the time I went to Canada to stay with my father

It was June of 1995 and my mother; someone I never loved, seldom liked and often didn’t get along with; had her mind made up about me going to stay with my father. I say “my” father, but I don’t know if he really is or not, just as I don’t know if my mother is actually my mother. They’re probably my real parents, especially in the case of my mother, but that’s as far as I can go.

At the time, I remembered meeting him once before for what seemed like a very brief period of time. This time the two of them planned for me to stay with him in Ajax, Ontario, for weeks. I don’t remember if it was a few weeks or several, but I know I didn’t want to go. My mother knew it too, but she made me go anyway. That was another reason to dislike her.

Her intentions might have been good, but I don’t care and certainly didn’t at the time. I went willingly in the sense that I wasn’t dragged out of the house, kicking and screaming, but I hated having to stay with a stranger for such a long time. What could I do though? Doing to her what I wanted to do would’ve landed me in a place that’s even worse for even longer.

So I went, driven by her with my grandmother and maybe a brother or sister along for the ride. The one thing to be happy about was that the new Michael Jackson album; History; had just been released. I bought it that day; the day we went to Canada; at a music store before they left to go back to Detroit. I was a big Michael Jackson fan and quite excited about the purchase.

It came with a mock Tabloid. The album itself was a thick plastic case that held two gold CDs and a booklet. I was so excited that I’d started playing it at my father’s friend’s place before we even got to his sister’s house where we’d be staying. The History album was probably the best thing about my stay, which I might’ve actually enjoyed if I wasn’t forced into it.

My father, it turned out, wasn’t around most of the time. He apparently lived there, in an upstairs bedroom, but it seemed he was gone for several days at a time. That was totally fine with me. I didn’t want to be around him anyway. I certainly didn’t want to develop a traditional father-and-son relationship with him. I just wanted to do my time and get it over with.

His sister had two boys; Chad and Troy; who also lived there. They stayed upstairs and each had their own bedroom. Chad was maybe a couple of years younger than me. Troy was maybe a couple of years older. I slept in the basement alone at night, along with their desolate pet rabbit, but that’s also where the three of us spent a lot of our time during the day.

That was especially the case when I first got there as they made an effort to befriend me. They were the type of kids who often had friends over to the house, so I also met a lot of their friends, some of whom were also close to my father’s sister; their mom, I assume. She was nice enough to me and seemed likable, but I didn’t want to develop a relationship with her.

I didn’t want to develop a relationship or get close with anybody. I just wanted to be left alone, which was hard to do in a house full of people. They even had relatives from out of town who visited and spent the night while I was there, including an attractive light-skinned girl Troy jokingly made sure to introduce to me as my “coooousin” so that I wouldn’t hit on her.

We had fun times, but I liked and got along with Chad a lot more. He and I were always friendly. I made him laugh a lot and never had any problems with him. Troy was another story. We connected with hip-hop; it was him who encouraged me to buy Grand Puba’s 2000 CD; but we generally butted heads and annoyed each other with petty arguments.

It never turned into anything serious, but it gradually got worse over time. By the end, when it was about time for me to go back home, I think we’d started to despise each other to the point where it became harder and harder to keep up a friendly front. It was the kind of relationship in which two people constantly insult each other but only half jokingly.

At one point, he and his best friend; a guy he claimed to have a telepathic connection with; had some girls over. They watched Star Trek in the basement while Chad and I stayed out of the way on the first floor. Perhaps it was the other way around. Either way, when the girls left, I made fun of him for watching Star Trek with them instead of having sex.

I wasn’t just being mean though. Every insult was, as far as I was concerned, a justified retaliation for some insult Troy had thrown my way sometimes days earlier. That’s just the kind of relationship we had and Chad would laugh with me. We also laughed watching Heart Of Courage when they showed an old lady hitting an intruder on the head with a frying pan.

My best times there include the ones I spent with Chad and a friend of his. I think his name was Steve. We rode bikes together and even went out for ice cream with (Chad’s) mom one day. Those were rare moments of genuine fun for me. Nightly tinnitus from a possible ear infection was the most depressing. The rest of the time lingered somewhere in the middle.

That middle time included a tall skinny white girl; a friend of theirs who’d come by to hang out with us. Her name might’ve been Kila. One night my father came down to the basement and saw us sitting together on the couch. We were flipping thru a school yearbook. I was picking out the cutest girls. After she left, he teased me about how close we were sitting.

We didn’t talk much. I barely asked him any questions and never even said his name. I never said his sister’s name neither. I might not have said anyone’s name. One day he said something to me about the fact that I didn’t say their names when I was talking to them, which I defended by saying it was unnecessary because it was obvious who I was talking to.

I’d started taking his sister’s radio from the kitchen to play while I fell asleep at night. It was just to block or distract from my tinnitus and I always put it back. One day I saw that she’d left a note on it, saying not to take it anymore. The fact that she left a note instead of telling me to my face is just a metaphor for how disconnected I was from them as an extended family.

I used to eat three or four hot dogs with my beans. She, or the other woman who lived with us for a portion of my visit, made a negative remark about it. I already hated cooking and eating with other people in the kitchen, but I especially hated doing it around them. I tried my best to only eat when they were gone, but sometimes they’d come home during the process.

My stay lasted for weeks. I can’t remember how many, but it introduced me to more family members and friends than I’d like to count; including a knowledgeable DJ who taught me you don’t have to understand the words of a song in order to like it. It concluded after Caribana; an annual festival Troy and his friends hyped as the biggest event of the year.

They told me how fun it would be. They told me about all the fine girls that would be there. It was a group effort to get me to go with them, but I didn’t want to go. I didn’t want to do anything with them. All I wanted to do was go home. Even when Troy came back after partying the night away and dumped a bag full of (girl) phone numbers on the kitchen table, I had no regrets.

The end had come. It was my last day and I remember it clearer than most. I was taking the bus home and my father was going to drive me to the bus station, so we had to leave early when everyone else was still in bed. I didn’t want to say goodbye to anyone, but he made me go upstairs to say it to his sister and whoever the other woman was she slept in the bedroom with.

It was perhaps the most awkward goodbye I ever said. I don’t even remember going all the way into the room, but I didn’t give a damn. I was ready to go; not to see my mother; that bitch; but to be back home. He gave me a hug at the bus station, which I returned half-heartedly, and that was it; the last time I ever saw my father, ever want to and probably ever will.

Teddy Riley explaining his involvement in Michael Jackson’s Dangerous and Invincible albums

I was the scariest person on earth when I met Michael Jackson [laughs]. When I first met him he scared the [crap] out of me…literally. I was at his compound in a room that [housed] all his accomplishments. I saw his humanitarian awards…all of that stuff. And there was also a chessboard there in the middle of the room. So I’m touching it because it’s gold and platinum. And when I put my hand on the first piece Michael had his hand on my shoulder. And all I could do was fall to the ground. All I saw was Michael laughing. That put me at ease because usually when you are touching somebody’s stuff in their house they look at you funny, but Michael just laughed. My heart was calmed down, until it was time for us to go into the studio to work on Dangerous. But before that whole experience of working with Michael I was going through a big transition in my life.

Like I said, I lost both my brother and best friend. So, right after that Guy show I’m driving in my Ferrari. I had gone through so much and all I wanted to do was produce. So I get a call on my cell phone from Michael Jackson! He’s telling me that he wants to work with me! Michael was like, ‘Can you be here next week?’ That was the transition between Guy and me taking my career to the next level. I was struggling. I had moved back to the projects. I was going from hotel to hotel. And you know what saved me on my way to working with Michael? It was doing the remix to Jane Child’s ‘Don’t Wanna Fall In Love’. I can remember being in a hotel and Benny Medina (influential label executive) called me. He’s like, ‘I really want you to do this Jane Child remix because I want it to go urban…it’s too white’ Now, I already loved ‘Don’t Wanna Fall In Love’. It’s a record that I had wished I produced. And then Benny calls me! Funny how the universe works. I knew I was going to tear that remix up.

That song saved my life. I’m thinking $20,000 for that remix. I thought it would help me pay off my credit card because that’s all I had. I was on the outs with Zomba, so I wasn’t getting any money from publishing. They thought I was stocking songs away. But Benny got me $75,000! That money got my family back to New York. I was ready to move everyone to New Jersey to a three flat condo. But my mom told me she wasn’t going to move in with us until I brought her a house. And then my brother Brandon was shot. This was all in my mind going into Dangerous.

Bringing back Michael to his R&B roots is something that I stood for. I didn’t just want to go the pop route because that’s not what he called me for. He called me for that New Jack Swing. That’s what he wanted and that’s what he got. When I was working on ‘Remember The Time’ this was at the same time I was doing a remix for ‘D-O-G Me Out’ in one room, ‘Don’t Wanna Fall In Love’ in another room, and all of the other tracks I was presenting to Michael. I was at Sound Works studio in New York. I was using Q-Tip’s (lead MC and producer of A Tribe Called Quest) little studio he was renting out. When I told him I needed a studio to work on Michael Jackson songs he was like, ‘Oh, hell yeah!’

Working with Michael was like going to college. He basically gave me the map. He navigated me on how to actually compose. He taught me all the different ways of working with Quincy Jones and Greg Phillinganes. When I played my demos for Michael he stopped me at the fifth song, which was ‘Remember The Time.’ He took me to the back room and I thought I was going to get fired. I thought I had done something wrong, but it was a chord that he couldn’t get around. He didn’t know the church chords. The first chord you hear on ‘Remember The Time’ started off that song in a very church way. He never started off his songs in that way, and that’s why he pulled me in the back because it was so unusual for him.

Michael was testing me to see what the chord really was and what it meant to me. And he wanted me to play it right in front of him on this piano he had in his room. He was used to the straight C majors. He wasn’t used to the C augmented chords. I could say I introduced the New Jack Swing chords to him. All of those songs were great to work on: ‘In The Closet’; ‘Jam’; ‘Can’t Let Her Get Away’…that’s history for me. It was a great feeling to be a part of a huge selling album like that…over 30 million records of Dangerous.

Mike and me started the Invincible album in New York. That’s when Michael built this studio for me on the top floor of a building. He had Criteria Studios build me a studio in a penthouse in two weeks. I kid you not. I went home and Michael was like, ‘Go home…the studio will be built in two weeks.’ We finished everything else in Miami. When I started working on Invincible one of the songs that stood out for me was ‘Whatever Happens.’ It came from an artist that was signed to my label. We were going to sign him to Interscope, but this guy started tripping out. So I ended up going to the writers of that song and asked them could I produce the song for Michael. They let me do it. I told the label that I wanted a 40-piece orchestra to do strings on this record. And I told Michael that it would be great to have Carlos Santana on the song because of the guitars on there. Michael was like, ‘Okay, we will make that happen.’

I wanted ‘Whatever Happens’ to be special. But we had a problem. Santana didn’t want to leave the house at that time. He told us, ‘This is family time.’ He takes time out, for months, to spend with his family. So anything that would have to be done would be done at his home, so we went to his home studio. Santana was such a good guy…very spiritual. And he is a very big fan of my idol Miles Davis. This dude had a Miles Davis guitar and all these performances on video. During the guitar track to ‘Whatever Happens’ Santana was doing the whistling that you hear. And Michael loved it. I remember his excitement over the record. He said, ‘Let’s keep it!’ So we are working on the Invincible album and around the same time I invited Michael to Virginia. That was moment Virginia had a real respect for me. They were like, ‘If he could bring Michael Jackson to Virginia as well as Whitney Houston and Bobby Brown, he’s bringing revenue to the state. So we have to respect him.’ And I’m talking about getting respect from the political side.

I was in so much mess with this album [laughs]. Michael had me responsible for so many things. I remember Tommy Motolla (one-time head of Sony Music Entertainment) cursing me out telling me, ‘This will be the end of your career if you don’t turn over those masters!’ I had no idea that Michael had told him I had the masters [laughs]. I called him up and said, ‘My God Michael…you put me in trouble with Tommy Motolla. Do you know who Tommy Motolla is? But I ended up helping Michael. I took the masters and I held them for him. Michael was upset with the marketing plans for the Invincible record. I was going to stand behind Michael and that’s what I did. To me it was an album that was going to do the big numbers. But when Michael saw the marketing plans he told me, ‘I’ll be surprised if this album does only two million.’ They took money from his budget, too. I didn’t care about anything else. I just believed in Michael.

2012

vibe.com

audio review : Invincible ( album ) … Michael Jackson

audio review : Invincible ( album ) ... Michael Jackson

This is Michael Jackson’s sixth album since kick-starting his solo career on Epic Records, but there’s a problem at the start. The first song; Unbreakable, which would be a less cheesy album title than Invincible; is, well, broken. It has punchy hip-hop drums going for it and not much else. The concept is appropriate, but the vocals are surprisingly hackneyed. Invincible is the first Michael Jackson album that, as hard as it tries, doesn’t start with an aesthetic bang. The next two songs, also laced with faulty beats by Rodney Jerkins and both featuring a rapper who should’ve been limited to one song or the other, do better, but only because MJ’s signature ad-libs are still vigorous enough to lift them up from mediocrity. That’s the case with about half the album. The other half are songs that were much better in the first place, but they’re scattered about, so if Threatened is the new Thriller, Invincible is a mixed Halloween candy bag.

The best songs are nearly on par with the Michael Jackson hits we all know and love. Banal lyrics plague the entire album, particularly compared to the poetic depth of his previous two, but the vocal melodies on romantic candle burners like Break Of Dawn and Heaven Can Wait reign supreme with sweet beats to match. You Rock My World is an all-out classic without the tacky Chris Tucker intro and Butterflies sounds gorgeous. Though I generally prefer a more uptempo and less pussy-whipped Michael Jackson, I kind of wish the whole album sounded like these songs. The Michael Jackson brand, however, which started in Motown, expanded beyond the confines of soulful groove music a long time ago, so here we have The King Of Pop trying to please the masses; the youngsters sending imitators up the Billboard charts he once ruled; by dumbing down, chasing trends and potentially losing longtime fans in the process.

2000 Watts; the missing title cut from Tyrese’s latest album; is a prime example. The beat; a Teddy Riley production designed to be played in a flashy vehicle at a very high volume; goes hard, but the vocals, sang with a digital deepening effect; probably the album’s biggest artistic blunder; are stuck in second gear until Michael Jackson finally starts finessing the track with ad-libs near the end. You Are My Life is enhanced in the same way, but Babyface’s dated croon music sticks out like a sore heart on an album that’s supposed to be new. Privacy; a paparazzi plea in which it is mistakenly implied that Princess Diana died in the winter as opposed to the summer; another major blunder; sounds fresher, but it’s Michael Jackson’s weakest rocker yet. Don’t Walk Away; a solemn heartbreak ballad; and Cry; Invincible’s version of Man In The Mirror; are a lot better. Then comes The Lost Children; a lament that is both schmaltzy and soothing.

The agitated outcast who dominated the History era with clenched teeth rarely shows up here. When he’s not making desolate mood music; even Whatever Happens tells the story of two protagonists facing what seems to be some sort of impending doom; the Motown sensation who sang I Want You Back is back to being a tenderhearted romantic. That’s a disappointment for me. I prefer the Michael Jackson who grunts, sighs and makes weird hiccup noises à la Is It Scary; arguably the best song he’s ever made; over the one who simply sings, but this isn’t a negative review. Invincible is his worst album, yes, at least since he’s been on Epic Records. It lacks the majestic vibe and overall cohesiveness of Off The Wall, Thriller, Bad, Dangerous and History; even Blood On The Dance Floor; but most of its songs are good, if barely so. I think that says something in regard to his inferred claim of pop music Invincibility.

my rating : 4 of 5

2001
 

jb82 :

While this is not a spectacular album its still MJ and his mediocre stuff sounds good to me everything cant be like his number one hits

teop.peace :

Which CD are you listening to with your negative comments? It seems from your review that you are fighting hard to be negative even while lefthandedly praising songs like Butterflies, break of Dawn, and You Rock My World. Its your opinion to which you are entitled and I respect that, but your review comes off like a reluctant critic. It comes off as if you know you are supposed to hate it officially but the high caliber of each track (which is classic MJ) just wont allow you to pan it too much. This is a very good CD and the more I listen the more I like it. If Sony hadn’t been so bent on its own goals and the entertainment press hadn’t been so intent on playing up aspects of MJ’s personal life, this CD would have received to alcalades it truly deserves. Time will go to show this is a great CD. peace

audio review : History ( album ) … Michael Jackson

audio review : History ( album ) ... Michael Jackson

Presented amidst a promotional campaign comparable to the second coming of Christ with movie theater trailers and 32-foot statues, Michael Jackson’s History album hits the world of popular music like nothing before it. It’s the most important album by the most important song artist, the presentation seems to suggest, and you just have to hear it.

With that, it should be the happiest of times for The King Of Pop, but there’s a dark cloud overhead and a bitter tone to most of these songs. “Stop pressuring me,” he Screams on his long-awaited duet with Janet Jackson, “Stop fucking with me!” The siblings take turns firing back at the slanderous news media, though it’s Michael who’s been under attack.

Biased journalists have partaken in what seems like a worldwide conspiracy to ruin his name, especially since he’s been publically accused and investigated, but not actually charged, with molesting one of his Neverland boy friends. It’s a case that was eventually settled out of court for a lot of dough. That convinces a lot of people that he’s guilty.

Some people are smarter than that. We wonder what kind of parent whose kid was sexually abused pursues cash over justice. So we nod our heads as he sings about people who’ll do “anything” for Money; the best part of the album is the last chorus section of this song; or Tabloid Junkies who believe “everything” they read in a magazine or see on the TV screen.

There’s even a song about Tom Sneddon; the prosecutor responsible for trying to put him in prison. “You know he really tried to take me down by surprise”, Jackson ponders in the angry and strained vocal style he’s taken on over the years. It’s a stark contrast to the tender crooning he does on Childhood or the ballad about the ghost girl he refers to as Little Susie.

The album would be better without the cover songs; Come Together by The Beatles and Smile by Nat King Cole, which, on a Michael Jackson album, amount to mere filler. He also repeats the Dangerous blunder of featuring rappers, though The Notorious BIG, who’s surprisingly allowed to refer to Michael Jackson as “my nigga”, provides a remarkable verse.

Even on that song, Mike is in defense mode, paranoid about people being out to “get” him. I commend him for addressing the scandal that would’ve been the elephant in the room if this were an album of romantic love songs, but the amount of time he spends on it takes away from the History concept, which is supposed to be about his legacy as a whole.

The message of the title song, which samples historic audio bits like Martin Luther King’s I Have A Dream speech, is to live your life to the fullest and be the best you can be. It’s advice Michael Jackson certainly has the credentials to give, but he’s doing a lot of polishing to keep his crown from tarnishing and that’s starting to affect the quality of his music.

Most of these songs are good, but none of them are great. Some of the songs on his previous album are great. That makes History a disappointment after Dangerous like Bad was after Thriller. It’s unusual to be disappointed by good albums, but Michael Jackson has set unusually high standards for himself. I guess that just comes with being The King.

my rating : 4 of 5

1995

Though this album is promoted and presented as a double album; Michael Jackson’s most popular songs from the Past and new songs from the Present; my review is limited to the new songs.

audio review : Blood On The Dance Floor [ History In The Mix ] ( album ) … Michael Jackson

audio review : Bad ( album ) … Michael Jackson

audio review : Bad ( album ) ... Michael Jackson

Making an album that stands up to Thriller is a daunting task for any artist, but Michael Jackson, dressed in a black leather jacket with silver highlights, feels he’s up to the challenge. He even wraps tape around his fingers like the boxers do as the guy who once described himself as a romantic “lover”, “not a fighter”, stands face-to-face with the leader of a notorious street gang with no plans to Beat It.

“I’m bad,” he declares on the funky title song before daring any man to slap him in the face if they don’t like what he’s saying. It’s a ballsy invitation, especially coming from a guy in eyeliner whose only source of weaponry consists of melodic tough talk and flashy dance moves. Luckily for him, the act is over before you can dent your eyebrows and muster-up an answer to the question, “Who’s bad?”

From there, the album goes into more familiar territory as his attention goes back to the girls and The Way they Make him Feel. He’s especially head over heels for a Liberian Girl, who, as far as he’s concerned, is “more precious than any pearl”. He Just Can’t Stop Loving Siedah Garrett, but he’s not so fond of an obsessive groupie named Diana. Her relentless seduction inspires the album’s Dirty rock song.

The dirty dance song is Smooth Criminal, about a guy who murders a girl in her apartment. It’s also the best song as Michael Jackson, playing the role of the narrator, crashes the fourth wall to ask if she’s okay. The whole album is Bad meaning good, but it isn’t a Thriller. The drums are too clanky, the synthesizers too unnatural. Not to mention a Speed Demon that should’ve never made it pass the finish line.

my rating : 4 of 5

1987

audio review : Thriller ( album ) … Michael Jackson

audio review : Thriller ( album ) ... Michael Jackson

The title song should come at the end. Instead it lingers near the middle. When the album does end, it does so with a serenade to a girl Michael Jackson promises to love more and “more each day”, even when she’s “old and gray”. Rod Temperton is to blame for those lyrics, but, as far as music and melody go, The Lady In My Life is gorgeous. It’s one of Jackson’s best songs like almost every other on this album.

Not only is Thriller his best album, including the ones he did with his brothers, it’s the best album I ever heard. Almost every song reaches a level of greatness other artists can only hope to obtain once on a single release. Even one of the worse; a duet that has Michael Jackson and Paul McCartney playing tug-of-war over a girl who might be playing them in a game of her own; floats along with a charming groove.

The worst song is actually PYT, which is good. That says a lot about the rest of the album, which consists of just nine songs. Perhaps making a Thriller isn’t as daunting as it seems. The secret is to cut the filler and put out an album of funky beats and magical vocals. “No one wants to be defeated,” Michael Jackson declares on the rocker Beat It. Its harmonized melody is one of the catchiest you’ll ever hear.

Other highlights include Billie Jean and a party jam about people who always Wanna Be Startin Somethin. Both songs are amazing. There’s also a Valentine’s Day theme entitled Baby Be Mine that’s amazing. The whole album is amazing. It’s just not perfect. It would’ve come damn close if Michael Jackson or Quincy Jones; the album’s sole producer; thought to put the title song at the end where it belongs.

my rating : 5 of 5

1982