Michael Jackson's Originals Better Than Updates on 'Xscape'
There are high and low moments on Michael Jackson's second posthumous album, "Xscape," available Tuesday on Epic Recordings. The distinction is rooted in the difference between the contemporized and original versions of previously unreleased songs from the late iconic star.
The album includes eight modern versions of the songs, and the deluxe includes an additional nine original recordings. The catch: Most of the original versions are good as-is; there wasn't a need to give them a contemporary twist.
Considering Jackson is one of the most revered artists of all time and many of his fans are still mourning his 2009 death, his essence is best captured on the versions that revisit his old sounds. On "Love Never Felt So Good," "Loving You," and "A Place With No Name," Jackson feels more organic. The music is stripped down, and his sharp vocals find comfort with the tracks. During these moments, listeners are reminded of Jackson during "Off the Wall" or "Thriller" eras with songs that may not have made the final cut but are satisfactory.
All good, but let's move on to the "modernized" versions. Some of the contemporized takes on the songs are, simply, unsuccessful at capturing Jackson's majestic fluid sound. ("Love Never Felt So Good" featuring Justin Timberlake is one of the exceptions.) Dance track "Slave to the Rhythm" composed by Babyface, L.A. Reid, Daryl Simmons, and Kevin Roberson has an 1980s breakdancing, boogaloo groove that seems a mismatched fit for Jackson. The title track, helmed by Jackson, Rodney Jerkins, Fred Jerkins III, and LaShawn Daniels is another awkward composition, as the track — though good — heavily leans on a booty-shaking, twerk-ready hip-hop tempo, a complete departure for Jackson. "Chicago" feels like an attempt to recapture the energy of Jackson's "Liberian Girl," but it's not as infectious.
"Blue Gangsta" is a puzzling, theatrical song that would have been better suited for one of Jackson's shorts. The concept, possibly a reference to heartache, seems like an early draft of his song "Smooth Criminal."
For the introductory listen, those who desire to feel Jackson nostalgia should skip the first eight songs — i.e., the contemporized productions — and advance to the deluxe portion. It's worth hearing first the songs that better match Jackson's familiar style. The updated versions should be considered as bonus material and special mixes.
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