---
product_id: 4447147
title: "Man in the Music: The Creative Life and Work of Michael Jackson"
brand: "joseph vogel"
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# Man in the Music: The Creative Life and Work of Michael Jackson

**Brand:** joseph vogel
**Price:** S$132
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- **What is this?** Man in the Music: The Creative Life and Work of Michael Jackson by joseph vogel
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Man in the Music: The Creative Life and Work of Michael Jackson

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## Customer Reviews

### ⭐⭐⭐⭐ 







  
  
    Almost a Revolution In The Head
  

*by C***N on Reviewed in the United States on September 18, 2012*

If you are a Michael Jackson fan (of the music that is) and are excited to finally see some in print appreciation of his music (particularly his much maligned latter works) then this is the book for you.  It is fascinating, broken down into reasonable chunks and actually reveals things that most people never thought about or maybe didn't even know were present (me included).  Thus I can wholeheartedly recommend this book.  It is a nice hardbound and has quite a few pictures (not to many new, but still nice), for that alone I say skip the ebook and get this nice volume on paper.The book proposes that Michael Jackson's music has been overshadowed by his media personality and turbulent life.  Vogel claims that there is more to the music than just the surface, that Michael was still innovating into his later years, and that his latter works are just as strong as his early works.  It claims to show how MJ advanced politically and socially in his music (from "We Are the World" to, say, "They Don't Really Care About Us") and the extent of his perfectionism (the sheer number of songs recorded and not used is amazing).  He succeeds on all counts, this book is a great defense and a great read.  Now on to the nitty gritty, as they say.Vogel himself says that he took inspiration from the spectacular Beatles biography/musical criticism book 
  
Revolution in the Head: The Beatles' Records and the Sixties







  
  
     by Ian MacDonald (which every Beatles fan should read).  That book manages to weave a history of the times and culture as well as the band, through an analysis of their music, track by track.  Insofar as Vogel attempts this he is successful.  This is easily the first (if not only) full consideration of the King of Pop's oeuvre.  The book does have its flaws (though in a book this good it's almost nitpicking) but serves its purpose well.The book has a large chapter for each of the main solo albums (
  
Off The Wall







  
  
    ,
  
Thriller







  
  
    ,
  
Bad







  
  
    ,
  
Dangerous







  
  
    ,
  
History - Past, Present And Future - Book I







  
  
    ,
  
Blood on the Dance Floor: History in the Mix







  
  
    , and 
  
Invincible







  
  
    ) describing the making and the musical ideas behind the making of each album.  It makes for a nice chunky essay that covers the album.  Unlike MacDonald's book, however, instead of going track by track, Vogel waits until the end of the chapter to add specific thoughts and notes on specific songs, sort of a brief appendix.  Again this is well done, but not perfect as it seems to gloss over bits of each song so we don't learn about, say, Slash recording on the album and an anecdote but rather it's noted as in "Slash has a unique solo."  It also doesn't go into the mechanics of the songs such as keys, song structure, etc, choosing instead to take a broader view of the lyrics and mood.  In Vogel's defense he says this is his goal (particularly when he compares his work to Revolution).  So while it contains an "appreciation" of the work and some analysis it's not quite deep enough for someone interested in the technical side.Also, the first section of the book is weaker as works like Off The Wall, Thriller and Bad don't need a lot of defending or exploration as this has been done to death.  Where the book really takes hold is in the post Bad work particularly the HIStory and Invincible.  Vogel works hard to present the music as separate from the persona of Michael Jackson the tabloid star and get into the universality and uniqueness of the music.  He makes excellent points against critics who say that he was merely trying to keep up with current trends and falling into monomaniacal narcissism and flaunting a persecution complex.  While Vogel does make nods to those suspicions he attempts to see beyond the surface and look at the music from within MJ's body of work (for example following Thriller up through Ghosts and their relevance to MJ and his work in Gothic Pop or the transition from the feminine as a source of danger and betrayal to the media as the source of pain and injustice).Where the book comes up short is that in some cases it overstates the value of some of the lesser works on later albums (a weak track from Invincible gets a polite gloss) and his dismissal of some of Michael's more outrageous moments (the statues from HIStory, the song "D.S.") as publicity stunts or having some other meaning come off a little weak sometimes.  While Vogel normally does a great job of keeping the persona separated from the music he does stumble in a few of these places.  Though in his defense Jackson himself often blurred the lines of persona and presentation.Also his greatest weakness (in my opinion) is that he often quotes from other's statements about Michael's work, not just critics he wishes to dispute.  He frequently quotes from Armond White to the point that either the man should be a co-author or be acknowledged as one of a small number of corroborating opinions available.  His work would be stronger if he used his own voice for these statements.  This makes parts of the book feel more like a thesis or school paper rather than a book.Again these are things that nitpick, overall the book is brave, intelligent and worthwhile adding to any MJ library.  Of course it is best appreciated (like Revolution in the Head) while listening to the music and reading the book as the comments work well in pointing out elements of songs (a particular instrument or turn of phrase) that only listening can reveal.  So, any Michael Jackson fan with the albums on hand should sit back, crack the book and enter the world anew.  I love this book and its defense of Michael Jackson's work.  I hope it is only the beginning of a renaissance regarding the man and his work.  It is unfortunate that genius is rarely appreciated in its time.NOTE: If you're not sure if you want to take the plunge on this book, check out the smaller works of Vogel (
  
Earth Song: Inside Michael Jackson's Magnum Opus







  
  
     and 
  
Featuring Michael Jackson: Collected Writings on the King of Pop







  
  
    ). Both are only 4$ on Kindle and are great extra volumes.  Also check out Michael Jackson: The Magic, The Madness, The Whole Story, 1958-2009 by J. Randy Taraborrelli which I thought was a good balanced biography (if a little thin on the last days).

### ⭐⭐⭐⭐ 







  
  
    Great!! and AT LAST!
  

*by D***N on Reviewed in the United States on November 4, 2011*

Thank GOD Joe Vogel wrote this book. It is amazing that it took all this time for someone to do this--to write a book about Michael the Artist, as opposed to Michael the Media-Created Weirdo. As Michael once said--'it's nice to be thought of as a person and not a personality.' Joe really gives us a complete look at Michael's incredible dedication to his art--a dedication that never wavered, ever. He gives so much info about how Michael worked in the studio, who he worked with, how long they worked to get the sounds that Michael wanted--how original and persevering they were, and glimpses of Michael in the studio. I love the image of him singing totally in the dark, with the music blaring so loud no one else could take it unless they wore earplugs. His team knew he was happy with their work if he was dancing around the studio. Joe also gives a great discussion of all the songs recorded, and even short remarks about those left on the cutting floor--and there were so many of those (more to look forward to). The book is organized by album, each album is a chapter, starting with Off the Wall. On the way, he does touch on milestones in Michael's life, for example, his marriages, the allegations, his children--but the main focus is the music and how it was created. It was sad to read at the final stages of Michael's life, when he was in Las Vegas, he tried to keep one of his main collaborators--Brad Buxer with him but, due to the fact that MJ no longer had big budgets to work with (or even any budget), Buxer had to leave to keep his paying job. It is sad to hear a great artist like MJ pleading with his collaborator to stay, and not being able to keep him due to a lack of funds. This makes me so mad. Joe also gives a lot of details about the kind of person Michael was--for instance, that he was a voracious reader who owned 20,000 books--who ever could guess that from the Tabloids???This is a wonderful book--a must read for anyone who wants to really know and understand Michael the Artist--and it is about time!! So a BIG THANK YOU to Joe.Now--I do have a comment on the printing choices. There is a fainter print for the discussions of the individual songs and I found that unnecessary and it makes it harder to read.I don't think that was a good decision.The biggest gripe I have is with the forward by Anthony De Curtis of Rolling Stone. Why this person was selected for the foreword is beyond me--Rolling Stone is a great resource for the book as far as its archives but it has got a history of negative remarks about MJ too. And De Curtis really pushes that agenda in his foreword. Here is an example: 'there's no point making excuses. No question: Jackson must bear some of the responsibility for why he eventually became little more than a punch line in the years before his death.' Right there, this statement is mindboggling--why would MJ take any responsibility for himself becoming 'little more than a punch line'--this makes no sense. MJ was constantly creating great music, as Joe reveals, and it was the critics who would not give him the credit he deserved. Why don't they take some responsibility, along with the tabloids,  for what happened to Michael? so easy to blame the victim--but why here--in this exhaustively researched book about the Man in the Music? and again, De Curtis states, 'What was once a bracing ambition evolved into megalomania.' De Curtis then goes on to talk about a 'quizzical look' in Janet Jackson's eyes as he spoke to her about how a great work might not sell. This is his 'proof' that MJ was a megalomaniac?? MJ frequently commented that he knew that revolutionary art would be rejected and not sell. I don't see where a 'look' by Janet 'proves' anything about Michael. This guy should definitely NOT have been allowed to write the foreword b/c he is just pushing the usual slimeball 'MJ did it to himself garbage' instead of taking responsibility himself as a music critic for undervaluing a great artist's work.Here is another disgusting comment by De Curtis: ' there is no way around the fact that Michael's efforts to recreate the success and impact of Thriller--to relive the moment that made the world make the most sense to him--damaged him.' This is just unbelievable given that throughout Joe's book he really makes the point the MJ went WAY beyond Thriller musically, artistically, and in the power of his message. MJ WAS successful in his effort for his music to have as much impact as Thriller. It was the incompetent critics--and Joe quotes many of them who totally missed the boat--who could not give Michael's work a listen b/c they were hung up on Thriller's commercial success--THEY were the ones hung up on the 110 million albums sold and not Michael the Artist. Joe even quotes Michael as saying he thought that Invincible had 'more to offer' and was 'as good or better' than Thriller. The fact that Invincible was and is so underrated is due not only to Sony's Mottola but also to the music critics--I read one review where one critic said Invincible was 'unlistenable.' Yes, Michael did want his music to sell, but that was b/c he wanted his work and his message to be listened to and appreciated--he didn't make music just for sales alone and the suggestion that he did that is revolting. Also--I am sure there were many events in his life  where the world 'made the most sense to him'--such as the birth of his children or his relationships with his loved ones or his fans or in the shear joy of creativity. It wasn't all about sales or MONEY--in fact, MJ wrote that song criticizing those who were just in it for the money. De Curtis clearly does not understand MJ or his music and is reproducing the tabloid 'talking points.'In my opinion, a much better person could have been found to write the foreword--for example, Armond White.There is much to learn and enjoy from Joe Vogel's book-- thank you, Joe, for the work and love that went into this wonderful book!! When Joe is writing it is all so good--great photos of MJ and the artwork of the album covers. I never realized that in the Dangerous album cover, the earth is upside down--MJ gave us so much to study. We have much to learn about this great man.

### ⭐⭐⭐⭐⭐ 







  
  
    Finally, an intelligent, in-depth analysis of Michael Jackson's immense contribution to art
  

*by D***A on Reviewed in the United Kingdom on November 30, 2018*

This book was a pleasant surprise - a real gem among all the boring, sensation-seeking reads. Vogel's thoughtful, intelligent analysis and ability to somehow look at and take into account the different aspects of MJ's work and contribution to Music is truly brilliant. I enjoyed every sentence, every metaphor, not to mention the interesting parallels the author draws with other works of art and artists, literary works, characters, etc. MJ compared the process of creating a song to 'tapestry' - an analogy which seems to be relevant also to Vogel's book and the way in which he 'weaves in and out', incorporating ideas from contemporary sociology, art history and Jungian psychology (e.g. the archetypes - Michael seemed to embody at least several simultaneously). The author skilfully reflects on the power of the 'visual' but also of the auditory MJ used so well; on the different levels and layers of MJ's extremely sophisticated, multi-layered art and forms of expression  (undoubtedly, Jackson was a genius and at least a few more decades will be needed for serious scholars and critics to even start to fully comprehend his complex mind, versatility, deep psychological trauma, ability to hold paradoxes and yet, outstanding artistic integrity and resilience). Somehow, Vogel manages to 'capture' that multi-layered look and delve deeper, look under the surface, reflect on and offer interesting interpretations in the context of the current social and political events and climate. His analysis - similarly to its subject - is multi-faceted, not a one-dimensional tabloid story. He discusses different perspectives, paradoxes and identifies some recurrent themes during MJ's artistic development while remaining deeply empathic and firmly grounded. I strongly recommend this book to anyone who is seriously interested in MJ's art.

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