Invincible

Invincible is the tenth and final studio album by American recording artist Michael Jackson. It was released on October 30, 2001, by Epic Records. The album was the first release of new Jackson material since Blood on the Dance Floor: HIStory in the Mix in 1997, the first studio album in six years since HIStory: Past, Present and Future, Book I in 1995, and the first studio album of all new material since Dangerous in 1991. Jackson, Rodney Jerkins, R. Kelly and Teddy Riley received producing and writing credits, among others. Similar to Jackson's previous material, Invincible explores themes such as love, romance, isolation, media criticism, and social issues. Invincible received generally mixed reviews from contemporary music critics. The album's singles were incomplete in their release. Jackson was able to use these conflicts as leverage to exit his contract early.

Three singles were released from the album: "You Rock My World", "Cry" and "Butterflies" of which the first and second were released as physical singles internationally (except the USA) and the third one being a US-only radio-airplay single. The album's first and last singles charted within the top twenty on the Billboard Hot 100 chart, and they peaked at number one and within the top ten in several markets worldwide; "Cry" was less commercially successful. Following a conflict between Jackson and his record label, Sony Music stopped promoting the album.

The album peaked at number one in eleven territories worldwide, including the United States (with sales of 363,000 units its first week), the United Kingdom, Australia, France and Switzerland. Invincible charted within the top ten in six other territories; its least successful charting area was Mexico, where the album peaked at number twenty nine. Invincible re-entered music charts several times during the decade. Despite selling 13 million copies worldwide, the album has been viewed as a commercial failure compared to Jackson's previous albums sales.

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by Stephen Thomas Erlewine

Let's get the clichéd bad joke out of the way to begin with: At the time Michael Jackson released Invincible in the fall of 2001, he hardly seemed "invincible" -- it was more wishful thinking than anything else, since he hadn't really had a genuine hit in ten years, and even that paled in comparison to his total domination of the '80s. That lack of commercial success, combined with a fading reputation as a trailblazer, a truly ugly public scandal, and swirling rumors about his diminishing finances, along with a huge wait between albums (by teaming his Dangerous follow-up with a hits collection, it wound up being overlooked, despite a gaudy publicity push), resulted in Jackson being deep down in the hole, needing to surge back out with a record that not only proved his talents, but his staying power. So, faced with a make-or-break record, what does Jackson do to save his career? What he's done since Dangerous, take a turn toward the street and craft a hard-driving, hard-polished urban soul album, heavy on the dance numbers and sweetened by lugubrious ballads. It's a proven formula for commercial success, but it not only doesn't push his music forward, it makes his reach seem rather timid when compared to the wildly rich, all-encompassing musical vision of Thriller and Bad. Here, he's reined in by a desire to prove himself, so he keeps his focus sharp and narrow, essentially creating a sparkly, post-hip-hop update of Off the Wall. It's not as good as that sounds, because the infectious joy and layered craft of that masterpiece has been replaced with a dogged, near-maniacal desire to craft something hip enough for the clubs and melodic enough for mainstream radio, thereby confirming his self-proclaimed status as the King of Pop (a really terrible title, btw). Since he is exceptionally talented and smart enough to surround himself with first-rate collaborators, this does pay off on occasion, even when it feels a little too calculated or when it feels a little padded. Ultimately, the record runs too long, losing steam halfway through, as it turns to a series of rants about "Privacy" or a deadly stretch of uncomfortably treacly, sub-"Man in the Mirror" songs about "The Lost Children," or when he says that he can't change the world by himself on "Cry." Fortunately, Jackson was clever enough to front-load this record, loading the first seven songs with really good, edgy dance numbers -- even the opening "Unbreakable" isn't sunk by the creepy resurrection of Biggie Smalls -- and lovely ballads, highlighted by "Break of Dawn" and "Butterflies" with its Bacharach-styled horns. Even if these are too self-conscious and a little mechanical (which they are), they still have a spark and sound better than anything Jackson has done since Dangerous. That's not enough to make Invincible the comeback Jackson needed -- he really would have had to have an album that sounded free instead of constrained for that to work -- but it does offer a reminder that he can really craft good pop. If only he was fueled, not constrained, by his obsessions, this could have been really interesting.