Militant said:

full leak of Another Day

http://www.mjnewsalerts.c...1291500051

Thankies!

Does anyone know if the org crashed on Friday night,because I couldnt get on after 9:00PM.

Anyone loves the maturity of MJ's voice on hollywood tonight...A great tune indeed

WetDream said:

Based on SNIPPETS.

~

Slave To The Rhythm - Horrendous! I can't believe some of you raved about this. Absolutely shocking. It's some Gaga (or rather her puppeteer producer) outake shite. What's more, as Babybemine was saying, he sounds so angry! It's supposed to be feel good, no?

I like this one. I like dance music so maybe that's why, although I feel the music is too overproduced. If you listen, it's obvious that the music is new. Rodney Jerkin's hands are all over this one

~

Hollywood Tonight - Average at best sounding. Again, i was set up to believe it was gonna be a big one. NOPE. More generic pop.

I like this one as well. It's harkens back to the Dangerous vibe, which is my second favorite album

~

Keep Your Head Up - Unknown if him. Cheesy anyway...rather it not be him.

Yeah not Michael

~

The Way You Love Me - Not much difference to UC and i thought that was too wishy-washy...again, cheesy.

It looks like I'm a fan of cheese because I love this one too I like the 2004 version more though

~

Monster - AHAHAHAHAHA!

WACK

~

Best Of Joy - What the hell was up with this guy, man?! He was soo cheesy at times. My older bro just walked in upon listening asking why i have Milly Cirus on! Don't get me wrong, i love me some smile inducing cheese, but as long as it has dignity ala Starfish & Coffee (which is very clever at the same time) or Girlfriend In a Coma by the Smiths .....I like some of the music though.

You HONESTLY think Miley muthafuckin' Cyrus could pull this off? This was the second standout for me when I heard the snippets

~

Breaking News - FFS.

I wonder why they put this song on the album, but I know why.....

~

Another Day - GOOD. That's right, it's the best i have heard out of all new MJ so far. Lenny's touch maybe (Like Carlos in WH).

This was the song I was waiting for....but then I heard it.....and hearing the earlier mix and this one that's included on the album, I think I would've preferred the first

~

Behind The Mask - Hmm...i had doubts when i heard it will have auto tune, but this sounds OK. Thriller-ish...Well, considering the vox are Thriller era, there you have it. sounds like it could be a winner.

THIS ONE IS MY FAVORITE

~

Much To Soon - Ok instrumentation, cool it takes him waaayyy back, but just, again, so cheesy.

Michael's fandom of The Carpenters shines through on this one and I love it. I actually wish it was longer

~

Will do a proper review as i did 20ten (and a few others i.e. Janelle Monae....basically artists that mean a lot to me who have released new albums) for forums and my FB upon hearing it lots.

[Edited 12/5/10 7:21am]

ali23 said:

Does anyone know if the org crashed on Friday night,because I couldnt get on after 9:00PM.

Yeah it crashed like wall street. Was out for a while I think..

ali23 said:

Does anyone know if the org crashed on Friday night,because I couldnt get on after 9:00PM.

I decided to ban you

just kidding

bboy87 said:

ali23 said:

Does anyone know if the org crashed on Friday night,because I couldnt get on after 9:00PM.

I decided to ban you

just kidding

--------------------------

Thank you,Cpest!

bboy87 said:

WetDream said:

Based on SNIPPETS.

~

Slave To The Rhythm - Horrendous! I can't believe some of you raved about this. Absolutely shocking. It's some Gaga (or rather her puppeteer producer) outake shite. What's more, as Babybemine was saying, he sounds so angry! It's supposed to be feel good, no?

I like this one. I like dance music so maybe that's why, although I feel the music is too overproduced. If you listen, it's obvious that the music is new. Rodney Jerkin's hands are all over this one

~

Hollywood Tonight - Average at best sounding. Again, i was set up to believe it was gonna be a big one. NOPE. More generic pop.

I like this one as well. It's harkens back to the Dangerous vibe, which is my second favorite album

~

Keep Your Head Up - Unknown if him. Cheesy anyway...rather it not be him.

Yeah not Michael

~

The Way You Love Me - Not much difference to UC and i thought that was too wishy-washy...again, cheesy.

It looks like I'm a fan of cheese because I love this one too I like the 2004 version more though

~

Monster - AHAHAHAHAHA!

WACK

~

Best Of Joy - What the hell was up with this guy, man?! He was soo cheesy at times. My older bro just walked in upon listening asking why i have Milly Cirus on! Don't get me wrong, i love me some smile inducing cheese, but as long as it has dignity ala Starfish & Coffee (which is very clever at the same time) or Girlfriend In a Coma by the Smiths .....I like some of the music though.

You HONESTLY think Miley muthafuckin' Cyrus could pull this off? This was the second standout for me when I heard the snippets

~

Breaking News - FFS.

I wonder why they put this song on the album, but I know why.....

~

Another Day - GOOD. That's right, it's the best i have heard out of all new MJ so far. Lenny's touch maybe (Like Carlos in WH).

This was the song I was waiting for....but then I heard it.....and hearing the earlier mix and this one that's included on the album, I think I would've preferred the first

~

Behind The Mask - Hmm...i had doubts when i heard it will have auto tune, but this sounds OK. Thriller-ish...Well, considering the vox are Thriller era, there you have it. sounds like it could be a winner.

THIS ONE IS MY FAVORITE

~

Much To Soon - Ok instrumentation, cool it takes him waaayyy back, but just, again, so cheesy.

Michael's fandom of The Carpenters shines through on this one and I love it. I actually wish it was longer

~

Will do a proper review as i did 20ten (and a few others i.e. Janelle Monae....basically artists that mean a lot to me who have released new albums) for forums and my FB upon hearing it lots.

[Edited 12/5/10 7:21am]

Enlighten me please, kind sir.

bboy87 said:

ali23 said:

Does anyone know if the org crashed on Friday night,because I couldnt get on after 9:00PM.

I decided to ban you

just kidding

orgnote me of what you have

ViintageJunkiie said:

R Kelly has a bonus track on his new album called "You Are Not Alone". Am I the only one that hopes it's the demo to the MJ record?

90% it will be his version of the song (a re-record).

9% demo

1% it will be a "duet"

bboy87 said:

WetDream said:

Based on SNIPPETS.

~

Slave To The Rhythm - Horrendous! I can't believe some of you raved about this. Absolutely shocking. It's some Gaga (or rather her puppeteer producer) outake shite. What's more, as Babybemine was saying, he sounds so angry! It's supposed to be feel good, no?

I like this one. I like dance music so maybe that's why, although I feel the music is too overproduced. If you listen, it's obvious that the music is new. Rodney Jerkin's hands are all over this one

~

Hollywood Tonight - Average at best sounding. Again, i was set up to believe it was gonna be a big one. NOPE. More generic pop.

I like this one as well. It's harkens back to the Dangerous vibe, which is my second favorite album

~

Keep Your Head Up - Unknown if him. Cheesy anyway...rather it not be him.

Yeah not Michael

~

The Way You Love Me - Not much difference to UC and i thought that was too wishy-washy...again, cheesy.

It looks like I'm a fan of cheese because I love this one too I like the 2004 version more though

~

Monster - AHAHAHAHAHA!

WACK

~

Best Of Joy - What the hell was up with this guy, man?! He was soo cheesy at times. My older bro just walked in upon listening asking why i have Milly Cirus on! Don't get me wrong, i love me some smile inducing cheese, but as long as it has dignity ala Starfish & Coffee (which is very clever at the same time) or Girlfriend In a Coma by the Smiths .....I like some of the music though.

You HONESTLY think Miley muthafuckin' Cyrus could pull this off? This was the second standout for me when I heard the snippets

~

Breaking News - FFS.

I wonder why they put this song on the album, but I know why.....

~

Another Day - GOOD. That's right, it's the best i have heard out of all new MJ so far. Lenny's touch maybe (Like Carlos in WH).

This was the song I was waiting for....but then I heard it.....and hearing the earlier mix and this one that's included on the album, I think I would've preferred the first

~

Behind The Mask - Hmm...i had doubts when i heard it will have auto tune, but this sounds OK. Thriller-ish...Well, considering the vox are Thriller era, there you have it. sounds like it could be a winner.

THIS ONE IS MY FAVORITE

~

Much To Soon - Ok instrumentation, cool it takes him waaayyy back, but just, again, so cheesy.

Michael's fandom of The Carpenters shines through on this one and I love it. I actually wish it was longer

~

Will do a proper review as i did 20ten (and a few others i.e. Janelle Monae....basically artists that mean a lot to me who have released new albums) for forums and my FB upon hearing it lots.

[Edited 12/5/10 7:21am]

See this response, folks? Someone who respects another's opinion, agreeing or not, and responds with no disrespect, but just his opinion too, which i also respect. No insane emotional outburst because the person might be too emotionally attached to their god, just a simple agree or disagree.

For the record Bboy, i never said Milly Cirus could do it, bro did, but it helps get my view across! Ha.

It seems BHTM will be my fave here, great snippet, i hope it keeps on like that the entire track!

WetDream said:

bboy87 said:

See this response, folks? Someone who respects another's opinion, agreeing or not, and responds with no disrespect, but just his opinion too, which i also respect. No insane emotional outburst because the person might be too emotionally attached to their god, just a simple agree or disagree.

For the record Bboy, i never said Milly Cirus could do it, bro did, but it helps get my view across! Ha.

It seems BHTM will be my fave here, great snippet, i hope it keeps on like that the entire track!

I know, but I was still flabbergasted when I read it

ali23 said:

VOTE FOR MIKE-GRAMMY NOMS

Don't know what's going on here. MJ has 10% votes, and Adam Lambert has 55% of all yahoo user votes. Yahoo is doing a poll. They have an "expert pick also".

What fans must do?

Vote for MJ THIS IS IT Song for "Best Male Pop Vocal Performance" . No sign-in/log-in needed.

Just click the box "My Pick" next to the name.

http://awards.music.yahoo.com/nominees

Ugh, they should've never given Glamberts online service.

That being said, they'd be lucky if that would be the only reasoning anyone wins a Grammy. It'll be either MJ or Buble or Bruno that may end up getting it.

seeingvoices12 said:

Anyone loves the maturity of MJ's voice on hollywood tonight...A great tune indeed

Militant said:

I don't think the adlibs on Another Day are from another song. I need to listen again. MJ often used similar words and phrases when adlibbing towards the end of songs.

But, we know this is a real song so there's no need to be suspicious about it. It's certainly still possible but I very much doubt they would add in adlibs from another song on this track... Lenny Kravitz is much more professional than the FRAUDASCIOS.

There is clips from "we've had enough" at the end their on the ad libs... But you said the song IS actually Michael Jackson singing so I'm not that upset about it.

Bret Ratner was interviewed by Dian Hanson and in the article he talks about his upbringing how he was born in 1969 in Miami Beach he was raised by his mom, grandparents, and great grandmother. He stated he did not have a father around, but he had his grandfather and a guy by the name of Al Malnick ( HA!) who was an incredible role model and father figure.

The article continues on about Bret’s experiences growing up and how he cannot remember ever being sad, he states he never had a drink, cigarette, drug he was just always so focused on his craft of directing. He stated he got the bug at the age of 8 that he wanted to be a Director. Raging Bull was one of the movies that sent him into his love of movies and directing.

The article get’s real interesting for me when Ms. Hanson asks him a question about his “eternal boyishness”and if that was the reason why he was such good friends with Michael Jackson.

Bret says, yeah, we loved having fun. We were always playing practical jokes on people, but the thing that connected us was movies and music. He stated that he and Michael would watch Willy Wonka and The Chocolate Factory over and over again.

He also mentioned how Michael would wake him up in the middle of the night and go, “Meet me in the car. “ Bret goes on to say that Michel had this Asian driver by the name of Kato who wore chauffer’s hat and a tuxedo.

He said they once drove to a 7-eleveen in Santa Barbara at 4 in the morning. Michael then tells him, “Meet me in the bathroom”. Bret say’s “Michael meet you in a 7-eleveen bathroom at 4 in the morning? “ were going to have problem here” Bret states that MJ puts on this Incredible Hulk mask on top of his head and they go into the bathroom and start filling up water balloons. I say, “what are we doing with these?” Michael say’s “we are going to throw them at people” Bret goes on to say so were driving in this stretched Lincoln Navigator, and Michael is in this Incredible Hulk mask sticking out of the sun roof, looking for people at 4am in Santa Barbara. ( Bret laughs) “There aren’t even people in LA after 2am!” but he says, “ we found a guy, a drifter, and he says, Kato hit the brakes” Bret goes on to say, “ now imagine a sad drifter guy walking down the street and then all of a sudden a stretched Lincoln pulls up slams on it’s breaks and out pops for the sun roof the Incredible hulk and he’s going to throw water balloons and the guy is running for his life.

” Bret say’s to Michael, “you don’t think the cops are going to know?” “ You’re the only fucking guy with a 80-foot stretched Lincoln Navigator.” “ What if this guy calls the cops and says the Incredible Hulk was throwing water balloons at me for a stretch Lincoln Navigator?” ( Bret is laughing hysterically about the memory,so much he cant continue the story)

Bret say’s” that ‘s the type of shit we would do. “

ali23 said:

Bret Ratner was interviewed by Dian Hanson and in the article he talks about his upbringing how he was born in 1969 in Miami Beach he was raised by his mom, grandparents, and great grandmother. He stated he did not have a father around, but he had his grandfather and a guy by the name of Al Malnick ( HA!) who was an incredible role model and father figure.

The article continues on about Bret’s experiences growing up and how he cannot remember ever being sad, he states he never had a drink, cigarette, drug he was just always so focused on his craft of directing. He stated he got the bug at the age of 8 that he wanted to be a Director. Raging Bull was one of the movies that sent him into his love of movies and directing.

The article get’s real interesting for me when Ms. Hanson asks him a question about his “eternal boyishness”and if that was the reason why he was such good friends with Michael Jackson.

Bret says, yeah, we loved having fun. We were always playing practical jokes on people, but the thing that connected us was movies and music. He stated that he and Michael would watch Willy Wonka and The Chocolate Factory over and over again.

He also mentioned how Michael would wake him up in the middle of the night and go, “Meet me in the car. “ Bret goes on to say that Michel had this Asian driver by the name of Kato who wore chauffer’s hat and a tuxedo.

He said they once drove to a 7-eleveen in Santa Barbara at 4 in the morning. Michael then tells him, “Meet me in the bathroom”. Bret say’s “Michael meet you in a 7-eleveen bathroom at 4 in the morning? “ were going to have problem here” Bret states that MJ puts on this Incredible Hulk mask on top of his head and they go into the bathroom and start filling up water balloons. I say, “what are we doing with these?” Michael say’s “we are going to throw them at people” Bret goes on to say so were driving in this stretched Lincoln Navigator, and Michael is in this Incredible Hulk mask sticking out of the sun roof, looking for people at 4am in Santa Barbara. ( Bret laughs) “There aren’t even people in LA after 2am!” but he says, “ we found a guy, a drifter, and he says, Kato hit the brakes” Bret goes on to say, “ now imagine a sad drifter guy walking down the street and then all of a sudden a stretched Lincoln pulls up slams on it’s breaks and out pops for the sun roof the Incredible hulk and he’s going to throw water balloons and the guy is running for his life.

” Bret say’s to Michael, “you don’t think the cops are going to know?” “ You’re the only fucking guy with a 80-foot stretched Lincoln Navigator.” “ What if this guy calls the cops and says the Incredible Hulk was throwing water balloons at me for a stretch Lincoln Navigator?” ( Bret is laughing hysterically about the memory,so much he cant continue the story)

Bret say’s” that ‘s the type of shit we would do. “

I love Eclectic Method - and was please when they did this.

From NME

Album review: Michael Jackson - 'Michael' (Epic)

When Will.I.Am of all people is denouncing your project on the grounds of taste and authenticity, you know you’re on shaky ground. When your lead single is a duet with Akon, you should probably just pack up and go home. Michael Jackson couldn’t do any of these things of course, because Michael Jackson is dead.

source: http://www.nme.com/review...kson/11762

So far I'm not loving the video.

Swa said:

From NME

Album review: Michael Jackson - 'Michael' (Epic)

When Will.I.Am of all people is denouncing your project on the grounds of taste and authenticity, you know you’re on shaky ground. When your lead single is a duet with Akon, you should probably just pack up and go home. Michael Jackson couldn’t do any of these things of course, because Michael Jackson is dead.

When you go in to listen to the posthumous album of unreleased Michael Jackson songs you’re met with a 10-page document that painstakingly details the narrative of how this record is authentic, genuine and tastefully in tune with the album Jackson was already planning. But really. Nobody treated this poor, desperate fucker with any respect in the later years of his life. Why would that vultures act any different now he’s not even around to have a say?

Then you actually hear the thing and you’re met with a bizarre rush of reassurance in human decency. Oh, it isn’t really very good, don’t be under illusions of that. But compared with the unnecessary, inauthentic and insulting mess it could have been, and judged against the level at which, say, Tupac Shakur and Freddie Mercury’s graves have been danced on, ‘Michael’ can actually be considered something of a win.

The songs here are actually complete songs. Not discarded offcuts recklessly soldered together with a few guest raps to cover the joins, but full compositions sung all the way through by Actual Michael Jackson. And evidently, his voice had endured. Sure, the vocals are treated to (excuse the phrasing) within an inch of their lives. But the gleaming falsetto, the rock howl and propulsive beatboxing are all, to different extents, intact.

Thirdly, the robotic R&B that defines ‘Michael’ is probably, more or less like what Michael Jackson would have been wanting to do in 2010. Amazing as it would have been to hear him toe-to-toe with Kanye, Minaj and Rihanna, it was never going to happen because he’s chosen Will.I.Am and Akon. And most of these songs are up to his more latterday standard. Just so, it’s a myth that he ever completely lost it: even ‘Invincible’ had ‘You Rock My World’ and ‘Butterflies’ on it.

And even Akon can’t completely ruin the single ‘Hold My Hand’, a tender mid-paced love song in the vein of ‘Remember The Time’, while ‘Best Of Joy’ and ‘(I Like) The Way You Love Me’ cover similar classy/boring mid-tempo R&B territory... ‘Monster’ revisits ‘Smooth Criminal’ territory only to be ruined by an inappropriate rap from 50 Cent, while the worst thing you can say about ‘Hollywood Tonight’ is that its catchy signature gets annoying after a while.

‘Keep Your Head Up’ is sentimental mush that makes up for its paucity of tune by piling on more and more strings and gospel, and ‘Breaking News’ is appalling, Jackson at his most ‘poor me’ unfortunate over a mess of confused beats.

But then something remarkable happens. You get to track nine, ‘Behind The Mask’ and it’s an absolute revelation, a swirl of psychedelic, orchestra-twinged R&B. Jackson howls a solid-gold melody at his fearsome best, and blippy production and robotic backing vocals dancing behind it. It could sit quite happily on ‘Dangerous’. It is actually brilliant. And then there’s ‘Much Too Soon’, a delicate, pared-down ballad that dates back to the ‘Thriller’ era, but gets you in the emotion-centres in the way that Jackson uniquely could.

On the balancing strength of those two songs, ‘Michael’ manages to dodge the bullet enough to be kind of enjoyable. But it’s worth remembering that both songs date back to the 1980s. It’s also worth remembering that this is the first in a reported 10-album deal over the next seven years. And if this decent-enough album is the best of the bunch, things are going to get ugly from here on in. Michael has his epitaph now. Tear up that contract, The Jackson Estate. Tear it up now.

source: http://www.nme.com/review...kson/11762

I was gonna post it initially but then I thought, "Nah."

Reviews are overated and depend on the taste of that particular critic. If he/she prefers pop/rock style music than a mid tempo r&b jam is gonna be mushy and weak to them. If your a r&b/hip hop critic its gonna sound hot. I remember pop critics saying Butterflies was weak. Well thats because there not in to r&b.

Id like to read some reviews from r&b and hip hop critics.

Past 10 years its dominated Billboard anyway. This is why guys like Justin Timerlake hired the Neptunes because he knew this si whats hot in the USA.

I also remember Thriller getting bad reviews

Here's another Review

This past Friday I listened to Michael Jackson's highly-anticipated posthumous album, Michael, which is expected to hit stores in the U.S. on December 14th. I had many questions going in, not only about the music itself, but the process. How were the tracks selected? How much were they altered or embellished? And what was the end result?

Posthumous works are notoriously tricky. There are essentially two philosophical approaches: 1) present the material basically as it was found; or, 2) try to complete the artist's vision based on instructions and/or intuition. Either way comes with its own unique challenges and complications.

For the 2009 documentary, This Is It, the Estate of Michael Jackson opted for the first approach. Audiences around the world witnessed the raw rehearsals of what would have been an unprecedented concert spectacle. At the time, some complained that Jackson wouldn't have wanted people to see anything but the final, finished result. He was a perfectionist who gave everything to a performance; in the footage, however, he was often conserving his voice, marking his dance steps, and correcting mistakes. Yet there was something undeniably riveting and enlightening about watching the artist at work. It was tragic, of course, that his full vision was never realized. But for many viewers it humanized the singer, even as it showcased his extraordinary talent.

With this first posthumous album, however, a different approach was taken. All of the songs were completed within the past year by various collaborators and caretakers--ranging from Teddy Riley to Neff-U to Estate co-executor John McClain. Michael, his Estate said, left a "roadmap" behind, and they felt an obligation to finish what he had started. It was a risky decision that has caused a severe backlash amongst many of Jackson's core fans. A similar controversy resulted in 1995, when Paul, George and Ringo "finished" two John Lennon tracks ("Free as a Bird" and "Real Love") under the banner of the Beatles. For some fans, it could never be an "authentic" Beatles track without Lennon's full participation. Similarly, no matter how closely Akon, Lenny Kravitz and others worked with Jackson, could they ever fully intuit what he would have wanted on a given track?

In some cases, Jackson did indeed leave very specific notes and instructions. It is also well-known to those familiar with his artistic process that he frequently returned to tracks from previous album sessions and updated them. Versions of "Blood on the Dance Floor," "They Don't Care About Us," and "Earth Song," for example, were all originally recorded during the Dangerous sessions; but Jackson continued to tinker with each of these songs for years until he felt they were ready. A Michael Jackson song was never final until it made an official studio album.

This return-treatment is essentially what his collaborators have attempted on Michael. They wanted to make these tracks as fresh, vibrant and relevant as possible, believing that this is what Jackson would have wanted as well. Of course, in the end, since none of them are Michael Jackson, the best they could do is approximate. The album, then, is a hybrid creation. At times it feels truly inspired and very close to what Michael himself would have done; at other times, it feels a bit more like a tribute, similar to the remixes on Thriller 25.

Much of this probably won't even register to the average listener, who will simply listen to the music and decide whether they like it or not.

But because Michael Jackson is one of the most important artists of the past century the question of how much to modify the work he left behind is a very serious one. As amazing as the new version of "Behind the Mask" sounds, for example, it isn't the version Michael last worked on in the early 1980s. If for no other reason than documenting history, then, it would seem worthwhile to release the originals/demos as well (perhaps as bonus tracks or a supplementary album), even if they aren't perfectly polished or updated.

With that preface in place, I proceed to my review of the actual album, which, on the whole, really is an exciting and enjoyable listening experience. Indeed, for all the controversy about its authenticity, going through the album song by song, Jackson's presence is undeniable. His habits, his obsessions, his versatility, and his genius are on display at every turn.

Who else could move so seamlessly from social anthem to floor burner, fleet hip hop to cosmic rock, vintage funk to poignant folk ballad? Who besides Michael Jackson would follow a tender love song with a trenchant critique of the media? An uplifting gospel tune with a ferocious polemic on the monstrosity of Hollywood culture?

This, ultimately, is the most important quality of Michael: it feels like Michael.

The Estate and Sony should be given credit for retaining much of Jackson's edginess and eclecticism where they could have easily opted for a more traditional lineup. (For all the uproar over "Breaking News," I thought it was a pretty bold statement out of the gate in terms of its lyrical target.)

The album also contains some nice, visceral touches, including Jackson's incredibly dynamic beatboxing (displayed most prominently on "Hollywood Tonight"), and a phone message introduction to "(I Like) The Way You Love Me," in which Jackson explains the composition of the song to longtime collaborator, Brad Buxer. The point of these examples is that Jackson the artist and person doesn't get swallowed in "over-production," as some have feared. In spite of its limitations, from opening line ("This life don't last forever...") to closing ("I guess I learned my lesson much too soon") a very intimate, authentic, humanizing picture evolves.

Below, is my song-by-song breakdown of the album:

Hold My Hand

Simple, but powerful love song turned social anthem. Since I already reviewed this, I will just point to the link. I'm actually stunned this isn't charting better in the U.S., but maybe that will change when the video premiers and the holidays draw closer.

Hollywood Tonight

Definitely an album highlight. The song begins with a haunting Gothic church choir, before transforming into an energetic dance stomper. I'm not too keen on the spoken parts (performed by nephew, Taryll Jackson), but clearly there were places in the song Michael hadn't filled yet. The track features Michael in a notably deeper voice, and concludes with military-style whistling. As Ellen displayed on her show last week, the song will get people up and moving.

Keep Your Head Up

Narrates the life of an ordinary woman "looking for the hope in the empty promises." The song is well-suited to the current economic climate and will likely resonate with many listeners. The back half of the song offers a classic MJ crescendo, with the gospel choir providing the lift and communal strength the woman needs to keep going. (Fans will be happy to know the "Earth Song" ad libs heard on a leaked version of the track were removed.)

(I Like) The Way You Love Me

Great new production by Neff-U that was being actively discussed and transformed with Michael in Los Angeles (the original demo appeared on the 2004 boxed set, Michael Jackson: The Ultimate Collection). The new version retains all of the charm of the original while injecting some fresh elements, including new piano, bass, strings, and vocal effects.

Monster

A blistering rhythm track that probably hits harder than any song on the album. Features a rap solo by 50 Cent, guitar work by Orianthi, and excellent production by Teddy Riley. As Jackson holds a mirror up to society, asking us to observe the distorted reflection, I couldn't help but picture the horrifying scene of paparazzi shoving their cameras up against the ambulance carrying him to the hospital. "Everywhere you seem to turn there's a monster," he sings. "Paparazzi got you scared like a monster." Some reviewers continue to dismiss songs like this as petty "ranting" and "paranoia," but this is some deft social criticism for those who look beyond the surface. It has all the makings of a hit single.

Best of Joy

A breezy mid-tempo ballad, Jackson's falsetto is as effortless as ever as he sings promises to a loved one. Recorded in Los Angeles in 2009, this was one of his final recordings, and he still sounds fantastic.

Breaking News

The song will likely be forever-linked to the controversy surrounding its vocals. Yet in spite of the backlash, the content of the song is classic Michael Jackson, following in the tradition of anti-media tracks like "Leave Me Alone, "Tabloid Junkie," and "Privacy." The repeated use of the name, "Michael Jackson," highlights the way his name has been objectified--it is simply a media construct, a "boogieman," that the real Michael feels detached from. The exaggerated way the name is uttered humorously mocks the way the media exploits him for sensational effect. While the strength and clarity of the vocals clearly aren't up to Jackson's standards, the song itself is quite good. The harmonized chorus is catchy and memorable. Teddy Riley gives the song a fresh but faithful sheen. One can easily imagine the song as an outtake from the Dangerous or HIStory sessions.

(I Can't Make It) Another Day

Originally recorded by Jackson and Lenny Kravitz in 1999 at the legendary Marvin's Room Studio, the track has Michael summoning a cosmic power over a rugged, industrial funk beat and a soaring chorus. This is an example, however, of the new version sounding more like a Kravitz tribute to Jackson, rather than a Jackson track. In the original, Jackson's vocals are less overwhelmed by the drums and guitar, allowing him to convey the full mystery and wonder of the lyrics. Kravitz's update isn't too different, but enough to change the feel of the song. It still rocks, but in a different way than the original.

Behind the Mask

"Behind the Mask" was originally intended for Thriller, but left off reportedly because of a song credit dispute. It was later covered by Jackson's keyboardist Greg Phillinganes as well as Eric Clapton. Had Jackson released it in 1982, the quirky Yellow Magic Orchestra adaptation likely would have been a big hit. Estate executor John McClain updates it skillfully in this new version, making it sound brand new and retro at the same time. It is definitely one of the highlights of the album. Still, many fans will likely be anxious to hear those classic sheets of synth and 80s production on the original demo. Modernizing the production does make it fit better with the album, though it's unclear if Jackson himself planned to update the track.

Much Too Soon

An excellent choice to end the album, "Much Too Soon" showcases Jackson's ability as a singer-songwriter to magnificent effect. An exquisite expression of loss and yearning, it stands should-to-shoulder with some of the best folk ballads of The Carpenters and The Beatles. The lyrics almost read like a W.B. Yeats poem.

The track was first written by Jackson in 1981 and revisited multiple times over the years. The vocal on this version was recorded in 1994 at The Hit Factory during the HIStory sessions. It was originally engineered and mixed by Bruce Swedien (this version leaked online a couple weeks ago); the album version, featuring more prominent accordion and strings, was re-produced for the Michael album by estate co-executor John McClain.

In the song, a forlorn Jackson, accompanied by the subtle acoustic guitar work of Tommy Emmanuel, sings about being separated from a loved one "much too soon." The bridge features a harmonica solo that highlights the song's folk-blues essence, before Jackson returns with a final verse about "never letting fate control [his] soul." It is a beautiful, bittersweet song that perfectly balances hope and regret, loneliness and the desire for reconciliation. For all Jackson's superstardom, "Much Too Soon" reminds that behind the media construct was a human being.

Conclusion:

Call it a collage, an approximation, or a tribute. Or call it, as many of Michael's collaborators have: "a labor of love." That sentiment certainly shines through on the record. Yet obviously, this is not the exact album Jackson would have created. For a variety of reasons, many tracks that Jackson was working on during his final years aren't on the tracklist (including those with will.i.am). In addition, the vocals, particularly on a couple of the "Cascio tracks," don't always measure up to Jackson's typical strength and vitality, leading some to label them as "fake." Until a forensic analysis or some other concrete evidence proves otherwise that conspiracy theory doesn't hold up for me--especially after hearing the final album versions on very good speakers. But occasionally, the creative liberties taken do seem questionable, or at the very least, unexplained. For the purists (myself included), it would be nice, in addition to the current album versions, to have some of these songs in the form they were found--just as it was nice to see Michael un-mediated in This Is It.

But the bottom line is this: Michael contains some very impressive new material. One job of Jackson's Estate is to extend his legacy to new generations of listeners and this album will likely accomplish that. At ten songs, it is a tight, diverse almost 80s-esque LP--which also means fans have many more songs in the vaults to look forward to. In the meantime, songs like "Hollywood Tonight," "Monster," "Behind the Mask," and "Much Too Soon" make excellent additions to an already legendary catalog.

© Joseph Vogel

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BabyBeMine said:

Reviews are overated and depend on the taste of that particular critic.

[img:$uid]http://i.imgur.com/CzyjU.jpg[/img:$uid]

lol You really be killing me sometimes. Ultimately, quoted for truth.

I think that if your posts critiquing MJ's music were laced with a little less music snobbery, then I know that I, at least, would be more willing to have an actual convo with you about it.

Just sayin.'