Quincy Jones' name should really be emblazoned on the front of this record, as well as on the back. The producer's touch is audible throughout the songs, from the extra instrumentation that would never have been originally written in through to the clarity and detail evident in the recording. Michael Jackson had not made a breakthrough post his childhood stardom, and so it was through a chance meeting with Quincy Jones whilst on the set of the The Wiz, a cinematic musical flop, that the foundations were laid for his eventual solo success. The assured manner in which Jones advised the still youthful Jackson, and by taking the time to listen to hundreds of demoes before deciding on the final album tracks, meant that this album sounds far more mature than it has any right to.
Don't Stop 'til You Get Enough is a jaw-droppingly good opener, but I'm sure you knew that already. The bassline is sublime, the falsetto vocals work exceptionally well, and the arrangement is so crisp it is like ice. The guitar solo is almost Van Halen-esque, and the strings add a depth to the song that is missing from most disco. I Wanna Rock With You was nearly mine and Chloe's first dance at our wedding, so it's fair to say we're fans. It would be easy for it to be too saccharine, but it definitely gets away with it, with the lush backing vocals, cloud-like strings and tight horns enveloping the listener in an infectious ode to joy. Jackson's enthusiasm is palpable on his vocal performance here - he just sounds like he's having a great time. Workin' Day and Night was a song I didn't know that well, but it stood out to me from the outset. The lightning quick guitar licks and the staccatto delivery make this one of the catchiest songs I've every heard; it was stuck in my head for about 3 days straight, and I didn't mind one jot. Get on the Floor is one of the funkier songs on the record, and is the sort of tune that would guarantee a loaded dancefloor if it came on in a club. The bass goes for several wanders each verse and chorus, and each time it's a great journey to be a part of. Off the Wall starts in manner that foreshadows Thriller. It loses its way a little bit as the chorus isn't as strong as the verses deserve. Girlfriend is an ok song, but not at the same level as many songs here. Penned by Paul McCartney for his then friend, it was also included on a Wings album that no-one has probably ever heard. It is better than the lightweight She's Out of my Life, that is just too sickeningly-sweet. Whilst touching that Jackson couldn't sing it without weeping, it is also ridiculous. I Can't Help It is a bit meh, all soft-focus synths and repetitive chorus. It's the Falling in Love sounds much more like an MJ love song should, complete with funky breaks and soulful vocals. Whilst far from the best song off the album, it does at least demonstrate that he can pull off the slower songs too. Burn this Disco Out could be Earth Wind and Fire at their finest - it is the epitome of disco. Whilst I wouldn't say that is a genre that I am naturally drawn to, I defy you to listen to this song and not dance. And the horn section is just utterly, utterly on point.
This is a great album. It has some weak points, such as when Jackson goes overboard on the ballads, but those aside, the consistently outstanding quality of the song-writing and production is stunning. The number of moments off this album that have been sampled is staggering, and demonstrate just how good the Jackson-Jones duo were when everything clicked into place. This is definitely an album I will return to, and it's just a shame that the weaker middle tracks on the B-side just stop this album short of being the absolute triumph it threatens to be.
Chloe's rating: 9
Chloe's favourite track: 1. Don't Stop 'til You Get Enough
Olly's rating: 9
Olly's favourite track: 3. Workin' Day and Night
Next week we have another seminal album from a troubled star - 965. Back to Black by Amy Winehouse.
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