prettygirlmj
Proud Member
Not more than two weeks after the release of the controversial and heavily criticized “Breaking News,” Epic Records have released another track off Michael Jackson’s posthumous album “Michael.” “Hold My Hand,” a duet with R&B singer Akon, holds true to Jackson’s style, however, I can’t shake the feeling that this is all very wrong.
Before even playing the track, the first thing that stands out with “Hold My Hand” is the woeful pairing of Michael and Akon. Now, don’t get me wrong, I don’t mean this musically. The song itself actually came out sounding far better than any of the previous posthumous releases.
However, the plain fact that a banal singer who rose to popularity by singing “I Wanna **** You,” and has simulated sex on stage with a 15-year-old girl got to collaborate on a single with the king of pop seems perverse.
The rest of the collaborators on “Michael” don’t really fit either. According to the record’s track list, 50 Cent will be featured in one song, which honestly makes me nervous of the song’s potential to be complete and utter pop-rap trash. In fact, the most sensible collaboration is a track with Lenny Kravitz, which is even a bit of a stretch when comparing Kravitz’ blend of rock with Jackson’s latest pop efforts.
There have been accusations that the “Michael” LP is a record industry construction which solely aims to profit off the late pop star. While I certainly believe it’s wrong to release unfinished tracks from an artist who was notorious for being a musical perfectionist, Jackson himself did actually work with Akon, 50 Cent, et al. on these tracks before his death. Apparently, he even left a handwritten note with his estate asking for “Hold My Hand” to be the first single off his new album.
Maybe what’s so difficult to take about “Hold My Hand,” and the rest of “Michael,” is a reminder of the fact that Michael Jackson hadn’t been at his best for over a decade. We like to remember the Michael of “Thriller” and the Jackson 5, that’s why a release like “Michael” only serves as proof of how far the king of pop had fallen by the time of his death.
http://www.deathandtaxesmag.com/36868/the-downfalls-of-michael/
Before even playing the track, the first thing that stands out with “Hold My Hand” is the woeful pairing of Michael and Akon. Now, don’t get me wrong, I don’t mean this musically. The song itself actually came out sounding far better than any of the previous posthumous releases.
However, the plain fact that a banal singer who rose to popularity by singing “I Wanna **** You,” and has simulated sex on stage with a 15-year-old girl got to collaborate on a single with the king of pop seems perverse.
The rest of the collaborators on “Michael” don’t really fit either. According to the record’s track list, 50 Cent will be featured in one song, which honestly makes me nervous of the song’s potential to be complete and utter pop-rap trash. In fact, the most sensible collaboration is a track with Lenny Kravitz, which is even a bit of a stretch when comparing Kravitz’ blend of rock with Jackson’s latest pop efforts.
There have been accusations that the “Michael” LP is a record industry construction which solely aims to profit off the late pop star. While I certainly believe it’s wrong to release unfinished tracks from an artist who was notorious for being a musical perfectionist, Jackson himself did actually work with Akon, 50 Cent, et al. on these tracks before his death. Apparently, he even left a handwritten note with his estate asking for “Hold My Hand” to be the first single off his new album.
Maybe what’s so difficult to take about “Hold My Hand,” and the rest of “Michael,” is a reminder of the fact that Michael Jackson hadn’t been at his best for over a decade. We like to remember the Michael of “Thriller” and the Jackson 5, that’s why a release like “Michael” only serves as proof of how far the king of pop had fallen by the time of his death.
http://www.deathandtaxesmag.com/36868/the-downfalls-of-michael/
