I want to talk about something very specific here, which is difficult when you open up the can of worms that is one of the most famous people to ever walk the earth. I think Tesfaye’s voice is actually better than Michael Jackson’s, which is maybe a controversial opinion with some spice and heat to it. Few people cover Michael Jackson because it’s pointless: you’re going to embarrass yourself. But Tesfaye—whose vocal performance is so indebted to Jackson that you can barely throw a rock and not hit someone who has commented on the Jacksonian nature of his vocals—really does just have an impeccable voice. His voice is as flexible as Jackson’s, but purer with a clarity to the elasticity that is rarely seen by anyone, but that I think does stand above Jackson.
This is so right. I'd never seen the Scream music video, btw. But what I heard when I listened after listening to the Weekend vs Michael was "barely controlled." That's what came to mind. Pushing his voice to the edge of control, which is really powerful. Now I'm going down a Michael Jackson rabbithole.
As to the sweetness, yeah I mean "heal the world" epitomizes that. But that's not most of his music.
This is such an interesting insight! You are right that his voice has a barely-concealed undertone of aggression, and I think it’s the same for his dancing too.
As luck would have it, I was listening earlier this morning to the fourth disc of HITSVILLE USA, the now-30-year-old Motown box set that pretty effectively chronicles the label's first decade, which kicks off with "I Want You Back" and includes four other great Jackson 5 singles ("ABC," "The Love You Save," "I'll Be There," "Never Can Say Goodbye").
All five of these were recorded when Michael Jackson was ELEVEN years old. (I think? He may have been TEN when they recorded "I Want You Back.")This is where you'll find the sweetness, and it's impossible not to catch yourself smiling at some point as these records play. There's none of the aggression, no hint of the simmering rage that appears later, but the confidence in these performances is staggering. Like, what, if anything, did you KNOW you were really damn good at when you were eleven?
Anyway, I might put OFF THE WALL and THRILLER on the iPod and revisit those this week. I haven't spent enough time with his records. Kinda like Madonna and Prince for me, in a way, in that although I was born in the early '80s, I was never really looped into any of that music, and only really ever heard it when it was in the air, which was admittedly often enough. Michael Jackson's the only one of the three that I just haven't really embraced, at least not in any emotional sense. Perhaps this is the week.
I love that you're still adding music to your ipod!
Michael Jackson has a timeless feel to me, no doubt because I've literally never lived in a time without his music being around. But I do think there's an almost out-of-time quality to his music, in that he was so often on the front end of production and sound that his albums didn't sound like other albums out at the same time.
And much as I love Prince--good Minnesotan that I am--even Prince refused to follow Michael Jackson on stage.
I use my iPod every day and worry that I need to buy like three more on eBay or something because it's eight or nine years old and its eventual demise will be calamitous!
I agree about the timelessness of his sound, but for a different reason, and I think it applies to Prince and Madonna too. As someone who finally made it to "'80s music" in the last decade or so, it's often harder for me to perceive these folks' innovations because of the massive influence they had on what came after. You're right, though, they don't sound like the other music of the time, which is probably why they've lasted.
I still have my ipod too! I do miss the days of decoupling my technology into different devices, but I've also given into the ease and accessibility of spotify.
He was a true prodigy. But I had a different take on some of these songs--besides awe at his talent, that is--if you listen to the words of these songs, it’s extremely creepy that a child is singing them. For example, “Ooo baby, show me what you can do! Shake it shake it baby!” in ABC. It is sometimes the case that men who were sexually abused as children become pedophiles as adults. I have wondered whether Michael Jackson’s childhood was prematurely sexualizing to the extent that it damaged his sexuality.
Listen to the menace in his voice when he sings “Annie are you okay” in Smooth Criminal, followed by the falsetto verses that rise to a chaotic unravelling of control (thanks, Erin). Tesfaye has a genuinely amazing voice - but I’m not sure he could do that, and if he can it’s because MJ did it first.
This is so right. I'd never seen the Scream music video, btw. But what I heard when I listened after listening to the Weekend vs Michael was "barely controlled." That's what came to mind. Pushing his voice to the edge of control, which is really powerful. Now I'm going down a Michael Jackson rabbithole.
As to the sweetness, yeah I mean "heal the world" epitomizes that. But that's not most of his music.
"Barely controlled" is a good way to put it. I like that so much I'm going to steal it
you sonovabitch
This is such an interesting insight! You are right that his voice has a barely-concealed undertone of aggression, and I think it’s the same for his dancing too.
His dancing especially!
I've always loved the friction between his singing and dancing, but I'm not realizing the friction may not have been there in the first place.
As luck would have it, I was listening earlier this morning to the fourth disc of HITSVILLE USA, the now-30-year-old Motown box set that pretty effectively chronicles the label's first decade, which kicks off with "I Want You Back" and includes four other great Jackson 5 singles ("ABC," "The Love You Save," "I'll Be There," "Never Can Say Goodbye").
All five of these were recorded when Michael Jackson was ELEVEN years old. (I think? He may have been TEN when they recorded "I Want You Back.")This is where you'll find the sweetness, and it's impossible not to catch yourself smiling at some point as these records play. There's none of the aggression, no hint of the simmering rage that appears later, but the confidence in these performances is staggering. Like, what, if anything, did you KNOW you were really damn good at when you were eleven?
Anyway, I might put OFF THE WALL and THRILLER on the iPod and revisit those this week. I haven't spent enough time with his records. Kinda like Madonna and Prince for me, in a way, in that although I was born in the early '80s, I was never really looped into any of that music, and only really ever heard it when it was in the air, which was admittedly often enough. Michael Jackson's the only one of the three that I just haven't really embraced, at least not in any emotional sense. Perhaps this is the week.
I love that you're still adding music to your ipod!
Michael Jackson has a timeless feel to me, no doubt because I've literally never lived in a time without his music being around. But I do think there's an almost out-of-time quality to his music, in that he was so often on the front end of production and sound that his albums didn't sound like other albums out at the same time.
And much as I love Prince--good Minnesotan that I am--even Prince refused to follow Michael Jackson on stage.
I use my iPod every day and worry that I need to buy like three more on eBay or something because it's eight or nine years old and its eventual demise will be calamitous!
I agree about the timelessness of his sound, but for a different reason, and I think it applies to Prince and Madonna too. As someone who finally made it to "'80s music" in the last decade or so, it's often harder for me to perceive these folks' innovations because of the massive influence they had on what came after. You're right, though, they don't sound like the other music of the time, which is probably why they've lasted.
I still have my ipod too! I do miss the days of decoupling my technology into different devices, but I've also given into the ease and accessibility of spotify.
He was a true prodigy. But I had a different take on some of these songs--besides awe at his talent, that is--if you listen to the words of these songs, it’s extremely creepy that a child is singing them. For example, “Ooo baby, show me what you can do! Shake it shake it baby!” in ABC. It is sometimes the case that men who were sexually abused as children become pedophiles as adults. I have wondered whether Michael Jackson’s childhood was prematurely sexualizing to the extent that it damaged his sexuality.
I don't think those lines were composed -- I think they were ad-libbed by the prodigy himself. :)
Listen to the menace in his voice when he sings “Annie are you okay” in Smooth Criminal, followed by the falsetto verses that rise to a chaotic unravelling of control (thanks, Erin). Tesfaye has a genuinely amazing voice - but I’m not sure he could do that, and if he can it’s because MJ did it first.
I just listened to Smooth Criminal again just to experience this
Absolutely!