Michael Jackson top songs, life and his family now: Riley recruited Jackson’s favorite rapper Heavy D for four nimble bars, his baritone artfully offsetting the singer’s falsetto growl. The first song wastes no time in articulating the album’s leitmotif. Jackson urges the world to come together, decries false prophets crying of doom, and admits that the universe is a complicated place full of “tears for fears.” He’s “conditioned by the system” and doesn’t want to be preached to. His ultimate realization is that you have to “live each day like it’s the last,” find inner peace to stay strong against the haters, and when in doubt, jam. You can see these themes stressed on nearly every song. “Why You Wanna Trip on Me” exists as a mission statement. This is the Michael who fame has isolated and forced into retreat. There’s a newfound menace in his voice, an angelic sneer, as he recites a litany of crippling ailments (world hunger, illiteracy, disease, gangs, homelessness, drug addiction, corruption, police brutality)—and yet ironically, he has somehow become the media’s bullseye. Written during his 33rd year, Jackson can’t help but implicitly compare himself to Jesus—a popular healer who wants to help, misinterpreted and publicly crucified.
For the most part, the collaborations actually hurt the songs. No, “Monster” isn’t the next “Thriller”, as 50 Cent claimed it to be, but it’s a decent song. Jackson sounds awkwardly retro, the beat shuffles ‘n’ sweeps, and it feels right…until you’re thrown next to 50’s uninspired rap that sounds more fitting for a summer blockbuster theme. The same goes for the highly irritating and incredibly repetitive “Hold My Hand”, where Akon belts out the same thing again and again in an equally monotonous pitch. For a lead single, it’s tepid and incredibly campy. Then there’s “(I Can’t Make It) Another Day”, featuring guitar wizard Lenny Kravitz, who churns out a chalky riff that tires 45 seconds into the song. Jackson himself sounds angry, forceful, and dominating, but altogether it doesn’t beg for a re-listen. That’s sort of a must when it comes to his music.
Forever, Michael (1975): In the wake of Music & Me, a maturing Michael began to find his voice here. And while this set is filled with stunning vocals, making it a technically sound record, overall it’s pretty forgettable. It’s a solid if unspectacular effort that served as an appetizer for the musical feast that was soon to come. Forgotten Favorites: “We’re Almost There,” “One Day In Your Life,” “Dear Michael”.
Michael Jackson family: Mocienne Petit Jackson’s (Michael Jackson’s daughter) books are now available in french! For our dutch visitors: Deel twee van de autobiografische trilogie van Mocienne Petit Jackson begint met een uitgebreide beschrijving van Mociennes ontvoering naar Nederland. Vervolgens lezen we hoe het haar vergaat in het adoptiegezin waar zij samen met haar nichtje Delivrance terechtkomt. Gaandeweg ontdekt Mocienne dat haar vader Michael Jackson is. Wanneer ze vijftien jaar is gaat ze weg bij het adoptiegezin, woont vier jaar lang op een internaat en gaat daarna zelfstandig wonen. We volgen haar in haar volwassenwording, die zich met vallen en opstaan voor ons ontrolt. Mocienne krijgt een vriend en wordt moeder van een zoon. Deze verbintenis is geen lang leven beschoren. Er is sprake van aanhoudende onenigheid met de Raad voor de Kinderbescherming, met diverse rechtszaken tot gevolg. Deze betreffen eerst haar eigen situatie, later die van haar zoon en haar gevecht om hem in haar leven te houden. De ene onverkwikkelijkheid volgt de andere op. Lees het boek hier Thriller Betrayal (Dutch Edition).
