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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