Released in 2001, Invincible wouldn’t set the world on fire as his prior solo releases had. Certainly, the controversies surrounding Jackson didn’t help with sales but that’s an easy assumption for I feel the conciseness of his greatest albums is what was missing in all his post-90s releases. I’d even go as far as saying that his pre-Off The Wall solo albums are superior to Invincible. It isn’t that the songs are bad, per se, but the album is simply too long and the styles shift too much throughout. In reality, you’ve got an album that could have been split across two independent releases. One with the more upbeat tempo tracks, the other with the smoother soul-based ones. Jackson, however, was one artist that embraced the full CD length post-Dangerous and while that album was a double done well, Invincible is akin to listening to Jackson on shuffle; some may like that but I’d prefer a more focused and fluid presentation.

While I may not agree with the tracking, I do enjoy the album when listening to Jackson’s greater catalogue of music, but other than the questionable posthumous releases, Invincible is most certainly his weakest body of work. 

Sonically, I prefer the CD reproduction followed by the Apple Music stream. In perhaps a shock revelation, the vinyl record doesn’t sound superior to the digital counterpart and is proof that all vinyl is not created equal and that music-lovers must be format neutral if they are to get the very best musical experience. 

The CD, while most certainly brickwalled, sounds like a Michael Jackson album should. It remains dynamic even if it isn’t as dynamic as the vinyl release. However, that is where one of the problems with the vinyl release exists for the dynamics are impressive, but you lose some of the emotive energy in Jackson’s vocal and the musical accompaniment. For instance, songs like 2000 Watts and Threatened sound flat via vinyl whereas the CD punches you in the chest with a full-bodied audio experience. This flatter response may appeal to some music lovers, especially those with bass-heavy stereo systems, but I simply find that I become distracted when listening to the vinyl release, yet I find myself captivated when listening to the CD. Longtime readers will note that this isn’t generally the case and that more often than not I prefer the analogue release, but if it were flatness of sound alone perhaps I could learn to appreciate this pressing but on Break Of Dawn, the sibilance on the vinyl record is simply too much to tolerate. Admittedly, there is natural sibilance in the original recording, as can be heard on the digital counterparts, but it is amplified on the vinyl pressing.

The Apple Music edition, an Apple Digital Master, is very close to the mastering heard on the CD, but it isn’t as detailed as it pertains to the soundstage and elemental and instrumental separation. Basically, the CD just sounds right and the Apple Music stream is an adequate facsimile.

Sound quality aside, for a moment, the 2009 Music On Vinyl reissue is beautifully presented with a somewhat embossed silver texture that will most certainly appeal to collectors. No, it isn’t a gatefold design, but rather an expanded sleeve containing both records in full liner note sleeves. In-fact, the amount of detail in the liner notes is impressive to say the least as both the vinyl and CD releases don’t miss a thing. The record labels are simple, yet elegant, and it is truly a shame that I don’t enjoy the sonic aspects for both records are magnificent pieces of vinyl, from not only a visual standpoint but also a noise floor perspective whereby the vinyl between tracks, and in less involved musical aspects, is incredibly quiet. 

Unbreakable is an interesting opener for this album and one that simply doesn’t have the same oomph as the lead songs on Jackson’s prior albums. The vocal processing, and tinniness of sound, is a real deterrent. It isn’t necessarily bad, but it isn’t worthy of opening the album.

Heartbreaker continues the upbeat styling and again, I feel, as good as the song is, that it isn’t exceptional. It is as if too much experimentation with sound, layering, and the overall mix, created a shallow sound that sounds more like a demo than a fully realised recording. 

Invincible is a little more rhythmically charged than the previous songs. It gets the body moving to a somewhat predictable beat and there is far less vocal processing here to contend with, thereby making for a far more enjoyable listening experience. 

Break Of Dawn is a beautiful song and in a way is very similar to Earth Song. It’s atmospheric, immersive, and one of the best songs on Invincible. That is until the sibilant vocal aspect comes in  via the chorus. It isn’t nearly as present on the Apple Music stream, as it is on the CD and vinyl counterparts, but it is still naggingly present. 

Heaven Can Wait is a solid song. It isn’t one that I’d seek out, but it is thoroughly enjoyable when listening in the album format. 

You Rock My World is a great tune and as much as I enjoy Chris Rock’s involvement here, there are times when I wish the song would just start without the spoken word aspects. It helps when one chooses, as I often do, to play the song on repeat. 

Butterflies has a great tempo but I wonder if you also feel that this song is akin to a click track? It works, but it also sounds a little grating after a while. 

Speechless is lovely. 

2000 Watts is a fantastic tune. The tempo is spot on and this is one song that deserves to be turned up to 11. 

You Are My Life is simply beautiful; even if it is a sonic jolt following 2000 Watts. 

Privacy is brilliant! The anger in Jackson’s vocal is perfect for the song and his feelings towards the media. The only criticism I have is that the ending is a little more abrupt than I would like. 

Don’t Walk Away is another beautiful vocal-based tune but I really do wish a different tracking was presented as the shift between the more upbeat songs and the mellower ones can be a jolt to the system which results in a less-than-ideal listening experience. 

Cry is a lovely song and proves just how well these more ballad-focused songs can work well together, rather than being interspersed throughout the album. 

The Lost Children has a perfect tonality and pace, but the decision to include the backing Choir, while logical, is somewhat distracting. 

Whatever Happens is magical! Carlos Santana is a legend and his influence is most certainly heard here and in many ways, he is the reason why I love this song so much.  

Threatened is a great closer and while I feel encouraged to listen to the album again, the album’s length is most certainly a deterrent. 

Overall, Invincible fails in my mind only due to its length and stylistic shifts throughout. There are a number of solid songs here, a couple of hidden gems, and a little too much filler. What is good, however, is worth your time but I’d recommend you seriously consider the vinyl release before picking it up as it may not be to your tastes. If you like to feel your music, the vinyl release won’t do it for you. In that instance, don’t look past the CD or streaming counterparts.