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Man in the Music: The Creative Life and Work of Michael Jackson
" Joseph Vogel has brilliantly cracked the DNA, the code of the work, the artistry of Michael Joseph Jackson. This is the book I have been long awaiting -- a pointed, intelligent dissection of an epic body of work." -Spike Lee
Over his four decades in the public spotlight, Michael Jackson dazzled audiences, broke down barriers, and transformed popular music. Yet his brilliance as an artist has often been overshadowed by the tabloid frenzy that surrounded his unusual life. Now author Joseph Vogel returns to to the albums, songs and videos that made the King of Pop a cultural force in the first place. From Off the Wall and Thriller , to Bad , Dangerous , HIStory and beyond, Vogel takes us deep inside Jackson's vast musical catalog. Each song is carefully considered, from well-known classics like "Billie Jean" and "Beat It" to lesser-known standouts like "Stranger in Moscow" and "Who Is It."
Meticulously researched and documented, Man in the Music draws on hundreds of sources, including news archives, reviews, Jackson's own words, and interviews with key collaborators. With each chapter, Vogel takes the reader back in time, placing the music in its social and historical context, discussing its relation to Jackson's personal life, and revealing never-before-heard stories from the studio. Featuring a foreword by Rolling Stone contributing editor Anthony DeCurtis and a wealth of color photos, this unique book provides the first comprehensive assessment of the "man in the music."
Over his four decades in the public spotlight, Michael Jackson dazzled audiences, broke down barriers, and transformed popular music. Yet his brilliance as an artist has often been overshadowed by the tabloid frenzy that surrounded his unusual life. Now author Joseph Vogel returns to to the albums, songs and videos that made the King of Pop a cultural force in the first place. From Off the Wall and Thriller , to Bad , Dangerous , HIStory and beyond, Vogel takes us deep inside Jackson's vast musical catalog. Each song is carefully considered, from well-known classics like "Billie Jean" and "Beat It" to lesser-known standouts like "Stranger in Moscow" and "Who Is It."
Meticulously researched and documented, Man in the Music draws on hundreds of sources, including news archives, reviews, Jackson's own words, and interviews with key collaborators. With each chapter, Vogel takes the reader back in time, placing the music in its social and historical context, discussing its relation to Jackson's personal life, and revealing never-before-heard stories from the studio. Featuring a foreword by Rolling Stone contributing editor Anthony DeCurtis and a wealth of color photos, this unique book provides the first comprehensive assessment of the "man in the music."
306 pages, Hardcover
First published January 1, 2011
About the author
Joseph Vogel
52 books48 followersJOSEPH VOGEL is a bestselling author, professor, and entrepreneur.
His books include Man in the Music: The Creative Life and Work of Michael Jackson (Vintage), James Baldwin and the 1980s: Witnessing the Reagan Era (University of Illinois Press) and This Thing Called Life: Prince, Race, Sex, Religion, and Music (Bloomsbury).
His work has appeared in the The Atlantic, The Guardian, Slate, The Huffington Post, Forbes, and the Boston Review.
Vogel has appeared in dozens of documentaries, including two by legendary filmmaker Spike Lee.
He is the founder and owner of the outdoor apparel brand, Timpanogos Hiking Co.
His books include Man in the Music: The Creative Life and Work of Michael Jackson (Vintage), James Baldwin and the 1980s: Witnessing the Reagan Era (University of Illinois Press) and This Thing Called Life: Prince, Race, Sex, Religion, and Music (Bloomsbury).
His work has appeared in the The Atlantic, The Guardian, Slate, The Huffington Post, Forbes, and the Boston Review.
Vogel has appeared in dozens of documentaries, including two by legendary filmmaker Spike Lee.
He is the founder and owner of the outdoor apparel brand, Timpanogos Hiking Co.
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Displaying 1 - 30 of 55 reviews
December 29, 2025
I listened to this as an audio book. Joseph Vogel narrated the book himself. This book wasn't quite what I expected but I did enjoy it. The insights given to Michael Jackson's music was enlightening. The focus on Jackson's private life is minimal at best, it really is about the music. It lists the credits behind each track on an album, and you are made aware of how many people were involved, as well as how "hands-on" Michael was with his works. I kept listening to snippets of songs along the way. Unfortunately, the tabloids covered his life and made a spectacle of things so the artist was very underrated. A 4 star rating from me.
November 5, 2011
Joseph Vogel Returns the Conversation to Jackson’s Art:
Scholars, fans, and even on-the-fence doubters will find the upcoming release of Man in the Music: The Creative Life and Work of Michael Jackson by Huffington Post writer Joseph Vogel, not only an enthralling read, but a gateway into a revised perception of one of the most mysterious and massively influential artists of our time. This is definitely not another run of the mill sensationalist work.
Vogel skillfully guides the reader through the remarkable chapters of Jackson’s professional career, fully capturing the cultural vibe of the ‘80s and ‘90s, while analyzing the particularities of Jackson’s creative process from inception to aesthetic fulfillment. It seems the author desires to move beyond exclusively “preaching to the choir” of Jackson’s loyal fan base, and has an even more expansive and restorative intention in mind.
Jackson’s solo career is revealed through intricately woven stories that are chronologically linked with the creation of his music. This album-by-album odyssey reminds one of a mythic “hero’s journey,” as it evokes the visceral emotion of artistic conquest. Throughout the process, Vogel explicates Jackson’s music, performance art, cinematic short films, and aesthetic incarnations, as well as exploring Jackson’s myriad eclectic influences.
The book’s success is due, in large part, to a trilogy of strengths the author possesses as an academic scholar and also a writer on popular culture. Vogel manages to fuse a penchant for research with an engaging gift of journalistic storytelling. Rare, however, is the sense of spiritual exegesis he provides. This literary alchemy gives the reader an entirely fresh and valuable comprehension of Jackson as a culturally transformative artist. The book also illuminates the voluminous breadth, depth and influence of his oeuvre.
The reader experiences firsthand the gentle singer-songwriter’s coming of age, his groundbreaking musical prowess, and his emergence as an emissary for the marginalized and alienated. We are reminded that Jackson (a voracious reader of Emerson) was a transcendental visionary who called for healing the world through compassion, community, and environmental stewardship.
Jackson's massive audiences became entrained participants in this vision. His concerts in cities such as London, Sydney, New York, Yokohama, Munich, Bucharest, Moscow, Copenhagen, New York and Rome - among others - often engender the intensity of ecstatic religious revivals, especially during his iconic performances of "Earth Song" and "Man in the Mirror."
On a more intimate scale, the author offers a Joycean sensibility as he paints with a discerning eye his archetypal “portrait of the artist as a young man." When he shares Jackson's life long love of books, he recounts that the artist's personal library grew to more than 20,000 titles including numerous classics in rare first editions. Vogel writes, "When he wasn't creating, he was reading voraciously: everything from the verses of Emerson and Wordsworth, to the biographies of Michelangelo and Beethoven, from the psychology of Freud and Jung, to Sufi poetry ..."
Vogel irrevocably raises the bar for future critical analysis of Jackson’s art and cultural import, as he portrays his subject as an artist of stature amidst a constituency of the most influential and prescient artists of all time. One can only hope the sincerity of Vogel’s efforts will prompt inchoate scholarship on this subject to burgeon.
Vogel’s extensive interviews document the rich and sundry details offered by a plethora of Jackson’s musical collaborators, technical producers, and artistic associates. These remembrances add surprise and synchronicity to the more familiar aspects of Jackson’s complex life history. Included among the recollections are those of musical giants Quincy Jones, Rod Temperton, Teddy Riley, Bruce Swedien, Rodney Jerkins, Buz Kohan, Brad Buxer and many others.
Vogel, a Huffington Post writer on politics and popular culture, is also a doctoral candidate at the University of Rochester where his scholarship focuses on 18th century poets Blake and Wordsworth. Since he emerges out of an academic perspective on the history of literature and the arts, he is able to credibly position Jackson amidst a much broader contextual background than the many apocryphal works by authors who leapt too eagerly onto the greed-bandwagon following the artist’s untimely death.
It is interesting to note that Vogel began research for this book almost five years ago. This was a time when Jackson, due to specious media distortions, was often treated by publishers and much of the public as a social leper. Vogel wanted to correct what he perceived as a terrible injustice and return the conversation to the genius of Jackson’s art and his global transformative cultural import.
Vogel later made a conscious choice to refrain from publishing his material immediately following Jackson’s death. Hence, his biography includes analysis of Jackson’s posthumously released works, as well as reflections on the nature of the artist’s ultimate legacy. Vogel’s insight and impeccable research do much to relieve the ignominy this artist suffered in life from a rapacious media.
Vogel expresses his purpose when he writes, " ... my objective was to recover Michael Jackson, the artist. The scandals and eccentricities had been covered ad nauseam (and most often in very speculative, superficial ways). His actual creative work, it seemed to me then and now, was infinitely more interesting and compelling. That's what I hoped to bring back into focus."
Vogel utilizes a Picasso-like construct in his ability to see his subject from multiple angles simultaneously, thereby rendering a multidimensional portrait. Formulaic tabloid stereotyping and long-standing racial binaries are finally exploded and cast aside. Vogel’s readers will experience Jackson anew as a fine artist, cultural troubadour, and shamanic performer, because he is perceived through a lens that clarifies instead of mystifies.
Perceptive, metaphoric, and humane, Vogel’s Man in the Music: The Creative Life and Work of Michael Jackson is certainly the defining biographical work, as well as the first comprehensive assessment, of this artist to date. The revelatory nature of Jackson’s art and his under reported international initiatives for social justice surely deserve this long over due literary retrospective.
The book’s stunning photographs make this volume attractive to appreciators of all art genres. It is interesting to note that the author has dedicated his book to Jackson’s three children. One imagines they will be grateful, for Vogel offers respect and appreciation to the father they loved.
Constance Pierce ~ October 7, 2011
(copyrighted material)
Scholars, fans, and even on-the-fence doubters will find the upcoming release of Man in the Music: The Creative Life and Work of Michael Jackson by Huffington Post writer Joseph Vogel, not only an enthralling read, but a gateway into a revised perception of one of the most mysterious and massively influential artists of our time. This is definitely not another run of the mill sensationalist work.
Vogel skillfully guides the reader through the remarkable chapters of Jackson’s professional career, fully capturing the cultural vibe of the ‘80s and ‘90s, while analyzing the particularities of Jackson’s creative process from inception to aesthetic fulfillment. It seems the author desires to move beyond exclusively “preaching to the choir” of Jackson’s loyal fan base, and has an even more expansive and restorative intention in mind.
Jackson’s solo career is revealed through intricately woven stories that are chronologically linked with the creation of his music. This album-by-album odyssey reminds one of a mythic “hero’s journey,” as it evokes the visceral emotion of artistic conquest. Throughout the process, Vogel explicates Jackson’s music, performance art, cinematic short films, and aesthetic incarnations, as well as exploring Jackson’s myriad eclectic influences.
The book’s success is due, in large part, to a trilogy of strengths the author possesses as an academic scholar and also a writer on popular culture. Vogel manages to fuse a penchant for research with an engaging gift of journalistic storytelling. Rare, however, is the sense of spiritual exegesis he provides. This literary alchemy gives the reader an entirely fresh and valuable comprehension of Jackson as a culturally transformative artist. The book also illuminates the voluminous breadth, depth and influence of his oeuvre.
The reader experiences firsthand the gentle singer-songwriter’s coming of age, his groundbreaking musical prowess, and his emergence as an emissary for the marginalized and alienated. We are reminded that Jackson (a voracious reader of Emerson) was a transcendental visionary who called for healing the world through compassion, community, and environmental stewardship.
Jackson's massive audiences became entrained participants in this vision. His concerts in cities such as London, Sydney, New York, Yokohama, Munich, Bucharest, Moscow, Copenhagen, New York and Rome - among others - often engender the intensity of ecstatic religious revivals, especially during his iconic performances of "Earth Song" and "Man in the Mirror."
On a more intimate scale, the author offers a Joycean sensibility as he paints with a discerning eye his archetypal “portrait of the artist as a young man." When he shares Jackson's life long love of books, he recounts that the artist's personal library grew to more than 20,000 titles including numerous classics in rare first editions. Vogel writes, "When he wasn't creating, he was reading voraciously: everything from the verses of Emerson and Wordsworth, to the biographies of Michelangelo and Beethoven, from the psychology of Freud and Jung, to Sufi poetry ..."
Vogel irrevocably raises the bar for future critical analysis of Jackson’s art and cultural import, as he portrays his subject as an artist of stature amidst a constituency of the most influential and prescient artists of all time. One can only hope the sincerity of Vogel’s efforts will prompt inchoate scholarship on this subject to burgeon.
Vogel’s extensive interviews document the rich and sundry details offered by a plethora of Jackson’s musical collaborators, technical producers, and artistic associates. These remembrances add surprise and synchronicity to the more familiar aspects of Jackson’s complex life history. Included among the recollections are those of musical giants Quincy Jones, Rod Temperton, Teddy Riley, Bruce Swedien, Rodney Jerkins, Buz Kohan, Brad Buxer and many others.
Vogel, a Huffington Post writer on politics and popular culture, is also a doctoral candidate at the University of Rochester where his scholarship focuses on 18th century poets Blake and Wordsworth. Since he emerges out of an academic perspective on the history of literature and the arts, he is able to credibly position Jackson amidst a much broader contextual background than the many apocryphal works by authors who leapt too eagerly onto the greed-bandwagon following the artist’s untimely death.
It is interesting to note that Vogel began research for this book almost five years ago. This was a time when Jackson, due to specious media distortions, was often treated by publishers and much of the public as a social leper. Vogel wanted to correct what he perceived as a terrible injustice and return the conversation to the genius of Jackson’s art and his global transformative cultural import.
Vogel later made a conscious choice to refrain from publishing his material immediately following Jackson’s death. Hence, his biography includes analysis of Jackson’s posthumously released works, as well as reflections on the nature of the artist’s ultimate legacy. Vogel’s insight and impeccable research do much to relieve the ignominy this artist suffered in life from a rapacious media.
Vogel expresses his purpose when he writes, " ... my objective was to recover Michael Jackson, the artist. The scandals and eccentricities had been covered ad nauseam (and most often in very speculative, superficial ways). His actual creative work, it seemed to me then and now, was infinitely more interesting and compelling. That's what I hoped to bring back into focus."
Vogel utilizes a Picasso-like construct in his ability to see his subject from multiple angles simultaneously, thereby rendering a multidimensional portrait. Formulaic tabloid stereotyping and long-standing racial binaries are finally exploded and cast aside. Vogel’s readers will experience Jackson anew as a fine artist, cultural troubadour, and shamanic performer, because he is perceived through a lens that clarifies instead of mystifies.
Perceptive, metaphoric, and humane, Vogel’s Man in the Music: The Creative Life and Work of Michael Jackson is certainly the defining biographical work, as well as the first comprehensive assessment, of this artist to date. The revelatory nature of Jackson’s art and his under reported international initiatives for social justice surely deserve this long over due literary retrospective.
The book’s stunning photographs make this volume attractive to appreciators of all art genres. It is interesting to note that the author has dedicated his book to Jackson’s three children. One imagines they will be grateful, for Vogel offers respect and appreciation to the father they loved.
Constance Pierce ~ October 7, 2011
(copyrighted material)
January 8, 2012
Michael Jackson may be one of the most underrated artists of all time. It might strange when you think about it – after all, he is one of the most famous and successful artists of all, only coming second to Elvis and the Beatles. Yet most of discussion revolving around Jackson is centred mostly on his personal life and there in an "omg-isn't-he-weird" flavour. The focus on his music has taken a backseat since Thriller. You'll often find the claim that Michael Jackson peaked commercially and artistically with Thriller, and it's been a long downhill run since then – and you'll often find fans claiming that it's simply not true.
Vogel indeed adds considerable weight to this claim, showing Jackson branching out creatively and improving on what he had done before. Reading about the often over-looked Invincible (Jackson's only "flop" album) was particularly pleasurable.
The focus on Jackson's private life is minimal, provided only to give context to his music, and while it didn't try to redeem him, it also didn't pass judgement. This book is a testament to both Jackson's talent and professionalism.
A wide range of resources are used to provide a strong backdrop to Vogel's commentary. This includes critical reviews, interviews with those who worked on the records, biographies and the words of Jackson himself (apparently Jackson was to be interviewed for this book, but died before it could take place). Because Jackson was such a visual artists, the commentary extends to the music video (or "short film") for the songs. This makes for an interesting and sound analysis of Jackson's life work.
All in all, Vogel's beautifully presented volume is a very welcome addition to my library.
Vogel indeed adds considerable weight to this claim, showing Jackson branching out creatively and improving on what he had done before. Reading about the often over-looked Invincible (Jackson's only "flop" album) was particularly pleasurable.
The focus on Jackson's private life is minimal, provided only to give context to his music, and while it didn't try to redeem him, it also didn't pass judgement. This book is a testament to both Jackson's talent and professionalism.
A wide range of resources are used to provide a strong backdrop to Vogel's commentary. This includes critical reviews, interviews with those who worked on the records, biographies and the words of Jackson himself (apparently Jackson was to be interviewed for this book, but died before it could take place). Because Jackson was such a visual artists, the commentary extends to the music video (or "short film") for the songs. This makes for an interesting and sound analysis of Jackson's life work.
All in all, Vogel's beautifully presented volume is a very welcome addition to my library.
February 13, 2013
Oh, how I wanted to love this book. It's a great concept: Let's get away from the tabloid Michael Jackson and focus instead on the songs, the stuff that made his music so great. Reading the credits behind each tune gave me a new appreciation of how hands-on he was in everything and how talented he was. I spent a lot of time on iTunes as I read "Man in the Music," listening to snippets of songs I didn't own.
So why only 3 stars? First, it's really 3.5, but we can't give half stars. My main problem? The editing. The lack of fact checking, especially as the book went on, jarred me as much as an off-key Michael would. "Billy Jean?" Two songs listed as the final track released from "Thriller?" Mary J. Blige listed as an up-and-coming artist along with J-Lo in 2001? That last one hurt the most. Mary J. Blige is a Queen! Heck, she had classic albums in the 1990s! To lump her in the same parenthetical with a woman who barely sings is blasphemy.
If this book ever comes out in paperback, perhaps it could be run through an editor first.
So why only 3 stars? First, it's really 3.5, but we can't give half stars. My main problem? The editing. The lack of fact checking, especially as the book went on, jarred me as much as an off-key Michael would. "Billy Jean?" Two songs listed as the final track released from "Thriller?" Mary J. Blige listed as an up-and-coming artist along with J-Lo in 2001? That last one hurt the most. Mary J. Blige is a Queen! Heck, she had classic albums in the 1990s! To lump her in the same parenthetical with a woman who barely sings is blasphemy.
If this book ever comes out in paperback, perhaps it could be run through an editor first.
March 1, 2017
A book recounting the wonderful creations of one of the most innovative minds of the 20th century. Vogel explores Michael Jackson's discography in an all-encompassing way, diving into details about every song on every album. Before dissecting a record, Vogel briefly introduces the eras themselves. For example, he'd briefly discuss Michael's life/whereabouts/challenges/creative visions in accordance to the period in which an album was released, which gives a semi-complete picture of many things such as the relevancy of certain songs, short films, etc. I suggest you prepare your MJ playlists and Vinyls before embarking on this creative journey, each new page and listen will reveal something new about the Man in the Music.
"Jackson loved experiencing art for its own sake (what he often called "the magic"), but he also wanted to understand its "anatomy." He wanted to understand everything about the way it worked, its history, what had withstood the test of time, what its possibilities were. Quincy Jones described him as a "sponge." 'He wanted to be the best of everything- to take it all in.'"
"Jackson loved experiencing art for its own sake (what he often called "the magic"), but he also wanted to understand its "anatomy." He wanted to understand everything about the way it worked, its history, what had withstood the test of time, what its possibilities were. Quincy Jones described him as a "sponge." 'He wanted to be the best of everything- to take it all in.'"
May 13, 2026
i really wanted to enjoy this but he is so deep up mj's hole. im an ex superfan - i love this music! but im a critical listener - post dangerous there are gems but i'm not delusional, those same heights were never realised again. i think vogel is insane to claim earth song is his best song - vocally epic of course but come the fuck on. look at literally any song from the quincy trilogy and reassess. and i see he's also written an entire book on earth song can we get real!!!!!!
it's a shame to see him parrotting lies claiming michael is innocent and slandering victims as extortionists, claiming mj sharing beds with kids was just "naive" and repeating the lie that mj's victims failed to describe his penis correctly and so therefore must not have seen it - jordan chandler's drawing did match the FBI photos!!!
unfortunately also vogel says that every single track is "among the most impressive/innovative/exciting in Jackson's entire catalog". it's meaningless when you say it about every song, even the bad ones. 2000 watts is CLEARLY not as innovative and exciting as Don't Stop etc for example. he was drugged out and barely conscious making invincible vs being a young energetic genius in the 70s.
disappointing because i do think this music warrants an academic study (he made the greatest album of all time, like four separate times) but it needs to be a genuine critical appraisal, not just saying every song is perfect and ignoring the blatant paranoia, pedophilia, anti-semitism and misogyny that creep into the lyrics.
it's a shame to see him parrotting lies claiming michael is innocent and slandering victims as extortionists, claiming mj sharing beds with kids was just "naive" and repeating the lie that mj's victims failed to describe his penis correctly and so therefore must not have seen it - jordan chandler's drawing did match the FBI photos!!!
unfortunately also vogel says that every single track is "among the most impressive/innovative/exciting in Jackson's entire catalog". it's meaningless when you say it about every song, even the bad ones. 2000 watts is CLEARLY not as innovative and exciting as Don't Stop etc for example. he was drugged out and barely conscious making invincible vs being a young energetic genius in the 70s.
disappointing because i do think this music warrants an academic study (he made the greatest album of all time, like four separate times) but it needs to be a genuine critical appraisal, not just saying every song is perfect and ignoring the blatant paranoia, pedophilia, anti-semitism and misogyny that creep into the lyrics.
May 7, 2018
Me ha gustado, aunque no tanto como la biografía de J. Randy Taraborrelli que leí en 2014. Es un tipo de libro diferente, más centrado en su música que en su vida como tal. Pero gracias a él he podido conocer detalles sobre los discos y canciones de MJ que desconocía, aun después de tantos años escuchándolo. ¿Sabíais, por ejemplo, que los latidos de corazón que se oyen en Smooth Criminal son del corazón del propio Michael? :)
También me ha gustado ver cómo era el proceso creativo de cada disco, y la enorme cantidad de tiempo, trabajo y esfuerzo puesto en cada uno de ellos (tanto por parte de MJ como de sus múltiples colaboradores).
Es un libro tremendamente documentado y detallado, y quizás por eso a veces se hace pesado de leer. Pero en general me ha gustado, y la edición en papel también es muy chula, llena de fotos de MJ de todas sus épocas.
interesante para los más fans :)
También me ha gustado ver cómo era el proceso creativo de cada disco, y la enorme cantidad de tiempo, trabajo y esfuerzo puesto en cada uno de ellos (tanto por parte de MJ como de sus múltiples colaboradores).
Es un libro tremendamente documentado y detallado, y quizás por eso a veces se hace pesado de leer. Pero en general me ha gustado, y la edición en papel también es muy chula, llena de fotos de MJ de todas sus épocas.
interesante para los más fans :)
January 2, 2022
The work of MJ is truly inspiring no matter if you are a musician or not. Must read!
May 2, 2026
I've read a couple books in my time on Michael Jackson, and I have to say that 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘 is the only book on him that I've ever read where his music or in particular his solo albums were discussed with so much background information which includes studio sessions, the production teams he worked with, why it took so long for him to put out albums and etc. If you want a book that thoroughly discusses the albums that Jackson made during his solo career, then 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘 is the book for you.
The author of this book, Joseph Vogel is a heck of a writer, and you will agree with that assessment after reading this book. His version of Jackson's solo career reads like an encyclopedia but a page turning encyclopedia of Jackson's solo works.
Jackson made six solo albums while he was alive and all of them are chronicled in this book. Within this book you will see why it took Jackson so long to put out albums between the years of 1979 and 2001, you will see how his albums were received during their original runs, and you will see how painstaking of a process it was for Jackson and his album teams to make those six albums.
One of the best things about this book was how Vogel described the power structure and power struggles between Jackson and Quincy Jones (you'll learn about that in detail starting in the 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧 chapter) when they were working on the duo's first three albums, 𝙊𝙛𝙛 𝙩𝙝𝙚 𝙒𝙖𝙡𝙡, 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧, and 𝘽𝙖𝙙. I knew about the ups and downs of their working relationship before I read this book, but after reading this book I was given even more information on their studio sessions together, Jones' ego, and etc. during the 1978 to 1987 period.
When I finished reading the preface of this book, I knew this book was going to be good, it was going to be objective, and it would be thorough. Vogel in the preface talked about how he grew up watching Jackson's music videos, listening to the artists' music, and etc. so I knew he had a personal reason for writing 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘.
The book started off with a long preface and a long introduction, then the book got cooking on page 39 which is when Jackson's solo albums began to be discussed. 𝙊𝙛𝙛 𝙏𝙝𝙚 𝙒𝙖𝙡𝙡 was the first album discussed and in that chapter, you got an introduction on how this book was going to be structured.
Before the analyses of the individual songs on 𝙊𝙛𝙛 𝙏𝙝𝙚 𝙒𝙖𝙡𝙡 you received pages upon pages of what it was like to live in late 1970s America, the music climate of that era, what type of artist Jackson was trying to be in the late 1970s and how he was dealing with going solo, and more.
The 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧 (chapter 2) chapter chronicled the well-known and no so well-known history behind the classic album. I'm not a fan of Jackson's late 70s and early 80s works, but I know a heck of a lot about 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧, and I've seen the music videos and listened to the songs from the album many times since the 1990s. Vogel recognized in this chapter how important and how huge 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧 was during its time and decades and decades later.
I even learned in that chapter that around the release time of 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧 compact discs (CD) started being released commercially; I needed that info because I love CDs. I don't care about vinyl, cassettes, the Spotify and other listening services businesses, CDs are my thing. Also, in that chapter Vogel analyzed how Jackson wanted to go where no Black artist was allowed to go in the 1970s and 1980s which was global stardom through crossover songs like Beat It and Thriller and of course through his memorable and groundbreaking music videos.
Starting in the 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧 chapter, Vogel showed you his musical intelligence by letting you know what type of keyboards were used and what type of musical structures were put in place to make his albums. Vogel is a serious scholar on Jackson's music career and music, and this was evident throughout 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘.
One of the things that drove this book was the quotes Vogel used in the book that were spoken by music industry folks that Jackson worked with, knew of, or that he befriended. Examples of these good and great quotes were on page 97 (chapter 2), page 157 (chapter 3), page 159 (chapter 3), page 277 (chapter 5), page 300 (chapter 5), and others.
To be honest 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘 is a HECK of a book, but the book really perked up my interest when chapter 3 arrived on page 135 which is the chapter when Jackson's third album 𝘽𝙖𝙙 began to be discussed. My favorite period of Jackson's career ever since I was a child has always been the 1987 to 1991 period of his career. Anyways, Vogel educated me on how the 𝘽𝙖𝙙 album was Jackson's "big step forward in his artistic revolution." I needed that deep dive into the 𝘽𝙖𝙙 album that Vogel did from pages 135 to 198. I love the 𝘽𝙖𝙙 album and I was impressed with how much information on the album that Vogel culled and pulled from interviews, from his growing up in the period when 𝘽𝙖𝙙 was in its prime, and etc.
In the 𝘽𝙖𝙙 chapter Vogel chronicled the production and release periods of the album with topics such as the rise of hip-hop in the mid to late 1980s, Jackson's trying to understand the hip-hop movement, his philanthropic work with children around the world, his dealings with the media in regard to their intrusion on his life and career, and more.
Vogel even in the 𝘽𝙖𝙙 chapter gave his readers some key information on how the whole "Wacko Jacko" nonsense started and who started that mess. Vogel on page 150 even wrote about the racial undertones of the word Jacko; you should read that page carefully as to form your own opinion on how the media (especially the overseas media including the British tabloids and newspaper "people") portrayed Jackson from the mid to late 1980s.
In the 𝘽𝙖𝙙 chapter I also learned of the B-Team (not Quincy Jones's team which was called the A-Team and they were the frontline production crew for Jackson's first three solo albums), a team that helped Jackson turn the corner on album creativity and album control. I liked how Vogel gave that team a voice in that 𝘽𝙖𝙙 chapter as no one to this date has really given the B-Team their due in terms of the work they put in on that album and on other artist's works since the 1980s.
I learned so much from that 𝘽𝙖𝙙 chapter which included the fact that Jones didn't want Smooth Criminal on the album (page 171), but Jackson did (thank God MJ won out on that one). That chapter provided me with 40 informational and fun to read pages on the 𝘽𝙖𝙙 album up until his analyses of the 11 songs from the album.
𝘿𝙖𝙣𝙜𝙚𝙧𝙤𝙪𝙨 (chapter 4) was another chapter that intrigued me because to me that was Jackson's last great album and one of my favorite albums of his. On pages 205 to 207 Vogel explained the New Jack Swing era which was a music period that coincided with the production and release period of the 𝘿𝙖𝙣𝙜𝙚𝙧𝙤𝙪𝙨 album.
Page 220 in the 𝘿𝙖𝙣𝙜𝙚𝙧𝙤𝙪𝙨 chapter was a doozy, as Vogel discussed how Michael and Jermaine's well-known feud in the early 1990s began. For years people always said that Jermaine started that feud, but it was Michael who started that feud as Vogel pointed out on that page.
And then you will find another vivid explanation on how much of a scholar Vogel is on Jackson's music on pages 234 to 236 where he explained the album cover art of 𝘿𝙖𝙣𝙜𝙚𝙧𝙤𝙪𝙨.
While the first three chapters of the book were lively and fun to read, the last three chapters of the book which were 𝙃𝙞𝙨𝙩𝙤𝙧𝙮, 𝘽𝙡𝙤𝙤𝙙 𝙤𝙣 𝙩𝙝𝙚 𝘿𝙖𝙣𝙘𝙚 𝙁𝙡𝙤𝙤𝙧, and 𝙄𝙣𝙫𝙞𝙣𝙘𝙞𝙗𝙡𝙚 were kind of depressing to read (especially the 𝙃𝙞𝙨𝙩𝙤𝙧𝙮 chapter) as they discussed in volume how Jackson's career was falling off, the child ___ abuse allegations, sales of his albums weren't what they used to be, and other unflattering parts of his career from 1993 to 2001. Vogel really painted a vivid picture of the trials and tribulations of Jackson's life in those three chapters, and they weren't fun to read even though they were well written; for example, Vogel's top-shelf analysis of Jackson's song Childhood on pages 325-326.
I love how on page 299 (in the 𝙃𝙞𝙨𝙩𝙤𝙧𝙮 chapter) Vogel showed again how he was an objective analyst of Jackson's career and that he knew what time it was with the artist during his career. He wrote this gem on page 299: "Yet all the hype and self-promotion played into narratives about Jackson's lack of self-awareness and megalomania." That statement was so true, and it needed to be put into this book especially in that chapter and for that time period when the album 𝙃𝙞𝙨𝙩𝙤𝙧𝙮 was released (1995).
𝙄𝙣𝙫𝙞𝙣𝙘𝙞𝙗𝙡𝙚 (chapter 7) was the last chapter in the book and as I said that chapter was kind of hard to read because that album didn't sell as well as Jackson and Epic Records had hoped, the album was horribly promoted, and even though the album was a quality album it's never gotten its proper due.
Pros of 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘: Vogel did something with this book that not too many writers are willing to do which was to write a book about Michael Jacksons' solo albums. Vogel didn't just write about those albums with the common fare which includes album sales, guest stars on Jackson's songs, and other basic musings about a Jackson album. No. Vogel gave you in-depth analyses on every song that Jackson every made in his solo career, he talked about the people that Jackson worked with on these albums, what musical instruments or music keyboards were used on certain songs, and more. Plus, a bonus in these album chapters were introductions or prefaces that described what type of climate Jackson was living in when he was making his albums and releasing them.
Cons of 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘: The only gripe I had with this book was the epilogue which discussed Jackson's final years. I could have lived without the contents of that epilogue as I felt it was a rehashing of another dark period of Jackson's life that I didn't need or need to read. The book was about was Jackson's solo albums and I was fine with that, but that epilogue (at least its contents) wasn't needed in my opinion.
In closing, 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘 is pretty much the definitive book on Michael Jackson's solo career. You cannot come away from this book and not again appreciate the genius of Jackson during his solo career and of Vogel's dedication to making sure this book was an educational text on an artist who deserved a book like this. I would recommend this book to huge (not the casual MJ fans) Michael Jackson fans, historical pop music lovers (those who appreciate and love 1980s to 2000s pop music), and people who are curious about the inner workings of MJ's solo career.
The author of this book, Joseph Vogel is a heck of a writer, and you will agree with that assessment after reading this book. His version of Jackson's solo career reads like an encyclopedia but a page turning encyclopedia of Jackson's solo works.
Jackson made six solo albums while he was alive and all of them are chronicled in this book. Within this book you will see why it took Jackson so long to put out albums between the years of 1979 and 2001, you will see how his albums were received during their original runs, and you will see how painstaking of a process it was for Jackson and his album teams to make those six albums.
One of the best things about this book was how Vogel described the power structure and power struggles between Jackson and Quincy Jones (you'll learn about that in detail starting in the 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧 chapter) when they were working on the duo's first three albums, 𝙊𝙛𝙛 𝙩𝙝𝙚 𝙒𝙖𝙡𝙡, 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧, and 𝘽𝙖𝙙. I knew about the ups and downs of their working relationship before I read this book, but after reading this book I was given even more information on their studio sessions together, Jones' ego, and etc. during the 1978 to 1987 period.
When I finished reading the preface of this book, I knew this book was going to be good, it was going to be objective, and it would be thorough. Vogel in the preface talked about how he grew up watching Jackson's music videos, listening to the artists' music, and etc. so I knew he had a personal reason for writing 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘.
The book started off with a long preface and a long introduction, then the book got cooking on page 39 which is when Jackson's solo albums began to be discussed. 𝙊𝙛𝙛 𝙏𝙝𝙚 𝙒𝙖𝙡𝙡 was the first album discussed and in that chapter, you got an introduction on how this book was going to be structured.
Before the analyses of the individual songs on 𝙊𝙛𝙛 𝙏𝙝𝙚 𝙒𝙖𝙡𝙡 you received pages upon pages of what it was like to live in late 1970s America, the music climate of that era, what type of artist Jackson was trying to be in the late 1970s and how he was dealing with going solo, and more.
The 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧 (chapter 2) chapter chronicled the well-known and no so well-known history behind the classic album. I'm not a fan of Jackson's late 70s and early 80s works, but I know a heck of a lot about 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧, and I've seen the music videos and listened to the songs from the album many times since the 1990s. Vogel recognized in this chapter how important and how huge 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧 was during its time and decades and decades later.
I even learned in that chapter that around the release time of 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧 compact discs (CD) started being released commercially; I needed that info because I love CDs. I don't care about vinyl, cassettes, the Spotify and other listening services businesses, CDs are my thing. Also, in that chapter Vogel analyzed how Jackson wanted to go where no Black artist was allowed to go in the 1970s and 1980s which was global stardom through crossover songs like Beat It and Thriller and of course through his memorable and groundbreaking music videos.
Starting in the 𝙏𝙝𝙧𝙞𝙡𝙡𝙚𝙧 chapter, Vogel showed you his musical intelligence by letting you know what type of keyboards were used and what type of musical structures were put in place to make his albums. Vogel is a serious scholar on Jackson's music career and music, and this was evident throughout 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘.
One of the things that drove this book was the quotes Vogel used in the book that were spoken by music industry folks that Jackson worked with, knew of, or that he befriended. Examples of these good and great quotes were on page 97 (chapter 2), page 157 (chapter 3), page 159 (chapter 3), page 277 (chapter 5), page 300 (chapter 5), and others.
To be honest 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘 is a HECK of a book, but the book really perked up my interest when chapter 3 arrived on page 135 which is the chapter when Jackson's third album 𝘽𝙖𝙙 began to be discussed. My favorite period of Jackson's career ever since I was a child has always been the 1987 to 1991 period of his career. Anyways, Vogel educated me on how the 𝘽𝙖𝙙 album was Jackson's "big step forward in his artistic revolution." I needed that deep dive into the 𝘽𝙖𝙙 album that Vogel did from pages 135 to 198. I love the 𝘽𝙖𝙙 album and I was impressed with how much information on the album that Vogel culled and pulled from interviews, from his growing up in the period when 𝘽𝙖𝙙 was in its prime, and etc.
In the 𝘽𝙖𝙙 chapter Vogel chronicled the production and release periods of the album with topics such as the rise of hip-hop in the mid to late 1980s, Jackson's trying to understand the hip-hop movement, his philanthropic work with children around the world, his dealings with the media in regard to their intrusion on his life and career, and more.
Vogel even in the 𝘽𝙖𝙙 chapter gave his readers some key information on how the whole "Wacko Jacko" nonsense started and who started that mess. Vogel on page 150 even wrote about the racial undertones of the word Jacko; you should read that page carefully as to form your own opinion on how the media (especially the overseas media including the British tabloids and newspaper "people") portrayed Jackson from the mid to late 1980s.
In the 𝘽𝙖𝙙 chapter I also learned of the B-Team (not Quincy Jones's team which was called the A-Team and they were the frontline production crew for Jackson's first three solo albums), a team that helped Jackson turn the corner on album creativity and album control. I liked how Vogel gave that team a voice in that 𝘽𝙖𝙙 chapter as no one to this date has really given the B-Team their due in terms of the work they put in on that album and on other artist's works since the 1980s.
I learned so much from that 𝘽𝙖𝙙 chapter which included the fact that Jones didn't want Smooth Criminal on the album (page 171), but Jackson did (thank God MJ won out on that one). That chapter provided me with 40 informational and fun to read pages on the 𝘽𝙖𝙙 album up until his analyses of the 11 songs from the album.
𝘿𝙖𝙣𝙜𝙚𝙧𝙤𝙪𝙨 (chapter 4) was another chapter that intrigued me because to me that was Jackson's last great album and one of my favorite albums of his. On pages 205 to 207 Vogel explained the New Jack Swing era which was a music period that coincided with the production and release period of the 𝘿𝙖𝙣𝙜𝙚𝙧𝙤𝙪𝙨 album.
Page 220 in the 𝘿𝙖𝙣𝙜𝙚𝙧𝙤𝙪𝙨 chapter was a doozy, as Vogel discussed how Michael and Jermaine's well-known feud in the early 1990s began. For years people always said that Jermaine started that feud, but it was Michael who started that feud as Vogel pointed out on that page.
And then you will find another vivid explanation on how much of a scholar Vogel is on Jackson's music on pages 234 to 236 where he explained the album cover art of 𝘿𝙖𝙣𝙜𝙚𝙧𝙤𝙪𝙨.
While the first three chapters of the book were lively and fun to read, the last three chapters of the book which were 𝙃𝙞𝙨𝙩𝙤𝙧𝙮, 𝘽𝙡𝙤𝙤𝙙 𝙤𝙣 𝙩𝙝𝙚 𝘿𝙖𝙣𝙘𝙚 𝙁𝙡𝙤𝙤𝙧, and 𝙄𝙣𝙫𝙞𝙣𝙘𝙞𝙗𝙡𝙚 were kind of depressing to read (especially the 𝙃𝙞𝙨𝙩𝙤𝙧𝙮 chapter) as they discussed in volume how Jackson's career was falling off, the child ___ abuse allegations, sales of his albums weren't what they used to be, and other unflattering parts of his career from 1993 to 2001. Vogel really painted a vivid picture of the trials and tribulations of Jackson's life in those three chapters, and they weren't fun to read even though they were well written; for example, Vogel's top-shelf analysis of Jackson's song Childhood on pages 325-326.
I love how on page 299 (in the 𝙃𝙞𝙨𝙩𝙤𝙧𝙮 chapter) Vogel showed again how he was an objective analyst of Jackson's career and that he knew what time it was with the artist during his career. He wrote this gem on page 299: "Yet all the hype and self-promotion played into narratives about Jackson's lack of self-awareness and megalomania." That statement was so true, and it needed to be put into this book especially in that chapter and for that time period when the album 𝙃𝙞𝙨𝙩𝙤𝙧𝙮 was released (1995).
𝙄𝙣𝙫𝙞𝙣𝙘𝙞𝙗𝙡𝙚 (chapter 7) was the last chapter in the book and as I said that chapter was kind of hard to read because that album didn't sell as well as Jackson and Epic Records had hoped, the album was horribly promoted, and even though the album was a quality album it's never gotten its proper due.
Pros of 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘: Vogel did something with this book that not too many writers are willing to do which was to write a book about Michael Jacksons' solo albums. Vogel didn't just write about those albums with the common fare which includes album sales, guest stars on Jackson's songs, and other basic musings about a Jackson album. No. Vogel gave you in-depth analyses on every song that Jackson every made in his solo career, he talked about the people that Jackson worked with on these albums, what musical instruments or music keyboards were used on certain songs, and more. Plus, a bonus in these album chapters were introductions or prefaces that described what type of climate Jackson was living in when he was making his albums and releasing them.
Cons of 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘: The only gripe I had with this book was the epilogue which discussed Jackson's final years. I could have lived without the contents of that epilogue as I felt it was a rehashing of another dark period of Jackson's life that I didn't need or need to read. The book was about was Jackson's solo albums and I was fine with that, but that epilogue (at least its contents) wasn't needed in my opinion.
In closing, 𝙈𝙖𝙣 𝙞𝙣 𝙩𝙝𝙚 𝙈𝙪𝙨𝙞𝙘 is pretty much the definitive book on Michael Jackson's solo career. You cannot come away from this book and not again appreciate the genius of Jackson during his solo career and of Vogel's dedication to making sure this book was an educational text on an artist who deserved a book like this. I would recommend this book to huge (not the casual MJ fans) Michael Jackson fans, historical pop music lovers (those who appreciate and love 1980s to 2000s pop music), and people who are curious about the inner workings of MJ's solo career.
November 1, 2011
4.5 stars. It's refreshing to read a book that focuses solely on the music rather than Michael Jackson's personal life. There are too many books out there that don't cover the music at all or just gloss over it, especially the later albums. This book is very well organized. Each chapter covers each album chronologically starting with "Off the Wall" and ending with the posthumous album, "Michael." Each chapter starts off with an examination of the cultural climate at the time the album was released, as well as an introduction to the album and how it came into fruition. Then at the end of each chapter is an analysis of each song track by track. Also included are outakes of songs that didn't make it on the albums. There are also plenty of high quality photos throughout the book. I find this book an enjoyable read with plenty of interesting facts about the albums for fans and non-fans alike. There are also a few interesting tidbits that even hardcore fans may not know about.
This book is nearly close to perfect a book about the music I've read. It is of course not without a few flaws however. That is why I would give it 4.5 stars rather than 5. For example, I appreciated having a notes section that points out all the references of quotes from other books and research and personal interviews Vogel did. However, there were a few occasions where I read about a fact, but there was no reference as to where the fact came from, and I would have liked to have known. There are also a few instances of minor factual errors, and one instance of using a source whom isn't too reliable in his information on Michael Jackson. Many fans know this. But other than those points, which can mostly be overlooked, it is a well researched and pays great respect to the artistry of Michael Jackson.
This book is nearly close to perfect a book about the music I've read. It is of course not without a few flaws however. That is why I would give it 4.5 stars rather than 5. For example, I appreciated having a notes section that points out all the references of quotes from other books and research and personal interviews Vogel did. However, there were a few occasions where I read about a fact, but there was no reference as to where the fact came from, and I would have liked to have known. There are also a few instances of minor factual errors, and one instance of using a source whom isn't too reliable in his information on Michael Jackson. Many fans know this. But other than those points, which can mostly be overlooked, it is a well researched and pays great respect to the artistry of Michael Jackson.
February 17, 2012
This is an excellent reference work on the origins, recording, re-recording, production and release of Michael Jackson's songs. Joseph Vogel takes an in depth look at each of the artist's albums and the tracks featured, plus those on special editions and compilations which appeared no where else.
Illustrated with photographs reflective of each stage of MJ's incredible 4 decades-long career we read of when he first conceived of a song and the work he and his collaborators put in to fine tuning it until he deemed it ready for the world to hear - often years after it was first written or committed to tape.
This is a serious, scholarly book which is also thoroughly readable and a MUST for any Michael Jackson fan. The narrative that introduces each stage of his career provides biographical information that helps the reader appreciate the decisions Michael made with respect to his creative output, but manages to avoid most of the sensationalism exhibited by the mass media and the tabloids.
In the end we are once again left mourning Michael's untimely demise, and wondering what unreleased treasures still lie waiting to be heard and appreciated by his global audience of devoted fans.
Illustrated with photographs reflective of each stage of MJ's incredible 4 decades-long career we read of when he first conceived of a song and the work he and his collaborators put in to fine tuning it until he deemed it ready for the world to hear - often years after it was first written or committed to tape.
This is a serious, scholarly book which is also thoroughly readable and a MUST for any Michael Jackson fan. The narrative that introduces each stage of his career provides biographical information that helps the reader appreciate the decisions Michael made with respect to his creative output, but manages to avoid most of the sensationalism exhibited by the mass media and the tabloids.
In the end we are once again left mourning Michael's untimely demise, and wondering what unreleased treasures still lie waiting to be heard and appreciated by his global audience of devoted fans.
January 8, 2012
fascinating work by Joe Vogel. I had to listen to each song on my I-pod while reading about the song to hear the different instruments/elements that he described that I missed earlier. No other artist conveys so much emotion in his voice like MJ did. The more I learn about him, the more I admire him.
Want to Read
January 30, 2012p. 131
May 6, 2013
Fantastic, one of the best MJ books out there.
April 7, 2013
One of my favorite MJ books.
March 30, 2018
A fascinating, well-researched analysis and history behind Michael Jackson's creative process and musical genius!
Currently Reading
April 4, 2013llll
September 22, 2022
it is so refreshing to read a book about michael jackson that’s actually true.
“‘a lot of sounds on the album aren’t sounds from keyboards,” jackson explained. ‘we go out and make our own sounds. we hit on things, we beat on things, so nobody can duplicate what we do. we make them with our own hands, we find things and we create things. and that’s the most important thing. to be a pioneer. to be an innovator.’” i was absolutely stunned when i read this—this goes beyond talent and breaks into the realm of level of musical genius. i always knew michael jackson was a prodigy, but i didn’t realize just how outstanding his brain was.
i find it interesting how every person who ever worked with michael jackson only had stellar things to say about him—even those who used to be haters. i’ve never seen anyone describe him as anything other than humble, passionate, and thoughtful. it’s almost unreal how one person can have it all, from depthless talent to spectacular manners.
the only thing i would suggest is to include michael’s full explanation of his creation journey in the introduction. he not only said his creative process is an act of recovering something that already existed, he always stated that the music was from God and he was just the outlet. his humility as opposed to desire to rack up all credit speaks volumes.
i so appreciate vogel’s pursuit of the truth, and his determination to speak facts. so much of michael’s life has been characterized by rumors, tabloids, and sensationalism, that the he deserves vindication and the public deserves to know what kind of man he truly was to treat him as the role model that he is. thank you!!
“‘a lot of sounds on the album aren’t sounds from keyboards,” jackson explained. ‘we go out and make our own sounds. we hit on things, we beat on things, so nobody can duplicate what we do. we make them with our own hands, we find things and we create things. and that’s the most important thing. to be a pioneer. to be an innovator.’” i was absolutely stunned when i read this—this goes beyond talent and breaks into the realm of level of musical genius. i always knew michael jackson was a prodigy, but i didn’t realize just how outstanding his brain was.
i find it interesting how every person who ever worked with michael jackson only had stellar things to say about him—even those who used to be haters. i’ve never seen anyone describe him as anything other than humble, passionate, and thoughtful. it’s almost unreal how one person can have it all, from depthless talent to spectacular manners.
the only thing i would suggest is to include michael’s full explanation of his creation journey in the introduction. he not only said his creative process is an act of recovering something that already existed, he always stated that the music was from God and he was just the outlet. his humility as opposed to desire to rack up all credit speaks volumes.
i so appreciate vogel’s pursuit of the truth, and his determination to speak facts. so much of michael’s life has been characterized by rumors, tabloids, and sensationalism, that the he deserves vindication and the public deserves to know what kind of man he truly was to treat him as the role model that he is. thank you!!
May 31, 2021
How well do we know our artists? How they craft their art: the pleasure and pain that they sweat just so to put out something wholesomely entertaining for the public mass to enjoy? I began reading this book as part of an insightful biography but as well an intellectual study into the mind craft of Michael Jackson. Something that in these modern times, only those who lived through the 80s and 90s that saw how incredible MJ was could attest.
Of course, his music lives on. But this book was such a nostalgia trip into learning more about my favourite MJ songs (God knows, I cannot list them ever), and knowing the intricate aspects that went into crafting each gem of an album. Not only that, but also reading of his collaborators: Quincy Jones, Bruce Sweiden, Teddy Riley, Rodney Jenkins, and lots of others of how awed they were to be working with a master. MJ's sense of love and humility is forever embodied in the spirit he infused in each record, in ever performance he gave. This is a well documented and researched book, and I thank the writer, Joseph Vogel, for penning it down. This is a book worth having in one's library.
Of course, his music lives on. But this book was such a nostalgia trip into learning more about my favourite MJ songs (God knows, I cannot list them ever), and knowing the intricate aspects that went into crafting each gem of an album. Not only that, but also reading of his collaborators: Quincy Jones, Bruce Sweiden, Teddy Riley, Rodney Jenkins, and lots of others of how awed they were to be working with a master. MJ's sense of love and humility is forever embodied in the spirit he infused in each record, in ever performance he gave. This is a well documented and researched book, and I thank the writer, Joseph Vogel, for penning it down. This is a book worth having in one's library.
May 5, 2026
This book contains some small inaccuracies, found because of some random additional research.
''When The Nutcracker Suite was first introduced to the world, it totally bombed.'' comes from an interview with ABC News, not USA Today.
Also, the author says that the Neptune duo (of Pharrell Williams and Chad Hugo) wrote 4 songs intended to go to Michael, including Cry me a river. In fact, it was written by Justin Timberlake, Scott Storch and Timbaland. It makes sense, since a popular rumour says that it was inspired by Justin and Britney Spears breakup.
There may be some more I didn't catch, since I'm reading this audiobook to learn and, of course, not fact-checking everything. I'm just wondering if more inaccurate info had crept in... Hopefully, not important facts.
But overall, this book contains lots of interesting details about Michael Jackson's music, including unreleased songs.
4.5 rounded up to 5 ⭐️
December 31, 2023
In this insightful book, the author meticulously delves into Michael Jackson's artistic and creative journey, offering a captivating, song-by-song exploration of the meaning and process behind each album and single. It provides a profound understanding of MJ's legendary creative process, making it a must-read for both fans and those in the music industry. The book unveils the depth of this generational, once-in-a-lifetime artist, shedding light on the brilliance that shaped his iconic musical legacy.
July 11, 2025
Insightful into the creative process of a misunderstood genius. We have a very complicated relationship with this man. We loved him for the way his work can connect with us and make us feel, but we also wanted him to behave like us and be truly with us. But he didn’t know how to do that because MJ truly had no concept of the real world. If you wanted a window into MJ and his psyche, this is the book. This is gives better insight into MJ’s thoughts than Dancing the Dream and Moonwalk.
October 25, 2018
This book is a must read for any Michael Jackson fan. It focuses solely on his music and the creative process he went through to create his masterpieces. It’s so refreshing to read a book on Michael Jackson without all the garbage tabloid stories being rehashed. I’ve actually read this book twice now as it’s so informative. Deffo a good read!
July 26, 2022
As a musician myself, I really find Michael Jackson's creative process interesting. People like to write about controversies and meddle into stories of his personal life. This book gave me an outlook on him not as the weird, public figure freak that the media portrays him to be, but the humble musical genius and on what kind of artist he is in the studio.
January 6, 2023
This is one of the best MJ books I have ever read. Joseph analyzes these albums so well, I even learned quite a lot. I love the detailed analysis on the songs. I'm kinda sad he didn't cover the songs on the posthumous albums, as I'd love to read about the Xscape songs. But I'm not complaining about this book. A total recommendation.
December 12, 2021
Michael as never seen before
I come out of this book not only learning more about Michael Jackson, but also learning great life lessons. This is just a wonderful book—Michael Jackson as never seen before though his artistry and his songs. I recommend this book to any music fan or artist. There's so much to learn in it.
I come out of this book not only learning more about Michael Jackson, but also learning great life lessons. This is just a wonderful book—Michael Jackson as never seen before though his artistry and his songs. I recommend this book to any music fan or artist. There's so much to learn in it.
January 8, 2026
Incredible and very in-depth about Michael's discography. This book goes over the music only, but briefly touches on relevant historical events, life events, and his other works that influenced his music. Would absolutely recommend for fans of MJ.
October 3, 2019
At last.
June 6, 2020
Nice
This entire review has been hidden because of spoilers.
March 31, 2023
A must read for Jackson fans which goes deep into the creative process and how his collaborations worked to create his music.
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