Invincible - Jackson, Michael (CD 2001)

This album is going to be criticized. Actually I've read two reviews for the album outside of Epinions and both were mostly negative. Both reviews stated that he needs to go back to the days of Thriller and Off The Wall and that his new sound is tired. I find that quite funny because if everyone tried to sound like music that's over 10 years old, they would be smothered with criticism for sounding retro. Let's face it. Michael is not going to make another Thriller. That album was one that changed music, but how many albums change the face of music? So to criticize a guy because he can't duplicate something that's never been duplicated since, is stupid. I applaud Michael for not going back to Quincy Jones and Rod Temperton to make Thriller 2.

This album has been delayed heavily. I heard so many different people who were supposed to be working on it that didn't make the cut. Those included BoyzIIMen and Will Smith. R. Kelly's cut, Cry is included, and I've been hearing about that song for two years. Even Biggie Smalls is included on this album, but don't be surprised as Biggie was on History. Basically, any MJ album, let alone one that has had several delays, is not going to be given a fair shake right off the bat. That is until now.

The first three cuts are hot. MJ himself thinks Unbreakable, the lead song, is one of the best songs on the album. It starts out with an infectious beat and MJ speaks on his doubters and laughs at them. He sings, "Seems like you'd know by now, when and how I get down, and with all that I've been through, I'm still around." The late, great Biggie Smalls is added on this song, and although it's great to hear him again, it's misplaced. The rap has nothing to do with the song and is actually taken from a Shaq O'Neal song, You Can't Stop The Reign. Seems like an excuse to get kids to buy the song because of Biggie.

I've never been the biggest fan of his political work because it's basically him screaming at the media. Buddy, when you sold 20 million records, you lost your total privacy forever. But anyway, the beat is too hot to throwaway. Rodney Jerkins and MJ did a great job on the song. Heartbreaker is another banger. The lyrics start out with, "Deceitful eyes, she's got those come get me thighs." Nice job MJ. The song is not a remake of the Mariah Carey song, but about how the girl is playing hard to get and MJ is falling hook, line, and sinker. Another good production job by MJ and Jerkins. However, there's a rap by someone named Fats, who is very irritating. The third song of the triumvirate of Jackson/Jerkins bangers is the title track. Invincible has MJ talking to girl trying to win her heart. He says that she won't give in and she's invincible. Fats once again irritatingly throws a rap in a song that's not in need of one. I can see if it was Jay-Z or Nas or something, but not some dude named Fats.

The next five tracks are more on the laid back tip. After the three pulsating tracks that started, we're in need of a slower vibe. When I initially heard a free stream of the album provided by MJ's website a couple days ago, Break of Dawn was my favorite song on the album. It's similar in production to a song like Diggin' On You by TLC. While that is an extremely vague description unless you're a die hard TLC fan, it's what it reminded me of. Basically MJ is saying that he doesn't want the sun to shine because he wants to keep making love. Go get it MJ. The song is very nice, but maybe too safe. I initially thought it could be a hit, and it still may, but there are better slower vibe songs on the album.

That song may be Heaven Can Wait which is a song done by Teddy Riley and features MJ saying that if, "the angels took me from this earth, I would tell them bring me back to her, it's a chance I'll take, maybe I'll stay, heaven can wait." Very expressive love song from the former gloved one. I find it odd that Teddy Riley and MJ are working together because when MJ released the unsuccessful Blood On The Dance Floor he and Teddy were at odds on releasing Blood On The Dance Floor which sounded like a song that was probably scheduled to be on Dangerous. Riley was worried that his hipness and image of a guy who reinvents sound, would go by the waste side because the song was very outdated. But MJ released it anyway. I still liked it. Maybe that Guy reunion didn't work that Riley was trying to put together.

You Rock My World was the make or break song for this album. When it debuted, it didn't do much radio airplay. It's sad because I think it's the coolest, hippest, most head bouncing song on the album. The Chris Tucker intro where he tells Michael that he bets him, "Never, neverland," that Michael can't get a specific girl is very funny. And the song doesn't go for the futuristic production that dominates today's sound. That was a gift in my book. But, it didn't sound like "today's" music enough to generate the buzz that was needed to make this album super successful. The video is a mainstay on TRL, and that may help, but again, the sales are going to be helped more by radio play than MTV. Butterflies is exceptional. I think Heaven Can Wait is a smarter single choice, but this is right up there. Michael sings about a girl who gives him Butterflies in his stomach. Andre Harris helps out on the production on this one.

Speechless is very syrupy. But it's one of MJ's favorite songs, as said in his chat. He said that he regularly visits the forest and saw two children playing together and thought that it was the closest thing to seeing God. Yah, the guy is weird, I didn't say he wasn't, but that vision was his inspiration for this song. It kind of reminds me of The Righteous Brother's Unchained Melody a little. 2000 Watts is very weird. Teddy Riley tells us that we'll need 3D glasses for this song. What are we watching, Captain Eo? It's a very lyrically simplistic song. Nothing to the lyrics at all. The chorus reads, "2000 watts, 8 ohms, 200 volts, real strong." He must be a fan of light bulbs or something. The sole Babyface addition to this album is the sappy, You Are My Life. Not as charming as You Are Not Alone. The song sounds like stuff Mike did as a teenager. It's not powerful like Stranger In Moscow or as romantic as I Just Can't Stop Loving You.

Privacy is another Leave Me Alone. The song starts out with everyone noticing MJ while he walks by. His vocals are very rough as his voice deepens and he tries to get mean. The beat is awesome, again by Jerkins, but like I said before, when you sell 20 million for one album, you shouldn't expect total privacy. Don't Walk Away is a much better ballad than You Are My Life. Sappy, yes, but not as bad. MJ's dreams have been broken and he's heartbroken. Maybe it's about Lisa Marie, now that she's shacking up with Nick Cage? Nah, Nick Cage ain't got nothing on MJ, can't be about Lisa Marie. Maybe it's about Linda Ronstadt like my buddy Albert says She's Out Of My Life was about. Highly unlikely.

Cry is the song R. Kelly wrote and produced for the album. I've heard details on this song for what it seems like forever. It's in the Man In the Mirror category. MJ is the chosen one in this song. It also has MJ speaking to himself. "You can change the world, I can't do it by myself, you can touch the sky, gonna take somebody's help." With the harsh realities of the world today, this song fits in with our American pride. The Lost Children is the usual song MJ includes about children. It even has his kids playing in the background. It's a good, solid song. The production isn't top notch, but with this type of song, it doesn't have to, it's simply a feel good song. Whatever Happens features some fine guitar play by Carlos Santana. The song features the one consistent line, "whatever happens, don't let go of my hand." Teddy Riley worked on this as well and the song, although reminiscent of Smooth is very well done. At the end of the song, Santana and MJ thank each other. I can definitely see this as a third or fourth single down the line.

The last song features a throw back, Rod Serling on a spoken word intro and outro. Maybe this is MJ's new version of Thriller. He paints himself as an animal. The lyrics are odd, but then again, so were Thriller's. The beat is haunting with the slick sound of guitar. Again, this is very odd, but hey, the sound works.

After listening to this album several times, I'm completely satisfied. It will never reach the epic proportions of most of his work. It's not as complete as Dangerous. But it's everything I expected and more from MJ. I would give it between 3.5 and 4 stars, so I'll rate it a four.