Michael Jackson

Omiljeni MJ Album?

  • Off The Wall

  • Thriller

  • Bad

  • Dangerous

  • HIStory

  • HIStory In The Mix

  • Invincible

  • Ostalo

Rezultati ankete su vidlјivi nakon glasanja.

Bad-Badder-The-Bad-World-Tour-Billie-Jean-michael-jackson-19013394-1280-1179.jpg
 
Poslednja izmena:
Evo da se pohvalim, sinoc sam bio da gledam ovo:


Ja pre pocetka nisam ocekivao nista ali moram da priznam da je show VEOMA zanimljiv! Znaci vidi se da su izvodjaci pravi MJ fanovi, znaci ne impersonatori i neki frikovi. I sto je se meni najvise dopalo je to sto je sve LIVE, od benda preko pevanja, a vokali su stvarno bili vrhunski. Ako imate prilike tj zateknete se u nekom evropskom gradu dok predstava igra, posetite je necete se pokajati. Sto se mene tice ovako jedan tribute treba da izgleda, u najmanju ruku!
Pozz!
 
Ej jel ima neko HQ original Do You Know Where Your Children Are (12 O'Clock)?!
Izgleda da se pojavio (možda odavno) čim ima ovaj "remix". Mada ne čujem neku drastičnu promenu.


Mnogo je dobra pesma...

PS Ima link za download ovog mixa u description baru klipa.
 
Kratki opisi svih albuma od strane jednog od najcenjenijih muzičkih kritičara:

Off the Wall [Epic, 1979]
In which fast-stepping Michael J. and quick-witted Quncy J. fashion the dance groove of the year. Michael's vocabulary of grunts, squeals, hiccups, moans, and asides is a vivid reminder that he's grown up, and the title tune suggests that maybe what makes Stevie Wonder (who contributes a good ballad) such an oddball isn't his genius or even his blindness so much as the fact that since childhood his main contact with the real world has been on stage and in bed. A

Thriller [Epic, 1982]
The best-selling album of the millennium was clearly a hits-plus-filler job from the beginning--what we couldn't know is how brilliantly every hit but "P.Y.T." would thrive on mass exposure and public pleasure. The inexhaustible "Beat It" broadcasts Eddie Van Halen wielding his might in the service of the antimacho that is his secret vice. "The Girl Is Mine" got interracial love on the radio and proved cuter than "Michelle." "Wanna Be Startin' Something" starts something every time an air or floor jock starts it up. "Billie Jean" is Michael's clearest statement to date on sexuality and stardom. And "Thriller" is the rare song that's improved by its video, which fleshes out the not-quite-a-joke scariness of "the funk of 40,000 years" for (Michael and) his (white) fans. A

Bad [Epic, 1987]
Anybody who charges studio hackery is too narrow-minded to be able to hear pros out-doing themselves. Studio mastery is more like it, the strongest and most consistent black pop album in years, defining Jam & Lewis's revamp of Baby Sis as the mainstream and then inundating it in rhythmic and vocal power. But what made Thriller a miracle wasn't consistency--it was genius like "Beat It" and "Billie Jean" and the unknowable allure of the pure star. The closest thing to genius here is the CD-only "Leave Me Alone," which isn't all that close and also suggests what's happened to his allure--the more knowable he gets, the more fucked up he seems. This is a record that damn near wrecks perfectly good dancin' and singin' with subtext. He's against burglary, speeding, and sex ("Dirty Diana" is as misogynistic as any piece of metal suck-my-cock), in favor of harmonic convergence and changing the world by changing the man in the mirror. His ideal African comes from Liberia. And he claims moonwalking makes him a righteous brother. Like shit. B+

Dangerous [Epic, 1991]
It's hard to hear through the oversell, but--especially if you ignore the faith-hope-and-charity, bringing it down under an hour--this is plainly his most consistent album since Off the Wall, a step up from Bad even if its hookcraft is invariably secondary and its vocal mannerisms occasionally annoying. Teddy Riley acting alone has never manufactured such abrasively unpredictable beats, much less the singer to top them--if they're not as catchy as a 10-year-old might hope, that's just Michael riding the rhythmic moment, as always. And though it's futile to analyze the love life of an invisible man who's convinced he's more popular than the Beatles now, he's hawking the most credible sex-and-romance of his career. "In the Closet" implores his mystery woman to keep their--get this--"lust" behind closed doors. Soon he's going wild, or fabricating desperate nostalgia for their used-to-be. And then he's muttering "Can't Let Her Get Away" through clenched teeth--mantralike, over and over into the void. Coulda happened, doncha think? With Brooke Shields maybe? A-

HIStory: Past, Present and Future Book 1 [Epic, 1995]
if stardom is your only subject, you might as well take it to the limit ("Smile," "Tabloid Junkie") **

Invincible [Epic, 2001]
Jackson's obsession with fame, his grotesque life magnified by his grotesque wealth, are such an offense to rock aesthetes that the fact that he's a great musician is now often forgotten. I use the present tense because (a) his skills seem undiminished and (b) as only Frank Kogan has listened dispassionately enough to remark, he's doing new stuff with them--his funk is steelier and his ballads are airier, both to disquieting effect. At 78 minutes this is too long, and especially given his history, "The Lost Children" is offensive. But the first three tracks are the Rodney Jerkins of the year, "2000 Watts" is the Teddy Riley of the past five years, and even the prunables offer small surprises. Don't believe the hype matters. A-

Napomena: objašnjenje ocena (zbog HIStory-a).
 
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