By Odeisel

Michael brings us the first wave of posthumous music from the dearly departed King of Pop.  The compact collection features “new” music recorded at various points of his career, produced by multiple producers. While the album lacks the oversight of a Quincy Jones or Michael himself to ensure continuity of sound and theme, there is some good music here, along with tracks from easily identifiable time periods of Mike’s career.

The most powerful songs are the ballads, most of which have that timeless quality that runs throughout Jackson’s catalog. The first of those is the Tricky Stewart produced, gospel choir-backed “Keep Your Head Up.” Stewart shows a real knowledge of what makes these songs uplifting and the arrangement, with sits triking digital stabs, draws out that emotional power. “Best of Joy” brings a tender Michael with those trademark background vocals and a warm acoustic feel. Friendship and love are the main ingredients here and Michael operates in the higher range of his falsetto.

“Much Too Soon” is a tale of lost love that features a razor sharp Jackson with his agile voice cradled by a Spanish guitar, a muted accordion and beautifully soft violin and harp strings, creating a hushed, angelic moroseness.

There are a couple surprises on the album, most notably the rock/funk fusion of the Lenny Kravitz feature “(I Can’t Make It) Another Day.” Mike is no stranger to Rock or a hard guitar but the drums on the track bang against Jackson’s passionate screams and Kravitz’s softly delivered background. 50 Cent follows the footsteps of Heavy D, Biggie and Jay-Z as the latest rapper to work with the gloved one with “Monster.” His aggression is the perfect complement to for Jackson’s vitriolic commentary on the evils of the fame monster.

Also on the plus side of the album is producer Neff-U’s other track “(I Like) The Way You Love Me,” which opens with a voicemail from Jackson. Stabbing piano keys give a Hall & Oates feel to the song while subterranean bass gives depth to the composition.

Teddy Riley’s “Breaking News” sounds dated to around the time period of 1991’s Dangerous. The song is aggressive early 90’s pop but lacking an updated feel, and that gutteral essence that possessed Mike on these kinds of songs; causing many to initially doubt whether it was really him upon its release. Gregorian chants and Michael’s beat-boxing skills don’t save “Hollywood Tonight,” with its familiar History era guitar and clap beat from being lost in time. Similarly time-warped is “Behind the Mask,” which does have a dance bridge with robotic background vocals that add a touch of contemporary. The album’s opener, Akon duet “Hold My Hand” also sounds like it’s 2006/7 again (but that’s the case for anything featuring Akon. The production lacks the pristine string and wind arrangements synonymous with classic MJ.

Michael is a solid album that allows you to remember how special Jackson was as an artist but it lacks the world changing gravity of The King at his best, probably due to his absence in putting together the entire project as a unit. It can certainly hold up in this pop market but it pales before his greatest triumphs.

3.25 out of 5 (3.5 if you’re a big fan)

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