Michael Jackson

Week 20: Michael Jackson- The Essential (European Edition)

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Before we explore “The Essential”, let us take a moment to remember why Michael was more than just a pop star. The guy revolutionised music videos into a cinematic experience; he blended pop with several genres, including rock, funk, soul, and dance. His songs are still played on radio stations, streamed,fill dance floors, and feature on playlists even now.

He began performing with his brothers in Jackson 5 before becoming the “King of Pop”. He then went on to create one of music’s most influential catalogues. His hits were not just merely popular; they became embedded in popular culture.

“The Essential”, released in 2005 and featuring his strongest collection of songs, has been reinvigorated by the recent biopic “Michael”. Indeed, looking at the charts, I can see several of his albums inside the top 20. This particular record covers all bases: the child prodigy, the disco innovator, global superstardom, and the artist who mixed real emotion with showmanship. As you will discover in the review that follows, the classic that stands above all for me is ‘Beat It’. A point that proves why Michael was unstoppable during his short but impactful life.


Disc One:

I Want You Back:

What a great beginning to the Michael Jackson story. Even as a kid, playing with his brothers in the Jackson 5, his vocals stood out. You still feel the energy after all these years.

ABC:

Not one of my favourites. I find it far too cheesy and lacking lyrically.

The Love You Save:

One of the Jackson 5’s unsung hits that deserves more attention. His vocal ability at such a young age is mind-blowing, backed up by a great groove.

Got to be There:

A softer and more emotional part of Michael’s vocal range. He delivers with conviction.

Rockin’ Robin:

A fun track, but again, too cheesy for me.

Ben:

Anyone remember this? I can honestly say I didn’t until I heard this compilation. An emotional and simple track with a surprising sense of maturity, and his vocals add tenderness.

Blame It on the Boogie:

Always loved this dance song since I was a youngster at birthday parties, including the dance moves. A track that never lets go of that uplifting tempo.

Shake Your Body (Down to the Ground):

More explosive disco energy, and another one I used to skank out to back in the day. This was the beginning of his superstardom.

Don’t Stop ’Til You Get Enough:

This was the moment when Michael stepped into his role as a solo icon. It has falsetto vocals, displays confidence, and has a sublime groove.

Rock with You:

A smooth song that is almost perfection. It just glides with ease from the outset.

Off the Wall:

It may sound sharp, but the production of the title track from that album is stylish and relaxed. It captured the wave of late-70s dance perfectly.

She’s Out of My Life:

One of his more vulnerable vocal performances. Instead of letting his vocals sound absolutely heartbreaking, he holds back a bit, which actually adds more emotion to the ballad.

Can You Feel It:

You may remember a late-90s dance track about what someone would like with a chimney on them? Well, this is the track that’s sampled. An uplifting, almost spiritual disco track that’s big and powerful.

The Girl Is Mine:

One of the underrated tracks on “Thriller”, but you can feel the chemistry between Michael and The Beatles legend Paul McCartney.

Billie Jean:

Another floor filler, and continues to be so. One of the best basslines in pop, accompanied by Michael’s hypnotic vocals.

Beat It:

I love this track. Always have. Therefore, it’s my favourite track from the collection. This is one of the greatest pop songs ever recorded, never mind being Michael’s best. I love how it effortlessly blends genres. You got the aggressiveness of rock over catchy pop.


From the intro, you can feel the tension building, and then the drums come crashing in with power. Michael’s vocals follow the energy of the instrumental. Every lyric lands, and the chorus explodes without warning.

Then we have an exemplary guitar solo by the late, great guitar icon Eddie Van Halen to bring even more joy to the listen. The solo is ferocious, taking the track beyond a generic pop song. Eddie may show off his skills, but it’s right for the track, rather than over the top.

‘Beat It” is just one of those timeless tracks compared to a lot of big hits from the 80s, which now sound dated. ‘Beat It’ still sounds fresh, powerful, and bursting with colour. I love the production, its non-stop rhythm, and of course, his vocals are just…brilliant.


This compilation may be packed with hits from every section of his life until the early 21st century, but ‘Beat It’ is beyond magical.

Wanna Be Startin’ Somethin:

A restless and energetic track that sounds alive.

Human Nature:

You may remember S.W.V sampled this for their single ‘Right Here’? Anyway, this beautiful track feels soft and dreamy while still carrying real emotional depth.

P.Y.T. (Pretty Young Thing):

A bright, playful and pure pop joy song that makes you want to dance.

Thriller:

What a great ending to disc one. The ultimate party song that still sounds huge.

Disc Two:

Bad:

Michael’s confidence and attitude bring colour to the track.

I Just Can’t Stop Loving You:

A tender track, which focuses on Michael’s vocals and melody.

Leave Me Alone:

One for the lyricists.

The Way You Make Me Feel:

A warm, energetic, and easy listening track.

Man in the Mirror:

An emotional track that builds with sheer power, and Michael’s formidable vocal performance.

Dirty Diana:

This track is dark, tense, with a good rock edge and, of course, Michael’s vocal intensity.

Another Part of Me:

Upbeat, lively, and stadium-ready.

Smooth Criminal:

The sounds all fit perfectly. Definitely one of the best-produced pop songs.

Black or White:

A political track, but it isn’t in-your-face and a great guitar riff over a pure energetic production.

Heal the World:

Sincere and honest lyricism with a big sound.

Remember the Time:

A flawless groove that’s often overlooked from his catalogue. You can feel the early 90s all over it.

In the Closet:

Mysterious and hypnotic.

Who Is It:

I love the bassline over the dark and emotional track.

Will You Be There:

A huge emotional impact track that feels big and cinematic.

You Are Not Alone:

Always been a fan of this one since 1995. I still own the cassette of this emotional ballad. Michael captures the mood perfectly with fragile vocals.

Earth Song:

Another track that feels dramatic and cinematic with Michael’s fragile and then powerful vocals.

Blood on the Dance Floor:

Aggressive, sharp and full of nervous energy. Not a bad choice to end the album.

Coda:

I decided to review the European edition, because it’s the version that’s widely available this side of the world. What is great about “The Essential” is that it covers all the stages of Michael’s career, from being a child in the Jackson 5 to a disco star, pop innovator, and international icon.

Do not get me wrong, there are a fuck tonne of classics across both sections, but ‘Beat It’ remains my favourite, you know, the way it blends rock, pop, Eddie’s mesmerising guitar solo, and Michael’s vocals bouncing with the tempo. I always look forward to hearing it.

Song recommendations: ‘Beat It’, ‘Blame It on the Boogie, ‘You Are Not Alone’


9/10

Week Forty: Shania Twain- Now

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Swingin’ with My Eyes Closed: 

We start the record with a typical Shania Twain track that fits into her 1990s sound with a short guitar riff. Still, rather than the guitars playing throughout the song like they would have done back then, they gradually fade before you can hear what sounds like steel drums taking centre stage and taking us somewhere else that we would never expect Shania to take us with. I’ve never listened to a Shania Twain track so far removed from the country as this. It’s like a country and calypso-infused sound.

Home Now: 

Ah, now we are back to the typical Shania Twain sound as her country roots come to the fore with this track that features banjos, fiddles and guitars. A song that you would hear in Nashville bars.

Light of My Life: 

As you can guess from the title, this track is about romance and is sung by Shania in narrating mode rather than a personal experience of hers (Who knows? Maybe it is her own experience.), where she takes on the role of a secret admirer expressing their feelings to a crush who is blissfully unaware. You could say that the song is a bit like the Police’s “Every Breath You Take” as it is rather sinister and unsettling that the secret admirer will reject all other offers in the hope of getting with the crush who has no idea of their existence. The song is wrapped around drum loops and the melancholic chords associated with songs such as this (Or, in the case of this track, just the one in Em.). The chorus, though, sees Shania deliver a fantastic hook that has been absent for twenty years in her songs of late.

Poor Me: 

This song is very personal, and Shania proceeds to tell the story of her divorce that happened almost ten years ago and how her heart took ages to sew back together (Naturally). There are some powerful lyrics in this one, and it even mentions that she caught him out lying and how he could leave Shania for another woman. In the short chorus, she seems to be forgetting about all the pain and asking the listener, who must be the person behind the bar hearing this story, to pour her another. So, yeah. This song is seen from the perspective of Shania drowning her sorrows and pouring her heart out to the person behind the bar who keeps filling up her glass when she requests.

Who’s Gonna Be Your Girl: 

I loved the background vocals in this sappy love song that opened with tremolo guitar and built up nicely into the very harmonious chorus.

More Fun: 

Another track that showed Shania’s versatility as an artist. This track would look good on Broadway and in London’s West End with thumping piano and Cabaret sound throughout. I can’t imagine it ever being a single because of this, but it does work, and who cares what those who dictate their record collection by what’s in the mainstream charts think, anyway.

I’m Alright:

 It looks like a follow-up to “Poor Me” as Shania foretells what unravelled after the divorce and breakup with her ex-husband while a soft acoustic guitar accompanies a thumping drum beat. The actual moment of the song, though, is when the sound of thundering hand claps meets the chorus, which she does acapella, as you would hear at a gospel church service.

Let’s Kiss and Make up: 

Well, another song that showcases her will to experiment as we now hear a track with a reggae and calypso sound that makes you feel that you are on a Barbadian beach until you are greeted by the guys you hear on the Doritos advert in the shape of Mexican band, the Mariachis as you can listen to all the horns ring out in the chorus.

Where Do You Think You’re Going: 

This track could easily feature as part of an official soundtrack with its angelic chorus and the fact it is a piano ballad with sublime vocals by Shania.

Roll Me on the River: 

Wow. Taken by surprise with this song. Don’t forget that Shania is originally a country artist, but this song should have Ladysmith Black Mambazo with its sounds of Africa.

We Got Something They Don’t: 

A track very much harking back to a vintage Shania love song. You have thumping percussion, a smooth bass line and many horns. I also noticed a very Michael Jackson-esque harmony on the outro, and you have to wonder, is Shania paying some homage to Michael?

Because of You: 

Yes, it is named after a Kelly Clarkson song, but no, it is not in the same vein. Instead, Shania has gone for a sentimental love song with this. It is dedicated to her current lover and sees her finally recovering from the heartache of a failed marriage. She mentions in the lyrics, “Because of you, I’m me”. This suggests that she has finally rediscovered herself through her new flame after all that happened. The song is completed with soft acoustic guitar playing, and I imagine that the drummer used brushed drumsticks, as the drums are soft, too.

You Can’t Buy Love: 

A song about how to deal with and overcome all those tricky situations we all incur at some point along our road in life. It features hand claps, several harmonies and a jolly chord progression that envelopes itself in the primary melody.

Life’s About to Get Good: 

As you can see from the title, the premise is that Shania is walking away from her past and heading towards the here and now. This track was released to tease the album, and I can see why that was. This song is not only uplifting and full of optimism but is undoubtedly ready for the arena when she heads out on tour with its anthemic country hooks accompanied by a rather unusual taste of electronica pop. Looking at my research, I also discovered this song scored her a first top 40 billboard chart hit in well over a decade. Did Shania have a premonition when she wrote and recorded this track?

Soldier: 

Ah, another song that has a familiar theme across the pond. A loved one expressing how much they miss the soldier who has been away on a tour of some war-torn country for longer than the narrator here finds necessary (Is any war needed? In my own opinion, they are all fucking bollocks created by idiots who want to steal another country’s oil. Too much? I don’t fucking care. That should be accurate for those who are wide awake. Anyway, back to the song and off politics (How ironic. The song is political, anyway.), this heavily keyed piano ballad and Shania’s emotional and soaring vocals completed with strings could well be used as a track for a film about the subject or maybe even a drama on HBO? It’s a highly emotional song and does more than justice on the subject.

All in All: 

The title suggests that this track summarises all the feelings she has laid bare on the record. Indeed, it is her reminiscing and looking forward to all the good and bad times she will cross along her path. This coming-of-age track features a nice guitar riff with an eighties feel. I was surprised that the record ended in a mid-tempo vain when I was expecting a very soft piano ballad.

Overall:  Fucking hell. We discovered an awful lot about the trials and tribulations of Shania on this record. I will not lie that some of the tracks affected me (So what? I get emotional. I write poetry, so I can relate.). The lyrics were both uplifting, emotional, melancholic and eye-opening. Especially “Poor Me”, where it’s all aired about how she felt

during her divorce and the events that lead up to it. I was surprised to hear Shania deviate from country and rock to venture into reggae, calypso, gospel, rnb and electronica. Not to mention the sounds inspired by Africa where it would have been wholly appropriate to feature Ladysmith Black Mambazo, Labi Siffre, Baaba Maal, I could go on and on (Yes, I know my African musicians and bands. Surprised? Don’t be. I have a very eclectic taste.). It certainly was a departure from what we all became accustomed to during the early years of her time in the music industry. Some tracks could feature in films or the type of dramas you see on HBO. Now, that does show her diversity. She should have ended the record with a light piano ballad, which would have been perfect. As we know, the final track is titled “All in All”, so when we summarise events that have happened, we tend to talk about them calmly and soothingly rather than raising our voices in anger. That would have made for a better ending. All in All (Excuse the pun.) Shania is back and more than capable of producing another brilliant album when she is ready to return to the studio. A side note from this, Richard Ashcroft was on Twitter talking about how Liam Gallagher’s debut album was number one. I corrected him and said that was currently Shania Twain’s record, to which he replied, “That don’t Impress Me Much”. 9/10

Week Thirty-One: Arcade Fire- Everything Now

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Everything_Now(Continued):

An exciting start to the record. This is more of a short intro as it only lasts for under a minute and is sombre-sounding. Why the title has an underscore? I haven’t got the faintest clue. Arcade Fire may be asked about it during an interview.

Everything Now:

I know the first track was called the same name with the “Continued” added (Not forgetting the odd underscore.), but this is the title track and the official start of the record, if you will. The lyrics, “Every inch of sky’s got a star, every inch of skin’s got a scar”, certainly jumped out at Me. Yes, the track is quite upbeat, but the lyrics that encase it are cynical. The song may be positive, as mentioned, and the lyrics profound, but the message contradicts the joyful sound with lyrics like, “Every time you smile it’s a fake” and “Stop pretending you’ve got everything now”. It is attacking the dreamers who have yet to achieve their goals in life. The most bizarre thing is that we have a Coldplay-esque sound going on with the piano, strings and a choir, which works quite well, and it’s catchy as fuck.

Signs of Life:

Well, this is very controversial, to say the least, with its sexist views. The story told in this song is about a man who stays out late every night drinking. He thinks that “Love is hard, sex is easy”, as mentioned within the lyrics showing that he would rather shag every woman that comes his way and objectifies them than go through all the hassle of love because he just can’t be bothered with it. There’s a Star Trek/Austin Powers seductive bassline to further add to the effect of the theme, though towards the end, the song goes rather odd as you get some Michael Jackson-inspired instrumental.

Creature Comfort:

Another very dark track is evidenced in these two lyrics, “Some boys hate themselves, spend their lives resenting their fathers” and “Some girls hate themselves, stand in the mirror and wait for the feedback”, all delivered by Win Butler with a raging yet melancholic vocal. This could also be about Win recalling the days when he was bullied at school, and he is drawing on his own experiences with the delivery and the lyrics chosen. Both of these lyrics reflect society and are quite philosophical at the same time. I’ve heard listeners saying they are not fond of this track because it is nothing but patronising as Arcade Fire is wealthy enough not to be concerned with any of the subjects they talk about, but it’s a good track, so I don’t care what they think.

Peter Pan:

Well, just like the theme, the music that accompanies the song is very Disney-esque. It would have been great if Arcade Fire had been around when Peter Pan was first released because the music would have fitted the film perfectly. Win also has been a fan of the film and the book since childhood. He even drops in the twee line, “Be My Wendy, I’ll be your Peter Pan”. This song is also about the innocence of youth and being carefree, which we all crave as we get older because, in Never Never Land, we are wrapped in a safety blanket from all the bullshit we eventually have to face after childhood.

Chemistry:

Different from the Semisonic track with the same name. Again, minus the creepy lyrics, this song would be suitable for a children’s television programme with its pop reggae.

Infinite Content:

This would be the name used for the current tour. I didn’t think much of this track. It is very short and seems like an interlude.

Infinite_Content:

Okay. The same song title as the preceding track, but with an underscore (Why???). Again, not much effort has been put into this track. Either Win ran out of subjects to discuss when this was being recorded in the studio, or he couldn’t get any lyrics to fit around the music. Either way, it feels like another interlude.

Electric Blue:

A track that seems like a nod to the late Prince (Or symbol or whatever you want to call him. I prefer Legend.) Why? Well, with lyrics like, “Cover my eyes electric blue, every single night I dream about you”, you can hear Prince writing a song like this, and the whole feel of the track is very Prince-esque.

Good God Damn:

The riff is a bit of eerie disco. The lyrics suggest this song could be about relaxation, where we feel most relaxed when listening to our favourite record in the bath.

Put Your Money on Me:

I enjoyed this song live. Even though it is over six minutes, it works well live, but on the record? It may be too long.

We Don’t Deserve Love:

Another cracking song played live with Win and his wife Régine complimenting each other well. This track is a bit heavy with its religious undertones and your mother lecturing about the mechanics of love and how you don’t deserve it.

Everything Now (Continued):

It’s just what it is, an outro with an easy-listening string section to close out the record. This track is nearly two minutes and thirty seconds longer than the intro.

Overall:

Hmmm, well, I did enjoy the record, but I prefer hearing the band live. Arcade Fire has it when they play live, but I need clarification on the studio-recorded material. It can be pretty condescending, sexist (Which is bizarre considering there is a lady in the band, and that’s Win’s wife Régine) and heavy-handed with subjects of suicide, cynicism and religion. But that is the world we live in, and we should respect Arcade Fire for not being fake and addressing such sobering issues. Like Muse, though, I feel that Arcade Fire save their best for the stage. It’s quite a shame, as I was looking forward to reviewing this record, but I have been disappointed. If I did live reviews, then Arcade Fire’s review would be stellar.

7/10