A review by lisa_setepenre
Man in the Music: The Creative Life and Work of Michael Jackson by Joseph Vogel, Anthony DeCurtis
5.0
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.