Ah man, that's one of my favorite joints off of the Invincible joint. It's a very smooth and melodic ballad that suits Mike's vocal skills well. He needs to stick with this kind of material usually.

that is also 1 of my fav tracks off invincible and ur right it is a great soundin track with a cool melodie, my other favs off that album r speechless,you rock my world and u r my life

BlaqueKnight said:

LOVE THIS SONG!

Early 90's mike..Dangerous outtake Mike. I love the sensual guitar at the end.


"plegealee now...dont cha leave me..."
U will always be!
Cant u see?
U & Me?


LOVE LOVE LOVE THIS SONG!

This song makes me throw up in my mouth a little.

I love this song!

LOVE this song, i agree that its kinda tame but its still nice and one of the few songs off of invincible that doesnt sound harsh or super dated...whatever happens is WAYYY better tho

santana edit
[Edited 1/14/08 17:00pm]

This is probably my favorite song on Invincible. This along with Break of Dawn, Heaven Can Wait, Butterflies, and Whatever Happens, makes the album worth mentioning.

This should've been a single

I love DWA. I love a lot the stuff from Invincible actually.



A lot of songs from Invincible should've been singles. Break of Dawn, Butterflies, Whatever Happens. But Sony and Michael weren't on good terms during the time of this album. Sony wouldn't let Michael do what he wanted to do in terms of single releases and music videos. Basically the whole album was fucked right up because Michael and Motolla had their little school-yard fight going on.

Invincible was ready in 1999 but he made the stupid decision to tell Motolla it would be his last. Motolla said "my ass it's your last record" and got pissed off. There was an exchange of words and Michael went from wanting to retire after this album to just wanting to leave Sony and go to another label. The problem was he had a good album ready to go and he didn't want Sony to have it, he wanted to release it with his new label. So he started the album again from scratch and the cut that came out in 2001 was pretty much leftovers from 1999 and dodgy crap he recorded since with some dodgy as hell producers.

But now that Motolla's gone he's staying with Sony. I don't know what the chances are of his next album being Invincible take 1. Probably very little since he seems to be starting fresh with new collaborators. We'll probably never hear Invincible take 1. The album that Rodney Jerkins and people from Sony were calling better than Thriller back in 1999.

bboy87 said:

the ballads are obviously stronger then the rest . to add we've had enough was not a bad song either. so i hope his next release will be stronger . i dont expect a off the wall , thriller , bad , dangerous but i expect an album better then invincible

silverchild said:

Oh, it's such a beautiful song. I love the strings and the emotion in his voice. I almost get teary eyed.

bboy87 said:

You have great taste!

bboy87 said:

The best songs on 'Invincible' are the slow jams,imo..."Butterflies","Heaven Can Wait","Whatever Happens","Break Of Dawn","Speechless".The uptempo songs are weak,by comparison.

SoulAlive said:

True, however "You Rock My World" was pretty good as well. I think it's one of the stronger songs on the album.

Cinnamon234 said:

I think Unbreakable is excellent as well. People might argue that it sounds dated, but so what. Robert Christgau, a music critic I admire at Rolling Stone and Village Voice, listed it as one of the best songs of 2001. While Invincible received poor to mediocre reviews from most major music magazines (most of them also, I might add, spent more time talking about his personal life than the music), both him and Frank Kogan at Village Voice gave it a fair reading, I thought.

BTW, what do other MJ fans think of their reviews of Invincible?
[Edited 1/15/08 0:33am]

Robert Christgau

http://www.robertchristga...el+Jackson

Invincible [Epic, 2001]
Jackson's obsession with fame, his grotesque life magnified by his grotesque wealth, are such an offense to rock aesthetes that the fact that he's a great musician is now often forgotten. I use the present tense because (a) his skills seem undiminished and (b) as only Frank Kogan has listened dispassionately enough to remark, he's doing new stuff with them--his funk is steelier and his ballads are airier, both to disquieting effect. At 78 minutes this is too long, and especially given his history, "The Lost Children" is offensive. But the first three tracks are the Rodney Jerkins of the year, "2000 Watts" is the Teddy Riley of the past five years, and even the prunables offer small surprises. Don't believe the hype matters. A-

The Man in the Distance
Michael Jackson's Invincible
by Frank Kogan
November 28 - December 4, 2001
Michael Jackson
Invincible
Epic

http://www.villagevoice.c...66,22.html

An odd thing about Michael Jackson is that he has a totally spectacular voice but he doesn't feel the need to amaze us with it. At all. His favorite technique for conveying passion is to choke off his words. On dance songs he makes his voice as hard and compact as the percussion, reducing himself to icy shards and chilly wails. And when he lets loose with dazzling gospel-like displays, he undermixes these displays, letting them play in the background while drumbeats or simpler vocals take the spotlight. Or he'll just put whispers in the front of the mix, while scaling heights in the distance.

There are two types of songs on Invincible: sentimental ballads and dance tracks. Several of the ballads are very pretty; the rest are just restrained. Of course, it would never occur to me to write or listen to lyrics like "This one's for all the lost children, wishing them well/And wishing them home" or "You're my daytime my nighttime/My world/You're my life." But even if you're regularly moved to tears by children's faces on milk cartons, these lyrics will probably hit you as blanks. As I said, Michael's not throwing his voice into these songs; he's deliberately spare, doling out gorgeousness in bits. What grabs my attention about a song like "Butterflies" ("I would give you anything baby, just make my dreams come true/Oh baby you give me butterflies"—so, would he give her, like, caterpillars in exchange? birds?) isn't the melody but the weirdly ringing wrench-against-faucet clang on the backbeat. "Speechless" and "Cry" are very pretty, but they give the impression that Michael's standing sideways, so as to let the beauty slide off him.

But these days—while Michael's doing his chilly glide—Lil' Romeo is on continual play on Radio Disney gleefully yelling "I don't need a girlfriend" to the riff of an old Jackson 5 song, and Jay-Z's all over everywhere else using the very same song to proclaim himself Jay-hova, and Alien Ant Farm are on the rock stations rumbling cloddily through Michael's "Smooth Criminal," having a blast interpolating Michael yells. And *NSync in "Pop" are suckering themselves into thinking they're real by doing a Michael-like new-jack-restraint thing, but they nonetheless put forth more energy by twisting their voices and incorporating pops, blips, and boings from their Mr. Wizard chemistry set. So in this world of quasi-Michael expressiveness we've got Michael himself off on his Matterhorn doing a deliberately pale hard-snowshoe dance, and I wonder how—or if—he now registers on the popular eardrum.

He seems to have lost all interest in bouncy pop songs like "Billie Jean," much less ravers like "Beat It" or "Give In to Me." The closest on here is "Whatever Happens," with its Spanish guitar and eerie whistles. It follows on from the useless "Lost Children," and maybe he's trying to lead us from the missing kids to "Whatever happens, don't let go of my hand," with threat in his voice and intense sha-na-na-nas in the background—which in turn sets up the scary-monster song that follows at the end of the LP, except that Michael ruins the transition by audibly thanking guest guitarist Carlos Santana, as if to say, "Look whom I've got on my record." (Michael also got Rod Serling and Biggie Smalls to be guests, which says something about his clout.)

To really care about this album you have to be able to get into the pure hard sounds of the dance-track percussion and the way Michael tends to garnish them with his voice. He and Rodney Jerkins, who co-produced the dance numbers, pull in fuzzes and buzzes and whirs—the edginess of techno—truncated clangs, little frog-croaking bass notes. Back when Michael did all those spare Teddy Riley new-jack-swing tracks at the start of Dangerous, I'd thought he was trying to sound hard and contemporary and street. But now I think he's simply attracted to that kind of sound, and he does it better this time. He'll use strings to effectively not fill out (or not fill in) an arrangement. "You can't touch me, 'cause I'm untouchable"—as in can't be topped, or can't be reached. "You can't break me, 'cause I'm unbreakable." So the music sounds unbreakable, too. But then on the next track, he breaks: "[She] spoke with her body/Her only goal is just to take control/I can't believe that I can't tell her no." (Like back on "Billie Jean," he said that he was not her lover. But when she called him into her room . . . )

The cover shows his face in close-up, white-on-gray, but with the right eye darkly etched, from which I get the eerie feeling that he's looking at me rather than I at him. As always, he's the great poet of boundary problems. He asks the paparazzi, "Why do you go through so much/To get the story you need, so you can bury me?" but then at the end of the album he's the monster, the stalker: "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 . . . " Eminem couldn't have said it better (well, he could have, and has, but you get my point).

So: icy beauty, vacuous sentiment, visceral terror. A typical Michael Jackson album, but stripped of meat. I find extraordinary beauty in the fast songs, but I don't know if it's a beauty I'll ever care about. The beauty in previous Michael Jackson albums found me. But sometimes this took a while: I was several months into Bad before I suddenly felt it when he sang, "He came into her apartment/He left the bloodstains on the carpet"—but once I did, much of the album seemed deft, sharp, and sad.

DarlingDiana said:

That is a shame.

BlaqueKnight said:

This is that Jason person's song, isn't it?

His voice does sort of sound like MJ's, but the differences are still apparent.

Rodya24 said:

Yeah.
http://www.myspace.com/JasonMalachi
Dude is pretty much the "new MJ" in the sense that it seems like that's as close as we get to a new Michael Jackson record these days.

BlaqueKnight said:

I really like the song.

TAME

Is the right word for Don't Walk Away. It's MJ going thru the motions.

PS: Wasn't it produced by Babyface?

SPEAKING OF MJ IMPOSTERS...

What do you reckon of this track?

C'est La Vie

BlaqueKnight said:

Speaking of length...

78 - 40 = a decent album

BlueNote

In terms of ballads I prefer Speechless and You Are My Life.

MattyJam said:

As for the ballads on Invincible, I think Butterflies and Break of Dawn top the list for me.

BlaqueKnight said:

Honestly, I wish this dude's album would drop already. I'm liking his new stuff better than 80% of the crap-feast that was Invincible. If only Jason could work with like Timbaland or Teddy Riley. Homie would be ON FIRE.