Joe Vogel: Is Michael Really Michael?

A review of Michael Jackson’s new album “Michael,” by Joe Vogel, writer and journalist. Published on The Huffington Post. [Joe Vogel is the author of three books about Michael, including “Man of Music: The Life and Creative Works of Michael Jackson,” which will be released next year by Sterling Publishing.] Summary: Beyond the controversy, Michael Jackson’s presence on this album is undeniable. His habits, his thoughts, his variety-seeking nature, and his genius shine through in every track. Who else do you know that, without leaving any trace of hesitation, after quoting a social theme, runs straight into an explosive fire-dance? Who else links hip-hop to rock in an instant, mixing a hot classic rhythm with a heartbreaking folk ballad? Who besides Michael Jackson shouts a sharp media critique in the continuation of a soft romantic love song? Who smashes the wild, monster-like culture of Hollywood with a lofty spiritual melody? These are the most important features of the Michael album: you can feel Michael in it. We should thank the Estate and Sony for preserving the margins and details of Michael’s works while they could have simply produced the album. Regarding Breaking News, I think lyrically it’s a forceful and unconventional address to the media. The album also includes beautiful nuances—such as Michael’s technique for producing the sounds of different throat vocals, which is incredibly dynamic and shows itself even more in Hollywood Tonight. And there’s an introduction to (I Like) The Way You Love Me, recorded by Michael’s answering machine message to his longtime collaborator Brad Buxer, explaining how the song was made. These examples show that, despite the doubts and fears of some people, Michael Jackson as a person and as an artist has not disappeared from the album’s production process. From the first line we hear on the album—“This life won’t last forever”—to its last line—“I guess I learned my lesson early”—a very intimate, accurate, and human image of Michael Jackson is opened up before us. Read the full article below:

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Last Friday, I listened to Michael (from Epic Records), the album that will be released after Michael Jackson’s death, keeping everyone waiting and scheduled to come out in the United States on December 14. I had questions in my mind—not about the music, but about the production process. How were the songs selected? How much did they change? What is the final result? Works released after an artist’s death come with difficulties. At the first step, there are two philosophical approaches: 1) release the works exactly as they were discovered. 2) complete them with an approach that considers the artist’s working style. Both choices come with their own issues and complexities. In the making of the documentary This Is It last year, the Estate chose the first option. People around the world saw raw footage from rehearsals that became an extraordinary, never-before-seen concert. At the time, some people argued that Michael was a perfectionist on stage and didn’t want these films shown unless they were finalized. In the film scenes, he hides his voice in his throat to prevent damage, creates his dance moves, and corrects mistakes. Still, watching an artist busy at work was captivating and enlightening—and, of course, heartbreaking, because his idea for this concert was never realized. But for many viewers, the film offered a human portrait of him—even while showing his extraordinary talent. But for the album, the second approach was taken. All the tracks were completed this year by different collaborators—from Teddy Riley and Neffew to the Estate’s head, John McClain. The Estate said Michael left a roadmap of his own, and everyone felt a duty to carry the burden he had taken up to its destination. This was a risky decision and triggered strong reactions from some fans. The same thing happened in 1995, when Paul McCartney, George, and Ringo completed two unfinished John Lennon songs under the name The Beatles. For many fans, those songs were never Beatles songs without John Lennon. And now a similar story: no matter how close Akon, Lenny Kravitz, and other collaborators were to Michael, could they fully understand Michael’s dream for his songs? Michael left behind very clear notes and instructions. People familiar with the production process he followed for his work also understood that he was pulling songs out from long ago and working on them again. For example, early versions of Blood on the Dance Floor – They Don’t Care About Us and Earth Song were recorded during the Dangerous album era. But he kept working on the tracks until they became exactly what he wanted. A Michael Jackson song was never complete unless it appeared on an official studio album. This working process is what the collaborators tried to do with “Michael.” They believed Michael also wanted that, and they wanted the songs to be as fresh, vibrant, and fitting as possible. And in the end, since none of these people are Michael Jackson, the best possible outcome was for the resulting album to be as close as possible to what Michael wanted. An album is a composite creation. Sometimes it’s very inspired by Michael and close to him; sometimes it’s more like a tribute to him—like what was done with the Invincible 25 trailer. While most listeners who only follow the music aren’t bound by these details, because Michael Jackson is one of the most important artists of the past century, the question of how much his remaining works should be changed and managed is very serious and important. The wonderful version of Behind the Mask is not the same one Michael worked on in the 1980s. Even if only for the sake of recording history, it’s valuable for the early versions of these songs to be released as bonus tracks or in a supplementary album—even if they’re unfinished and unpolished. With this introduction, now I’ll share my own thoughts on this album, which was truly exciting and enjoyable to listen to. Beyond the controversy, Michael Jackson’s presence on this album is undeniable. His habits, his thoughts, his variety-seeking nature, and his genius shine through in every track. Who else do you know that, without any gap, goes from a social topic straight into a fire-dance? Who links hip-hop to rock in an instant, mixing a hot classic rhythm with a heartbreaking folk ballad? Who besides Michael Jackson shouts a winning media critique in the continuation of a soft romantic love song? Who smashes the wild, monster-like culture of Hollywood with a lofty spiritual melody? These are the most important features of the Michael album: you can feel Michael in it. We should thank the Estate and Sony for preserving the margins and details of Michael’s works while they could have simply produced the album. Regarding Breaking News, I think lyrically it’s a forceful and unconventional address to the media. The album also includes beautiful nuances—such as Michael’s technique for producing the sounds of different throat vocals, which is incredibly dynamic and shows itself even more in Hollywood Tonight. And there’s an introduction to I Like The Way You Love Me, recorded by Michael’s answering machine message to his longtime collaborator Brad Buxer, explaining how the song was made. These examples show that, despite the doubts and fears of some people, Michael Jackson as a person and as an artist has not disappeared from the album’s production process. From the first line we hear on the album—“This life won’t last forever”—to its last line—“I guess I learned my lesson early”—a very intimate, accurate, and human image of Michael Jackson is opened up before us. Track-by-Track Review of the Album: Hold My Hand: A simple but powerful love song that leans toward a socially themed hymn. I’m amazed it didn’t get a better spot on the U.S. music charts. But maybe when the video arrives and Christmas holidays get closer, things will improve for this track. Hollywood Tonight: Without a doubt, it’s a strong point for the album. Before it turns into an energetic, danceable punch, it begins with an unforgettable gothic church hymn. I’m not particularly fond of the spoken section (performed by Taryl Jackson, Michael’s nephew). But that part is definitely there because of the empty spaces Michael hadn’t yet filled in the song. Michael’s voice sounds deeper on this track. As Ellen showed on her show, people will be moved to dance with this song. Keep Your Head Up: It tells the story of the life of an ordinary woman who “hopes in false promises.” This song is perfect for the current economic situation and will probably resonate with many listeners. In this track, the gradual strengthening of the voice is a sign of Michael’s classic artistry, and the chorus section encourages women to have the power to keep going. Fans will be happy to know that the improvisational section from the leaked version—reminiscent of Earth Song—has been removed. I Like The Way You Love Me: A great new production by Neffew (producer). The demo of this song appeared on the Ultimate Collection in 2004, and after that Michael, before his death in Los Angeles, crafted and refined it. The new version, besides all the magic and wonder of the original version, includes some fresh elements—such as piano, bass, guitar, and vocal effects. Monster: A track with a blazing rhythm that’s more forceful than the rest of the album’s leftovers. The rap is performed by 50 Cent, the guitar is oriented, and Teddy Riley produced it brilliantly. When in this song Jackson opens a mirror of society in front of us and asks us to look at this distorted image, I can’t help but remember that terrible day when his body was being taken to the hospital in an ambulance and paparazzi photographers had their cameras pressed against the ambulance glass. He sings, “Wherever you turn, there’s a monster there”… “The paparazzi, like a monster, scares you.” Some critics call lyrics like this pointless rambling or fantasy, but for those who see beyond appearances, this song is a masterful critique of society. It has all the elements needed to shine at the top. Best of Joy: A joyful ballad with a gentle beat. When he makes a promise with his lover in this song, he sings like he’s calling Falsetto with ease. This song was recorded in Los Angeles in 2009. It’s one of his last vocal performances, and his voice is still excellent. Breaking News: This song may forever be linked to its controversies. Apart from that, it’s a Michael classic in the continuation of an anti-media path like Leave Me Alone – Tabloid Junkie and Privacy. The repetition of the name “Michael Jackson” in this song emphasizes the image the media gives him. It’s all media construction and fabrication—a “boogie man” (in the lyrics, they mean a devil) that real Michael Jackson has nothing to do with. The exaggerated and humorous way the song presents this name mocks the media’s approach of using him to create excitement in society. Although the power and clarity of the vocals aren’t enough to meet his standard, it’s still a very good song. The chorus is catchy and memorable. Teddy Riley has added a fresh brilliance while staying faithful to the original. You could easily place this song alongside one of the tracks that were left off the Dangerous or History albums. I Can’t Make It Another Day: This song was recorded in 1999 by Michael and Lenny Kravitz in the legendary Marvins Room studio (Marvin Gaye’s recording home). Michael applies a cosmic power to a rough industrial beat. The new version feels more like a tribute from Kravitz to him than a song by Michael Jackson. In the original version, Michael’s vocals are less influenced by the drums and guitar, allowing the lyrics to reveal their own secret and magic. Kravitz’s new work hasn’t changed the song much, but it has made the feeling in the song different. It’s still great, but in a different way than before. Behind the Mask: This song was originally written for the Invincible trailer, but it didn’t make the album due to disagreements about credibility issues. Later, Michael’s keyboard player, Greg Phillinganes, and also Eric Clapton released the song with a new version. If Michael had released it in 1982, this orchestral Yellow Magic Orchestra-based version would have been a huge success. John McClain updates the hidden mastery and skill in this song in the new version—so it feels new while also referencing his past. Without a doubt, it’s one of the album’s strengths. Many fans may be eager to hear the 1980s production version, but refreshing this song helps it fit the album more. Still, it’s unclear why Michael chose to update it. Much Too Soon: A brilliant choice for closing the album. This track showcases Michael Jackson’s ability as a singer and songwriter in a spectacular way. A unique expression of the desire to have something and then lose it stands shoulder to shoulder with the best popular songs by Carpenters or the Beatles. The lyrics are beautifully written, like the poems of William Butler Yeats (the great Irish poet and playwright, Nobel Prize winner, who died in 1939). Michael wrote this song in 1981 and changed it over the years. Its vocals were recorded in 1994 at the famous New York City studio Hit Factory during the production of the History album, and were engineered and mixed by Bruce Swedien. The new version, with a better accordion and guitar, was produced by John McClain. In this song, Michael, desperate, cries out about the separation “far too soon” from his lover, accompanied by expertly played acoustic guitar by Tommy Emmanuel. The bridge between the first and second parts of the song is a harmonica solo that sheds light on the song’s essence of sadness. It’s a bittersweet, beautiful song that blends hope and regret, loneliness and the desire for reconciliation, perfectly. This song means that beyond all that fame, the star world, and media production, Michael Jackson was still a human being. Conclusion: Call it whatever you want—a collage, an approximation, a tribute, or a copycat of collaborators—call it “a work of love.” That concept is what pulses through the album. However, it’s certainly not the same album Michael Jackson was making. For some reasons, many of the songs he worked on at the end of his life were not included in the album, including his work with will.i.am. Also, the vocals—especially on the Casio tracks—aren’t always at the level of his usual power and liveliness, which led some people to label them “fake.” Until a vocal expert or some documents and evidence prove this theory, I don’t care about it—especially after hearing the finalized versions of the songs on the album through excellent speakers. But sometimes the changes made to the songs are questionable or not explained. It would be nice if, alongside the current album versions, we also had these tracks in their original, unaltered form—exactly as Michael last worked on them. Just like watching Michael’s unedited rehearsals for This Is It was enjoyable. But the final word is this: Michael contains new and inspiring songs. One of the Michael Jackson Estate’s duties is to develop his legacy for future generations, and this album will likely play that role. With 10 tracks, it’s a colorful, song-heavy album that’s more in the style and spirit of the 1980s. And at the same time, it means there are more songs in Michael’s vault that fans can look forward to. Songs like Hollywood Tonight – Monster – Behind the Mask and Much Too Soon are great examples to add to his catalog, which is already legendary. Source: eMJey / huffingtonpost.com