What makes an album bold and aggressive? What pushes the envelope? Is it the language, imagery, content, or some mixture of all the above? When one thinks of Michael Jackson many things come to mind, but the words bold and aggressive are probably on the shortlist. Throughout the history of music, there have been songs that have pushed the envelope through their boldness and expression. You have N.W.A’s case against police, Public Enemy’s “Fight The Power” and Tupac’s “Changes” but when have you seen that in an entire conceptual project? I present to you, HIStory: Past, Present, Future Book I
The cover art is strong, displaying what would be made into 32-foot statues constructed of steel and fiberglass. The artwork is regal, it is strong, it communicates power and statue. This complements the start of the project quite well. The start of this LP begins with an all too familiar kick drum and snare following with what is probably the most recognizable bass line is all of Pop music. This is the song that catapulted this young 25-year old into superstardom. Many probably see disc I as a “Greatest Hits” album, but in the project, it serves more so of a reintroduction. Michael reminds of exactly who he is. The singles on Disc 1 sold 34,000,000 in the U.S. alone. Each of his solo albums is represented in this collection from ballads to fan favorites. The first disc ends with “Heal The World” a call for unity and in doing so eradicating war and violence.
The opening of the second disc with a melodic mix of distortion and tension. There is a clear distinction presented between the opening of this disc and the first. A great deal of controversy has occurred in the life of The King Of Pop since his last release and he holds back no punches.
The panther at the end of the controversial video for “Black or White” has found its voice. “I’m tired of you telling the story your way, you’re causing confusion. You think it’s okay?” Michael asks and he and his superstar sister unleash a 4-minute assault on every naysayer, detractor, and foe. This is perhaps the most aggressive we have heard Michael, where Jam was as a plea, Scream is a fit of rage. Michael came to fight. The sequin glove came off and Michael wanted all the smoke.
Much has been made of Michael and his relationships with children who provide the intro of “They Don’t Really Care About Us.” It was a bold move in remaining committed to his innocence in thought and deed as he shown in the second track of this 15 track LP. In "They Don't Care About Us" Michael goes into a methodical dissection of the modern social sphere. There are no innuendos, the call for unity took a back seat to pain and frustration, this is a far cry from “Man In The Mirror” this is anguish, this is pain. This is perhaps the most aggressive political song there is. N.W.A’s diatribe against the police is a tough act to beat, but we’re talking about Michael Jackson. A megastar that so much to lose at what may perhaps have been the height of his scrutiny. If he was going out, he was doing so in a blaze of glory. The vulnerability in his portrayal of the victim and the outsider makes this a tough act to follow.
The video for this song adds an increased punch for this song. Brazil was the candidate for the Olympic Games of 2004 and authorities were concerned that exposure of the shanty towns in Rio would negatively influence the Olympic committee. The governor of Rio at the time forbid Michael and director Spike Lee from filming anything in the city. A government official who suggested it would be worse for international opinion to censor the shoot eventually led to shutting down the decree. Most of Brazil’s political class was in opposition to Michael’s visit. Those in favor of the shoot hoped that in seeing these living conditions many would become aware of domestic issues within Dona Marta for example thus putting pressure of politicians and government officials to fix the issues therein. During this filming, there was a rumor spread that Michael negotiated with drug deals to make the shoot happen. Truth is, the area (Dona Marta) was controlled by a local Mafia which didn’t let anyone in without paying a “toll”. The Skylight Company, which controlled the production aspect for the Brazilian part of a clip had to find a way to appease the criminal class. The solution was hiring 60 residents to work as security and paying them as regular employees so Michael could work in peace. This is one man.
Michael addresses the pressures of mega-stardom in the mid-tempo ballad “Stranger in Moscow”. He was not a “stranger” to negative press and the effects it had on his heart and psyche. One many find it difficult to place this song in a genre, it's haunting, eerie, and emotional all at the same time. The track sounds like raindrops breaking down the infrastructure of a building build by bit. The story tells of a man tortured by fame. Here we get a glimpse into the innermost thoughts of Michael Jackson at the height of his celebrity. It takes a great deal of courage to commit to something so personal. Most artists may devote a line to the struggles of coping with celebrity, but Michael devotes almost 6 minutes to it. Here he leaves everything bare. The end of the final segment of the songs comes from a KGB interrogator which is translated to "Why have you come from the West? Confess, to steal the great achievements of the people. The accomplishments of the worker." depicting the alienation he feels, how someone with so much fame and still feel like the lonliest person in the world.
“This Time Around” holds a lot of semblance to the New Jack Swing grooves found in Dangerous. Dallas Austin produces the track and Michael’s vocals sound forceful and strong. Michael is fed up and has plenty he wants to get off his chest. The courts barred both parties from speaking on the 1993 lawsuit by way of a gag order, but here is MJ pushing the envelope, leaving little room for misinterpretation. “They really want to use me, then falsely accuse me. This time around they’ll take it like spit” MJ screams as the Notorious BIG offers what is probably one of his best features. The father of said accuser was noted to be after a big payday and held Michael’s reputation for ransom under threat of what would be a PR disaster. The King Of Pop was having none of that. Michael would be not be controlled under any threat. The song is surprisingly very street, I have yet to witness another pop star this blatantly aggressive.
Michael taps into ecology in Earth Song much different from those of yesteryear I.e “Ecology (Mercy Me)” The lyrical composition ranges from “children dead from war”, conflict in Israel, and Elephants being stripped of their tusks. He preaches to the masses wondering if the world even gives a damn. This is Michael all grown up and in your face. Michael trades the soft tone for grit and aggression. D.S. is the gutsiest track I have ever heard from a pop star. Michael hides nothing as he takes a direct shot at the district attorney who led the charge against him calling him a cocky, poorly raised, attention-seeking “cold man” who’d probably brother with the KKK who doesn’t do half of what does in his respective district. I have heard rappers direct disses at other rappers or at a system, but I have yet to see someone with the courage to go directly at a district attorney while they were still alive. The track is called D.S. but it very clear to the ear who he is talking about. The track ends with a single gunshot something we haven’t heard to this point in Michael’s music.
Michael shows off his lyrical prowess on Money. This track addresses the ugly underbelly of wealth and what he calls “The Devil’s game of greed and lust”. He addresses hypocrites and those who smile in your face to stab you in the back. Michael expresses that no matter the position of statue or prestige people are tempted and most of the time corrupted by the love of money, even if it means selling your soul to the devil. The production is simple, yet profound from the smacking snare to the tambourine. The hook is infectious as it dives into a funky groove before launching back into the rap. The verses are more spoken word than sung. Michael wants the listener to hear every word.
The next track is not a cover as much as it is the flexing of his business acumen. In 1985, Michael made secured a 50 percent stake in the Sony/ATV catalog, which gave him publishing rights to the Beatles’ catalog including this song. This song was included in his 1988 film "Moonwalker" but made its audio debut on this LP. “You Are Alone” is a ballad written by R. Kelly displaying Michael’s prowess in the R&B field as R.Kelly was at the height of his influence in what would become a golden era for R&B. This was the first time we saw Michael and his wife Lisa Marie Presley at the time. Both were scantily dressed in what looks like the bedroom quarters of a palace. Michael’s tone lightens up a bit as he sings out to the only love song on the record.
Next is what Michael calls his more autobiographical song in “Childhood” The instrumentation is dramatic yet calming, storybook, yet majestic. Here Michael attempts to communicate the unique experiences in his life that may lead him to look eccentric. "Before you judge me, try hard to love me" Michael pleads in pre-chorus asking the listener to look within asking have you seen his childhood. This can be taken both literally and figuratively. Michael has grown up in the spotlight since the age of 5. In all honesty, I believe we all are eccentric in some way, the only difference is that the majority of us do not have the bravery to live them out. We subject ourselves to the opinions of others far too much. Michael appeals to the child in all of us and those pieces of us left buried and forgotten that we still might want to dust off and restore every now and then. This is an extremely transparent and sensitive song. I understand why he never performed it live.
Childhood concludes and we are met with an auditory barrage of various news headlines aimed at the oddities of Michael Jackson over the years. Michael shows that he indeed hears them and he has a response. Where “Leave Me Alone” was a warning, “Tabloid Junkie” is a fistfight. Michael calls the press a "parasite in black and white" who will do just about anything for news. He urges fans and non-fans alike that what has been printed and broadcast on live television isn’t always factual and that consumption can sometimes be sanctification. Michael has done his research over the years touching on topics such as JFK and the “Grassy Knoll”. He also addresses the tragic death of beloved icon Marilyn Monroe and the media’s treatments of both tragedies in all their hysteria for a story.
2Bad is the second track produced by Dallas Austin. The rough grit is back with a bunch of attitude and swagger. This song is specifically aimed at critics, especially the ones in high places who might use their resources to regurgitate rumors all in efforts of getting their slice of the pie. Michael wants the record to show that he is still here and that he is tired of being “hunted” Michael is right where he wants to be, standing, even while being kicked. Shaquille O’Neal offers a verse on this track, which would be his second rap feature, the most on any effort to this point. Michael was aiming for a tougher image, he wanted to get his message across loud and clear.
HIStory sounds as regal as any Pop song gets. In many ways, it sounds like a decree from a king. This is the “Man Of The Mirror” of the LP. The message here is one of resiliency and unity in the pursuit of fulfilling your God-given potential. Michael assumes the role of motivator assuring that "no force of nature can break your will to self-motivate" while calling all nations to sing in harmony all around the world. Boyz II Men lends their voices at the 4:11 mark. Various voice-overs highlight various human accomplishments over the past century in this ode to making history in our own rights.
Little Susie is sad a tale of a girl who lives an emotionally tragic life full of sorrow and neglect. This and the lack of empathy for this girl ultimately led to her demise. This composition shows the depth of Michael’s artistic ability this time dabbling in the classical music genre, the piece is beautifully haunting and worthy of symphonic renditions in orchestras the world over. Smile is the closer dedicated to one Michael Jackson’s heroes, Charlie Chaplin. It serves as an ode from one accomplished artist to the creative genius of another akin to two wine enthusiasts complementing the cellar of the other. It's posh, it's bold, it's the relishing of well earned esteem.
In conclusion, from top to bottom HIStory Past Present & Future Book I is the boldest, most aggressive album of all time. What we witnessed was a man at a crossroads who could have chosen as safer approach, but took controversy by the horns and fought back whether it was the press, a district attorney, or individuals with wicked intentions. Michael held back nothing and laid his soul bare. He showed resiliency, courage, bravery, and what it means to be human in the midst of a storm. HIStory is more than an album, it is a mindset. A mindset the emboldens one to set the record straight and take control of their own narrative on every front. After years of taking a backseat to mountains of tabloids and hot takes, Michael took the driver’s seat and gave us a ride we shouldn’t ever forget.
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