Whereas the dominance of Rodney's post-Never-Say-Never beats was at times irritating as an accompaniment to the soft, sweet voice of Brandy, it works on this album.  Michael Jackson is more of an overall entertainer than an all-out singer per se, so it's not like you want to make Rodney just shut up and let him sing, as was the temptation on Brandy's Full Moon.

Speaking of Brandy singing, she does make an incidental appearance on this album.  If you listen closely towards the end of “Unbreakable,” you'll hear her sing the title softly several times, virtually buried between the lead vocals and the beat.  She adds a nice touch in there.  And that's all the Brandy you get for one M.J. album!

The songs on Invincible are interesting, having a certain narrative quality to them.  They're catchy, and well-produced.

Invincible makes a strong, attitude-filled opening with “Unbreakable.”  As well as Rodney's thick, charged beat, and a hint of vocals from Brandy, “Unbreakable” features a rap from The Notorious B.I.G..

The upbeat electronic sound continues with “Heartbreaker,” about a femme fatale.  Towards the end, Rodney throws in a whirlwind of effects.

“Invincible,” about an invincible love interest, is a bit more laid back, but still very electro.  The timing on the word “invincible” makes for a rather catchy hook.  Fats rhymes on both this and the previous track.

“Break Of Dawn” is a groovy, captivating slow-jam.  Continuing on the slower side, “Heaven Can Wait” chooses a particular girl over Heaven (dang, I know I would).

Picking the beat back up, “You Rock My World” makes for a catchy tune.  Rodney's instrumental here is intricate, yet not overly obtrusive.

“Butterflies” slows it back down.  The thickly-layered hook becomes a little repetitive towards the end.

“Speechless” starts out mellow, fairly nicely at that, and progresses to an all-out choir.  While the choir thing does work here, it's not quite as effective as it was in Brandy's “One Voice.”

“2000 Watts” recharges the excitement with an industrial sort of feel to it.  This is a bangin' joint.

While M.J.'s crooning is somewhat of an acquired taste, he's passable, and “You Are My Life” and “Don't Walk Away” make for decent love songs, the latter in particular being pretty nice, actually.

In one part of the barely audible intro to “Privacy,” a kid exclaims, “Mommie, mommie!  Look!  It's Michael Jackson!”  Reflecting on that, clearly at some point fame becomes more of a curse than anything else.  Michael Jackson being a favourite victim of tabloids, it shouldn't be all too surprising that he lashes out against the paparrazi's ruthlessness in “Privacy.”

M.J. makes some meaningful commentary on the world in “Cry,” to a lively and very appropriate instrumental.  And, this time, the choir really works (and happened to be arranged by none other than R. Kelly.)

Some would probably find the next track rather ironic; I'm not even gonna touch that!  “The Lost Children” is dedicated to missing children; “wishing them well, and wishing them home.”  (Sadly this is, statistically speaking, wishful thinking.)  Of course, this song wouldn't be quite complete without the choir of children.  It's a nice enough song, though not one of those tracks that you can listen to over and over and over again without tiring of.

“Whatever Happens” is a rather dramatic piece.  The atmosphere is completed by guitar and whistle solo by Carlos Santana.

Now, you know no Michael Jackson album would be complete without a monster song; “Threatened” fits the bill nicely.

Invincible is longer than your typical album, clocking in at over 77 minutes.  This furthers it as good value for the money.

The mission being to entertain, mission accomplished.