Cirque du Soleil founder says Michael Jackson was a 'big fan' of the troupe

By Victoria Ahearn, The Canadian Press – 8 hours ago

TORONTO — It seems Michael Jackson was as fond of Montreal's Cirque du Soleil as the famed acrobatic troupe is of him.

Cirque founder Guy Laliberte says the late King of Pop frequented company shows, and that's one of the reasons why they're honouring his legacy with several new projects.

"Michael was one of the greatest artists to hit this planet in the last 100 years. He was a great creative person, a great performer," Laliberte said in an interview this week as he was inducted into the Canadian Business Hall of Fame.

"We knew him because he was a big fan of Cirque du Soleil. He was coming to every show, more than one time."

Opening in Montreal in October, Cirque's "Michael Jackson: The Immortal World Tour" will feature 60 international performers and a fantastical stage setting.

Renowned choreographer Jamie King wrote and directs the $57 million production, which will feature acrobats performing Jackson's signature dance moves to his music.

"I think his imagination was as large as the universe, so for us it's easy to think that we could do something voyaging and travelling in his creative environment," said Laliberte." We're very excited about it."

Cirque is also working with Jackson's estate to create several permanent attractions to honour the star in Las Vegas. Plans include an interactive memorabilia museum, a Jackson-themed lounge and a permanent show dedicated to him at the Mandalay Bay hotel-casino.

Established in 1979 by Junior Achievement of Canada, the Canadian Business Hall of Fame honours individual business leaders for their life achievements and service to the economy, community and the country.

Laliberte called it a "great honour" and dedicated it to his entire Cirque team.

His advice to those who want to follow in his footsteps was to "take the time at the beginning to envision and give yourself a clear mission, understanding what you'll have to defend and transmit through the rest of your business life."

"Because once you're in and once you grow, of course you could reorganize and readjust, but at the end it's how you define the personality of your company as an organism that will be very, very important for the future," he said before a black-tie gala hosted by CBC News anchor Peter Mansbridge on Tuesday night.

"After that it's about your employees that will have confidence or not in you. If you don't deviate then they'll support you, they'll back you up. But if (you're) ... changing ideas all the time about your things, then you'll create instability."

Born in Quebec City and raised in the suburbs of Montreal, Laliberte busked in Europe as a teen and joined a stilt-walking troupe east of Quebec City before forming Cirque in 1984.

Today, the company has more than 5,000 employees, including more than 1,500 artists, and mounts 20 different shows around the world.

Laliberte, who founded the poverty-fighting charity One Drop, attributed his success to a blend of commitment, dreaming, hard work, passion and original ideas.

He said he also takes time to learn new things and pursue challenging adventures, which in the past have included high-profile poker tournaments and becoming Canada's first space tourist.

"It's important, that's what keeps me alive," said the 51-year-old billionaire. "It always did and hopefully it will always do in the future."

Copyright © 2011 The Canadian Press. All rights reserved.

Elizabeth Taylor, Michael Jackson and Marlon Brando 'drove across the U.S. in a rental car after 9/11, eating KFC'

By DAILY MAIL REPORTER

A road trip across America stopping at every Kentucky Fried Chicken diner along the way does not sound like an A-list event.

But this particular car was carrying Marlon Brando, Dame Elizabeth Taylor and Michael Jackson.

The unlikely threesome began driving across America in a rental car after planes were grounded in the aftermath of the terror attacks on New York on September 11, 2001, according to Vanity Fair.

Car pool: Mocked-up image of how Jackson, Brando and Taylor might have looked together

Brando, whose weight by this stage in his life had ballooned, was said to have irritated the other two by stopping at almost every Kentucky Fried Chicken and Burger King restaurant en route.

Vanity Fair reporter Sam Kashner writes: ‘Brando allegedly annoyed his travelling companions by insisting on stopping at nearly every KFC and Burger King they passed along the highway.

‘One can only imagine the shock their appearance caused at gas stations and rest stops across America.’

According to a former member of Jackson’s staff, the three friends travelled a total of 535 miles.

‘They actually got as far as Ohio – all three of them, in a car they drove themselves,’ he said.

Crazy drive: Elizabeth Taylor and Michael Jackson joined friend Marlon Brando for a drive out of New York following the events of 9/11

None of the three, of course, is around to substantiate or dispute the bizarre story.

Brando died aged 80 in July 2004, Jackson in June 2009, aged 50, and Dame Elizabeth in March this year, aged 79.

One of Dame Elizabeth’s friends, however, disputed that she actually went on the trip. At the time, The Godfather star Brando was 77, Dame Elizabeth 69 and Jackson 43.

The trip is said to have come about after Jackson invited the other two to New York for his concerts on September 7 and September 10 at Madison Square Gardens.

However, in the immediate aftermath of the terrorist atrocity in which Al Qaeda flew two planes into the World Trade Center, flights in the U.S. were grounded, so the trio resorted to the road for their return to the west coast.

In the Vanity Fair piece the actress’s former personal assistant Tim Mendelson, who worked for her for 25 years, told how the star would spend days in bed watching television.

Mr Mendelson said: ‘She had a genius for creating chaos around her. A typical day was whatever occupied her attention at the moment. That’s what was so great about working for her.

‘One day it might be something having to do with the dog, or a friend who needed help.

‘Or she might just decide to spend a few days in bed watching television.’

Motoring on: Marlon Brando is said to have requested regular fast food stops on the road

According to the magazine report, at one point Dame Elizabeth also ‘put her foot down’ with Jackson when it came to his habit of asking youngsters to share his bed.

One close friend said: ‘The only time I ever saw her put her foot down about Michael was when Marlon Brando’s son Miko, who was working as one of Michael’s bodyguards, was rounding up kids for Michael’s sleepovers.

‘Elizabeth got wind of it, and she really came down hard. She knew it wasn’t right – she had grandchildren of her own – and that, even if they were the innocent little sleepovers Michael claimed, he was still on dangerous ground.’

Swa said:

Elizabeth Taylor, Michael Jackson and Marlon Brando 'drove across the U.S. in a rental car after 9/11, eating KFC'

By DAILY MAIL REPORTER

A road trip across America stopping at every Kentucky Fried Chicken diner along the way does not sound like an A-list event.

But this particular car was carrying Marlon Brando, Dame Elizabeth Taylor and Michael Jackson.

The unlikely threesome began driving across America in a rental car after planes were grounded in the aftermath of the terror attacks on New York on September 11, 2001, according to Vanity Fair.

Car pool: Mocked-up image of how Jackson, Brando and Taylor might have looked together

Brando, whose weight by this stage in his life had ballooned, was said to have irritated the other two by stopping at almost every Kentucky Fried Chicken and Burger King restaurant en route.

Vanity Fair reporter Sam Kashner writes: ‘Brando allegedly annoyed his travelling companions by insisting on stopping at nearly every KFC and Burger King they passed along the highway.

‘One can only imagine the shock their appearance caused at gas stations and rest stops across America.’

According to a former member of Jackson’s staff, the three friends travelled a total of 535 miles.

‘They actually got as far as Ohio – all three of them, in a car they drove themselves,’ he said.

Crazy drive: Elizabeth Taylor and Michael Jackson joined friend Marlon Brando for a drive out of New York following the events of 9/11

None of the three, of course, is around to substantiate or dispute the bizarre story.

Brando died aged 80 in July 2004, Jackson in June 2009, aged 50, and Dame Elizabeth in March this year, aged 79.

One of Dame Elizabeth’s friends, however, disputed that she actually went on the trip. At the time, The Godfather star Brando was 77, Dame Elizabeth 69 and Jackson 43.

The trip is said to have come about after Jackson invited the other two to New York for his concerts on September 7 and September 10 at Madison Square Gardens.

However, in the immediate aftermath of the terrorist atrocity in which Al Qaeda flew two planes into the World Trade Center, flights in the U.S. were grounded, so the trio resorted to the road for their return to the west coast.

In the Vanity Fair piece the actress’s former personal assistant Tim Mendelson, who worked for her for 25 years, told how the star would spend days in bed watching television.

Mr Mendelson said: ‘She had a genius for creating chaos around her. A typical day was whatever occupied her attention at the moment. That’s what was so great about working for her.

‘One day it might be something having to do with the dog, or a friend who needed help.

‘Or she might just decide to spend a few days in bed watching television.’

Motoring on: Marlon Brando is said to have requested regular fast food stops on the road

According to the magazine report, at one point Dame Elizabeth also ‘put her foot down’ with Jackson when it came to his habit of asking youngsters to share his bed.

One close friend said: ‘The only time I ever saw her put her foot down about Michael was when Marlon Brando’s son Miko, who was working as one of Michael’s bodyguards, was rounding up kids for Michael’s sleepovers.

‘Elizabeth got wind of it, and she really came down hard. She knew it wasn’t right – she had grandchildren of her own – and that, even if they were the innocent little sleepovers Michael claimed, he was still on dangerous ground.’

Daily Mail - isn't it a tabloid?

If this story is true, I kinda doubt, Mike would mind stopping at every KFC.

Militant said:

Katherine won't hear from any lawyers.

Jordy and June Chandler know the whole thing was a crock of shit at this point. And the only person that would be pissed off, is Evan Chandler, who is dead. He shot himself, remember?

Besides Mesereau already said years ago that he has witnesses who heard Chandler Junior confess that nothing ever happened.

Looks like Janet met up with Raymone Bain backstage at her DC show.

[img:$uid]http://cdn.sparkart.net/janetjackson/content/photos/1304555226.02022._DSC6716.jpg[/img:$uid]

[img:$uid]http://cdn.sparkart.net/janetjackson/content/photos/1304555225.00859._DSC6713.jpg[/img:$uid]

I don't know... kinda sickening... looks like they let everyone meet her.

[Edited 5/5/11 15:13pm]

PatrickS77 said:

Militant said:

Katherine won't hear from any lawyers.

Jordy and June Chandler know the whole thing was a crock of shit at this point. And the only person that would be pissed off, is Evan Chandler, who is dead. He shot himself, remember?

Besides Mesereau already said years ago that he has witnesses who heard Chandler Junior confess that nothing ever happened.

Any link to that? Just nice to be armed with sources for future discussions.

PatrickS77 said:

Looks like Janet met up with Raymone Bain backstage at her DC show.

[img:$uid]http://cdn.sparkart.net/janetjackson/content/photos/1304555226.02022._DSC6716.jpg[/img:$uid]

[img:$uid]http://cdn.sparkart.net/janetjackson/content/photos/1304555225.00859._DSC6713.jpg[/img:$uid]

I don't know... kinda sickening... looks like they let everyone meet her.

[Edited 5/5/11 15:13pm]

Is that Randy as well?

^ No comment.

Swa said:

PatrickS77 said:

Looks like Janet met up with Raymone Bain backstage at her DC show.

[img:$uid]http://cdn.sparkart.net/janetjackson/content/photos/1304555226.02022._DSC6716.jpg[/img:$uid]

[img:$uid]http://cdn.sparkart.net/janetjackson/content/photos/1304555225.00859._DSC6713.jpg[/img:$uid]

I don't know... kinda sickening... looks like they let everyone meet her.

[Edited 5/5/11 15:13pm]

Is that Randy as well?

SMDH...

you make it sound like she was posing with cockroaches....

alphastreet said:

you make it sound like she was posing with cockroaches....

Raymone IS a cockroach.

yeah I know I just cracked up at how it was said

Swa said:

PatrickS77 said:

Looks like Janet met up with Raymone Bain backstage at her DC show.

[img:$uid]http://cdn.sparkart.net/janetjackson/content/photos/1304555226.02022._DSC6716.jpg[/img:$uid]

[img:$uid]http://cdn.sparkart.net/janetjackson/content/photos/1304555225.00859._DSC6713.jpg[/img:$uid]

I don't know... kinda sickening... looks like they let everyone meet her.

[Edited 5/5/11 15:13pm]

Is that Randy as well?

Yep that's Randy's chubby tail.

Swa said:

PatrickS77 said:

Besides Mesereau already said years ago that he has witnesses who heard Chandler Junior confess that nothing ever happened.

Any link to that? Just nice to be armed with sources for future discussions.

He held a speech at a university some time after the trial... there he mentioned it... it's probably on Youtube... I downloaded it from some MJ site. I might look it up, later, when I have time.

Swa said:

ThruTheEyesOfWonder said:

I beginning to hate her too. Frankly, I think she's just pretentious as hell with an ego the size of Texas.

I have this friend who's obsessed with anything Gaga. She even refers to herself as a "little monster". She likes Michael too...but she's crazy about Gaga. I told her off a few days ago, saying I think Lady Gaga is a pretentious copycat who'd rather have her crazy clothes and crazed image speak louder than her music. Not like her music can speak loudly anyways. She does nothing but rip off MJ, The Pointer Sisters, Madonna, etc. and sells it back ot her fans as bastardized soul-less versions of the real thing. Only song I ever really cared about from her was "Just Dance". Mindless song that's easy to dance to.

My friend denied it all. Well, the hell with it. Judas is pointless...and this video, if this rumour is true...will be a total disaster.

^^ Don't waste negative energy on other artists. Focus it on what you love instead.

Personally I don't mind Gaga - I'm not a fan but I think that atleast she is stirring things up. Pretencious with a hell of an ego sounds like a certain purple person I know during the 80s.

Every artist borrows from what has come before - it's what they fashion it into that adds value.

Let people love what they love, and remember being an MJ has never been an easy ride with many writing off his music for years. Each to their own. I say.

Just pull out some classic MJ - paste it here and let us all focus on what unites.

Thanks for your sweet advice. The only thing I could not stand was the fact that she's considered as a good dancer...I capitalized HORRIBLE DANCER part because I was just so frustrated with the fact that "dancing" is getting more and more underestimated these days because almost every pop star can be called a 'great dancer'. I'm not a dancer but I do figure skate and in a school team. Physical interpretation of music is really an amazing art form...It's very hard it takes endless practice, unique style and creativity...Just in general it takes a lot to be called "great dancer" IMO...at least it used to be when all great dancers/entertainers were around...That's why I was bummed But sorry I kinda started this negative vibe on MJ thread. I'll take your advice and focus on people I like!!!

[Edited 5/5/11 23:44pm]

Swa said:

PatrickS77 said:

Besides Mesereau already said years ago that he has witnesses who heard Chandler Junior confess that nothing ever happened.

Any link to that? Just nice to be armed with sources for future discussions.

There you go.

Japha11 said:

Swa said:

Any link to that? Just nice to be armed with sources for future discussions.

There you go.

Thanks for that - hand't seen it. Sadly as it was never in court it's never public record.

Funny how people would always rely on the scandalous stuff they read or saw on TV to form their picture, but when the so called facts were shot down in flames the whole thing went unnoticed.

Had Jordy testified in court - it would have been presented as one side only at that time - and unless they got a confession out of him that he lied (and in a sense committed extortion and fraud) then the press would have just run the old accusation stories - and ignored the rebuttal witnesses.

Swa said:

Japha11 said:

There you go.

Thanks for that - hand't seen it. Sadly as it was never in court it's never public record.

Funny how people would always rely on the scandalous stuff they read or saw on TV to form their picture, but when the so called facts were shot down in flames the whole thing went unnoticed.

Had Jordy testified in court - it would have been presented as one side only at that time - and unless they got a confession out of him that he lied (and in a sense committed extortion and fraud) then the press would have just run the old accusation stories - and ignored the rebuttal witnesses.

I studied psychology, and this is what psychologists call the misinformation effect. The misinformation effect is a memory bias that happens when misinformation or suggested information affects people's reports of their own memory, or affects what they know to be true.

For instance, you could hear about something from a questionable source, and it might conflict with what you already know about the subject. but as time passes, you begin to forget where you heard it from and then you think that this really is a "fact", despite the fact you may know that it is questionable to begin with. And when this happens, it's EXTREMELY difficult to persuade them with the truth.

The mind is a very powerful thing. Very highly suggestible..

[Edited 5/6/11 12:43pm]

And now back to the music....

Dangerous

In the years since BAD was released Michael’s start both shone bright and was also tarnished by the slew of Wacko Jacko stories. For a while it seemed the tabloid persona was overshadowing the music. And despite Bad’s record setting 5 consecutive #1 singles, many critics labelled the album a failure due to not outselling Thriller.

So when Dangerous was released the critics were ready to write it off as the music of a has been who was no longer relevant. But as soon as you pressed play on the CD player you knew it was a return to form.

With a smashing of glass (as if to smash all built up expectation) the album kicks of with the thumping Jam. The beats, crisp and sharp underpin a song that is layered with a global message of concern in some of Michael’s most well crafted lyrics. The arrangement, whilst sparse and void of a bass line for the most part, allows for Michael’s vocals to come to the fore accentuated with occasional horn stabs here and there. The rap by Heavy D was a case of keeping it in the family as he role call’s his previous cameo’s on tracks by Janet and Teddy Riley’s band Guy. This song still has a hard edge with its sudden attacks and is still as funky as it felt back in 92. Of note, this was the first time Michael had incorporated scratching into the musical landscape, and it plays nicely against the old skool funk guitar and horn lines in the final minutes.

Without letting the listener catch a breath, Why You Wanna Trip On Me comes bursting through the speakers. Its soaring guitar intro first makes you think you are about to go head first into a rock track only to have it twist into a funk rhythm and classic funk riff. The stop start feel of the song made it instantly appealing. With a new jack swing touch the beat lays the foundation for Michael to spit out the insanity of being a target for the press when there are bigger issues in the world that need attention. And in classic Michael arrangement, the verses are hard hitting while the verses float in blissful harmonies. Destined to be a fan favourite hearing a snippet of the song in the This Is It movie gave those of us that had always wanted to hear it live a moment of joy.

In The Closet (with its Mystery Girl duet – read Princess Stephanie of Monaco) remains one of Michael’s most sexually suggestive songs – maybe as a challenge to his first choice of vocal partner, Madonna. Once again the beats are sharp but this time have a bit of seduction to them as Michael teases his way through the verses and once again shows why he was unbeatable in the harmony stakes when his vocals are layered against each other in the chorus. Throughout the song Michael uses his voice as a key instrument punctuation the verses with almost doo-wop deliveries and whispered “come ons”. Whilst at times Michael’s lead vocals have a touch of roughness to them, the backing vocal harmonies are as smooth as the finest silk. With a classic MJ touch, the song is laden with melody and vocal hooks from the false start chorus of “she was it give it, ahhh she want’s to give it” to the officially ordained chorus with its falsetto “there’s something about you baby that makes me want to give it to you”. Michael’s spoken word segments also feel more natural than his soft-spoken intro to Don’t Stop or I Just Can’t Stop Loving You. Musically the song has many phrases and it’s not surprise that this track alone spawned over a dozen remixes. Still seductive and still infectious this is one of Michael’s often forgotten about musical gems despite it being a single.

Whereas the first three songs of the album played with and expanded the new jack swing formula, She Drives Me Wild doesn’t mess with it and presents all the key elements of a new jack song. A moment of inventiveness is present in the way that various car sounds are incorporated into the musical landscape from car horns, to tyre skids, to slamming doors, to revving motors. One of the album’s clear-cut dance songs, She Drives Me Wild doesn’t offer lyrics you will find deep meaning but instead provides a fun infectious love song that was guaranteed to be pumped out of speakers all through clubland.

From the opening run of bass notes, Remember The Time just grabs you. The groove is more seductive than some of the harder hitting rhythms that had preceded it. Michael’s delivery is on point, and once again the backing harmonies layer so perfectly they almost wash over the listener. From lush choruses to sparse verses that allow for just Michael’s voice to carry the melody the song became one of the instant stand out tracks of the album. It was a love song that was carried with such joy and celebration you couldn’t help but want to sing along. And whilst the songs either side of it suffer from sounding like derivative new jack songs – and thus place them in a moment of musical time – Remember the Time still sounds fresh and inviting over 15 years later.

Like She Drive Me Wild, Can’t Let Her Get Away is a pure new jack dance tune. Whilst not overly a stand out, the song still has elements that make it fun to listen to but does show a little wear all these years later. Closing out the album’s string of floor fillers, Can’t Let Her Get Away gives a clear not to the new jack vibe and satisfies those fans that wanted Michael to release a dance orientated album.

Whilst Dangerous was seen as a CD orientated album, the track listing (and vinyl release) suggests the listener view it more as a double album with the first 6 songs taking up sides A and B and Heal the World closing out the first disc. Whilst Michael’s heart is clearly in the right place on Heal The World, the childlike simplicity of the arrangement and the lush productions sadly has it come off as a light, overly saccharine track that boarders on the pompous, the song just feels like an overblown version of We Are The World and jars with edgier dance funk that preceded it.

Black or White was a great lead single for this album. The way it fused a great rock riff, with pop sensibilities and a touch of rap was a perfect introduction to where this album would go. While the whole “it’s too late” intro overstayed it’s welcome by about the 5^th listen, there is no denying that Black or White is one of Michael’s iconic tracks. Perhaps driven in part by all the speculation around his appearance, this track continues in Michael’s “one world” ideology. Whereas at other points in the album Michael’s voice comes across as raspy and rough, here the verses are sung with such smoothness that the melody sweeps you up and carries you through the track. It’s a song that hooks you from the first beat. The breakdown/rap segment is a particular highlight with Michael’s vocals adding a punch to the rock guitar that grinds underneath, and then flipping it up the guitar effortlessly slides into a funk groove for the rap. With a sense of joy the backing vocals coax you to sing-along with their “yeah yeah yeahs” while Michaels little trumpet vocal trill at 3.26 just always makes me smile.

With an operatic opening Who Is It is built on the same musical credo of other classic tracks like Billie Jean. With its own immediately distinctive bass line, Who Is It delves a little deeper into the darker side of relationships and musically is quite haunting. Lyrically the desperation and paranoia that follows a breakup is present, almost palpable in the way Michael sings with a sense of yearning and pleading. Musically it offers several hooks without straying too far from the firm groove of the beat, but moments of punctuation with strings and synth beds draw the listener deeper and deeper into the track. For me this was one of Michael’s finest moments as a songwriter and also as a singer. And at 6.34 the song never feels like it has overstayed it’s welcome in the slightest, in fact a few more minutes in the hypnotic swing of the track wouldn’t have gone astray.

With the rock cross over blueprint firmly in place Michael unveils Give In To Me and produces another intriguing rock song. This years Eddie Van Halen is Slash and the rock is pushed a little harder to the point of near distortion. But with the roughness comes moments of sweetness like the vocal break down of “but it’s ok, it’s ok” before Slash delivers a melodically soaring solo that doesn’t try too hard to show off tricks but rather sits in the pocket and lets the flow of the solo build organically, the tricks are saved for the solo reprise at the 3.30 minute mark. Give In To Me slinks along and proves that no matter what genre Michael enters he can hold his own.

Picking up where Man In The Mirror left off, Will You Be There sees Michael pen his own gospel and choral inspired song with what are, to this point in his career, the most personal of lyrics and ones that would carry extra weight in the years that came after it. Steeped in deep harmonies that swell around him, Michael sings with a sense of honesty that both inspires and attracts. The stripped back arrangement, whilst sparse, lets the vocals truly shine and you can hear the pressures cracking in Michael’s delivery of “but I’m only human” (a fact lost on many a journalist and fan alike). The midpoint of the song is like a gentle climb up a summit, each step carried by the choir and Michael’s call and response. Each bar pushing higher and higher, and sweeping the listener up in the process until the soft landing of the final two minutes that allow Michael to speak about his life from his point of view, in words that would become strangely prophetic for the years that would unfold before him.

Continuing the gospel feel Keep The Faith sounds more like Man In The Mirror part 2, which isn’t in itself a bad thing, but sadly it comes off as a pale imitation. Whereas Will You Be There feels like, whilst inspired by it, it creates it’s own path and finds it’s own pace. Maybe it was that Keep The Faith follows Will You Be There that has it pale in comparison, almost feeling like Gospel by the numbers and strangely feeling uninspired. That all sad, there are elements that reward you for going with it, especially with a few of the vocal runs Michael throws into the mix.

Gone Too Soon with its dedication to Ryan White sees Michael in ballad mode. Once again the arrangement allows for Michael voice to shine “splendidly bright”. Initially this wasn’t a song that immediately grabs you, but over time you find little moments that reveal themselves to you. It might be the abandon Michael sings, “born to amuse” or the way he holds onto the note in “dying with the rising of the moon”. Sadly now this song is as much about the singer as it was about the subject.

As if closing out the album the way it began, Dangerous provides us with the perfect floor filler bookend. Once again Michael assumes the role of persecuted lover, but this time is drawn into the scene more than in previous explorations. It’s a touch Billie Jean, a touch Dirty Diana blended into solid dance floor filler. And whilst the song does close out the album with an infectious groove, the length of the track does make it begin to tire on the listener. Shaving a few minutes off it wouldn’t have been a bad idea.

With Dangerous, Michael reaffirmed his right to the title King of Pop and delivered an album that mixed genres in a way that was expected, if not demanded, of a Jackson release. Whilst a few low points (Heal The World, Keep The Faith) drag the album and perhaps should have been dropped entirely or substituted for the catchier and richer Someone Put Your Hand out, Dangerous is perhaps Michael’s most consistent album and the last where the listener could easily distance the tabloid persona from the talented creator.

A lot would change for Michael over the ensuing years, but for a brief moment in 1991 and through to 1993 Michael was once again exciting listeners and pushing the art of videos. And he began to rely less on imagined situations and fantasy to draw from as source material, and instead began to draw more on his own life and feelings making the album lyrically his most personal to date. Something that would continue, wether willingly or not, on the follow up HiStory.

I have no comment on Raymone because I have nothing against her especially after reading a interview she did when Michael died I see no problem with her being there . Moving on

Swa said:

And now back to the music....

Dangerous

In the years since BAD was released Michael’s start both shone bright and was also tarnished by the slew of Wacko Jacko stories. For a while it seemed the tabloid persona was overshadowing the music. And despite Bad’s record setting 5 consecutive #1 singles, many critics labelled the album a failure due to not outselling Thriller.

So when Dangerous was released the critics were ready to write it off as the music of a has been who was no longer relevant. But as soon as you pressed play on the CD player you knew it was a return to form.

With a smashing of glass (as if to smash all built up expectation) the album kicks of with the thumping Jam. The beats, crisp and sharp underpin a song that is layered with a global message of concern in some of Michael’s most well crafted lyrics. The arrangement, whilst sparse and void of a bass line for the most part, allows for Michael’s vocals to come to the fore accentuated with occasional horn stabs here and there. The rap by Heavy D was a case of keeping it in the family as he role call’s his previous cameo’s on tracks by Janet and Teddy Riley’s band Guy. This song still has a hard edge with its sudden attacks and is still as funky as it felt back in 92. Of note, this was the first time Michael had incorporated scratching into the musical landscape, and it plays nicely against the old skool funk guitar and horn lines in the final minutes.

Without letting the listener catch a breath, Why You Wanna Trip On Me comes bursting through the speakers. Its soaring guitar intro first makes you think you are about to go head first into a rock track only to have it twist into a funk rhythm and classic funk riff. The stop start feel of the song made it instantly appealing. With a new jack swing touch the beat lays the foundation for Michael to spit out the insanity of being a target for the press when there are bigger issues in the world that need attention. And in classic Michael arrangement, the verses are hard hitting while the verses float in blissful harmonies. Destined to be a fan favourite hearing a snippet of the song in the This Is It movie gave those of us that had always wanted to hear it live a moment of joy.

In The Closet (with its Mystery Girl duet – read Princess Stephanie of Monaco) remains one of Michael’s most sexually suggestive songs – maybe as a challenge to his first choice of vocal partner, Madonna. Once again the beats are sharp but this time have a bit of seduction to them as Michael teases his way through the verses and once again shows why he was unbeatable in the harmony stakes when his vocals are layered against each other in the chorus. Throughout the song Michael uses his voice as a key instrument punctuation the verses with almost doo-wop deliveries and whispered “come ons”. Whilst at times Michael’s lead vocals have a touch of roughness to them, the backing vocal harmonies are as smooth as the finest silk. With a classic MJ touch, the song is laden with melody and vocal hooks from the false start chorus of “she was it give it, ahhh she want’s to give it” to the officially ordained chorus with its falsetto “there’s something about you baby that makes me want to give it to you”. Michael’s spoken word segments also feel more natural than his soft-spoken intro to Don’t Stop or I Just Can’t Stop Loving You. Musically the song has many phrases and it’s not surprise that this track alone spawned over a dozen remixes. Still seductive and still infectious this is one of Michael’s often forgotten about musical gems despite it being a single.

Whereas the first three songs of the album played with and expanded the new jack swing formula, She Drives Me Wild doesn’t mess with it and presents all the key elements of a new jack song. A moment of inventiveness is present in the way that various car sounds are incorporated into the musical landscape from car horns, to tyre skids, to slamming doors, to revving motors. One of the album’s clear-cut dance songs, She Drives Me Wild doesn’t offer lyrics you will find deep meaning but instead provides a fun infectious love song that was guaranteed to be pumped out of speakers all through clubland.

From the opening run of bass notes, Remember The Time just grabs you. The groove is more seductive than some of the harder hitting rhythms that had preceded it. Michael’s delivery is on point, and once again the backing harmonies layer so perfectly they almost wash over the listener. From lush choruses to sparse verses that allow for just Michael’s voice to carry the melody the song became one of the instant stand out tracks of the album. It was a love song that was carried with such joy and celebration you couldn’t help but want to sing along. And whilst the songs either side of it suffer from sounding like derivative new jack songs – and thus place them in a moment of musical time – Remember the Time still sounds fresh and inviting over 15 years later.

Like She Drive Me Wild, Can’t Let Her Get Away is a pure new jack dance tune. Whilst not overly a stand out, the song still has elements that make it fun to listen to but does show a little wear all these years later. Closing out the album’s string of floor fillers, Can’t Let Her Get Away gives a clear not to the new jack vibe and satisfies those fans that wanted Michael to release a dance orientated album.

Whilst Dangerous was seen as a CD orientated album, the track listing (and vinyl release) suggests the listener view it more as a double album with the first 6 songs taking up sides A and B and Heal the World closing out the first disc. Whilst Michael’s heart is clearly in the right place on Heal The World, the childlike simplicity of the arrangement and the lush productions sadly has it come off as a light, overly saccharine track that boarders on the pompous, the song just feels like an overblown version of We Are The World and jars with edgier dance funk that preceded it.

Black or White was a great lead single for this album. The way it fused a great rock riff, with pop sensibilities and a touch of rap was a perfect introduction to where this album would go. While the whole “it’s too late” intro overstayed it’s welcome by about the 5^th listen, there is no denying that Black or White is one of Michael’s iconic tracks. Perhaps driven in part by all the speculation around his appearance, this track continues in Michael’s “one world” ideology. Whereas at other points in the album Michael’s voice comes across as raspy and rough, here the verses are sung with such smoothness that the melody sweeps you up and carries you through the track. It’s a song that hooks you from the first beat. The breakdown/rap segment is a particular highlight with Michael’s vocals adding a punch to the rock guitar that grinds underneath, and then flipping it up the guitar effortlessly slides into a funk groove for the rap. With a sense of joy the backing vocals coax you to sing-along with their “yeah yeah yeahs” while Michaels little trumpet vocal trill at 3.26 just always makes me smile.

With an operatic opening Who Is It is built on the same musical credo of other classic tracks like Billie Jean. With its own immediately distinctive bass line, Who Is It delves a little deeper into the darker side of relationships and musically is quite haunting. Lyrically the desperation and paranoia that follows a breakup is present, almost palpable in the way Michael sings with a sense of yearning and pleading. Musically it offers several hooks without straying too far from the firm groove of the beat, but moments of punctuation with strings and synth beds draw the listener deeper and deeper into the track. For me this was one of Michael’s finest moments as a songwriter and also as a singer. And at 6.34 the song never feels like it has overstayed it’s welcome in the slightest, in fact a few more minutes in the hypnotic swing of the track wouldn’t have gone astray.

With the rock cross over blueprint firmly in place Michael unveils Give In To Me and produces another intriguing rock song. This years Eddie Van Halen is Slash and the rock is pushed a little harder to the point of near distortion. But with the roughness comes moments of sweetness like the vocal break down of “but it’s ok, it’s ok” before Slash delivers a melodically soaring solo that doesn’t try too hard to show off tricks but rather sits in the pocket and lets the flow of the solo build organically, the tricks are saved for the solo reprise at the 3.30 minute mark. Give In To Me slinks along and proves that no matter what genre Michael enters he can hold his own.

Picking up where Man In The Mirror left off, Will You Be There sees Michael pen his own gospel and choral inspired song with what are, to this point in his career, the most personal of lyrics and ones that would carry extra weight in the years that came after it. Steeped in deep harmonies that swell around him, Michael sings with a sense of honesty that both inspires and attracts. The stripped back arrangement, whilst sparse, lets the vocals truly shine and you can hear the pressures cracking in Michael’s delivery of “but I’m only human” (a fact lost on many a journalist and fan alike). The midpoint of the song is like a gentle climb up a summit, each step carried by the choir and Michael’s call and response. Each bar pushing higher and higher, and sweeping the listener up in the process until the soft landing of the final two minutes that allow Michael to speak about his life from his point of view, in words that would become strangely prophetic for the years that would unfold before him.

Continuing the gospel feel Keep The Faith sounds more like Man In The Mirror part 2, which isn’t in itself a bad thing, but sadly it comes off as a pale imitation. Whereas Will You Be There feels like, whilst inspired by it, it creates it’s own path and finds it’s own pace. Maybe it was that Keep The Faith follows Will You Be There that has it pale in comparison, almost feeling like Gospel by the numbers and strangely feeling uninspired. That all sad, there are elements that reward you for going with it, especially with a few of the vocal runs Michael throws into the mix.

Gone Too Soon with its dedication to Ryan White sees Michael in ballad mode. Once again the arrangement allows for Michael voice to shine “splendidly bright”. Initially this wasn’t a song that immediately grabs you, but over time you find little moments that reveal themselves to you. It might be the abandon Michael sings, “born to amuse” or the way he holds onto the note in “dying with the rising of the moon”. Sadly now this song is as much about the singer as it was about the subject.

As if closing out the album the way it began, Dangerous provides us with the perfect floor filler bookend. Once again Michael assumes the role of persecuted lover, but this time is drawn into the scene more than in previous explorations. It’s a touch Billie Jean, a touch Dirty Diana blended into solid dance floor filler. And whilst the song does close out the album with an infectious groove, the length of the track does make it begin to tire on the listener. Shaving a few minutes off it wouldn’t have been a bad idea.

With Dangerous, Michael reaffirmed his right to the title King of Pop and delivered an album that mixed genres in a way that was expected, if not demanded, of a Jackson release. Whilst a few low points (Heal The World, Keep The Faith) drag the album and perhaps should have been dropped entirely or substituted for the catchier and richer Someone Put Your Hand out, Dangerous is perhaps Michael’s most consistent album and the last where the listener could easily distance the tabloid persona from the talented creator.

A lot would change for Michael over the ensuing years, but for a brief moment in 1991 and through to 1993 Michael was once again exciting listeners and pushing the art of videos. And he began to rely less on imagined situations and fantasy to draw from as source material, and instead began to draw more on his own life and feelings making the album lyrically his most personal to date. Something that would continue, wether willingly or not, on the follow up HiStory.

Dangerous is a great album.

babybugz said:

Swa said:

And now back to the music....

Dangerous

In the years since BAD was released Michael’s start both shone bright and was also tarnished by the slew of Wacko Jacko stories. For a while it seemed the tabloid persona was overshadowing the music. And despite Bad’s record setting 5 consecutive #1 singles, many critics labelled the album a failure due to not outselling Thriller.

So when Dangerous was released the critics were ready to write it off as the music of a has been who was no longer relevant. But as soon as you pressed play on the CD player you knew it was a return to form.

With a smashing of glass (as if to smash all built up expectation) the album kicks of with the thumping Jam. The beats, crisp and sharp underpin a song that is layered with a global message of concern in some of Michael’s most well crafted lyrics. The arrangement, whilst sparse and void of a bass line for the most part, allows for Michael’s vocals to come to the fore accentuated with occasional horn stabs here and there. The rap by Heavy D was a case of keeping it in the family as he role call’s his previous cameo’s on tracks by Janet and Teddy Riley’s band Guy. This song still has a hard edge with its sudden attacks and is still as funky as it felt back in 92. Of note, this was the first time Michael had incorporated scratching into the musical landscape, and it plays nicely against the old skool funk guitar and horn lines in the final minutes.

Without letting the listener catch a breath, Why You Wanna Trip On Me comes bursting through the speakers. Its soaring guitar intro first makes you think you are about to go head first into a rock track only to have it twist into a funk rhythm and classic funk riff. The stop start feel of the song made it instantly appealing. With a new jack swing touch the beat lays the foundation for Michael to spit out the insanity of being a target for the press when there are bigger issues in the world that need attention. And in classic Michael arrangement, the verses are hard hitting while the verses float in blissful harmonies. Destined to be a fan favourite hearing a snippet of the song in the This Is It movie gave those of us that had always wanted to hear it live a moment of joy.

In The Closet (with its Mystery Girl duet – read Princess Stephanie of Monaco) remains one of Michael’s most sexually suggestive songs – maybe as a challenge to his first choice of vocal partner, Madonna. Once again the beats are sharp but this time have a bit of seduction to them as Michael teases his way through the verses and once again shows why he was unbeatable in the harmony stakes when his vocals are layered against each other in the chorus. Throughout the song Michael uses his voice as a key instrument punctuation the verses with almost doo-wop deliveries and whispered “come ons”. Whilst at times Michael’s lead vocals have a touch of roughness to them, the backing vocal harmonies are as smooth as the finest silk. With a classic MJ touch, the song is laden with melody and vocal hooks from the false start chorus of “she was it give it, ahhh she want’s to give it” to the officially ordained chorus with its falsetto “there’s something about you baby that makes me want to give it to you”. Michael’s spoken word segments also feel more natural than his soft-spoken intro to Don’t Stop or I Just Can’t Stop Loving You. Musically the song has many phrases and it’s not surprise that this track alone spawned over a dozen remixes. Still seductive and still infectious this is one of Michael’s often forgotten about musical gems despite it being a single.

Whereas the first three songs of the album played with and expanded the new jack swing formula, She Drives Me Wild doesn’t mess with it and presents all the key elements of a new jack song. A moment of inventiveness is present in the way that various car sounds are incorporated into the musical landscape from car horns, to tyre skids, to slamming doors, to revving motors. One of the album’s clear-cut dance songs, She Drives Me Wild doesn’t offer lyrics you will find deep meaning but instead provides a fun infectious love song that was guaranteed to be pumped out of speakers all through clubland.

From the opening run of bass notes, Remember The Time just grabs you. The groove is more seductive than some of the harder hitting rhythms that had preceded it. Michael’s delivery is on point, and once again the backing harmonies layer so perfectly they almost wash over the listener. From lush choruses to sparse verses that allow for just Michael’s voice to carry the melody the song became one of the instant stand out tracks of the album. It was a love song that was carried with such joy and celebration you couldn’t help but want to sing along. And whilst the songs either side of it suffer from sounding like derivative new jack songs – and thus place them in a moment of musical time – Remember the Time still sounds fresh and inviting over 15 years later.

Like She Drive Me Wild, Can’t Let Her Get Away is a pure new jack dance tune. Whilst not overly a stand out, the song still has elements that make it fun to listen to but does show a little wear all these years later. Closing out the album’s string of floor fillers, Can’t Let Her Get Away gives a clear not to the new jack vibe and satisfies those fans that wanted Michael to release a dance orientated album.

Whilst Dangerous was seen as a CD orientated album, the track listing (and vinyl release) suggests the listener view it more as a double album with the first 6 songs taking up sides A and B and Heal the World closing out the first disc. Whilst Michael’s heart is clearly in the right place on Heal The World, the childlike simplicity of the arrangement and the lush productions sadly has it come off as a light, overly saccharine track that boarders on the pompous, the song just feels like an overblown version of We Are The World and jars with edgier dance funk that preceded it.

Black or White was a great lead single for this album. The way it fused a great rock riff, with pop sensibilities and a touch of rap was a perfect introduction to where this album would go. While the whole “it’s too late” intro overstayed it’s welcome by about the 5^th listen, there is no denying that Black or White is one of Michael’s iconic tracks. Perhaps driven in part by all the speculation around his appearance, this track continues in Michael’s “one world” ideology. Whereas at other points in the album Michael’s voice comes across as raspy and rough, here the verses are sung with such smoothness that the melody sweeps you up and carries you through the track. It’s a song that hooks you from the first beat. The breakdown/rap segment is a particular highlight with Michael’s vocals adding a punch to the rock guitar that grinds underneath, and then flipping it up the guitar effortlessly slides into a funk groove for the rap. With a sense of joy the backing vocals coax you to sing-along with their “yeah yeah yeahs” while Michaels little trumpet vocal trill at 3.26 just always makes me smile.

With an operatic opening Who Is It is built on the same musical credo of other classic tracks like Billie Jean. With its own immediately distinctive bass line, Who Is It delves a little deeper into the darker side of relationships and musically is quite haunting. Lyrically the desperation and paranoia that follows a breakup is present, almost palpable in the way Michael sings with a sense of yearning and pleading. Musically it offers several hooks without straying too far from the firm groove of the beat, but moments of punctuation with strings and synth beds draw the listener deeper and deeper into the track. For me this was one of Michael’s finest moments as a songwriter and also as a singer. And at 6.34 the song never feels like it has overstayed it’s welcome in the slightest, in fact a few more minutes in the hypnotic swing of the track wouldn’t have gone astray.

With the rock cross over blueprint firmly in place Michael unveils Give In To Me and produces another intriguing rock song. This years Eddie Van Halen is Slash and the rock is pushed a little harder to the point of near distortion. But with the roughness comes moments of sweetness like the vocal break down of “but it’s ok, it’s ok” before Slash delivers a melodically soaring solo that doesn’t try too hard to show off tricks but rather sits in the pocket and lets the flow of the solo build organically, the tricks are saved for the solo reprise at the 3.30 minute mark. Give In To Me slinks along and proves that no matter what genre Michael enters he can hold his own.

Picking up where Man In The Mirror left off, Will You Be There sees Michael pen his own gospel and choral inspired song with what are, to this point in his career, the most personal of lyrics and ones that would carry extra weight in the years that came after it. Steeped in deep harmonies that swell around him, Michael sings with a sense of honesty that both inspires and attracts. The stripped back arrangement, whilst sparse, lets the vocals truly shine and you can hear the pressures cracking in Michael’s delivery of “but I’m only human” (a fact lost on many a journalist and fan alike). The midpoint of the song is like a gentle climb up a summit, each step carried by the choir and Michael’s call and response. Each bar pushing higher and higher, and sweeping the listener up in the process until the soft landing of the final two minutes that allow Michael to speak about his life from his point of view, in words that would become strangely prophetic for the years that would unfold before him.

Continuing the gospel feel Keep The Faith sounds more like Man In The Mirror part 2, which isn’t in itself a bad thing, but sadly it comes off as a pale imitation. Whereas Will You Be There feels like, whilst inspired by it, it creates it’s own path and finds it’s own pace. Maybe it was that Keep The Faith follows Will You Be There that has it pale in comparison, almost feeling like Gospel by the numbers and strangely feeling uninspired. That all sad, there are elements that reward you for going with it, especially with a few of the vocal runs Michael throws into the mix.

Gone Too Soon with its dedication to Ryan White sees Michael in ballad mode. Once again the arrangement allows for Michael voice to shine “splendidly bright”. Initially this wasn’t a song that immediately grabs you, but over time you find little moments that reveal themselves to you. It might be the abandon Michael sings, “born to amuse” or the way he holds onto the note in “dying with the rising of the moon”. Sadly now this song is as much about the singer as it was about the subject.

As if closing out the album the way it began, Dangerous provides us with the perfect floor filler bookend. Once again Michael assumes the role of persecuted lover, but this time is drawn into the scene more than in previous explorations. It’s a touch Billie Jean, a touch Dirty Diana blended into solid dance floor filler. And whilst the song does close out the album with an infectious groove, the length of the track does make it begin to tire on the listener. Shaving a few minutes off it wouldn’t have been a bad idea.

With Dangerous, Michael reaffirmed his right to the title King of Pop and delivered an album that mixed genres in a way that was expected, if not demanded, of a Jackson release. Whilst a few low points (Heal The World, Keep The Faith) drag the album and perhaps should have been dropped entirely or substituted for the catchier and richer Someone Put Your Hand out, Dangerous is perhaps Michael’s most consistent album and the last where the listener could easily distance the tabloid persona from the talented creator.

A lot would change for Michael over the ensuing years, but for a brief moment in 1991 and through to 1993 Michael was once again exciting listeners and pushing the art of videos. And he began to rely less on imagined situations and fantasy to draw from as source material, and instead began to draw more on his own life and feelings making the album lyrically his most personal to date. Something that would continue, wether willingly or not, on the follow up HiStory.

Dangerous is a great album.

Fuck the critics. Dangerous is a fantastic album! I love every song on that album. I think it's very much underrated, same with HIStory and Invincible. You can't just compare album successes with Michael. Each one is unique in it's own way...you can't just say Thriller is it and ignore the rest...you'd just be limiting yourself.

ThruTheEyesOfWonder said:

babybugz said:

Dangerous is a great album.

Fuck the critics. Dangerous is a fantastic album! I love every song on that album. I think it's very much underrated, same with HIStory and Invincible. You can't just compare album successes with Michael. Each one is unique in it's own way...you can't just say Thriller is it and ignore the rest...you'd just be limiting yourself.

I don’t agree about underrated I seem to see a lot of Michael fans (my age in particular) who actually prefer Bad & Dangerous days.

^ me too, a lot of people my age owned Dangerous and HIStory in the 90's, and the otw and thriller records belonged to mommy and daddy

Bad and Dangerous tied are my favourites though

[Edited 5/6/11 22:01pm]

babybugz said:

ThruTheEyesOfWonder said:

Fuck the critics. Dangerous is a fantastic album! I love every song on that album. I think it's very much underrated, same with HIStory and Invincible. You can't just compare album successes with Michael. Each one is unique in it's own way...you can't just say Thriller is it and ignore the rest...you'd just be limiting yourself.

I don’t agree about underrated I seem to see a lot of Michael fans (my age in particular) who actually prefer Bad & Dangerous days.

I don't have that many friends then. most of the ones I know can't get over Thriller and/or Bad. No one pays attention to HIStory, Dangerous, or Invincible. Especially Invincible...

I need new friends...

But yes...DANGEROUS = AWESOME We agree on that...

babybugz said:

Swa said:

And now back to the music....

Dangerous

In the years since BAD was released Michael’s start both shone bright and was also tarnished by the slew of Wacko Jacko stories. For a while it seemed the tabloid persona was overshadowing the music. And despite Bad’s record setting 5 consecutive #1 singles, many critics labelled the album a failure due to not outselling Thriller.

So when Dangerous was released the critics were ready to write it off as the music of a has been who was no longer relevant. But as soon as you pressed play on the CD player you knew it was a return to form.

With a smashing of glass (as if to smash all built up expectation) the album kicks of with the thumping Jam. The beats, crisp and sharp underpin a song that is layered with a global message of concern in some of Michael’s most well crafted lyrics. The arrangement, whilst sparse and void of a bass line for the most part, allows for Michael’s vocals to come to the fore accentuated with occasional horn stabs here and there. The rap by Heavy D was a case of keeping it in the family as he role call’s his previous cameo’s on tracks by Janet and Teddy Riley’s band Guy. This song still has a hard edge with its sudden attacks and is still as funky as it felt back in 92. Of note, this was the first time Michael had incorporated scratching into the musical landscape, and it plays nicely against the old skool funk guitar and horn lines in the final minutes.

Without letting the listener catch a breath, Why You Wanna Trip On Me comes bursting through the speakers. Its soaring guitar intro first makes you think you are about to go head first into a rock track only to have it twist into a funk rhythm and classic funk riff. The stop start feel of the song made it instantly appealing. With a new jack swing touch the beat lays the foundation for Michael to spit out the insanity of being a target for the press when there are bigger issues in the world that need attention. And in classic Michael arrangement, the verses are hard hitting while the verses float in blissful harmonies. Destined to be a fan favourite hearing a snippet of the song in the This Is It movie gave those of us that had always wanted to hear it live a moment of joy.

In The Closet (with its Mystery Girl duet – read Princess Stephanie of Monaco) remains one of Michael’s most sexually suggestive songs – maybe as a challenge to his first choice of vocal partner, Madonna. Once again the beats are sharp but this time have a bit of seduction to them as Michael teases his way through the verses and once again shows why he was unbeatable in the harmony stakes when his vocals are layered against each other in the chorus. Throughout the song Michael uses his voice as a key instrument punctuation the verses with almost doo-wop deliveries and whispered “come ons”. Whilst at times Michael’s lead vocals have a touch of roughness to them, the backing vocal harmonies are as smooth as the finest silk. With a classic MJ touch, the song is laden with melody and vocal hooks from the false start chorus of “she was it give it, ahhh she want’s to give it” to the officially ordained chorus with its falsetto “there’s something about you baby that makes me want to give it to you”. Michael’s spoken word segments also feel more natural than his soft-spoken intro to Don’t Stop or I Just Can’t Stop Loving You. Musically the song has many phrases and it’s not surprise that this track alone spawned over a dozen remixes. Still seductive and still infectious this is one of Michael’s often forgotten about musical gems despite it being a single.

Whereas the first three songs of the album played with and expanded the new jack swing formula, She Drives Me Wild doesn’t mess with it and presents all the key elements of a new jack song. A moment of inventiveness is present in the way that various car sounds are incorporated into the musical landscape from car horns, to tyre skids, to slamming doors, to revving motors. One of the album’s clear-cut dance songs, She Drives Me Wild doesn’t offer lyrics you will find deep meaning but instead provides a fun infectious love song that was guaranteed to be pumped out of speakers all through clubland.

From the opening run of bass notes, Remember The Time just grabs you. The groove is more seductive than some of the harder hitting rhythms that had preceded it. Michael’s delivery is on point, and once again the backing harmonies layer so perfectly they almost wash over the listener. From lush choruses to sparse verses that allow for just Michael’s voice to carry the melody the song became one of the instant stand out tracks of the album. It was a love song that was carried with such joy and celebration you couldn’t help but want to sing along. And whilst the songs either side of it suffer from sounding like derivative new jack songs – and thus place them in a moment of musical time – Remember the Time still sounds fresh and inviting over 15 years later.

Like She Drive Me Wild, Can’t Let Her Get Away is a pure new jack dance tune. Whilst not overly a stand out, the song still has elements that make it fun to listen to but does show a little wear all these years later. Closing out the album’s string of floor fillers, Can’t Let Her Get Away gives a clear not to the new jack vibe and satisfies those fans that wanted Michael to release a dance orientated album.

Whilst Dangerous was seen as a CD orientated album, the track listing (and vinyl release) suggests the listener view it more as a double album with the first 6 songs taking up sides A and B and Heal the World closing out the first disc. Whilst Michael’s heart is clearly in the right place on Heal The World, the childlike simplicity of the arrangement and the lush productions sadly has it come off as a light, overly saccharine track that boarders on the pompous, the song just feels like an overblown version of We Are The World and jars with edgier dance funk that preceded it.

Black or White was a great lead single for this album. The way it fused a great rock riff, with pop sensibilities and a touch of rap was a perfect introduction to where this album would go. While the whole “it’s too late” intro overstayed it’s welcome by about the 5^th listen, there is no denying that Black or White is one of Michael’s iconic tracks. Perhaps driven in part by all the speculation around his appearance, this track continues in Michael’s “one world” ideology. Whereas at other points in the album Michael’s voice comes across as raspy and rough, here the verses are sung with such smoothness that the melody sweeps you up and carries you through the track. It’s a song that hooks you from the first beat. The breakdown/rap segment is a particular highlight with Michael’s vocals adding a punch to the rock guitar that grinds underneath, and then flipping it up the guitar effortlessly slides into a funk groove for the rap. With a sense of joy the backing vocals coax you to sing-along with their “yeah yeah yeahs” while Michaels little trumpet vocal trill at 3.26 just always makes me smile.

With an operatic opening Who Is It is built on the same musical credo of other classic tracks like Billie Jean. With its own immediately distinctive bass line, Who Is It delves a little deeper into the darker side of relationships and musically is quite haunting. Lyrically the desperation and paranoia that follows a breakup is present, almost palpable in the way Michael sings with a sense of yearning and pleading. Musically it offers several hooks without straying too far from the firm groove of the beat, but moments of punctuation with strings and synth beds draw the listener deeper and deeper into the track. For me this was one of Michael’s finest moments as a songwriter and also as a singer. And at 6.34 the song never feels like it has overstayed it’s welcome in the slightest, in fact a few more minutes in the hypnotic swing of the track wouldn’t have gone astray.

With the rock cross over blueprint firmly in place Michael unveils Give In To Me and produces another intriguing rock song. This years Eddie Van Halen is Slash and the rock is pushed a little harder to the point of near distortion. But with the roughness comes moments of sweetness like the vocal break down of “but it’s ok, it’s ok” before Slash delivers a melodically soaring solo that doesn’t try too hard to show off tricks but rather sits in the pocket and lets the flow of the solo build organically, the tricks are saved for the solo reprise at the 3.30 minute mark. Give In To Me slinks along and proves that no matter what genre Michael enters he can hold his own.

Picking up where Man In The Mirror left off, Will You Be There sees Michael pen his own gospel and choral inspired song with what are, to this point in his career, the most personal of lyrics and ones that would carry extra weight in the years that came after it. Steeped in deep harmonies that swell around him, Michael sings with a sense of honesty that both inspires and attracts. The stripped back arrangement, whilst sparse, lets the vocals truly shine and you can hear the pressures cracking in Michael’s delivery of “but I’m only human” (a fact lost on many a journalist and fan alike). The midpoint of the song is like a gentle climb up a summit, each step carried by the choir and Michael’s call and response. Each bar pushing higher and higher, and sweeping the listener up in the process until the soft landing of the final two minutes that allow Michael to speak about his life from his point of view, in words that would become strangely prophetic for the years that would unfold before him.

Continuing the gospel feel Keep The Faith sounds more like Man In The Mirror part 2, which isn’t in itself a bad thing, but sadly it comes off as a pale imitation. Whereas Will You Be There feels like, whilst inspired by it, it creates it’s own path and finds it’s own pace. Maybe it was that Keep The Faith follows Will You Be There that has it pale in comparison, almost feeling like Gospel by the numbers and strangely feeling uninspired. That all sad, there are elements that reward you for going with it, especially with a few of the vocal runs Michael throws into the mix.

Gone Too Soon with its dedication to Ryan White sees Michael in ballad mode. Once again the arrangement allows for Michael voice to shine “splendidly bright”. Initially this wasn’t a song that immediately grabs you, but over time you find little moments that reveal themselves to you. It might be the abandon Michael sings, “born to amuse” or the way he holds onto the note in “dying with the rising of the moon”. Sadly now this song is as much about the singer as it was about the subject.

As if closing out the album the way it began, Dangerous provides us with the perfect floor filler bookend. Once again Michael assumes the role of persecuted lover, but this time is drawn into the scene more than in previous explorations. It’s a touch Billie Jean, a touch Dirty Diana blended into solid dance floor filler. And whilst the song does close out the album with an infectious groove, the length of the track does make it begin to tire on the listener. Shaving a few minutes off it wouldn’t have been a bad idea.

With Dangerous, Michael reaffirmed his right to the title King of Pop and delivered an album that mixed genres in a way that was expected, if not demanded, of a Jackson release. Whilst a few low points (Heal The World, Keep The Faith) drag the album and perhaps should have been dropped entirely or substituted for the catchier and richer Someone Put Your Hand out, Dangerous is perhaps Michael’s most consistent album and the last where the listener could easily distance the tabloid persona from the talented creator.

A lot would change for Michael over the ensuing years, but for a brief moment in 1991 and through to 1993 Michael was once again exciting listeners and pushing the art of videos. And he began to rely less on imagined situations and fantasy to draw from as source material, and instead began to draw more on his own life and feelings making the album lyrically his most personal to date. Something that would continue, wether willingly or not, on the follow up HiStory.

Dangerous is a great album.

I just restarted on my essay for the 20th Anniversary of Dangerous for The Michael Jackson Vault forum

bboy87 said:

babybugz said:

Dangerous is a great album.

I just restarted on my essay for the 20th Anniversary of Dangerous for The Michael Jackson Vault forum

Yay make sure to post it here too.

ThruTheEyesOfWonder said:

babybugz said:

I don’t agree about underrated I seem to see a lot of Michael fans (my age in particular) who actually prefer Bad & Dangerous days.

I don't have that many friends then. most of the ones I know can't get over Thriller and/or Bad. No one pays attention to HIStory, Dangerous, or Invincible. Especially Invincible...

I need new friends...

But yes...DANGEROUS = AWESOME We agree on that...

Lol Well I usually say Off The Wall and Dangerous as my favorites but I tend to listen to Bad, History and Invincible more now so I guess it depends on my mood. I wore thriller out so I rarely listen

Y'all hear Birchey's "reimagining" remix of "Hollywood Tonight"?

Blown.the.fuck.away. This shit is HEAT!!!!!!! THIS is how the song should have sounded!!!

http://www.mediafire.com/...7b6a4monj7