One might be forgiven for thinking that Jackson’s magic touch disappeared altogether at this point were it not for the subsequent tracks that restore the luster to his crown. The sixth track, “You Rock My World,” is the first single released off the album. Having climbed to the top of the charts around the globe (losing the battle to Kylie Minogue in the U.K. along the way), this track features dialogue by Rush Hour 2 comedian Chris Tucker. Positive and energetic, “World” is a glorious tribute to the Jackson of the past and a powerful bridge into his reign in the future. “Butterflies” is a feel-good love song that once again mines the saccharine territory of tracks four and five, but with far more success.
An a capella solo introduces “Speechless,” an incredibly sincere ballad composed and written by the King himself. Jackson’s voice is devoid of device and aching with heart-wrenching honesty and passion.
Perhaps the biggest surprise of the album is the Teddy Riley collaboration “2000 Watts.” Gone is the high-pitched tenor of “Thriller” and “The Way You Make Me Feel.” In its place is a dark, sexy baritone that approaches each note with masculine conviction and authority. It may not sound like him, but it is truly Jackson bringing his voice down to earth and sounding good doing it. The number itself is an electrified industrial dance tune that suits this new voice perfectly. Anyone who thinks that Jackson is incapable of reinventing himself will change their tune upon hearing this track. Critics have lauded it as one of the best songs on the album; certainly it is a radically new attempt for the King of Pop.
Another showcase for Jackson’s newfound raw sincerity is “You Are My Life,” a pleasant love ballad enjoyable in its simplicity. “Privacy” is a throwback to “Scream,” both in terms of his voice and the music. Jackson angrily lashes out at his perennial foes, the media, to the sound of cameras clicking busily away in the background. And, while he does not mention her by name, he pays tribute to the death of Princess Diana while simultaneously attacking the paparazzi for causing her demise.
But the finest ballad of the album is “Don’t Walk Away.” It is emotionally moving—a perfect evocation of a breaking heart. One can identify with Jackson as he plaintively pleads with his love not to leave him.
“Cry,” the second single from Invincible, is an R. Kelly number that sounds like a rehash of 1986’s “Man in the Mirror.” Unlike the stirring original, this pale imitation is as rousing as a cup of warm milk. By the song’s end, the listener may want to take the advice of the track’s title.
Those in the mood for something light and sappy will want to adopt “The Lost Children.” Unrelentingly, mind-numbingly sweet, the song reminds us to care for the unfortunate young ones who still lack love. The crowning touch of blatant manipulation is the presence of children’s happy, natural voices in the background, which artifically adds to the emotional impact.
Veteran strummer Carlos Santana drives “Whatever Happens” with a guitar solo that is by turns calm and edgy. Similarly, the final track, “Threatened,” benefits greatly by the presence of a guest star in the form of the late Rod Serling. Audio snippets from the CBS archive are mixed and matched to the beat in this “Thriller” redux. Despite the audio special effects and lyrics that evoke occult fantastical nightmares, Jackson’s past hits will hardly feel “Threatened.” This is no “Thriller,” merely filler that will be better remembered for its interesting voice-over gimmick than by its largely uninteresting music.
Jackson’s latest album may not be entirely invincible, but it unmistakably demonstrates that his skill has only improved with time. Years pass by and kingdoms fall, but if Invincible is any indication, Jackson will continue to enjoy a long reign as the King of Pop.