SON!') It's also one of the sets most dancefloor-oriented outings. This is the resigned yet resilient brother of HIStory's angry 'Scream' and 'Tabloid Junkie', but is better than either. Where 'Scream' puts a boot through the surveillance cameras, 'Breaking News' stares them back in their glassy eye and says "I'm watching you watching me". Crunchy, fresh and urgent, remember - it's not paranoia if they're really after you.
8. (I Can't Make It) Another Day (Featuring Lenny Kravitz)
Michael's rock output (other than the iconic 'Beat It' with it's revered Van Halen guitar solo) is often unfairly overlooked. Songs like 'Give In To Me' and 'They Don't Care About Us' are amongst his most searingly powerful. This time Lenny Kravitz is brought on board for both guitar and vocal duties for what amounts to a fine slab of hungry, yearning and hot-blooded rock with (you guessed it) a killer chorus. A very welcome detour.
9. Behind The Mask
For my money, the 'Michael' album's single greatest song, 'Behind The Mask' is unlike anything that has gone before in his catalog. Lyrically intriguing, vocally magnificent and musically sublime, few songs show off the man's incredible ear for melody and composition quite like this one. With Daft Punk-esque backing vocals, beats, hooks and melodies to spare, 'Behind The Mask' is so modern as to perhaps be a few years ahead of its time, and an instant rebuttal against any claims that this album should not be released. For a song this brilliantly unique to go unheard would be a tragic waste.
10. Much Too Soon
Every musician seems to have great songs that lie in wait for years at a time, simply because they don't 'fit' with whatever project they are currently working on. For Michael, 'Much Too Soon' was one of those songs, and consequently is the oldest song featured on this album. Dating back to the 'Thriller' sessions, which saw literally dozens of songs (including the gorgeous 'For All Time') excised from the final record, 'Much Too Soon' is as simple and sweet a song as he ever recorded. Almost folksy, with its lightly strummed guitars and harmonica (the first MJ song ever to employ the instrument) it is a plaintive, lost-love ditty that serves perfectly here as a quiet reflective album closer.
While other Michael Jackson albums will follow, this is likely the last album that can claim to have had any personal input from him. Likewise these chronologically represent the majority of his final recording sessions. Ominously, it has been suggested that Sony's next posthumous MJ project will comprise newly recorded 'duets' with current artists which if the uneven offerings on 'Thriller 25' are anything to go by will be at best, forgettable and at worst...well....
It's fitting then to see this as the final album. As a swansong, a comeback and a tribute, 'Michael' delivers the goods and serves as a reminder of just why Michael Jackson is so widely regarded as the greatest entertainer who ever lived, and the incredible legacy of music he has left behind for future generations to enjoy.
-Michael E.
