The Invisible Man’s Band’s funky dance hit “All Night Thing” had parties and clubs jumpin’ back in the day. This is a jam that you have to turn all the way up whenever it comes on. Keni Burke anchors the groove with a killer bass line. The bumpin' track features dynamic strings, tight horns, and a sizzling beat.
"All Night Thing” was released in 1979 on Island Records’ Mango imprint. It was written by former Five Stairsteps lead singer Clarence Burke Jr., producer Alex Masucci, and keyboardist Dean Grant. Clarence and Masucci also produced the track, which peaked at #9 on Billboard’s R&B singles chart and #45 on the Billboard Hot 100. The song was also included on the band’s self-titled debut album, released in 1980. It has been sampled on 19 songs.
Clarence and Masucci formed the Invisible Man’s Band in 1978. The Five Stairsteps (best known for their soul classic “O-o-h Child'') had broken up two years prior, and the members had all gone their separate ways. But Clarence wouldn’t go through with the Invisible Man’s Band project unless his brothers, also former Five Stairsteps members, were a part of it. He eventually convinced his brothers–Keni (bass), James (vocals, vibes), and Dennis (rhythm guitar)–to join the band. Clarence played lead and acoustic guitar as well as provided vocals, and Dean Grant handled the keys and synths. They tapped drummer Steve Ferrone (from Average White Band) to play on their self-titled debut album. The members of the horn section for the album were Don Myrick (saxophone, flute), Louis Satterfield (trombone), Bobby Bryant (lead trumpet), and Rahmlee Michael Davis (trumpet, flugelhorn, soloist [all solos]).
The band moved to the Neil Bogart-owned Boardwalk Entertainment label in 1981, where they dropped their second album, Really Wanna See You, that same year. The collection was co-produced by Masucci and Clarence. The breezy, upbeat title track boasts a great arrangement, and the collection also includes the soothing mellow jam “Along the Way.” Unfortunately, neither the album nor any of its singles charted. It’s a top-flight collection nonetheless.
In 1983, the band released the 12” single “Sunday Afternoon” on the Move ‘N Groove label, which Clarence and Masucci formed. This was the band’s final release.
Clarence Burke Jr. was a multitalented artist who was involved in various music projects and had worked with esteemed artists/musicians such as Stevie Wonder, Quincy Jones, and Billy Preston. He died on May 26, 2013, at his home in Marietta, Georgia. He was 64. The cause of his death has not been disclosed. He was still recording and performing music shortly before his passing.
Michael Jackson’s classic “The Way You Make Me Feel” is one of those feel-good songs that people love to sing along with and is a great mood-booster. It’s a perfect mix of soulful R&B and exuberant radio-friendly pop. The track is a great example of MJ's gift at composing songs that feature pronounced pop elements but without losing an ounce of soul or funk in the process. It boasts an energetic shuffling groove and an irresistible chorus–and all punctuated by Jerry Hey’s superb horn arrangement. Funky guitar licks and bright synth lines further sweeten this exhilarating slice of pop/soul.
“The Way You Make Me Feel” was the pop legend’s third consecutive U.S. #1 single from his multi-platinum Bad album. It also made the top 10 in a number of other countries and has sold more than two million copies worldwide. The song also has an iconic short film where MJ pursues beautiful model/dancer/actress Tatiana Thumbtzen. It was directed by Joe Pytka and features amazing choreography created by MJ and acclaimed choreographer/director Vincent Paterson. The pop superstar and his backup dancers dazzled audiences with TWYMMF choreography on his Bad and Dangerous world tours.
The song has been covered by countless artists in various genres. So I had to sift through a lot of great covers before narrowing it down to my six favorites. Here they go and in no particular order.
Judith Hill and the California Philharmonic Orchestra
Grammy-winning singer/songwriter Judith Hill delivers a scorching jazz-tinged performance of “The Way You Make Me Feel” with backing by the California Philharmonic Orchestra. She infuses tons of sultry soul into the pop/soul classic and makes it her own. The 2017 performance took place at Walt Disney Concert Hall in downtown Los Angeles. It was conducted by Maestro Victor Vener.
Hill has made quite a name for herself in the music industry. She has sung backup on tracks for many well-known artists, including Carole King, Andraé Crouch, Rod Stewart, Barry Manilow, Evelyn “Champagne” King and Gregg Allman. And she was selected as Michael Jackson’s duet partner on “I Just Can’t Stop Loving You” for his ill-fated 2009 This Is It concert series in London. She rehearsed with MJ for months on the song; a sement of the This Is It documentary shows the two rehearsing IJCSLY. And she sang lead on a touching group performance of “Heal of the World” at MJ’s memorial service. She has also worked closely with Prince. He co-produced her debut album Back ln Time (2015), which was recorded at his Paisley Park Studios. Additionally, Hill wrote and performed a number of songs for Spike Lee’s 2012 film Red Hook Summer, and she toured with John Legend in 2014.
Hill earned a Grammy for her performance in the Oscar-winning documentary 20 Feet from Stardom (2013). Her most recent album release was Baby, I’m Hollywood! (2021), which received high marks from music critics. She’s currently on a world tour. Here’s a link to upcoming dates and ticket info.
Kevin Ross
Washington D.C.-born singer/songwriter/producer Kevin Ross delivers an incredible a cappella performance of “The Way You Make Me Feel.” This young brother can blow! He brings a whole new energy to the track with his soul-stirring vocal performance.
Ross initially made a name for himself penning tracks for prominent artists such as Toni Braxton, Trey Songz, Johnny Gill, Nicki Minaj, Jamie Foxx and Tank. As a solo artist, he wrote, recorded and produced the hit “Long Song Away,” which was released on Motown in 2016. The song topped the Billboard Adult R&B Songs Chart and reached #23 on Billboard’s R&B singles chart. Some of his other solo hits include “Looking for Love,” “Don’t Go,”“Thing Called Love” and “This Is My Wish.”
Ross has also collaborated with renowned artists like Ne-Yo and T.I. And he has garnered nominations at the Soul Train Music Awards, NAACP Image Awards and iHeart Radio Music Awards. In 2019, Ross created his own record label, Art Society Music Group. He has released two full albums so far–The Awakening (2017) and Drive 2 (2021)–as well as five EPs. Drive 2 reached #1 on the iTunes Top R&B/Soul Album Chart; and the smooth, rich ballad “Sweet Release” from the collection has been creating quite a buzz on the R&B/soul music scene.
Ross has a show coming up on October 29 at Center Stage Theater in Atlanta, GA. For info about new music releases or to purchase tickets for his upcoming concert, visit his official website.
IMY2
Nashville-based pop trio IMY2 effectively captures the vibrant spirit of MJ's classic on this sensational cover. Lead singer Annalise Mahanes delivers a flawless vocal performance and even nails MJ’s signature “hee hees.” Guitarist Michael Monahan contributes an excellent solo and also holds down all the horn parts. Cal Tucker’s percolating keyboard work keeps the groove humming. This is one of the most popular covers of TWYMMF on Youtube and currently has more than a million views.
Over the last few years, IMY2 have created quite a buzz on Youtube through their stellar covers of well-known classics; and they currently have more than 35 million views across all their videos on the video-sharing platform. In addition to TWYMMF, some of the other classics they’ve covered include Tracy Chapman’s “Fast Car,” The Police’s “Every Breath You Take,” the Beatles’ “Yesterday,” Dolly Parton’s “Jolene” and Fleetwood Mac’s “Dreams,” which currently has 4.2 million views. IMY2 also posts videos of their own music on their Youtube channel, including the infectious “Kiss” and the smooth, sensual “Breakfast in Bed.” Here’s a link to their Youtube channel to check out their original songs as well as covers. And to learn more about the trio and info about upcoming shows, visit their official website or follow them on Instagram.
Stevie Wonder
Music legend Stevie Wonder pays homage to MJ in this rousing live performance of “The Way You Make Me Feel.” The performance took place at the 2011 Rock in Rio Festival. Stevie puts his own unique extra-soulful flavor on the classic track. MJ no doubt would have been moved by this affectionate musical tribute from his friend and mentor. He greatly admired Stevie and learned a lot from him about songwriting, recording and music production. In fact, MJ frequently visited Stevie’s recording studio during the making of Songs In The Key of Life; the then teen pop/soul star mostly just quietly observed and soaked in all the knowledge he could while Stevie put together his masterpiece.
The two artists collaborated several times, including two duets: “Just Good Friends” from MJ’s Bad album and “Get It” from Stevie’s Characters album. And Stevie put on a moving, heartfelt performance of his songs “Never Dreamed You’d Leave in Summer” and “They Won’t Go When I Go” at MJ’s memorial service.
Haley Reinhart & Casey Abrams
Singer-songwriter and actress Haley Reinhart delivers a stunning performance of “The Way You Feel.” The performance took place at Los Angeles’ Room 5 Lounge in August of 2014. Reinhart's smoky rendition of the song showcases her formidable vocal abilities. And she gets terrific musical support from singer/songwriter/musician Casey Abrams on the double bass; his bass work keeps the flow chill and jazzy. This clip really blew up on Youtube and currently has over a million views.
Reinhart first came into national attention after placing third on the 10th season of American Idol, which originally aired in 2011. In July of that same year, she signed a record deal with Interscope Records. She released her debut album Listen Up! on Interscope on May 22, 2012. The collection received high marks from music critics and much love from her fans.
Also, Reinhart was the first former American Idol contestant to perform at Lollapalooza. And she received a lot of recognition for touring with Scott Bradlee’s Postmodern Jukebox in 2015. Her biggest collaboration with the band was a jazz cover of Radiohead’s song “Creep,” which spent 58 consecutive weeks on Billboard’s Jazz Digital Song Chart. And her cover of Elvis Presley’s classic “Can’t Help Falling in Love” created tremendous buzz. It was even featured in a commercial for Extra Gum and became a viral sensation. It rose to #16 on Billboard’s Adult Contemporary chart and was certified Gold by the RIAA.
Reinhart has had a number of other big career highlights. She released her most recent album, Lo-Fi Soul, on her own label Reinhart Records in 2019. She has some shows lined up later this month. Check out her official website for concert dates and ticket info.
Abrams is a talented musician, singer and songwriter. He finished sixth on the 10th season of American Idol in 2011. He’s released two EPs and three studio albums. His albums Put a Spell on You and Jazz had an impressive showing on the US Jazz charts, peaking at #5 and #2, respectively. His single “Get Out” climbed to #23 on Billboard’s Adult Pop Airplay chart and #39 on Billboard’s Adult Contemporary chart. And his song “Simple Life” peaked at #9 on the US Smooth Jazz chart. He and Reinhart have collaborated a number of times. Abrams is also a member of Postmodern Jukebox. Check out his official site for any new music info or concert dates.
Bruno Mars
Pop/R&B sensation Bruno Mars serves up a short and sweet acoustic cover of “The Way You Make Me Feel.” The musician’s butter-smooth vocals sound amazing on this marvelous rendition of the classic track. And he has a bit of fun near the end by singing in an exaggerated version of MJ’s unique vocal style. It would have been cool if he performed a full version of the song in this mellow acoustic setting.
Mars is one of the most versatile artists of his generation and a throwback to great performers of an earlier music era. He’s a consummate showman in the tradition of people like Prince, James Brown and Michael Jackson. And he’s a skilled multi-instrumentalist and talented singer/songwriter. He has landed hit after hit with his dynamic gumbo of pop, R&B, funk, reggae and rock. So far, he has won 15 Grammys, including the coveted Album Of The Year award in 2018 for 24K Magic. Also, he and Mark Ronson had one of the biggest songs of the 2010s with the global smash “Uptown Funk.”
Mars and drummer/singer/songwriter /producer Anderson .Paak recently made a big splash on the music scene as superduo Silk Sonic. The talented pair dropped one of the most acclaimed albums of 2021 with An Evening with Silk Sonic. The album appeared on a slew of year-end best-of lists. And the platinum-selling collection’s chart-topping single "Leave the Door Open” earned the duo four Grammys.
Prince and The New Power Generation thrilled the audience with a dazzling mashup of Michael Jackson’s classic “Don’t Stop Til You Get Enough'' and The Time’s hit “Cool” at the Montreux Jazz Festival 2013. The Purple One and his talented groove squad served up massive doses of funk as they flawlessly integrated the two songs. The songs complement one another so well that it feels like they were always meant to be in a funky mashup one day. This mashup showed Prince’s genius at arrangement and unfailing ear. He just knew that those two cuts would sound amazing together, and it was also a really cool way for him to pay homage to MJ. And the NPG Hornz were on fire, even throwing in horn lines from Stevie Wonder’s “Sir Duke,” Weather Report's "Birdland" and Con Funk Shun’s “Ffun” to further raise the funk level. The rest of the band were also killing it. This roof-raising performance showed that Prince was still bringing the funk in large supply well into his 50s.
Some of the NPG players for this performance included Hannah Welton-Ford (drums), Andrew Gouché (bass), Donna Grantis (guitar), Cassandra O’Neal (keyboards) and Ida Nielsen (guitar).
It’s fitting that Prince paid tribute to Michael Jackson musically rather than through a written or video statement online. Music was both his and MJ’s language, so it was the perfect medium to celebrate the pop legend, who was Prince’s contemporary and friendly rival. The two artists had a tremendous impact on music and pop culture. Their influence is felt in many corners of contemporary music and will no doubt continue to be in the decades to come. They left such an indelible mark that it's hard to imagine what music would be like today without them. You can spot their influence in many of today’s artist/performers and their music, particularly in the genres of R&B, pop and hip hop--and even in rock and alternative in Prince's case. It’s a shame that the two never collaborated. That definitely would have been a world-shaking event for the books.
The Commodores dropped this underappreciated groove nugget in November 1977. The band definitely delivered the funk on this rousing cut. Walter Orange handles lead-vocal duties, serving up ample helpings of gritty soul in the process. The track features blazing guitar licks, a wicked beat, brawny bass and super-charged horn lines.
The band was on fire during this period. Earlier that year, they released their hugely successful self-titled fifth album, which contains the classic hits “Easy” and “Brick House.”And they were selling out large venues across the country and abroad, thrilling audiences with their dynamic brand of Southern-fried funk and Lionel Richie’s superb balladry.
“Too Hot Ta Trot” was written by all six Commodore members. It was co-produced by James Anthony Carmichael and the Commodores. It topped Billboard's R&B singles chart, peaked at #24 on the Billboard Hot 100, and climbed to #38 on the UK singles chart.
The Commodores performed “Too Hot Ta Trot” in the 1978 disco comedy Thank God It’s Friday, which starred Donna Summer, Debra Winger and Jeff Goldblum. It was also a studio single from their album Commodores -- Live! (November 1977). The collection performed well on the charts, peaking at #3 on the Billboard 200 album chart and #2 on Billboard’s R&B album chart. It also saw significant chart action in other parts of the world: The Netherlands (#7), New Zealand (#8), Canada (#26) and the UK (#60).
“Too Hot Ta Trot” was also included on the Commodores’ 2001 compilation album Anthology.
The band lineup at the time they recorded “Too Hot Ta Trot” was Walter Orange (drums, vocals and keyboards), Ronald LaPread (bass and trumpet), Lionel Richie (vocals, saxophone, piano and drums), Milan Williams (keyboards, trombone and rhythm guitar), Williams King (trumpet, rhythm guitar, synthesizer and vocals) and Thomas McClary (lead guitar).
R&B/hip-hop/pop superstar Lizzo is kicking off the summer in style with some brand-new music. The three-time Grammy winner recently dropped her hot new track “About Damn Time.” It’s the lead single from her upcoming fourth album Special, which is set for release on July 15. The irresistible feel-good groove has a retro disco-funk vibe. Lizzo infuses the track with her usual unapologetic brashness and cheeky charm. It's impeccably arranged and features some excellent bass work from producer Ricky Reed. The upbeat song is the perfect soundtrack for the summer months.
Lizzo’s goal with “About Damn Time” was to uplift listeners and herself. During her interview on the radio platform Audacy, she explained her motivation for writing the song: “I think life had thrown some major traumas and hard experiences at us,” she said. “And I wanted to write a song that allowed us to take a moment to celebrate our survival, and celebrate how far we’ve come. And I think ‘About Damn Time’ does just that – it does it for me honey.”
“About Damn Time” has been burning up the charts across the globe. It’s currently at #4 on the Billboard Hot 100, and it’s been sitting atop Billboard’s R&B singles chart for three weeks. The song has reached the top three on the charts in Australia, Canada, Ireland, New Zealand and the UK–as well as making the top 10 in several other countries.
Lizzo previewed the song on The Late Late Show With James Corden in March, and she performed it on Saturday Night Live on April 16, in which she was also the host.
In addition to bass, Ricky Reed played the synthesizer, piano, glockenspiel and guitar. The other players on the track were Nate Mercereau (guitar), Victor Indrizzo (drums and percussion), Terrace Martin (vocoder), Michael Cordon (trumpet), Jesse McGinty (trombone and saxophone). Additional vocals were provided by Doshiniq Green, Chawnta Marie Van, Mike Wright, Shelby Swain, Blake Slatkin and Ricky Reed. “About Damn Time” was co-produced by Ricky Reed and Blake Slatkin.
The song has a fun dance-filled video, which was directed by Christian Breslauer; he has also directed videos for well-known artists such as Lil Nas X, The Weeknd and Roddy Ricch.
Lizzo has some tour dates lined up for September, October and November this year.
Lizzo performing "About Damn Time" on Saturday Night Live
The Rolling Stones’ “(I Can’t Get No) Satisfaction” is the ultimate rock anthem and one of the most iconic songs of all time. Keith Richards’ rousing guitar riff is forever etched in pop-culture consciousness. Just hearing it at the start of the song gets your blood pumping. Mick Jagger's narrator voices his frustration and dissatisfaction with life and its many pressures, obstacles, and daily annoyances. The song also takes a jab at commercialism in modern society and how living in a consumer culture can often make a person feel alienated and insignificant if they don’t live up to the perfect image disseminated by the media via television commercials, movies, and TV shows. Many listeners could relate to this, and that’s one of the factors that gave the song such widespread appeal. And although "Satisfaction" was released in 1965, its theme is still very relevant today.
The song was a transatlantic smash, topping the charts in both the UK and the U.S. It was the Rolling Stones' first No. 1 hit in America and helped them significantly broaden their fan base there. And it reached the top spot in seven other countries. In 2021, it ranked at No. 31 on Rolling Stone magazine’s 500 Greatest Songs of All Time list. Additionally, it was inducted into the Grammy Hall of Fame in 1998, and it was added to the National Recording Registry of the Library of Congress in 2006.
Over the years there have been tons of covers of “Satisfaction,” some great and some terrible. I’ve made a list of five covers that I feel the artist didn’t try to emulate the Stones’ version but rather added their own original sound to create something unique and amazing.
Aretha Franklin (1968)
Aretha always made any song she covered her own, no matter what the music genre or who originally recorded it. And she did the same with “Satisfaction.” The Queen of Soul infuses some church into her powerful roof-raising rendition of the Stones' classic. Her fiery vocal performance brings a whole new dynamic to the song and helps underscore its theme of feeling dissatisfied and alienated in today's consumer-driven society. It was a single from her album Aretha Arrives (1968), and it charted at #37 on the UK singles chart.
Otis Redding injects a shot of Southern soul into his dynamic rendition of “Satisfaction,” which he performed on the popular British television show “Ready Steady Go!” in 1966. The soul supernova electrified the studio audience with his powerhouse performance. And the band was cookin’. They definitely matched Otis’ energy. Watching this clip is all the evidence you need to see why he's so revered and celebrated. His studio version of “Satisfaction” was a single from his third album Otis Blue/Otis Redding Sings Soul (1965). And it saw significant chart action, peaking at #4 on the Billboard R&B singles chart and #31 on the Billboard Hot 100 chart.
Indie artist Alice Phoebe Lou performs a mesmerizing rendition of “Satisfaction” during a 2015 street concert in Berlin. Her hauntingly soulful vocals will give you chills. She brings an underlying sense of hopelessness and despair to the Stones classic. The South African singer-songwriter has been performing since 2013 and has released four studio albums to date and two live albums.
Quincy Jones and his talented troop of musicians give “Satisfaction” a big-band makeover. Q’s fantastic arrangement and his orchestra’s impeccable musicianship elevate this cover to sublime heights. It’s from Quincy And His Orchestra’s 1965 album Quincy Plays For Pussycats.
Pioneering new wave band Devo put their unique sonic stamp on this thrilling reinterpretation of “Satisfaction.” It shows what a talented band Devo were in that they were able to take a beloved rock classic and turn it on its head to create something new and utterly brilliant. If robots from the future formed a band and covered “Satisfaction,” it would probably sound something like this. Devo plays the herky-jerky, hyperkinetic groove with flawless precision and complete detachment as if programmed by a computer. This is a prime example of new wave at its most creative and audacious. The “Satisfaction” cover was the lead single from Devo’s debut album Q: Are We Not Men? A: We Are Devo! (1978). It charted at #41 in the UK and #98 in Australia.
Michael Jackson released his landmark album Off The Wall on August 10, 1979, just a few weeks shy of his 21st birthday. It was his first solo album release as an adult. It was also his first solo album that wasn’t released on Motown. Instead, it was released on Epic Records. Michael and his brothers signed with Epic following their acrimonious split with Motown in 1975. Jermaine—who was then married to Hazel Gordy, daughter of Motown head honcho Berry Gordy—was the only Jackson brother to remain with the legendary label. Moving to Epic turned out to be a godsend for Michael and his brothers. The label provided them the freedom to spread their wings creatively in the studio, which not only recharged their careers but also their love of making music. The Jacksons had their most successful album to date with Destiny (1978), which they wrote and produced on Epic. The album features the funky dance-floor smash “Shake Your Body (Down to the Ground)." The song, which was co-written by Michael and his younger brother Randy, charted in the top ten in several countries and went on to sell over two million copies.
This newfound artistic freedom opened the way for Off The Wall to happen. Michael would have never been able to make such a personal musical statement with Motown, which creatively hamstrung him and his brothers at every turn. The label prohibited them from writing their own songs or even choosing the songs that would appear on their albums. Producers and arrangers were also chosen for them by others. However, with Off The Wall, Michael was directly involved in every step of the album’s creation. He chose the producer (Quincy Jones), had a hand in song selection, and played a significant role in the branding of the album. Additionally, he wrote and composed two songs for Off The Wall–"Don’t Stop ‘Til You Get Enough” and “Working Day and Night”–on his own. He co-wrote “Get On The Floor” with bass legend Louis “Thunder Thumbs” Johnson. And Michael co-produced all three of these tracks with Quincy.
Since Off The Wall was Michael’s first solo album in which he had considerable creative input, he seized the opportunity to show that he was capable of making great music on his own terms, and those who doubted his songwriting and arranging abilities would have to eat crow. Also, Off The Wall was his first musical statement as an adult artist who was finally free of the creative shackles that Motown placed on him and his brothers. With this album, he shed his squeaky-clean teen-idol image for good and replaced it with a more mature, sophisticated artist who was prepared to explore more grown-up themes in his music.
The album’s lead-off single is the incredible dance/funk classic “Don’t Stop ‘Til You Get Enough.” It still sounds just as fresh and original as it did when it first hit the airwaves 43 years ago. The song nicely builds up tension at the beginning with Michael speaking softly over just the bass part and a shaker; and with a rousing “Whoo!,” the song erupts into an exhilarating rhythmic explosion with all the instruments whirring in brilliant syncopation. The energy coming from this track is palpable. Louis Johnson’s hypnotic bass line is the heartbeat of the song. Keyboard wizard Greg Phillinganes adds some synth bass on top of Louis's bass line, giving it a thicker funk sound. The track features a unique percussion-heavy rhythm arrangement, and Michael infuses his falsetto lead vocals with tons of energy and soul. The song is further elevated by Ben Wright’s superb string arrangement and Quincy Jones’ immaculate production.
“Don’t Stop ‘Til You Get Enough” was a massive hit. It topped both the Billboard Hot 100 and Billboard's R&B singles chart. And it remained atop the R&B singles chart for six weeks. It peaked at #3 on the UK singles chart and landed in the top ten in several other countries. Also, the multiplatinum-selling single earned Michael his first Grammy. He received it for Best Male R&B Vocal Performance at the 22nd Annual Grammy Awards in 1980.
Title track “Off The Wall” is impeccably arranged and boasts a smoldering dance groove. Musically, it’s sort of a precursor to “Thriller.” It has the same mysterious, spooky vibe, especially at the intro. It even has sinister cackling at the opening. However, thematically, the two songs are very different. “Thriller” has a horror-movie theme, while “Off The Wall'' is about escaping the pressures and worries of daily life for a while, whether that be cuttin’ loose on the dance floor or just getting wild and having fun with your friends: “Livin’ crazy that’s the only way.” Both songs were written by songwriter, musician, and producer Rod Temperton and have his irresistible signature touch. “Off The Wall” features an indelible bass line, and Michael delivers a strong vocal performance. His harmonies on the chorus are smooth as butter. The song peaked at #5 on Billboard’s R&B singles chart and #10 on Billboard’s pop singles chart. It also saw significant chart action in other parts of the world, peaking at #4 in Norway, #9 in Sweden, #11 in Canada, #14 in New Zealand, and #18 in the Netherlands.
The atmospheric, jazz-tinged “I Can’t Help It” was co-written by Stevie Wonder and singer-songwriter Susaye Greene. Stevie’s vibe is heavy on this song. It has that same dreamy flow heard on some of his classic mellow jams. Greg Phillinganes sets the mood with a haunting synth bass line. The song is beautifully arranged, and Michael serves up an exquisite vocal performance. This is definitely one of his most underrated vocals.
“Burn This Disco Out” is another great Rod Temperton-penned track from the album. The powerful groove sounds like a fleet of Mack Trucks hauling funk across the country. The track features some scorching rhythm guitar licks and a fantastic horn arrangement. And Michael keeps the groove hot with his fiery vocals.
Louis Johnson unleashes some nasty bass-thumpin’ funk on the electrifying dance groove “Get On The Floor.” This track shows why he got the nickname “Thunder Thumbs.” Drummer John Robinson bolsters Louis’ extra-funky bass work with a sizzling beat. And Michael delivers a dynamic vocal performance that’s peppered with his signature whoops, hiccups, yelps, and high-pitched squeals.
Michael and Quincy were really onto something when they brought Rod Temperton onboard for this album. All three of his songwriting contributions are straight bangers. And on top of that, he gave Michael one of his biggest hits with “Rock With You.” The track spent four weeks atop the Billboard Hot 100 Chart and held the number-one spot on the Billboard R&B singles chart for six weeks. It peaked at #7 in the UK and performed extremely well on the charts in several other countries. The song is an absolute gem from start to finish. The soothing mid-tempo groove caresses your ears. The arrangement and production are simply flawless. And Michael effortlessly delivers an amazing vocal performance. Everything just clicks on this track, from the marvelous string arrangement to the rich harmonies to the gentle synth line that turns up in the latter part of the song.
Michael cranks up the funk on “Working Day and Night.” The song has him working around the clock in the hope of winning over the affections of a certain young lady who doesn’t seem to appreciate his tireless efforts. The hyperkinetic dance groove boasts a furious bassline, supertight horns, and wicked guitar licks. And Paulinho Da Costa keeps things cookin’ with his percolating percussion work. The funk on this cut is nonstop, never once giving the listener a chance to come up for air. When this song comes at a party or club, people have no choice but to “Shake it over!”
Michael serves up an impassioned vocal performance on the woeful breakup ballad “She’s Out of My Life,” written by musician/singer/songwriter Tom Bahler. He imbues the song with raw emotion. You can hear the sheer heartbreak in his voice on each verse. According to Quincy, Michael cried after every take, so he decided to just leave it in. The song peaked at #10 on the Billboard Hot 100 Chart and climbed all the way to #3 on the UK singles chart.
The Paul McCartney-penned “Girlfriend” is a delightful pop/R&B confection. The song possesses a sweet charm and is as gentle as a spring breeze. It's enhanced by Louis Johnson's great bass work and Michael's guileless vocals. It was originally recorded by Paul’s band Wings for their 1978 album London Town. Michael and Paul would go on to record two hugely successful duets together: “The Girl Is Mine” from Thriller and “Say Say Say” from Paul’s 1983 album Pipes of Peace.
“It’s the Falling in Love” is an infectious slice of R&B that features talented singer-songwriter and performer Patti Austin. She and Michael's voices complement one another so well here that it's kind of surprising that they never did another duet together. The song was written by Carole Bayer Sager and David Foster. It boasts a splendid arrangement, and Quincy’s production work is top-flight as usual.
Off The Wall was a huge critical and commercial success. It drew high marks from noted music critics and has sold more than 20 million copies worldwide to date. And the album made Michael Jackson the first solo artist to have four singles from the same album make the top 10 of the Billboard Hot 100 Chart. In addition to his Grammy win for “Don’t Stop ‘Til You Get Enough,” Michael won three American Music Awards for Off The Wall in 1980: Favorite Soul/R&B Male Artist, Favorite Soul/R&B Single for “Don’t Stop ‘Til You Get Enough,” and Favorite Soul/R&B album for Off The Wall. That same year, he won Billboard Music Awards for Top Black Artist and Top Black Album for Off The Wall. Additionally, it has been included on a slew of best albums lists. In 2020, it placed at #36 on Rolling Stone’s 500 Greatest Albums of All Time. And it was inducted into the Grammy Hall of Fame in 2008.
No artist had their finger on the pulse of popular music like Michael Jackson did during the late ‘70s and throughout most of the ‘80s. And Off The Wall is a prime example. This amazing collection encapsulated the very best aspects of disco, pop, and R&B music. It’s a dance-based album but with Michael's singular sonic stamp, which is why it has aged so well. With Off The Wall, Michael firmly established himself as a major force in the music industry as a solo artist. He was no longer the cute little kid with the big Afro and even bigger voice singing innocent bubblegum-soul songs. He was now a focused, assured, and ridiculously talented young adult who knew exactly what he wanted to accomplish in his career and had the musical gifts and drive to reach his lofty goals.
The importance of Off The Wall is often downplayed or underestimated. For instance, there are many who think that the second chapter of Michael’s extraordinary music career began with Thriller and that it was solely responsible for him reaching stratospheric heights not seen since the Beatles conquered the music world in the 1960s. However, without Off The Wall, there would be no Thriller, full stop. Off The Wall laid the groundwork and did much of the heavy lifting for Thriller to happen. Its astronomical success didn’t happen in a vacuum after all. Off The Wall is also an extremely influential work in its own right, significantly impacting genres such as pop, R&B, dance, soul, and hip-hop.
Additionally, Off The Wall marked the beginning of one of music’s greatest partnerships with the powerhouse duo of Michael Jackson and Quincy Jones. Looking back, Quincy was the ideal choice to help Michael achieve his artistic vision for Off The Wall. Q already had years of experience as a producer and arranger under his belt and had worked with a slew of music legends from various genres; and he knew how to deal with many different personalities, temperaments, and big egos, which, for a music producer, is almost as important as talent, experience, and studio savvy. He was flexible and open to new ideas in the studio—for the most part anyway. And most importantly, Quincy always strove to bring out the very best in the artists that he produced and tried to create a relaxed environment where the full range of their talents could shine through on their recordings. He and Michael made three world-beating albums together that left a massive imprint on popular music and culture.
