JOHN CAMERON'S MUSICOLOGY
EPISODE X: Michael Jackson (77 - 79)
by John Cameron


Introduction
Blame It On The Boogie
The Wiz
You CanÕt Win/ CanÕt Get Outta The Rain
Destiny
Shake Your Body
Off The Wall
Jackson - DonÕt Stop ÔTil You Get Enough
Jackson/ Johnson - Get On The Floor
Jackson Ð Workin' Day & Night

Bahler - SheÕs Out of My Life
McCartney Ð Girlfriend
Sager/ Foster Ð It's The Falling In Love
Phillinganes/ Wonder Ð I Cant Help It

Temperton - Rock With You
Temperton Ð Off The Wall
Temperton Ð Burn This Disco Out




Introduction - Blame It On The Boogie
Any artist with an interesting story has a turning point in their career. For some, it might be a breakout album, or a single hit, or a music video. For those whose discography has been predominantly decided by A&R, typically that turning point is gaining control. Becoming the lyricist or producer - being the driver, rather than someone in the passenger seat. This is what The JacksonsÕ yearned for.
ÒThe Jackson 5Ó would become ÒThe JacksonsÓ in 1976 by signing to CBS Records, after five years at Motown. This would see the brothers receive a significantly higher royalty rate, as well as the opportunity to begin writing and composing their own music.
As early as 1975, Michael Jackson started penning songs intended for his own independent solo effort, from classical-influenced pieces to the more contemporary pop music that he would eventually develop.
With he and his brothers now finally granted more creative control over ÒThe JacksonÕsÓ albums, it was the perfect time to also take control of his solo discography, also previously manufactured by Motown. Although he most likely had enough material to for an album by 1978, there were still steppingstones Michael needed to tread on, in order to attain a successful debut as an adult artist.

The Wiz - You CanÕt Win/ CanÕt Get Outta The Rain
In 1977, Michael Jackson was casted to play the Scarecrow in the Motown-produced film adaption of the Broadway show, ÒThe WizÓ, based on ÒThe Wizard of OzÓ. The filmÕs soundtrack would be produced by Quincy Jones who was known for his diverse movie scores and quality jazz arrangements for many of the greats in that genre.
Michael would feature on several songs in the movie, as well as his own solo in the film, titled ÒYou CanÕt WinÓ.
The track would later be rerecorded for an individual release in 1978, as singles from the soundtrack were still being rolled out. It would attain moderate success, sandwiched between the releases, ÒEase On Down The RoadÓ and ÒBrand New DayÓ, both of which were hits and featured Michael.
The second part of "You CanÕt WinÓ would again be released in 1982 as the b-side to ÒThe Girl Is MineÓ single. This time, very short portions were rerecorded, simply replacing the word ÒGameÓ with ÒRainÓ, retitling the song, ÒYou CanÕt Get Outta The RainÓ.
Despite the film being a critical failure, JacksonÕs involvement in ÒThe WizÓ proved to be an auspicious endeavour, as one of the most significant partnerships in popular music would be formed.

Destiny - Shake Your Body
Before moving ahead with his solo project, Michael would need to complete The JacksonÕs ÒDestinyÓ album, which would be released in December 1978, with seven of the eight songs written and produced by the band of brothers themselves. This was a significant mark-up from their previous two albums, where they were only able to contribute two songs for each and their years at Motown, where any notion of them contributing were ignored, ultimately prompting their departure from the label.
Initially demoed as ÒShake A BodyÓ in August 1978, ÒShake Your BodyÓ was Exhibit A displaying that The JacksonÕs writing and composition abilities were more than capable of harbouring a hit.
To realise the tracks production, the brothers called in keyboardist Greg Phillinanes, having just toured with Stevie Wonder. This would be a turning point for the brothers, but especially Michael, forming a studio and touring partnership that would last for 23 years. Greg would rerecord RandyÕs keyboard part, as well as contribute to much of the arrangement.
The JacksonÕs would sample the melodic structure of Marvin GayeÕs ÒGot To Give It UpÓ on the bridge, having just been released the year before.
ÒShake Your BodyÓ would peak at number three on various charts around the world and maintain a place on several for an extended period. The single version would be remixed by John Luongo, who would add extra percussion and keyboards to amp up the disco feel. This remix would have a great influence on Michael eventual solo album, with Quincy Jones once remarking to Luongo how the percussion on the remix would influence that of the songs.

Off The Wall (album)
Although Michael would embark on a 129 date year-long tour with his brothers, he would begin production on what would become the ÒOff The WallÓ album. Jackson didnÕt use any of the tracks he had worked on in the years prior, instead he began making demos to present to Quincy in late 1978. Not being an instrumentalist, he would have to rely on those around him to see his vision through.

DonÕt Stop ÔTil You Get Enough
ÒDonÕt Stop ÔTil You Get EnoughÓ would be the first. It would be the first Jackson-penned track to be recorded. It would be the first song on the penultimate configuration of the impending album. It would be released as the albumÕs first single. And it would be Michael JacksonÕs first number one song as an adult artist, across a multiplicity of charts.
All that, beginning with this demo.
Although mumbling an overly-distorted vocal melody clearly defines this as a demo for even the most pedestrian music consumer, all of the fundamental aspects of what would make this an appealing song is right here - minus a few flourishes. A young Janet and Randy Jackson assisting on instruments, but most significantly the percussion.
After presenting the demo to Quincy, the initial tracking of the studio recording would reflect almost exactly what was represented on the demo.
Drums by JR Robinson. Bass by Louis Johnson. Engineer Bruce Swedien would mix these down to a stereo track, referred to by Quincy Jones as ÒPolaroidsÓ. Percussion shared by Paulinho Da Costa, Randy Jackson and Richard Heath. And Greg Phillinganes on electric piano and two clavinet tracks. These personnel would be responsible for executing the majority of the productions that were to come. After the team collectively recorded hand claps to further emphasise the percussive vibrance of the song, Michael recorded his first vocal take.
Then a second one would be added, creating a multi-layered vocal.
Background vocals would also follow, along with speaking fragments throughout.
With the vocals completed, more instrumentation would be overdubbed, like David Williams on guitar, accentuating the funk alongside the clavinet tracks. Greg Phillinganes would then add some more synthesizer to compliment the piano.
A distinctive feature not showcased in the demo would be the instrumental bridge. Before the studio recording took place, Greg visited MichaelÕs home to work on some ideas for the song. This is what eventuated.
While there is clearly a discrepancy over the amount of credit between Jackson and Phillinganes, itÕs undeniable that the bridge excels the song. Especially once Jerry Hey and Seawind overdubbed their horns.
At this point the song was nearing competition, but Quincy decided that adding strings would elevate it further. So towards the end of the album sessions, he enlisted Ben Wright, giving him 30 days to come up with an arrangement. Jones and engineer Bruce Swedien enjoyed his work so much, they sent him more tapes for string arrangements.
While Michael JacksonÕs background vocals are renowned for quality stacking, it was still felt that an additional party vibe could be present. Augie Johnson, Jim Gilstrap, Mortonette Jenkins, Paulette McWilliams and Zedric Williams would be called in to collectively record additional layers to the vocals. Going forward, weÕll refer to the ensemble as the ÒParty PeopleÓ.
And even after all of that, Jackson felt there was still something missing. And the final overdub to the song would take place on the 28th of April, 1979, just before test pressings for the single would be made. That overdub was some toms.
ÒDonÕt Stop ÔTil You Get EnoughÓ would be released in varying edited forms over the years, with the longest version being that on the album, running at 6:06. The session itself though, tracks for 7:42.

Get On The Floor
While Quincy Jones already had a vast discography as a composer, arranger and producer, he was still fairly new to producing music outside of Jazz, Blues and Classical. ÒThe WizÓ was the first significant exception, but he was also producing albums for duo, ÒThe Brothers JohnsonÓ, which Louis Johnson was one half of. Two out of the three projects he produced for them stepped out of the Jazz genre and resembled more of the funk, soul and disco mash-up, sounding closer to what would become the ÒOff The WallÓ album. Jackson would cite their 1978 track ÒStrawberry Letter 23Ó as a particular favourite.
After a recording session, Johnson was sitting in his car playing a compilation tape of ideas he was working on at the time. When Michael walked out of the studio to say goodbye, he heard one of the grooves from the car stereo and asked if he could write a song around it.
The initial tracking of ÒGet On The FloorÓ would simply be Drums, bass and clavinet. Jackson would record a very rough vocal, so rough that when isolated your can hear the instrumental in the background. This could suggest either he recorded his scratch vocal live with the band or possibly later in the control room Ð in either case, an otherwise unconventional recording.
With the instrumental still far from complete, he would record another scratch vocal Ð this time in a recording booth, along with some hand claps. In this performance, heÕs also constructing part of what would become the background vocals Ð most of which would be recorded next.
With the background vocals structured, the final vocal is tracked Ð all still to just the bass, drums and clavinet.
At this point the instrumental would expand exponentially. Additional rhythms were added with more hand-claps, congas and three guitars, which would drive it further into a funk direction.
As with ÒDonÕt Stop ÔTil You Get EnoughÓ, horns, strings, toms and outsourced background vocals would give it the late-70s disco vibe.
With those extra overdubs, engineer Bruce Swedien masterfully put together a mix for the album.
Although it wouldnÕt be the final.
In early 1980, after "Off The WallÓ had already been released, Michael wanted to add more, so he had David Williams record an additional fourth guitar and himself, record more adlibs in the fade-out, for which he did three takes.
While ÒGet On The FloorÓ wouldnÕt be released as a single (only as a b-side), Michael was extremely proud of it, despite the later.
The 1979 original mix runs for 4:44. The 1980 remix, while containing more content, runs for five seconds less. The full recording session for what would be used to mix and edit these version tracks for seven and a half minutes. It would be cut down significantly, even to the extent of omitting a third verse.

Workin' Day & Night
The final track Michael presented to Quincy, would be another from those early home demo sessions, titled ÒWorking Day & NightÓ. Perhaps not as impressive as a demo, but all the potential that ÒDonÕt Stop ÔTil You Get EnoughÓ showed is there Ð strong vocal melody, excellent percussion and enough funk for where the album would head in.
The song indicative of JacksonÕs James Brown influence Ð as it seems every instrument is attacked like percussion, including his vocals.
Although for most of the album, the instruments that could be performed with real instruments were Ð the main bass part on ÒWorkinÕ Day & NightÓ is actually a synth Ð that is until Louis Johnson slaps his bass on the bridge.
The song is a percussive gem with many facets Ð Michael's breathing, heavily inspired by Stevie WonderÕs vocal ticks from his early 70s albums. Then, thereÕs the percussion by Paulinho Da Costa, although apparently John Robinson also took a bash at some wine bottles, resulting in Michael carefully removing the glass embedded in his arm.
But the real showcase here, is Jerry Hey and the Seawind horns.
And with that, MichaelÕs contributions for the album were complete. What appeared on the album would be edited to 5:13, while the whole session actually ran for about 6:16.

SheÕs Out of My Life
The role of Quincy Jones as a producer, aside from composition contributions, was to bring together this amazing collection of musicians and potential songs for inclusion.
ÒSheÕs Out Of My LifeÓ is the ballad of the album. It was an opportunity for Michael to display his vocal ability, versatility and vulnerability as a singer. An experiment gone very well.
Despite Bahler composing the song on piano, MichaelÕs recording would initially be demoed with just an acoustic guitar.
When arranged for the album version, it would prominently feature Greg Phillinganes on a Rhodes keyboard and a few guitar tracks by Larry Carlton subdued in the reverberation of the keys and MichaelÕs vocal. A string arrangement by Jonny Mandell fade in and out, pulling on heartstrings, strengthening the songÕs intensity.
As noted by critics at the time, MichaelÕs vocal is what stands out the most. The final vocal comp would be tied together from five takes, with a handful more having been recorded prior. Those early takes, like the demo, donÕt deviate much from what was finalized Ð that reflects the perfectionism Jackson and Jones were going for on the album.
Even if Michael didnÕt think so.
Prior to the release of ÒOff The WallÓ, Jackson said in an interview, ÒthereÕs this beautiful song on it called ÒSheÕs Out of My LifeÓ, itÕs so pretty that I think it could be another ÒBenÓÓ, referring to his first solo hit as a child. Michael would mention it often in interviews prior and following its release. He said in another, Òbut the monster song is called ÒSheÕs Out Of My LifeÓ. The words are so beautiful and it has a terrific melody. IÕm hoping it will come out as a singleÓ.
It would end up being the fourth single released from the album to great success and has remained a classic in the Michael Jackson catalogue.

Girlfriend
JacksonÕs first solo work had been on his mind for a few years now and an obvious inevitability to any passive observer. This meant some of the more prolific songwriters at the time envisioned him as a potential vessel for their own creative work.
Although McCartney had offered the song to Jackson years prior, with its original recorded in 1974, the former Beatle would still record it for his 1978 album, ÒLondon TownÓ with his band ÒWingsÓ.
Although he was clearly still keen to have ÒGirlfriendÓ on MichaelÕs project.
Paul McCartney wouldnÕt be present at the sessions and compared with the version he released, it can be assumed that what was taken to Michael were lyrics and a vocal melody. This allowed the sound of the session to permeate into what could have otherwise been a vastly different composition.
The production would start with Jackson delivering a rough guide vocal to bass, drums and a Rhodes keyboard. From there, he would overdub parts of his background vocals and Marlo Henderson would add guitar riffs along with a new synth, accentuating the bells that would become more prominent as production continued. From there, the vocal we hear on the album was laid down.
Further guitars would be added by Larry Carlton and Wah Wah Watson, both of whom would contribute to other tracks, along with George Duke adding synth flourishes.
Despite the track being barely a collaboration, Jackson and McCartney would go on to record two songs together in the coming years. ÒGirlfriendÓ however would be release as a single, which in the UK, would make ÒOff The WallÓ the first album to have generated five single releases. Its success was moderate. No more than one edit of the track would be made, with the album version being the only running a 3:04. The entire session through, runs for almost a minute longer.

Foster Ð It's The Falling In Love
"GirlfriendÓ wouldnÕt be the only cover on the album. Carole Bayer Sager and David Foster wrote ÒItÕs The Falling In LoveÓ for SagerÕs Ò...TooÓ album in 1978.
Michael and Carole would record a duet for her new album in 1980 and write a handful of songs together over the next two decades. He would also work with David Foster years later.
For JacksonÕs version of ÒItÕs The Falling In LoveÓ, there would be very little difference in the composition from the original.
Compared to the multitrack, what appears on the album is rather very stripped down. The strings section recording is present throughout most of the song, however in its final version only appears during the second verse. ThereÕs also a clavinet, a third guitar and two Rhodes keyboards by Phillinganes and David Foster that were also cut or near inaudible.
The most significant change to the song, would be duetting with Patti Austin. MichaelÕs original scratch vocal includes the verse that would eventually be sung by Austin on the album.
Ultimately, the recording would be reduced from its original five and a half minutes to just three minutes fifty. The track would attain slightly more significance when placed as the B-side on JacksonÕs ÒBillie JeanÓ single in 1983.

Phillinganes/ Wonder Ð I Cant Help It
Stevie Wonder is an artistÕs artist. Especially throughout the seventies, where he had a run of five critically acclaimed albums, three of which would earn him Grammy Awards for ÒAlbum of The YearÓ, and several other categories. He was also exceptionally prolific, to the extent in which he had enough songs in his vault that he could give to other artists.
Michael was an obvious candidate. Not only are they third cousins, but their professional history had crossed insurmountable times, with Stevie producing The Jackson 5 in 1974, resulting in a handful of songs that would go unreleased, and the groups vocals featuring on his next album.
ÒI CanÕt Help ItÓ was written during the sessions for ÒSongs In The Key Of LifeÓ. With Philinganes having also played keyboards on that album, Quincy felt that he would be best suited to arrange the song, using WonderÕs demo as an interpretable basis.
The first version wouldnÕt go beyond its initial tracking with just a scratch vocal by recorded Michael. Even imagining further flourishes also the same lines of the tracks that had come before, like synth, string and horn overdubs, it's hard to disagree that its placement on the eventual configuration would be best served as something more ethereal.
While it wouldnÕt be released as a single, in recent times, ÒI CanÕt Help ItÓ has been reassessed as a true highlight on an album of lush colours. Despite multiple rereleases of ÒOff The WallÓ, the original five-minute early version has never become commercially available. The official recording would edited by forty seconds from the original session.

Rock With You
Even with all the renowned musicians and writers that had contributed to the project thus far, Quincy would further pursue the talents of another hitmaker across the pond.
Rod Temperton had already penned numerous hits for the band ÒHeatwaveÓ and would go on to create more for a host of artists Ð many involved in this project.
With his requested band at the ready, Rod puts together the basic tracking for a song originally worked on with Heatwave and then offered to Karen Carpenter. 
Initially with just drums, bass, guitar and keyboard, Temperton lays down the vocal melody for ÒRock With YouÓ. The song went through a few lyrical concepts, one of which was titled, ÒI Wanna Eat You UpÓ. The lyrics would later be appropriated to something more sensual. 
Next is MichaelÕs vocal session, along with some added hand claps and finger snaps.
To fill out the bridge of the song, layers of synths are added with reverb, changing their anechoic personality to match the disco sonic affectations of the song.
Finally, horns and strings would be added, with much of the latter not being used. These, like ÒDonÕt Stop Til You Get EnoughÓ were also composed by Ben Wirght.
ÒRock With YouÓ would be released as the second single and was a huge hit. Initially, the album mix would feature just one guitar, but the single mix and later pressings of the album would have the guitar rerecorded and double tracked to emphasize the funk.
The released version would clock at 3:40 seconds, although the full session recording lasts for almost a minute longer and features some incredible adlibs by Michael.
The extent of Rod TempertonÕs genius cannot be understated, as remembered by Greg Phillinganes.


Off The Wall
While Temperton proposed three tracks for the project, he only expected one to be selected.
Up until this point the albumÕs title was actually, ÒGirlfriendÓ, until Rod presented this. With the same basic tracking as the previous, what would become the albumÕs title track, ÒOff The WallÓ was yet another funky instrumental, with vocal structures tailed to MichaelÕs talents.
The song is a perfect example of Michael JacksonÕs vocal excellence. For the primary set of background vocals, he layers four sets of two takes Ð totaling eight layers.
HereÕs set one. Set two. Set three. Set four. And now all together.
This is typical of how Jackson layer the background vocals for pretty much all his songs throughout his adult solo career.
Light percussion and handclaps would be added after Michael recorded his vocals. The synthesizers by Phillinganes, Michael Boddicker and George Duke would be added, further accentuating the bassline and filling in the space with sound effects. Duke remembers those sessions and the partnership between Temperton and Jackson fondly.
In typical fashion for the album, strings, horns and what would become unused ÒParty PeopleÓ backing vocals would be the last to be added.
ÒOff The WallÓ would be released as the third single, with different European and Japan-exclusive mixes compared to the album version. All running for around four minutes, the full five and a half minute session contains additional vocals, horn, synth and string segments not used in any of the three mixes.

Burn This Disco Out
The final song proposed by Temperton, would also close out the album. ÒBurn This Disco OutÓ further speaks to RodÕs accommodations to JacksonÕs rhythmically-driven vocals.
The track celebrates the highlights of the disco era, even with the ÒDisco SucksÓ motif having been initiated a month before the albumÕs release, marking the steady decline of the genre over the next year.
ÒBurn This Disco OutÓ would eventually be edited down to its album version, with the original studio session tracking fifty seconds longer and featuring unused ÒParty PeopleÓ vocals and siren sound effects towards the end.
When reading retrospectives on JacksonÕs early albums, so much of their success is attributed to Quincy Jones. And thereÕs no doubt that he deserves a lot of credit Ð but so do the individuals in the team he put together. Greg Phillinganes is heard all over the session tapes Ð leading the band and making contributions barely accounted for in the credits. Bruce Swedien would create the final mixes, making decisions on what should be taken out or left in, as much a producer as anyone else in the team. Rod Temperton would practically step of the plane and into the studio, seeing his songs through to the end, contributing big hits. Jerry HeyÕs and Seawind impeccable horn arrangements would elevate almost every track. And Michael would give the world a glimpse into his genius that was just beginning to flourish.
What makes ÒOff The WallÓ so special is that it sounds like every musician and singer present is having a good time. ItÕs one big party. ItÕs as intimate as it is carefully constructed. EveryoneÕs personality shines through, while Michael takes centre stage, marking a high standard and the perfect beginning for what would become an incomparable discography.