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Cerca del final del nuevo álbum de Michael Jackson desde 1995 podemos encontrar una excepcional canción titulada "whatever happens". Jackson, cantando en tercera persona con una intensidad irregular, narra la historia de una pareja atrapada en una situación intimadora: "Whatever happens" se dicen el uno al otro, " de mi mano no te soltaré". La música tiene base latina, y una intensa disputa entre la orquesta de Jeremy Lubbock y la guitarra de Carlos Santana.
Jackson y el productor Teddy Riley han fabricado algo realmente precioso y elegante: Te permiten concentrarte en los ritmos, en la interpretación de Santana y en la poderosa apuesta sinfónica de Lubbock.
Desafortunadamente, "Whatever happens" no es la regla de Invincible. Hay pequeñas historias contadas o música transformadas en frenéticas canciones como "Threatened", en la que Jackson se atribuye poderes supernaturales, y "Privacy", donde él es una asediada celebridad en lucha con la invasión del medio, y "The Lost Children", una pieza teatral en la que Jackson insiste en cantar a niños desafortunados.
En cambio, nos emplazamos en Michael Jacksonland, un lugar estraño donde cada calle que brilla es generada por computadora, cada edificio es tan largo como la vida y cada canción está llena de grandiosa desesperación. Esta es una referencia agudísima y atroz del lugar en sí, nada lejos de sus controversiar y rarezas.
"Con todo lo que he pasado", jura al principio de "Unbreakable", "Sigo aquí". El título de la canción probablemente no sea muy convencedor, pero el productor Rodney Jerkins da a seis temas de los 16 un arma duradera con R&B minimalista.
En "You Rock My World", Jackson y Jerkins renombran el trabajo del cantante con Quincy Jones de una manera finamente esculpida y esquisitamente dotada de voz, ritmo y vibrantes harmonias vocales. Pero Jackson está pedaleando en el agua con temas genéricos como "Heartbreaker" y "2000 Watts" (co-producidas por Riley).
Invincible generoso en baladas. Una gama de fluidas baladas desde Los Angeles ("You Are My Life," hecha con un terrible Babyface) hasta las excepcionales ("Butterflies"). Lo Mejor de los Mejor es "Don't Walk Away," intensa producción de Riley y desgarradora alma, y "cry", donde el co-productor R. Kelly más o menos lanzado a la fama por Jackson así que no necesita dejar Michael Jacksonland, ese lugar donde cada punto luminoso vuelve al espectáculo. Aunque queda por ver con claridad.
LINK***********************************************
http://www.rollingstone.com/recordings/review.asp?aid=2043283&cf=1650
ENGLISH********************************************
Near the end of michael Jackson's first album of new material since 1995 is an exceptional song titled "Whatever Happens." Jackson, singing in the third person with a jagged intensity, narrates the story of a couple trapped in an unnamed threatening situation: "Whatever happens," they tell each other, "don't let go of my hand." The music is Latin-based, a deep brew of Jeremy Lubbock's strings and Carlos Santana's guitar. Jackson and producer Teddy Riley make something really handsome and smart: They allow you to concentrate on the track's momentous rhythms, Santana's passionate interjections and Lubbock's wonderfully arranged symphonic sweeps.
Unfortunately, "Whatever Happens" is not the rule on Invincible. There's little story-telling or transforming music on frantic songs such as "Threatened," in which Jackson assigns supernatural powers to himself, and "Privacy," where he's a besieged celebrity battling media invasions and inaccuracies, and "The Lost Children," a theater piece in which Jackson insists on singing about imperiled kids. Instead, we're placed squarely in Michael Jacksonland, a bizarre place where every sparkling street is computer-generated, every edifice is larger than life and every song is full of grandiose desperation. It's an excruciatingly self-referential place, worsened further by its namesake's unmatched controversies and weirdnesses, plus the inevitable march of pop time.
"With all that I've been through," he swears at the beginning of "Unbreakable," "I'm still around." The track's title may be unconvincing, but producer Rodney Jerkins does give six of the album's sixteen tracks a fleet, durable R&B minimalism. On "You Rock My World," Jackson and Jerkins recall the singer's work with Quincy Jones by way of finely sculpted and exquisitely voiced rhythm tracks and vibrating vocal harmonies. But Jackson is merely treading water on generic tracks such as "Heartbreaker" and "2000 Watts" (co-produced by Riley).
Invincible lavishes time on ballads. They range from Los Angeles smooth ("You Are My Life," done with a terribly off Babyface) to the odd ("Butterflies"). Best of the bunch are "Don't Walk Away," uncut Riley-produced heartbreak soul, and "Cry," where co-producer R. Kelly more or less succeeds with the kind of life-affirming number Jackson will never (and should never) quite desert. But he does need to leave Michael Jacksonland, that place where every sign points back to the spectacle of himself. Whether he will remains unclear.
Jackson y el productor Teddy Riley han fabricado algo realmente precioso y elegante: Te permiten concentrarte en los ritmos, en la interpretación de Santana y en la poderosa apuesta sinfónica de Lubbock.
Desafortunadamente, "Whatever happens" no es la regla de Invincible. Hay pequeñas historias contadas o música transformadas en frenéticas canciones como "Threatened", en la que Jackson se atribuye poderes supernaturales, y "Privacy", donde él es una asediada celebridad en lucha con la invasión del medio, y "The Lost Children", una pieza teatral en la que Jackson insiste en cantar a niños desafortunados.
En cambio, nos emplazamos en Michael Jacksonland, un lugar estraño donde cada calle que brilla es generada por computadora, cada edificio es tan largo como la vida y cada canción está llena de grandiosa desesperación. Esta es una referencia agudísima y atroz del lugar en sí, nada lejos de sus controversiar y rarezas.
"Con todo lo que he pasado", jura al principio de "Unbreakable", "Sigo aquí". El título de la canción probablemente no sea muy convencedor, pero el productor Rodney Jerkins da a seis temas de los 16 un arma duradera con R&B minimalista.
En "You Rock My World", Jackson y Jerkins renombran el trabajo del cantante con Quincy Jones de una manera finamente esculpida y esquisitamente dotada de voz, ritmo y vibrantes harmonias vocales. Pero Jackson está pedaleando en el agua con temas genéricos como "Heartbreaker" y "2000 Watts" (co-producidas por Riley).
Invincible generoso en baladas. Una gama de fluidas baladas desde Los Angeles ("You Are My Life," hecha con un terrible Babyface) hasta las excepcionales ("Butterflies"). Lo Mejor de los Mejor es "Don't Walk Away," intensa producción de Riley y desgarradora alma, y "cry", donde el co-productor R. Kelly más o menos lanzado a la fama por Jackson así que no necesita dejar Michael Jacksonland, ese lugar donde cada punto luminoso vuelve al espectáculo. Aunque queda por ver con claridad.
LINK***********************************************
http://www.rollingstone.com/recordings/review.asp?aid=2043283&cf=1650
ENGLISH********************************************
Near the end of michael Jackson's first album of new material since 1995 is an exceptional song titled "Whatever Happens." Jackson, singing in the third person with a jagged intensity, narrates the story of a couple trapped in an unnamed threatening situation: "Whatever happens," they tell each other, "don't let go of my hand." The music is Latin-based, a deep brew of Jeremy Lubbock's strings and Carlos Santana's guitar. Jackson and producer Teddy Riley make something really handsome and smart: They allow you to concentrate on the track's momentous rhythms, Santana's passionate interjections and Lubbock's wonderfully arranged symphonic sweeps.
Unfortunately, "Whatever Happens" is not the rule on Invincible. There's little story-telling or transforming music on frantic songs such as "Threatened," in which Jackson assigns supernatural powers to himself, and "Privacy," where he's a besieged celebrity battling media invasions and inaccuracies, and "The Lost Children," a theater piece in which Jackson insists on singing about imperiled kids. Instead, we're placed squarely in Michael Jacksonland, a bizarre place where every sparkling street is computer-generated, every edifice is larger than life and every song is full of grandiose desperation. It's an excruciatingly self-referential place, worsened further by its namesake's unmatched controversies and weirdnesses, plus the inevitable march of pop time.
"With all that I've been through," he swears at the beginning of "Unbreakable," "I'm still around." The track's title may be unconvincing, but producer Rodney Jerkins does give six of the album's sixteen tracks a fleet, durable R&B minimalism. On "You Rock My World," Jackson and Jerkins recall the singer's work with Quincy Jones by way of finely sculpted and exquisitely voiced rhythm tracks and vibrating vocal harmonies. But Jackson is merely treading water on generic tracks such as "Heartbreaker" and "2000 Watts" (co-produced by Riley).
Invincible lavishes time on ballads. They range from Los Angeles smooth ("You Are My Life," done with a terribly off Babyface) to the odd ("Butterflies"). Best of the bunch are "Don't Walk Away," uncut Riley-produced heartbreak soul, and "Cry," where co-producer R. Kelly more or less succeeds with the kind of life-affirming number Jackson will never (and should never) quite desert. But he does need to leave Michael Jacksonland, that place where every sign points back to the spectacle of himself. Whether he will remains unclear.