Let's start with the good news: Michael Jackson's first full album of posthumously released songs should clear Sony Music on most charges of desecrating his grave, an accusation raised by the initial two songs released from the controversial disc.None of the other cuts on "Michael" have the ghoulish feel, and dubious origin, of those initial singles. The first one ("Breaking News") caused fans, and even the Jackson family, to question whether its quaking, strangulated vocal belonged to Michael at all. The second ("Hold My Hand") featured so little input from the star, it reduced him to a backup singer for his guest, Akon. All of which begged the question: If you're going to grave-rob, shouldn't you steal the good stuff?
Thankfully, the producers, managers, and lawyers behind "Michael" managed to dig up some music worth hearing, even if none of it will cause anyone to think the icon was on the verge of a full-scale comeback.
Most of the material dates from 2007, culled from demos cut half a decade after Jackson's last official release, 2001's "Invincible." Of course, the title of that disc turned out to be camp. Not a single song from it endured.
The music here has a less cramped, angry, or nervous feel than that on "Invincible." Though many lionize Jackson's perfectionism, in later years it worked against him. The "new" disc has a bright, clean, relatively easy sound, a relief after Jackson's fussed-with, late-period recordings. A song like "Hollywood Tonight" has some of the old verve, while the treatment of "(I Like) The Way You Love Me" (from 2004) creates a cool counter-rhythm from a leftover bit of vocal play.
The ballads tend to boast sturdier structures than the upbeat tracks. Better, they lack the lethal goo of Jackson's softer songs. "Best Of Joy" references doo-wop with subtlety, while "Much Too Soon," (circa "Thriller") sounds like a lost track from the ‘70s soft rock act Bread (a compliment).
Then again, just as much here doesn't click. Jackson could never make a rock song sound organic, from "Dirty Diana" on, and this attempt with Lenny Kravitz ("Can't Make It Another Day") sounds just as faux. Jackson has an equally unsure feel for rap, which makes the insertion of 50 Cent on "Monster" feel like a shot-gun wedding. Its eye-glazing lyrics about the evil tabloid press don't help. More, Jackson's vocals can sound nasal and pinched throughout, a consequence of his self-obliterating surgeries. When he swings into a falsetto, however, he soars. Moments like those give "Michael" value. At just 40 minutes, it may be a brief coda, but, perhaps a representative one from a life cut short
This post is originally located on www.nydaileynews.com
No comments:
Post a Comment