Michael Jackson
Michael

THE REVIEW

Album Review: "Michael" by Michael Jackson

On December 10, 2010, the first posthumous album of unreleased songs by Michael Jackson, who passed away on June 25, 2009, was released. Sony, having an entire catalog of unreleased songs, partially incomplete, from the King of Pop, decided to utilize that invaluable fortune to publish the first posthumous album in what will surely be a very lucrative series. Numerous music engineers and former collaborators of Michael were called upon to integrate, refine, and finalize the tracks that the late singer had been working on from the early 2000s until the spring of 2009. It was a daunting task to complete projects begun by the King of Pop, with the greatest fear being criticism from the fans. However, the final work does not betray its qualitative expectations, even though many discussions have arisen regarding the originality of the songs,  which many believe weren’t sung by Michael himself. After a careful listen, it becomes evident that the songs belong to the King of Pop, although one must admit the significant use of instrumentation to stretch his vocalizations to the maximum, as well as the numerous enhancements added by vocal stand-ins like James Porte in the choruses and some bridges. Let’s move on to the single analysis of all 10 tracks.

"Hold my hand". The first single from the album accompanied by a music video, released during the Christmas period to boost sales. The track is a collaboration with the famous hip hop singer Akon. The rhythm is very fresh with open tones, the piano base is accompanied by R'n B rhythms that make the song very enjoyable, and the theme addresses the spirit of brotherhood and love, an indispensable theme in Michael Jackson’s past albums. The vocalizations of the King of Pop are very extensive and pleasant to listen to.

"Hollywood tonight". The dances open with this splendid and very elaborate up-tempo that starts quietly with a Gregorian chant, which in a few moments gives way to a pulsing beatbox that serves as the base for the entire track. Then follow the blues guitar and strings, which mark a rhythm reminiscent of the legendary “Billie Jean”. The bridge is whispered by Taryl Jackson, narrating the vicissitudes of a young dancer attempting the path to success in Hollywood, which is fraught with difficulties. The song was incomplete, and the task of completing it fell to Neff U, a music producer who had long collaborated with Jackson on this song.

"Keep your head up". The rhythm becomes decidedly more R'n B in this ballad with distinctly Jacksonian themes. The song was completed by the Cascio family and is one of the most debated songs. Listening carefully, one cannot help but notice the sweet falsettos that only Michael could have done; perhaps the chorus in the first part was strengthened with secondary voices, but the track is undoubtedly Michael's. The social theme talks about self-confidence and pursuing one's dreams while always keeping one's head pointed toward the sky.

"I like the way you love me”. Perhaps the weakest track on the album is this, although credit must be given to Neff U for making the rhythm more complete by adding a bass line and keyboard; the song develops in a vocal crescendo reaching very high acutes. The final part of the piece is characterized by Michael's processed voice with autotune. The intro, where Michael records notes on how the rhythm of the piece should develop, is brilliant.

"Monster". Convulsive keyboard sounds transport us to an atmosphere of tension and anticipation with this deadly up-tempo produced by Teddy Riley and the Cascio family. Michael tackles the theme of media pressure, which throughout his life did nothing but portray him as a monster. The track is certainly a club banger thanks to the synthesized rhythms and Jackson's voice altered by a PVC pipe. The song is reinforced by the rap interlude of 50 Cent. The song cannot help but remind us of masterpieces like “Thriller”, “Ghost”, and the less fortunate “Threatened”.

"Best of Joy". The second part of the album opens with this sweet melodic ballad accompanied by choirs and acoustic guitars. Michael's falsetto is perfect, and the song was one of his last unfinished works; indeed, the singer would have completed it during the London tour. The production is by Neff U.

"Breaking news". The seventh track on the album will always be tied to the doubts raised by fans regarding the originality of the singer's voice. Indeed, the voice appears excessively processed and altered, not to mention the vocal reinforcements made with James Porte, a vocal stand-in for the singer. The song again addresses the theme of the mass media that have belittled and denigrated the singer's name for years, which is mentioned multiple times in the song. The piece is an explosion of keyboards and electronic synthesizers accompanied by trumpets and R'n B elements.

"(I can’t make it) another day”.  The eighth track is a masterful tribute by Lenny Kravitz, who personally produced this song, playing the electric guitar and participating in the choruses. The song represents the classic and essential Jackson rock piece, enriched by the presence of David Grohl on drums. The rhythm is energetic, although a bit too repetitive with the refrain.

"Behind the mask". From the distant Thriller era, this truly enjoyable electronic dance pearl from the 80s is brought to light. The piece is a sampling of the melody from Yellow Magic Orchestra by Ryuichi Sakamoto. The song opens with the sound of a sax in a live atmosphere, then the rhythm takes off with electronic keyboards, giving the piece a decidedly futuristic air.

"Much too soon". Another hidden gem from the Thriller era is this piece where Michael's melodious voice is accompanied by an acoustic guitar and violins. A simple piece with a bittersweet flavor that leaves us simply breathless.

The last song is the perfect conclusion to an album with very varied sounds,which took us on a journey through all the musical eras of Michael Jackson. The super productions of this album have certainly accomplished a high-level work despite the absence of the main star. Some tracks like "Hollywood Tonight", "Monster", "Another Day", "Behind the Mask", and "Much too Soon" can finally and deservedly be added to the wonderful musical catalog of a singer who, even after his death, will never stop making us dance, cry, and marvel.