Hold it up by itself and the record impresses
By Yahoo! Shopping User Dec 26, 2008
Pros: slick production, great melodies and a whole lot of emotion
Cons: A bit too long, at times sounds like he's trying to steal Usher fans.
It's a shame that in 2001, this album went up against Dre's rather appropriately titled "Dre 2001", Madonna's highly acclaimed "Music" offering and legions of Michael Jackson fans who wanted another Bad or Dangerous in... their five-stack CD players. When you expect a shiny block of gold and someone hands you a diamond - it's easy to point out the faults, nay the differences. The phonetically annoying first few titles "Unbreakable", "Heartbreaker" and "Break of Dawn" could easily lend themselves to the frame of an expiring superstar that simply doesn't care enough to label his tracks more interestingly anymore. Superficial critics are so quick to pick up on this sort of quality (or lack thereof) and weigh it up against the lyrical wizzardry of 91's Dangerous ("I'm on fire... Quench my desire..."), and its exactly this that ruins the album for them. Michael Jackson is, to a lot of people, his own worst enemy. When you've sold hundreds of millions of records and pushed boundaries, opened doors and changed the music industry forever - releasing a mere "impressive" dirty RnB album isn't enough. That said, the album is exactly that - impressive. When Unbreakable comes crashing in from the off, it's like a blistering, vengeful step-son back to kick the b0llocks off your begrudging Justin Timberlake fan. While the chorus is a testament to anyone who ever felt drenched in determination to make it through a situation ("And you can't break me 'cause i'm unbreakable.."), it lacks the instant catchiness of Jackson's signature work. A predictable guest slot from Notorious BIG serves as an awesome middle-8 and is complimented greatly by the beat on which he flows. Biggie and Jackson collaborated on 97's History double-set (D.S.) so it's one of the few Biggie tracks to have been posthumously produced with an artist he had already worked with, while still incorporating a fresh verse. The title track Invincible follows a similar vein, employing a futuristic feel and cutting samples of Michael's voice and messing around with them. It shouldn't work but somehow it does? Serving as a lament to those of us that have persued women only to find that nothing works or can make this girl interested in us, Invincible is a great RnB track that sounds influenced by Timbaland after an assault by Alien Ressurrection. The only qualm i have with this and Heartbreaker alike, is that it could so easily have been as massive as the first track but perhaps a "Sony Rush" to get the album out sent it off to HMV before the bass was ready. Images of a stillborn bass-phoetus being dragged into Sonys offices run through my mind while i'm attempting to compensate by turning my speakers on their front. As the album progresses it borrows Dangerous' format of side-stepping the funk and 808 loops, and moving towards balladry, love songs and a slight dip in my interest. On Dangerous it was Gone Too Soon. On History it was "Smile". On this it's You Are My Life and Cry. Before those though we're treated Heaven Can Wait (about being called to Heaven and having to leave your loved one in the arms of another). Rumours of a remix entitled "Jail Can Wait" with R Kelly remain unfounded. "Heaven..." sounds like Janet wrote a song with Teddy Riley and gave it to Michael on a collection entitled "A Very RnB Christmas". It's very slow and at times incredibly moving. Jackson hasn't lost his penchant for gospel shouting in tune, if there is such a thing. Butterflies is straight up Usher territory in my opinion. The melody flows along beautifully and although it's not my personal cup of tea, i can totally see how it would appeal to those with a soppier heart. It attracted the attention of the female rapper Eve sufficiently for her to release her own version which should be interpreted as a compliment. Having "Whatever Happens" on this album was almost a stroke of genius. Or given Jackson's legislative difficulties in recent years perhaps i should rephrase to "an appropriate movement of genius". It's lyrically moving, massively catchy, sombre and enjoyable at the same time and is only mildly tarred by Carlos Santana and Michael's exchange of thanks at the end of it. Why oh why do we need to hear these two thanking eachother!? it just staples a cringey tooth-grind where before sat an exhale of satisfaction. The album closes with a track called "Threatened" which goes back to blistering form. The production on it is amazing and if you're listening on BOSE speakers i reckon you could stand a serious chance of body organs shifting. A recurring whoomph as a kick drum helps to push the creepy feel of the song that gives more than a nod to its evil Uncles Thriller and Ghosts. Again it's a shame the chorus wasn't catchier or it would've closed off the whole set beautifully. If it were hip hop it would've made a great mixtape preview of the album coming, but as an RnB track come album closer it's like a night on Ketamine. You bop your head, feel evil and come out of it wondering why nothing happened. The album as a whole is, as i say, impressive. The production, the songwriting on "Dont Walk Away" should stand out as a return to his previously untouchable form. But - let's not kid ourselves. It's not Dangerous. It's basically a hangover from it after having taken a History Ibuprofen. Read more Less
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