Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)
Michael Jackson - Invincible (2LP, Picture Disc)

Michael Jackson - Invincible (2LP, Picture Disc)

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€55,00
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Michael Jackson – lead vocals (all tracks), background vocals (A1–B3, C1-4, D3-4), arranger (B4, D2), multiple instruments (A1, A4, B2, D4), programming (A2-3), drum programming (A4, D1), orchestral arrangements and conducting (B4), keyboard programming (C1, B1-2) [click here to see more vinyl featuring Michael Jackson]

Guitar - Carlos Santana (D3) [click here to see more vinyl featuring Carlos Santana]

Rap - The Notorious B.I.G. (A1), Fats (A2-3)

Vocals (B4) - Maxi Anderson, Gloria Augustus, Valerie Doby, Judy Gossett, Harold Green, Geary Lanier Faggett, Vonciele Faggett, Kevin Dorsey, Marja Dozier, Alfie Silas Durio, Tenika Johns, Angela Johnson, Daniel Johnson, Zaneta M. Johnson, Laquentan Jordan, Howard McCrary, Linda McCrary, Sam McCrary, Alice Jean McRath, Sue Merriett, Patrice Morris, Kristle Murden, Deborah Sharp-Taylor, Ron Taylor, Johnnie Walker, Yvonne Williams, Zandra Williams, John Wittenberg

Background vocals - Brandy (A1), LaShawn Daniels (A2, C3), Mischke (A2), Nora Payne  (A2), Dr. Freeze (A4, B1), Que (B1), Marsha Ambrosius (B3), Tim Brown (B4), Andraé Crouch (B4), Sandra Crouch (B4), Teddy Riley (C1), Babyface (C2), Richard Stites (C4), Mary Brown (D3), Mario Vasquez (D3)

Choir (C2) - Jason Edmonds, Lynn Fiddmont-Lindsey, Tabia Ivery, Nathan "N8" Walton

Youth choir (D2) - Rose Beatty, Edie Lehmann Boddicker, Robert Bolyard, Martha Cowan, Jonathon Hall, Justine Hall, Scottie Haskell, Micha Haupman, Tess (Teresa) Escoto, Luana Jackman, James Lively, Brandon Lucas, Jonathon Lucas, Ricky Lucchse, Melissa MacKay, Alex Martinez, F. Sheridan, Andrew Snyder, Sally Stevens, Brett Tattersol, Monique Donally

Tom Bahler – youth choir conductor (D2)

Narrative (D2) - Prince Jackson, Baby Rubba

Whistle solo (D3) - Carlos Santana, Stuart Brawley

Violin - Peter Kent (B4), Robin Lorentz (B4), Gina Kronstadt (B4), Kirstin Fife (B4)

Viola - Novi Novog (B4), Thomas Tally (B4)

Guitar - Slash (C3), Michael Thompson (C3), Michael Landau (D1), Rick Williams (D3)

Bass guitar - Babyface (C2), Nathan East (C3)

Acoustic guitar - Babyface (C2)

Drums - Emanuel "Bucket" Baker (C3), Gerald Heyward (C3), John Robinson (D1)

Horns - Matt Cappy (B3), Norman Jeff Bradshaw (B3), Matt Cappy (B3)

Percussion - Paulinho da Costa (D1)

Keyboards - Babyface (C2), Brad Buxer (B4)

Multiple Instruments - Dr. Freeze (A4), Rodney Jerkins (A1, A4, B2, D4), Teddy Riley (B1), Andre Harris (B3)

Jeremy Lubbock – orchestral arrangements and conducting (B1, B4, D3)

 

2LPs, gatefold jacket

Original analog Master tape : YES

Heavy Press : unspecified

Record color : Picture

Speed : 33RPM

Size : 12'’

Stereo

Studio

Record Press : GZ Media (Czech Republic)

Label : EPIC

Original label : EPIC

Recorded October 1997 – September 2001 at The Hit Factory/Criteria, Miami (A1, C1), Marvin's Room Studio, Los Angeles (A2), The Record Plant, Los Angeles (A3), Future Recording Studios, Norfolk (B1, C1, D3), Sony Studios, New York (B2, C3), Record One, Los Angeles (B2), Touch of Jazz Studios, Philadelphia (B3), Hit Factory/ Criteria, Miami (B3, C1, C4, D3-4), Future Recording Studios, Nerfolk (C1, C4), Brandon's Way Recording (C2)

Recorded by Bruce Swedien (A2-3, B1, B3-4, D2-3), Teddy Riley (B1, C1, C4, D3), Rodney Jerkins (B2, C3), Stuart Brawley (A1–3, B2, B4, D2, D4), Brad Gilderman (A4, B2, C3, D1), Dexter Simmons (A4, B2), George Mayers (A4, B1, C1, C4, D3), Jean-Marie Horvat (B2, C3), Brad Buxer (B4, D2), Mike Ging (A4, D1), Paul Boutin (C2), Andre Harris (B3), Humberto Gatica (A4, D1)

Mixed by Bruce Swedien (A1–3, B1-C1, C4, D2-4), Teddy Riley (A4, B1, C1, D3), Rodney Jerkins (A1–3, B2, C3, D4), Michael Jackson (D1), Mick Guzauski (D1), Stuart Brawley (C1–3, D4), George Mayers (A4, B1, C1, C4, D3), Jean-Marie Horvat (C3), Jon Gass (C2), Humberto Gatica (A4)

Produced by Michael Jackson (all tracks), Rodney Jerkins (A1–3, B2, C3, D4), Dr. Freeze (A4), Teddy Riley (B1, C1, C4, D3), Andre Harris (B3), Babyface (C2), R. Kelly (D1)

Mastered by Bernie Grundman at Bernie Grundman Mastering

Originaly released in 2001

Reissued in 2018

 

Tracks :

Side A

  1. Wanna Be Startin' Somethin'
  2. Baby Be Mine
  3. The Girl Is Mine
  4. Thriller

              

Side B

  1. Beat It
  2. Billie Jean
  3. Human Nature
  4. P.Y.T. (Pretty Young Thing)
  5. The Lady in My Life

 

Reviews :

« Let's get the clichéd bad joke out of the way to begin with: at the time Michael Jackson released Invincible in the fall of 2001, he hardly seemed "invincible" -- it was more wishful thinking than anything else, since he hadn't really had a genuine hit in ten years, and even that paled in comparison to his total domination of the '80s. That lack of commercial success, combined with a fading reputation as a trailblazer, a truly ugly public scandal, and swirling rumors about his diminishing finances, along with a huge wait between albums (by teaming his Dangerous follow-up with a hits collection, it wound up being overlooked, despite a gaudy publicity push), resulted in Jackson being deep down in the hole, needing to surge back out with a record that not only proved his talents, but his staying power. So, faced with a make-or-break record, what did Jackson do to save his career? What he did since Dangerous, take a turn toward the street and craft a hard-driving, hard-polished urban soul album, heavy on the dance numbers and sweetened by lugubrious ballads. It's a proven formula for commercial success, but it not only didn't push his music forward, it made his reach seem rather timid when compared to the wildly rich, all-encompassing musical vision of Thriller and Bad. Here, he's reined in by a desire to prove himself, so he keeps his focus sharp and narrow, essentially creating a sparkly, post-hip-hop update of Off the Wall. It's not as good as that sounds, because the infectious joy and layered craft of that masterpiece have been replaced with a dogged, near-maniacal desire to craft something hip enough for the clubs and melodic enough for mainstream radio, thereby confirming his self-proclaimed status as the King of Pop (a really terrible title, btw). Since he was exceptionally talented and smart enough to surround himself with first-rate collaborators, this does pay off on occasion, even when it feels a little too calculated or when it feels a little padded. Ultimately, the record runs too long, losing steam halfway through, as it turns to a series of rants about "Privacy" or a deadly stretch of uncomfortably treacly, sub-"Man in the Mirror" songs about "The Lost Children," or when he says that he can't change the world by himself on "Cry." Fortunately, Jackson was clever enough to front-load this record, loading the first seven songs with really good, edgy dance numbers -- even the opening "Unbreakable" isn't sunk by the creepy resurrection of Biggie Smalls -- and lovely ballads, highlighted by "Break of Dawn" and "Butterflies" with its Bacharach-styled horns. Even if these are too self-conscious and a little mechanical (which they are), they still have a spark and sound better than anything Jackson had done since Dangerous. That's not enough to make Invincible the comeback Jackson needed -- he really would have had to have an album that sounded free instead of constrained for that to work -- but it does offer a reminder that he could really craft good pop. If only he had been fueled, not constrained, by his obsessions, this could have been really interesting. » AllMusic Review by Stephen Thomas Erlewine

 

Ratings :

AllMusic : 3 / 5 , Discogs : 4.47 / 5

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