He May Be Invincible, But Is The Album?

Ah, Michael Jackson. He was such an interesting character. I've already reviewed his 1991 Dangerous album here, which you can read below. This 2001 disk, Invincible, was to be the last album he would release in his lifetime, so of course it's a bit bittersweet to listen to, despite it's many shortcomings. This disk was released a whopping 6 years after his last full-length album, HIStory (released in 1995), so it was highly anticipated in its time. Jackson decided to team with a new producer, Rodney Jerkins, whom was responsible for many popular artists from the late '90's/early '00's, such as Destiny's Child and NSync. The album took over two years to record, due to the hiring and firing of producers, writers, staff, etc., so by the time the album actually did drop in fall '01, was it worth the wait? Well, it depends on what kind of standard you're holding MJ to. If you're comparing this album to any of his earlier work, then no, it was certainly NOT worth the wait. But if you're comparing him to many other artists from that time period, then yes, it was worth the wait, because we all know MJ's C game could beat practically any other artist's A game. So, without further ado, I give you, once again, a track-by-track analysis of this album:


1. Unbreakable

You can try to stop me, but it won't do a thing
No matter what you do, I'm still gonna be here
Through all your lies and silly games
I'll still remain the same, I'm unbreakable...

You know, if you're anything like me, when you first pop this disk in, after all the electronic bloops and bleeps that go on for about half a minute, and you're introduced to heavy-dance sounds of this song a'la' NSync, you're probably going to want to vomit. It's that bad, until you get used to it. This is one of those songs that have to "grow on you". After you grow to like it, you'll find it's actually a pretty decent song, with a killer hook for its chorus. Clocking in right at 6:25, it's the album's longest track, and it can seem even longer placed right at the front of the disk. This is one of the only songs here reminiscent of HIStory at all, with this song dispelling the notions that MJ's career is over (which it basically was by the time this album released, sadly).

2. Heartbreaker

She plays a game with such an innocent face
I didn't know heartbreaking was her case
Her actions confess and her actions put me through the test
I was surprised that I was caught inside...


Here we are at the first track that is pure filler. It's VERY similar to "Unbreakable" musically, perhaps too much. You'll notice something that unfortunately pops up in many of the others songs here, too-- MJ's voclas sound strained, half-hearted, and nasally (one too many nose surgeries, perhaps?) It also doesn't help that the chorus is so repetitive, It's actually sad to see songs like this come to fruition on a MJ record, when I know he can write stronger songs about women. Just look at "Liberian Girl", "She Drives Me Wild", "Dangerous", and "Human Nature" for solid proof of that.

3. Invincible

If there's somebody else, he can't love you like me
And he says he'll treat you well, he can't treat you like me
And he's buying diamonds and pearls, he can't do it like me
And he's taking you all across the world, he can't trick you like me...


And, we hear the same recycled electronic/dance beats from "Heartbreaker" and "Unbreakable". Ugh. At least it's a light at the end of the tunnel tot hink this song's going to be another one about Jackson being "invincible" from the media's accusations or whatever. But no, it's another song about Jackson trying to get a woman, so I guess the light at the end of the tunnel is actually an oncoming train. That's lovely. The lyrics are strained here, once again, but at least the chorus is half-way catchy. This song says nothing the previous train wreck of a song didn't, but if I had to pick, I'd choose this one, mainly because it has a good hook. But that's just me grasping for something good to say about this song. So... next!

4. Break of Dawn

I don't want the sun to shine, I wanna make love
Just this magic in your eyes and in my heart
I don't know what I'm gonna do, I can't stop lovin' you
I won't stop 'til break of dawn makin' love... 

This is where the album takes a sharp upward turn, with it's first ballad - a slow jam, no less. Yes, it's about making love, and yes, it's important to get the mental image of Jackson nude out of your head to be able to fully enjoy this song. It's this album's ballads that show us Jackson had any musical talent left, with this song being exhibit A. While this isn't my very favorite song here (some are just better by comparison), it's high up on my list.


5. Heaven Can Wait

Unthinkable
Me sitting up in the clouds and you are all alone
The time might come around when you'd be moving on
I'd turn it all around and tyr to get back down to my baby girl...

Alright, Mike. This is getting a bit ridiculous.  This song is downright embarrassing to listen to.  The lyrics are dismal at best, with no creative energy, the song itself drags on way too long, and MJ, you sound like Justin Timberlake in the chorus, and no, that's NOT a good thing, no matter what your 7 producers tell you. It's kind of amazing (in the not-so-good way) how similar parts of this album are to NSync. Maybe that was all on purpose. I hope so, because if not, that's downright sad, considering the gems from earlier in his solo career. Whatever. It's nothing the skip button can't fix.

6. You Rock My World

Ooh, it feels so right
I've searched for the perfect love all my life
Ooh it feels like
I have finally found a perfect love this time...

It's a relief! Finally, we have arrived at some musical sanity! ("Break of Dawn" notwithstanding) While I could do without the cheesy introduction to this song, featuring comedian Christ Tucker and MJ admiring a girl whom is "pretty bangin", the song itself is classic (although I did have to chuckle at the part in the introduction when Christ Tucker bet Jackson Never-Neverland he couldn't get said girl). The rhythm and vocals are reminiscent of Jacko classics such as "Remember the Time" and "Rock With You". This song was released as the debut single from this album back in '01, but sadly only peaked at #10 in the U.S, due to lack of promotion on Sony's part, and that is rather unfortunate, because this song had the potential to go to #1, with proper promotion, in my opinion.

7. Butterflies

All I gotta say is that I must be dreaming, can't be real
You're not here with me, still I can feel you near me
I caress you, let you taste us, just so blissful listen
I would give you anything baby, just make my dreams come true
Oh baby you give me butterflies...


In perhaps what is MJ's best vocal performance on this album (a la' Off the Wall), we are given another excellent slow jam. This is one of the only songs here MJ had no part in writing - Andre Harris and Marsha Ambrosius penned this one. It was also released as a single, but also didn't chart very high, due to a lack of a music video and again, lack of promotion. Perhaps my favorite part of the song is the second verse, where Michael goes into a heart-wrenching falsetto, something we haven't heard since Thriller, if even that album.

8. Speechless

Your love is magical, that's how I feel
But I have not the words here to explain
Gone is the grace for expressions of passion
But there are worlds and worlds of ways to explain
To tell you how I feel...

Here we are, the centerpiece of the album, and also my favorite track here, hands down. This is one of two songs solely penned by Jackson, and it's everything you'd expect from the "king of pop". The basis of this song is nothing more than Mike's (excellent) vocals, a few strings, and a drum machine. It's pretty much a Capella for the first minute or so, and it's absolutely beautiful. However, I have to admit, what made MJ first think of the idea for this song is a bit... odd. Basically, MJ had a water balloon fight with some children (in his Neverland home, perhaps?), and he wrote this song dedicated that - the love he felt for/from those children, and the wonder of being with said kids. Creepy? A bit, but that's just Michael Jackson for ya.

9. 2000 Watts

Bass note, treble, stereo control, how low you go
Just enough to make your juices flow
Press play, don't stop, rotate, too hot
You feel I'm real...

You know, this song would be a great energetic moment for the album, if it made some fucking sense. Seriously, all this song is is MJ listing off different musical things such as Dolby, bass notes, treble, ohms, and feedback, all in a low electronic vocal. It's all a bit weird for me. Maybe it would've been better live. MJ didn't promote this album with a tour or anything, however, and this song wasn't ever performed live, as far as I know, so the world will never know what this song would've sounded like in a live setting. It certainly isn't the album's worst track (we'll get to that in a while), but it would've been better if it made some sort of sense. Oh well.

10. You Are My Life

Now I wake up everyday
With this smile upon my face
No more tears, no more pain
'Cause you love me...

And here we are, traveling down abysmal lane, once again, with a song so cheesy it should be illegal. The song actually sounds like Jackson is gonna pull some psychotic, stalker song (which I have to admit would have been... interesting), but no, all we get is a slow jam about how great some girl is, and how she is "the moon", "the stars", :the sun", "the daytime and nighttime", and on and on and on. It gets to be a bit vomit-inducing, actually.

11. Privacy

Ain't the pictures enough, why do you go through so much
To get the story you need, so you can bury me
You've got the people confused, you tell the stories you choose
You try to get me to lose the man I really am...

Ah, "Privacy", my second favorite song here. It's the song on this album that's the most similar to the fierce, take-no-shit attitude that made up so much of HIStory, with this song taking the same approach: screaming (sorry, no pun intended!) at the press to back off, and leave MJ alone. (Again, sorry, I didn't mean to make a punny!) I also like the vocal style that Mike uses here -- his 'deep-er, snarling-through-the-teeth" type of singing, which hasn't been used on this album at all up until this point. Perhaps I could've done with a bit more originality in the chorus, instead of it's "I need my privacy, yeah yeah, so paparazzi, get away from me," but that's just a miniscule complaint.

12. Don't Walk Away

I close my eyes
Just to try and see you smile one more time
But it's been so long, now all I do is cry
Can't we find some love to take this away...

Now this song works, unlike its kin "You Are My Life" and "Heaven Can Wait". The emotion felt in MJ's vocals here: the pain, the regret as he realizes he is losing the love of his life just radiates through your speakers. The music is based around a rather somber electric acoustic guitar pluck, some strings, and the works. It's nothing short of amazing, because the emotion is just so real. The backing vocals layered behind MJ's just add to this, mournfully singing, "If you go, I won't forget you girl / Can't you see that you will always be / Even though I had to let you go / There's nothing left to do / Don't walk away..." We can all relate to this song, because break-ups are never easy, and this song captures that feeling quite beautifully.

13. Cry

Stories buried and untold
Someone is hiding the truth, hold on
When will this mystery unfold
And will the sun ever shine
In the blind man's eyes when he cries...

Ah, you knew it was coming. This wouldn't be a Michael Jackson album without a socially-conscious song, and "Cry" is that for this CD. Perhaps it's a little too similar to "Man in the Mirror" from Bad, what with the gospel choir and all, but it's a good song, albeit cheesy in some areas, what with the line sin the chorus "You can touch the sky (Gonna take somebody's help) / You're the chosen one (I'm gonna need some kind of sign)", and it's certainly not as elegant as "Earth Song" from HIStory, but ti works, especially in comparison to the some of songs from earlier in the album. But by this point, you are getting a bit weary of this disk, simply because of the decent song/good song/cheesy ballad type of formula that's going on, and for the fact this disk has already been running for 13 damn tracks, and you still have 3 more to go!

14. The Lost Children

Home with their fathers
Snug close and warm, loving their mothers
I see the door simply wide open
But no one can find thee...

Alright, Mike. I've cut you a LOT more slack that I could've in this review, but this is just bad. There are no other words for this. It is bad. I'm not exactly sure what you're trying to convey here, or what the hell this song is even talking about-- is it about kidnapped children, or is it a loose metaphor for those who feel they have lost their childhood? If it's the latter, dude, you already have a song about that, it was on your last album, and it's called "Childhood". And if it's about the former, well... that's just creepy. It doesn't help that this is the other song that you penned solo, and it also doesn't help that you have children singing the chorus of this song with you on toward the end of the track. This song does nothing more than leave a bad taste in my mouth.

15. Whatever Reason

'Everything will be alright,' he assures her
But she doesn't hear a word that he says
Preoccupied, she's afraid
Afraid that what they're doing is not right...

This is probably the most interesting track here, musically anyway. Featuring a guest guitar lead from Carlos Santana, this song is given a Spanish flavor, which is desperately needed at this point, because the songs are starting to sound similar, so this song is excellently used to break up the monotony. It's an interesting tale-- a man and woman are making big changes in their lives, that much is obvious, with the hook of the song being "Whatever happens, don't let go of my hand". I could have dealt with perhaps a bit more detail-- what exactly is happening to the man and woman, are they getting divorced, are they moving, what? But even without that much in the way of detail, the song gets merit for being musically different (in a good way, mind you).

16. Threatened

You're trapped in halls, and my face is the walls
I'm the floor when you fall, and when you scream it's 'cause of me
I'm the living dead, the dark thoughts in your head
I know just what you said
That's why you've got to be threatened by me...

Fortunately, this album ends with another gem, this time the "Thriller"-esque "Threatened". What truly makes this song stand out is it's multiple samplings of Rod Sterling, whom in the beginning of the track, introduces us to the "monster", leading into Jackson's vocals for the first verse. The production and music here may be a bit too much like Rodney Jerkins had too much control, but that's just a little beef. However, in light of MJ's death 9 months ago in June, this track can be a bit eerie to listen to, especially with the sampling of Rod Sterling saying "What you have just witnessed could be the end of a particularly terrifying nightmare. It isn't. It's the beginning," but it's a great way to show that MJ actually had balls, unlike many of the other songs here.

*Whew*
You're still there? You read all of that? Congratulations! While some songs here are nothing short of dismal ("The Lost Children", "Heaven Can Wait", "You Are My Life", "Heartbreaker"), other tracks such as "Don't Walk Away", "Speechless", "Threatened" and "Privacy" more than make up for it. I'm actually torn on this album, as to whether to label it "good" or "bad". I think that's impossible, because this CD has elements of both. I'm going to call it spotty, and leave it at that. It's excessively long, with too many filler tracks. I recommend it, but only at a low price, and do not let this be your introductory to the wonderful world of MJ. I'd recommend Dangerous, Bad, Thriller, or Off the Wall for the potential fan.

3/5