Welcome to a Rock and Roll History Special Edition where we focus on the life
of the greatest, most dynamic performer of pop music:


MICHAEL JACKSON.


Immensely talented, incredibly wealthy, groundbreaking in his accomplishments, a soul whose life was overshadowed by personal pain, public scrutiny, scandal, and rumour. But we remember him for the gift of music, his love of performing live and giving his all. In this thread we look back at the amazing life of the King of Pop, Michael Jackson.

MICHAEL JACKSON:

1958--2009

http://wfnx.com/blogs/sandbox/Michael+Jackson.png

Michael Joe Jackson was born on August 29, 1958, in Gary, Indiana, a working-class suburb of Chicago. His parents Joseph Walter "Joe" Jackson and Katherine Esther Scruse, also had eight other children, Rebbie, Jackie, Tito, Jermaine, La Toya, Marlon, Randy, and later, Janet. Michael was the seventh of the clan of siblings, who was a few years older than Randy. His father was a steel worker who performed often with an r & b group called the Falcons, while his mother, a devout Jehovah's Witness, raised her children according to her strict faith.

Jackson was pushed into performing at an early age: Joe seemed to have wanted to live vicariously through his musical children, and pushed his sons incessantly, even abusively toward that end. At a very young age, Michael endured constant whippings, verbal humiliation, endless rehearsals, in ordered to be molded for the stage, according to the future star. But in a way, this had a positive effect, it disciplined him into becoming a better performer. However, as with many show biz parents, this would scar young Michael--his father held him upside down by one leg and "pummeled him over and over again with his hand, hitting him on his back and buttocks", according to Marlon. He was no less severe with his other children, even pushing and tripping them to land into walls. His method of discipline even went so far as to crawl into Michael's open bedroom window, wearing a scary mask and waking him, frightening him as he lie asleep. This was to teach his children not to sleep with the window open. This incident traumatized Michael so much that throughout his life, he had recurring nightmares of being kidnapped.

Michael even spoke openly about his abuse in a 1993 interview on Oprah. He claimed that he often cried from loneliness and would even begin to vomit upon seeing his father. His father would even threaten him and his brothers with a belt if they did not perform their moves correctly.

At the age of five, young Michael showed remarkable ability as a singer and a performer, even playing with his brothers at a school Christmas recital. Later in the mid-60's, he and Jermaine became the lead vocalists of the group, now named the Jackson 5 in 1964, and hit the "chitlin' circuit", black clubs and venues which even had them open for strip shows and other adult acts. In 1966, they won a major local talent show with renditions of Motown hits and James Brown's "I Got You (I Feel Good)", led by Michael.

An early shot of the Jackson brothers band:

Jackson family photo:

Michael as a baby:

Michael at the age of 7:

Michael at 8 in a class photo:

Another Jackson family photo:

The Jackson brothers' band when they were known as The Ripples and the Waves:

The Jackson 5 released several songs on a local record label, Steeltown, including a track called "Big Boy", their first single, in 1968. The single was not as good as it could have been, but still, this was a thrill for the Jackson brothers to have their music on vinyl. Michael sang well on it, but it was only a pale shadow of his future musical prowess. One of the Jackson 5's first supporters was the r & b duo Sam and Dave, who helped get the group a spot on an Amateur Night at the Apollo Theater in Harlem in 1967. Motown caught wind of the boys' talent, through the praise of Gladys Night, but were reluctant to sign them, due to founder Barry Gordy already having a teen star Stevie Wonder on his label and not wanting to get in trouble with child labor laws and the like. He decided that he did want to sign them, but first some serious negotiation had to be enacted to get them out of their Steeltown contract. Finally, the young men were taken under Barry Gordy's wing, and the rest, of course, was history.

Motown in 1968 was literally Hitsville U.S.A. in those years. The country had seen in a short time a wave of everything from the British Invasion of the Beatles, the Stones, and other bands from England, the homegrown folk revolution with Bob Dylan, and the psychedelic era with bands such as Jimi Hendrix, the Grateful Dead, Cream, and Jefferson Airplane. But the biggest names were coming out of Motown's roster, such as Diana Ross and the Supremes, Stevie Wonder, Smokey Robinson, the Four Tops, and countless others. Soon the new young talented band called the Jackson 5 would join the lineup of stars, and Michael, the little boy with the big talent, would be at the forefront.

Gordy received a videotaped copy of the boys' Apollo performance and was completely knocked over. He simply had to sign them. He took them to his Los Angeles home where they spent time with Gordy's family and Diana Ross took Marlon and Michael in to her home there, while she and Gordy groomed them for stardom.

It so sad the way the Jackson children were treated by their father. Michael seemed very misunderstood, its so sad.
One thing i admired about him was his love for animals.

Well now he is at peace.:)

Thanks for the information and the pictures.
I hope that Joe Jackson suffers from endless amount of guilt for the way he treated Michael and his brothers. Now would be a good time to go to the four remaining and at least say I'm sorry while he still has the chance. Child abuse is a horrible thing that no child should endure. There are better ways to discipline a child than scaring them half to death. Poor Michael.:( Nobody knows what he went through but him and God. The suffering, loneliness and the scars from childhood. He really was misunderstood.

He really was misunderstood.

Aww, yes, he was. His did not treat him good. He was a great performer though, and his songs are so great!!!

http://images.starpulse.com/Photos/Previews/Michael-Jackson-p06.jpg

Once signed to the label, the Motown PR team began to make the boys appear more marketable to the general public. They made their ages younger in press kits to enhance their youth appeal, and Michael's age was listed as nine, though he was in fact two years older. This would make him "cuter", adorable, and more accessible to the pre-teen demographic. In addition to altering their ages and other details of their lives and personal history, the PR team also added another twist. Two band members who accompanied the Jackson 5, Johnny Jackson (no relation) and Ronnie Rancifer, were listed as cousins to make the Jackson 5 seem as if they were a complete family affair. On top of that, it was decided that the band would be attached to a major star to spark interest. The PR team designated Diana Ross as the big name who "discovered" them. In later versions of the story, it was explained that Ross allegedly discovered them after being introduced to them by Gary, Indiana, mayor Richard G. Hatcher at a benefit concert where they had played for him. These marketing ploys paid off handsomely. The Jackson 5 had arrived.

During the summer and early fall of 1969, the Jackson 5 rehearsed and practiced diligently. Diana Ross introduced the band to the public on August 11 that year at a club called The Daisy in Beverly Hills. Soon, the band made their first television appearance at the Miss Black America Pageant at Madison Square Garden in New York.

The Jackson 5 released their first single, "I Want You Back", in November, 1969. The song, written by Gordy and a team of songwriters known collectively as "The Corporation", hit Number #1 on the charts by January 1970. The single was added to their debut album, Diana Ross Presents The Jackson 5. The song set the standard for future Jackson 5 recordings--the band incorporated, at the direction of Gordy, a pop and doo-wop sound into their brand of soul which became known as "bubblegum soul".


I Want You Back

Uh-huh huh huh huh
Let me tell ya now
Uh-huh

VERSE 1:
When I had you to myself
I didn't want you around
Those pretty faces always made you stand out in a crowd
But someone picked you from the bunch
one glance was all it took
Now it's much too late for me to take a second look

CHORUS:
Oh baby give me one more chance
(show you that I love you)
Won't you please let me
(back in your heart)
Oh darlin' I was glad to let you go
(let you go baby)
But now since I see you in his arms
(I want you back)
Yes I do now
(I want you back)
Ooh ooh baby
(I want you back)
Ya ya ya ya
(I want you back)
Na na na na

VERSE 2:
Tryin' to live without your love
Is one long sleepless night
Let me show you girl
That I know wrong from right
Every street you walk on
I leave tearstains on the ground
Following the girl
I didn't even want around
Let me tell you now

CHORUS:
Oh baby all I need is one more chance
(show you that I love you)
Won't you please let me
(back to your heart)
Oh darlin' I was BLIND to let you go
(let you go baby)
But now since I see you IN HIS ARMS
Uh-huh
A buh buh buh buh (2 times)
All I want
A buh buh buh buh
All I need
A buh buh buh buh
All I want
A buh buh buh buh
All I need

(Jermaine):
Oh just one more chance
to show you that I love you
baby! (6 times)

(I want you back)
(Jackie):
Forget what happened then
(I want you back)
(Jermaine):
Let me live again

Oh baby I was BLIND to let you go
But now since I see you in his arms
(I want you back)
(Jackie):
Spare me of this cause
(Jermaine):
Gimme back what I lost

Oh baby I need one more chance ha
I tell ya that I love you

:guitar: :banana: :mango

It so sad the way the Jackson children were treated by their father. Michael seemed very misunderstood, its so sad.
One thing i admired about him was his love for animals.

Well now he is at peace.:)
Michael's father even taunted him by calling him "big nose". :eek: :mad:


And we can see how this affected his appearance later on.

And the hits kept rolling from there. America instantly fell in love with The Jackson 5's brand of traditional "Motown Sound"
and so-called "bubblegum soul". Further hits such as "ABC", "The Love You Save", and "I'll Be There" all topped the charts
in 1970. Other successful hits included "Mama's Pearl" and "Never Can Say Goodbye".

Now that his boys were extremely successful, Joseph and Katherine moved out to California with the rest of the family to "Hayvenhurst", a gated mansion in Los Angeles. Joe's dream of living vicariously through his sons' good fortune in
entertainment had finally come true.

Now that the Jackson 5 were among the biggest names in music at this point in 1971, they had eclipsed Motown's other
big name, the Supremes, who had dominated the charts for the past several years. A huge marketing campaign for the
Jackson 5 targeted teens and pre-teens with merchandise such as patches, stickers, coloring books, posters, and the like,
with the familiar "J5" heart-shaped logo which was initially featured on Johnny Jackson's drum kit. And it did not stop there.
A magazine called Right On! was launched to promote other rising r & b artists, with special emphasis on the The Jackson 5.
A Rankin-Bass cartoon (the company which made the popular holiday specials such as 'Rudolph the Red-Nosed Raindeer',
'Frosty the Snowman', and others), 'The Jackson 5ive', also aired on Saturday and Sunday mornings. The show featured the
brothers in fictionalized comical escapades, similar to other popular cartoons at that time such as 'Josie & the Pussycats',
where a rock group became involved in some sort of episode of intrigue and danger with criminal culprits and their nefarious
plots, with the main characters emerging as heroes--and interspersing it with their music. Though the actual brothers'
voices were not used, their music was aired on the program. Diana Ross did in fact lend her voice to the first episode.
Michael's pet snake Rossy and mice, Ray and Charles, obviously named after the famed singer, served as comical mascots
in their animated adventures. The series was re-broadcast in 1984-85 was Jackson was hitting another wave of popularity.

The album ABC was released in the spring of 1970 with the title track and "The Love You Save", as well as a cover of Funkadelic's "I'll Bet You" and "I Found That Girl", which featured Jermaine on lead vocals while Michael sang on the others.
The group's Third Album was also released that year, which featured "I'll Be There" as well as "Goin' Back To Indiana",
"How Funky Is Your Chicken", "Mama's Pearl", and a cover of Simon and Garfunkel's "Bridge Over Troubled Waters".


I remember as kid at the age of about seven or eight, in 1970, I saw a Post Sugar Crisp commercial on Saturday morning
with Sugar Bear introducing the Jackson 5 as they sang their current hit song, "I'll Be There". I never knew how big that
song was going to get--so big that even Mariah Carey even covered it. But the cartoon was my first real exposure to the
group. I remember a funny joke Michael told on one episode. They were trying to find clues to who committed some crime,
and Michael says, "Why not look in the closet?" And the brothers said, "Why look in there?" And he replies, "I always look for
clues in the *clues*-closet (meaning *clothes*)!!" LOLOLOLOL!!!!:lol: I was a kid, I thought that was pretty funny!!

A B C

Michael: A buh-buh buh buh-buh
J5: A buh-buh buh buh-buh
Michael: You went to school to learn, girl
Things you never, never knew before...
Jermaine: Like I before E except after C...
Michael: And why 2 plus 2 makes four
Now now now, I'm gonna teach you...
J5: Teach you, teach you
Michael: All about love, dear...
J5: All about love
Jermaine: Sit yourself down, take a seat
All you gotta do is repeat after me.

CHORUS:
J5: ABC
Michael: Easy as...
J5: 123
Michael: Or simple as...
J5: Do re mi
Michael: ABC, 123, baby, you and me girl
J5: ABC
Michael: Easy as...
J5: 123
Michael: As simple as...
J5: Do re mi
Michael: ABC, 123, baby, you and me girl

J5: ABC
Michael: Easy as...
J5: 123
Michael: Or simple as...
J5: Do re mi
Michael: ABC, 123, baby, you and me girl
J5: ABC
Michael: Easy as...
J5: 123
Michael: As simple as...
J5: Do re mi
Michael: ABC, 123, baby, you and me

Tito: Come on, let me love you just a little bit
Jackie: Come on, let me love you just a little bit
Jermaine: I'm a going to teach how to sing it out
Michael: Come on, come one, come on
Let me show you what it's all about!
Reading, writing and arithmetic
Are the branches of the learning tree
Jermaine: But without the roots of love every day, girl
Michael: Your education ain't complete
T-T-T-Teacher's gonna show you
J5: Show you, show you
Michael: How to get an A
J5 How to get an A
Jermaine: Spell "me" "you"
Jermaine: Listen to me baby, that's all you gotta do
REPEAT CHORUS twice
BRIDGE:
ABC is easy like counting up 3
That's how easy love can be
that's how easy love can be
sing a simple melody
123, you and me
Michael: Sit down, girl!
I think I love you!
No!
Get up, girl!
Show me what you can do!
Shake it, shake it, baby, come on now!
Shake it, shake it, baby, ooo oooh!
Shake it shake it, baby, huh!
ABC, baby, nah nah!
123,
Do re mi, baby, huh!
That's how easy love can be.
123, BABY,
ABC, BABY,
DO RE MI, BABY
THAT'S HOW EASY LOVE CAN BE
IT'S EASY, IT'S EASY LIKE COUNTING UP TO 3
SING A SIMPLE MELODY
THAT'S HOW EASY LOVE CAN BE
Jermaine:I'M A GONNA TEACH YOU HOW TO SING IT LOUD
Michael:COME ON, COME ON, COME ON,
LEMME SHOW YOU WHAT IT'S ALL ABOUT
ABC, IT'S EASY , IT'S LIKE COUNTING UP TO 3
SING A SIMPLE MELODY
THAT'S HOW EASY LOVE CAN BE
Jermaine:I'M A GONNA TEACH YOU HOW TO SING IT LOUD
SING IT LOUD, SING IT, GO, SING IT, GO SING IT
Michael:ABC, IT'S EASY AS 123.. (FADES

The Love You Save

J5:Stop! Na na na! You'd better save it!
Stop, stop, stop, you'd better save it!

Michael: When we played tag in grade school
You wanted to be It.
But chasing boys was just a fad
You crossed your heart you'd quit.

When we grew up you traded
Your promise for my ring
Now just like back to grade school
You're doing the same old thing!

CHORUS:
Stop! The love you save may be your own!
Darling, take it slow
Or some day you'll be all alone.
You'd better stop the love you save may be your own!
Darling, look both ways before you cross me
You're headed for the danger zone.

Michael: I'm the one who loves you!
I'm the one you need!

Jermaine: Those other guys will put you down
As soon as they succeed!

Michael: They'll ruin your reputation!
They'll label you a flirt!

Jermaine: The way they talk about you
They'll turn your name to dirt, oh!

Second verse:
Michael: Isaac said he kissed you
Beneath the apple tree
When Benjie held your hand he felt
E-lec-tri-ci-tee!
When Alexander called you
He said he rang your chimes.
Christopher discovered
You're way ahead of your times!


CHORUS:
Stop! The love you save may be your own!
Darling, take it slow
Or some day you'll be all alone.
You'd better stop the love you save may be your own!
Darling, look both ways before you cross me
You're headed for a danger zone.

BRIDGE:

J5: Slow down.
Slow down.
Slow down.
Slow down.

Michael:
S is for "Save it"
T is for "Take it slow"
O is for "Oh, no!"
P is for "Please, please, don't go!"

Jermaine: The love you save may be your own...

Michael: Some day you may be all alone...

Jermaine: Stop it!
Michael: Save it, girl!
Jermaine: Baby! Ooooh!
Michael: Youu better stop the love you save may be your own

Michael: You'd better stop! the love you save may be your own!
Jermaine: Please, please
Or some day, some day baby,
You'll be all alone

Michael: I'm the one who loves you!
I'm the one you need!

Jermaine: Those other guys will put you down as soon as they succeed. (Michael:
Ahhhhh!)

Michael: Stop! The love you save may be your own, baby
Jermaine: You’d better stop it, stop it, stop it girl! or someday you’ll be
allll alone. The way they talk about you
They'll turn your name(*2) to dirt.

Stop! The love you save may be your own!

Jermaine: Don’t cha know don’t cha know. Some day baby you’ll be alll alone.
(wait a while) Those other guys will put you down as soon as they succeed.

Michael: Stop! The love you save may be your own!
Darling(fades)


I'll Be There

You and I must make a pact, we must bring salvation back
Where there is love, I'll be there

I'll reach out my hand to you, I'll have faith in all you do
Just call my name and I'll be there

I'll be there to comfort you,
Build my world of dreams around you, I'm so glad that I found you
I'll be there with a love that's strong
I'll be your strength, I'll keep holding on

Let me fill your heart with joy and laughter
Togetherness, well that's all I'm after
Whenever you need me, I'll be there
I'll be there to protect you, with an unselfish love that respects you
Just call my name and I'll be there

I'll be there to comfort you,
Build my world of dreams around you, I'm so glad that I found you
I'll be there with a love that's strong
I'll be your strength, I'll keep holding on

If you should ever find someone new, I know he'd better be good to you
'Cause if he doesn't, I'll be there
Don't you know, baby, yeah yeah
I'll be there, I'll be there, just call my name, I'll be there

(Just look over your shoulders, honey - oo)

I'll be there, I'll be there, whenever you need me, I'll be there
Don't you know, baby, yeah yeah

I'll be there, I'll be there, just call my name, I'll be there...

Here's a little something I couldn't resist: :lol:

In 1971 and 1972, the Jackson 5 appeared in two t.v. specials, 'Going Back To
Indiana' and 'The Jackson 5 Show'.

By that time, Jacksonmania had dissipated, as most trends are doomed to do, and the record-buying public had moved on. The Jacksons were still popular, but not to the extent as they were in their prime a year or so before. Behind the scenes, a rift began between the Jacksons and Motown. The lads were growing up into adolescence, and the label still pushed them as a cute teenybopper bubblegrum group. It was time for a change. It was later agreed by the group, their father, and by music critics that the reason for their decline was that the label did not update their image. During that time, they did come out with a few hits, such as "Looking Through the Windows" in 1972, the album G.I.T. (Get It Together) in 1973, and the dance hit "Dancing Machine", which popularized the "Robot" dance routine.

It was time for Motown to act. The label decided to market Michael and Jermaine, the two focal points of the group, as solo artists. Michael had sung a new hit, the title track to the soundtrack of 'Ben', the sequel to the popular horror movie 'Willard', about a disturbed young man and his army of rats. Ben appeared in his own followup movie about the king of the rats befriending a lonely child. The song was a huge hit and the start of a new phase in the young singer's career.

An interesting parallel developed between the storylines of the 'Willard' and 'Ben' movies, and the life of young Michael Jackson. Both movies revolved around the exploits of a hated, misunderstood creature and his human friends, first Willard, whose only playmates were the teeming rodents, and the young child in the sequel, who was incapacitated by medical problems and taunted by bullies. In addition to his marionette puppets he created for his own amusement, Ben the rat became his only friend, like a pet. Both the child and the rat were also misunderstood and persecuted, which made them practically understand and empathise with each other in their own special way. In a similar manner, the sequel seems to be a parallel with Jackson's own isolation and being treated as "different" because
of his fame. He was not "ugly" like Ben the rat, to others, but he was still treated in the same way because Michael was "cute". It was only ugly in reverse. Simply different, unusual. on a higher level than most other mere mortals.


An intriguing piece of trivia: The song "Ben" was originally written for America's other current teenybopper heartthrob , Donny Osmond, but he was unavailable to do the recording. So the honor went to Michael.

Ben

Ben, the two of us need look no more
We both found what we were looking for
With a friend to call my own
I'll never be alone
And you my friend will see
You've got a friend in me (you've got a friend in me)

Ben, you're always running here and there
You feel you're not wanted anywhere
If you ever look behind and don't like what you find
There's something you should know
You've got a place to go (you've got a place to go)

I used to say
I and me
Now it's us
Now it's we

(I used to say
I and me
now it's us
now it's we)

Ben, most people would turn you away
I don't listen to a word they say
They don't see you as i do
I wish they would try to
I'm sure they'd think again
If they had a friend like Ben
(a friend) like Ben

(A friend) Like Ben


Looking Through the Windows

LOOKIN' THROUGH THE WINDOW
LOOKIN' THROUGH THE WINDOW (AHHHH)
LOOKIN' THROUGH THE WINDOW
LOOK..LOOK..LOOK THROUGH THE WINDOW
(OOOOH AHHHH)
LOOKIN' THROUGH THE WINDOW

LOOKIN' THROUGH THE WINDOWS
THE WINDOW TO YOUR HEART (OH BABY YEAH)
I CAN SEE ITS CLOUDY
THE RAIN'S ABOUT TO START

LOOKIN' THROUGH THE WINDOWS (LOOKIN' THROUGH THE WINDOWS)
IT SEEMS I'VE CAUSED YOUR FEARS (YEA YEA YEA)
AND A LITTLE DOUBT GIRL (AND A LITTLE DOUBT GIRL)
AND NOW IT'S BRINGIN' TEARS (AND ITS BRINGIN' TEARS)

REMEMBER...

JUST REMEMBER WHAT EVER MAKES YOU FEEL THAT WAY
DON'T YOU WORRY 'CAUSE I'M GONNA STAY
RIGHT BY YOUR SIDE (BY YOUR SIDE)
TO KEEP ON LOOKIN' THROUGH THE WINDOWS
LOOKIN' IN YOU EYES
(OOH LOOKIN' IN YOUR EYES, EYES, EYES)
(LOOKIN, LOOKIN' IN YOUR EYES, EYES, EYES)

LOOKIN' THROUGH THE WINDOWS (LOOKIN' THROUGH THE WINDOWS)
SEEMS LIKE THE ONLY WAY (YEAH)
I CAN KNOW YOUR FEELINGS
IF YOU STILL LOVE ME TODAY

REMEMBER...

JUST REMEMBER WHAT EVER MAKES YOU FEEL THAT WAY
DONT YOU WORRY 'CAUSE IM GONNA STAY
RIGHT BY YOUR SIDE
TO KEEP ON LOOKIN' THROUGH THE WINDOWS
LOOKIN' IN YOU EYES
(OOH, LOOKIN' IN YOUR EYES, EYES, EYES)
(LOOKIN, LOOKIN' IN YOU EYES, EYES, EYES)

LOOKIN' THROUGH THE WINDOWS
THE WINDOW TO YOUR HEART

LOOKIN' THROUGH THE WINDOWS
THE WINDOW TO YOUR HEART

ZA-DA-DA-DA-DA-DA
DA-DA-DA-DA-DA-DA

FADE


Dancing Machine

Dancing, dancing, dancing
She's a dancing machine

Ah baby
Move it baby

Automatic, Systematic
Full of color, self-contained
Tuned and gentle to your vibe

Captivating, Stimulating
She's such a sexy lady
tune the channel to your box

She's moving, she's grooving
Dancing untill the music stops, now

Yeah

Rhythmatic, acrobatic
She a dynamite attraction
At the drop of a coin she comes alive, yea
She knows what she's doing
She's super bad now
She's geared to really blow your mind

Dancing, dancing, dancing
She's a dancing machine

Ah baby
Do it baby
Dancing, dancing, dancing
She's a dancing machine

Ah baby
Move it baby

She's a dance, dance, dance, dance, dancing machine
Watch her get down, watch her get down
As she do, do, do her thing
Right on the scene

She's a dance, dance, dance, dance, dancing machine
Watch her get down, watch her get down
As she do, do, do her thing
Right on the scene

Come on baby
Come on baby
Baby
Baby

Shake it baby
Shake it babe

Baby
Baby
Baby

She's a dance, dance, dance, dance, dancing machine
Watch her get down, watch her get down
As she do, do, do her thing
Right on the scene

She's a dance, dance, dance, dance, dancing machine
Watch her get down, watch her get down
As she do, do, do her thing
Right on the scene

I like it
I like it
I love you
i like it

She's a dance, dance, dance, dance, dancing machine
Watch her get down, watch her get down
As she do, do, do her thing
Right on the scene

She's a dance, dance, dance, dance, dancing machine
Watch her get down, watch her get down

:guitar: :banana: :mango

Mama's Pearl: (Music over photo still):

http://www.youtube.com/watch?v=lqpp7FuIYYk

The Love You Save:

http://www.youtube.com/watch?v=1yY8mVIdKMs&feature=related

I Want You Back:

http://www.youtube.com/watch?v=VfJu_Bom2sA

ABC:

http://www.youtube.com/watch?v=MYx3BR2aJA4&feature=related

Never Can Say Goodbye:

http://www.youtube.com/watch?v=snihdG1rE0Y&feature=related

Ben:

http://www.youtube.com/watch?v=JQyvQWrGE1g&feature=related

Dancing Machine:

http://www.youtube.com/watch?v=lD2OsUcgb00&feature=related

Jackson 5 locking video:

http://www.youtube.com/watch?v=tICestGPPbs

Jackson 5 cartoon opening credits:

http://www.youtube.com/watch?v=EJw_MIsjyU0&translated=1&fmt=18

In the early/mid-70's, the group decided to take their leave of Motown. Though they had gotten their huge start on the successful label, they had not been allowed to grow or mature under their guidance. One problem the group had with the label was that they were not able to record their own compositions nor play their own instruments recordings, even though they had done so in their own home studio; instead, they had to sing what The Corporation and other in-house writers had composed for them, as well as have their instrumental parts on their albums performed by the session musicians known as The Funk Brothers in Motown and The Wrecking Crew at Hitsville West, its Los Angeles affiliate. Joseph felt it was time for his boys to shop for a new label, they could be more of a success elsewhere.

In 1975, the group began talks with CBS Records, who offered a decent 20% percent per record, compared to Motown's measly 2%. On top of that, the new label allowed them to perform and record their own songs and play their own instruments. Motown tried with no success to keep the band on its label, but then sued them for breach of contract. The label eventually agreed to let them go to join CBS. There was one condition, however, to their joining: they could no longer use the name
'The Jackson 5', due to Motown owning the Jackson 5 trademark. The band chose their new name, The Jacksons, as they headed for their new label. In another surprising turn of events, the group replaced Jermaine with their fourteen-year-old brother Randy, as Jermaine, who was focusing on his own solo career, decided to remain with Motown and Barry Gordy, his father-in-law after marrying his daughter Hazel in 1973. Randy had been an unofficial member of the group, only playing conga drums onstage.

With the departure of the Jacksons to a new label, Motown would never have another huge, successful act as part of its lineup. The label would branch out into other subsidiaries, but its glory days were over. Gordy said of the Jackson 5, that they were "the last big stars to come rolling off the [Motown] assembly line."

The group also began a variety show in 1976, 'The Jacksons', on CBS, which included all members of the Jackson clan. Their variety show was their first ever hosted by an African-American family. It was developed in order to compete with ABC's new variety show, 'Donnie and Marie', which featured the cutest Osmond with his even cuter sister (interestingly, this was the second time the Jacksons rivaled the Osmonds on television for the cutest teen idol crown: during the time of 'The Jackson 5' Saturday morning cartoon airing, Rankin-Bass also released a similar animated cartoon featuring the Osmonds in their series in the early 70's). 'The Jacksons ran for one season until its cancellation in March of next year.

One of the Jacksons' first singles for the new label was "Enjoy Yourself", released in 1976, released on CBS' Philadelphia International label. The group released its self-titled album, The Jacksons, in 1976, and its followup, Goin' Places, in 1977. Ironically, the latter album's title belied the actual commercial momentum of the group on their new label, the second album was stalled in sales. The first album went only gold, compared to the stellar sales of The Jackson 5's heyday. Apparently the new label was not doing enough to promote them, nor were they allowing them full creative and artistic control. They decided that it was time to keep shopping for a new label yet again.

Enjoy Yourself

Chorus:
Enjoy yourself
Enjoy yourself
Enjoy yourself with me

Enjoy yourself
Enjoy yourself
Enjoy yourself with me

You better enjoy yourself
You better enjoy yourself

You sittin over there
Starin into space
While people are dancin'
Dancin all over the place

You shouldnt worry about things you can't control
Come on girl while the night is young
Why dont ya mix up the place, let it go

[Chorus]

Let's have some fun
Let's have a good time you and me
Sittin there with your mouth all out
Just sweet as you can be

Why dontcha live, live the life ya got
Come on girl let's spin it
While the music's live and hot..whoo!

[Chorus]

Jackie: Baby girl I've been watchin you?
I can wipe away that frown
For you and I to get together

We can tear the house down
Or we can tear the house down
Or we can tear the whole house down..whoo!

[Chorus]

:guitar: :banana: :mango

Frustrated with their previous attempts to write and perform their own music under their previous labels, the Jacksons decided to produce the music on their own. They also found it was time to find a label which would treat them right. They moved found it in CBS/Epic, after moving from CBS's subsidiary Philadelphia International, and released their new album, 'Destiny', in 1978. The album featured their biggest post-Motown hit, "Shake Your Body (Down To the Ground", which hit the Billboard charts at #7 on the Hot 100 and #3 on the Billboard R & B charts, achieving double platinum status, while the album itself sold platinum. The album hit the Billboard 200 charts at #11, and the R & B charts at #3.

The other top single on the album, "Blame It On the Boogie", was originally written by English artist Mick Jackson, who had his own version on the British charts around that time, but the version done by the Jacksons was the bigger seller of the two--but only slightly. Regardless, the Jacksons were painfully reminded that they would no longer be the superstars that they were at the turn of the decade. They would sell respectably, but lightning would not strike twice. At least, not for all members collectively. But for one....


Shake Your Body (Down To the Ground)

I don't know whats going happen to you baby
But I do know that I love ya
You walk around this town with your head all up in the sky
And I do know that I want ya

Let's dance, let's shout
Shake you body down to the ground
Let's dance, let's shout
Shake you body down to the ground
Let's dance, let's shout
Shake you body down to the ground
Let's dance, let's shout
Shake you body down to the ground

You tease me with your loving to play hard to get
Cause you do know that I want ya
You walk around this town with your head all up in the sky
And I do know that I want ya

Let's dance, let's shout
Shake you body down to the ground
Let's dance, let's shout
Shake you body down to the ground
Let's dance, let's shout
Shake you body down to the ground
Let's dance, let's shout
Shake you body down to the ground

You are the spark that lit the fire inside of me
And you know that I love it
I need to do just something to get closer to your soul
And you do know that I want ya

Let's dance, let's shout
Shake you body down to the ground
Let's dance, let's shout
Shake you body down to the ground
Let's dance, let's shout
Shake you body down to the ground
Let's dance, let's shout
Shake you body down to the ground

You tease me with your loving to play hard to get
Cause you do know that I want ya
I need to do just something to get closer to your soul
And you do know that I want ya

Let's dance, let's shout
Shake you body down to the ground
Let's dance, let's shout
Shake you body down to the ground
Let's dance, let's shout
Shake you body down to the ground
Let's dance, let's shout
Shake it over!

Down down down down down.
Shake it over!
Lets dance, lets shout
Dance shout.


Blame It On the Boogie

My baby's always dancin'
And it wouldn't be a bad thing
But I don't get no loving
And that's no lie

We spent the night in Frisco
At every kind of disco
And from that night I kissed
Our love goodbye

CHORUS:
Don't blame it on sunshine
Don't blame it on moonlight
Don't blame it on good times
Blame it on the boogie

Don't blame it on sunshine
Don't blame it on moonlight
Don't blame it on good times
Blame it on the boogie

VERSE:
That nasty boogie bugs me
But somehow it has drugged me
Spellbound rhythm gets me
On my feet

I've changed my life completely
I've seen the lightning leave me
My baby just can't take
Her eyes off me

CHORUS:
Don't blame it on sunshine
Don't blame it on moonlight
Don't blame it on good times
Blame it on the boogie

Don't you blame it on sunshine
Don't blame it on moonlight
Don't blame it on good times
Blame it on the boogie

I just can't
I just can't
I just can't control my feet

I just can't
I just can't
I just can't control my feet

I just can't
I just can't
I just can't control my feet

I just can't
I just can't
I just can't control my feet

CHORUS:
Don't blame it on sunshine
Don't blame it on moonlight
Don't blame it on good times
Blame it on the boogie

Don't blame it on sunshine
Don't blame it on moonlight
Don't blame it on good times
Blame it on the boogie

VERSE:
This magic music grooves me
That dirty rhythm moves me
The devil's gotten to me
Through this dance

I'm full of funky fever
And fire burns inside me
Boogie's got me in a
Super trance

CHORUS:
Don't blame it on sunshine
Don't blame it on moonlight
Don't blame it on good times
Blame it on the boogie

Don't blame it on sunshine
Don't blame it on moonlight
Don't blame it on good times
Blame it on the boogie

Owww - sunshine
Whoo - moonlight
Yeah - good times
Mmmm - boogie

You just gotta - sunshine
Yeah - moonlight
Good times
Good times - boogie

Don't you blame it - sunshine
You just gotta - moonlight
You just wanna - goodtimes
Yeah - boogie
Ohh blame it on yourself - sunshine
Ain't nobody's fault - moonlight
But yours and that boogie - goodtimes
On all night long - boogie

Yours and that boogie - sunshine
Ain't nobody's fault - moonlight
But yours and that boogie - goodtimes
Dancin' all night long - boogie

Blame it on yourself - sunshine
Ain't nobody's fault - moonlight
But yours and that funky funky boogie al night long - goodtimes


:guitar: :banana: :mango

As Jacksonmania began to taper off somewhat, Michael Jackson released his first solo album, Got To Be There, in January 1972. Motown felt it was time for the cutest, most talented of the Jackson 5 to start is own spinoff career while still recording with his brothers. The album was preceded with the title track released as a single that previous fall. Michael's foray into a solo career coincided with the rise of his teen idol rival, none other than Donnie Osmond, who sang sugary sweet anthems and ballads of teen romance, such as "Sweet and Innocent" and "Puppy Love", the latter of which was a cover of a 50's pop hit. In the same way, Jackson's "Rockin' Robin" was a cover of a
50's tune. The album also included covers of Bill Withers' "Ain't No Sunshine", Carole King's "You've Got a Friend" and the Supremes' "Love Is Here and Now You're Gone".

The album charted very highly and critics gushed with praise over the album by the young Jackson: Rolliing Stone commented that te album "...slick, artful and every bit as good as the regular Jackson 5 product...a sweetly touching voice...innocence and utter professionalism...fascinating and finally irresistible."

Jackson's next album, Ben, featured the title track soft song about the misunderstood rat of the movie of the same name who terrorized the populace. The song became Jackson's first #1 single, though it spent only a week on the American charts. "Ben" was nominated for a Golden Globe and an Academy Award for Best Song. Originally, the album cover art featured Michael in the top portion of the illustration and the movie poster of Ben in the lower half, before it was quickly replaced with only the shot of Michael. The image of Ben lurking over fleeing humans obviously wouldn't have sat well with many record buyers! :eek:

Michael's next album, Music & Me, released in 1973, was put out at a painful time of transition in the young singer's life. He was quickly becoming a teenager, not the sweet kid fronting a successful singing group, and adolescence was hitting him and his voice hard. R & B was becoming a little more sophisticated than what was successful a few years before, fully blooming into soul and what would become disco. Were the Jackson 5 growing with the times, were they allowed to? After being deeply impressed by other successful Motown artists as Marvin Gaye and Steve Wonder, Michael expressed his wish to do his own material on the album. The label refused his request. Though the album shows Michael with a guitar on the cover, he did not play any instruments on the album, it was merely a pose. Michael complained to his father about how poorly the label was treating him by not allowing any creative freedom, which would prompt the elder Jackson to negotiate with, and ultimately, leave the label with launched his stardom with his famous brothers. "With a Child's Heart", a Stevie Wonder cover, was the main single from the album. Motown only gave the album scant promotion since Michael was on tour with his brothers.

Michael's 1975 album, Forever, Michael, was the last he would record for Motown, before he left the label almost a year later. The album saw Michael moving into a smooth soul direction that would characterize his work with Epic later on. Unfortunately, the album was eclipsed by the success of the Jackson 5 hit "Dancing Machine". The album did feature such Top 40 singles as "We're Almost There" and "Just a Little Bit Of You".

Also in 1978, Michael Jackson also spread his wings and ventured into acting. His first big-screen foray was a cinematic re-telling of the classic film 'The Wizard Of Oz', this time called 'The Wiz'. Based on the hugely successful stage musical of the same name, the film version featured an all-black cast with Diana Ross as Dorothy, Michael as The Scarecrow, Nipsey Russell as the Tin Man, and Tim Ross as the Cowardly Lion. The classic movie was given an "urban" treatment with Ozz resembling a nightmare-fantasy version of New York. Instead of Dorothy being a teenage rural Kansas farm girl, Diana Ross was a twenty-something schoolteacher, not quite in keeping with the original Frank L. Baum story nor its 1939 film version with Judy Garland. The characters' costumes were gaudy, bizarre, and "whimsical" (meaning cheesier and cornier than any Frito-Lay product).

The story gives an "urbanized" re-telling of the classic story and film, with Dorothy remaining too shy and introverted to leave her relatives' home. After being trapped in a snowstorm, she finds herself trapped in the magical land (or in today's parlance, "da hood"? ohno: )of Oz. She accidentally topples a sign onto the Wicked Witch of the West (called Evermean), and learns from the Good Witch of the North that she must find the magical "Wiz" whose inexplicable powers can send her and her dog back home. There was also a place for the Munchkins: the Wicked Witch had previously turned them into images of graffiti for vandalizing the park.

On her way down the Yellow Brick Road, during which she sings the song "Ease On Down the Road", she meets the Scarecrow, who is made of trash, and a friendship develops. They continue on their way, and meet the other familiar characters on their own particular quests for various objects or personal qualities. Various twists are added to the often-told tale, but ultimately, while the original theatrical musical production was a smash, its big-screen version was an abysmal failure at the box office. Moviegoers hated it, in the era of musical film flops which included such other commercial and artistic bombs as 'Seargent Pepper's Lonely Hearts Club Band', starring Peter Frampton and the Bee Gees in their movie debut based on the landmark Beatles album of the same name. But while Peter Frampton's film--and musical--career took a nosedive at that time, greater things were in store for
Michael.

Michael was totally devoted to playing the Scarecrow. He even watched the movements of wild animals to get an idea of gracefulness required for the film. The play's original actress, Stephanie Mills, was originally chosen to reprise her part of Dorothy in the film, but Diana Ross had other plans. Upon being turned down for the part by the film's producers on account of her age (33 at the time), she finagled her way into the role with her star connections. The film was essentially a celluloid religious tract for est, or Erhard Seminars Training, developed by 70's pop psychology/New Age-y religious guru Werner Erhard, with whom Ross and screenwriter Joel Schumacher were totally enamored, with such positive, happy self-help messages as "believe in yourself" and other nifty platitudes embedded within the storyline. However, movie audiences did not believe much in the movie, though the songs in the film were actually excellent and memorable. Critics panned the movie and box office sales were dismal. It was universally agreed that Diana Ross was miscast as Dorothy, as she was too old to play the character, and her personality in the role was rather "cold" and "neurotic", rather than optimistic and hopeful. Criticism was so harsh that not only did it end Ross' film career, it also brought a close to a decade of black-oriented films of the 70's which started with the "blaxploitation" movies earlier in the decade. Diana Ross' music career would continue on with even further success, but her acting days were over.


Michael, fortunately, would emerge unscathed to move on to better things. Surprisingly, his performance in 'The Wiz' was one of the few critically acclaimed parts of the movie. In fact, he found one person on the set who would determine the course of his career in the near future.

One person involved in 'The Wiz' was producer Quincy Jones, who was working on the film's musical score. He was impressed with Jackson's talent, and agreed to produce his next album. In 1979, Michael Jackson released his fifth solo album, Off the Wall, where he moved away from his traditional sound on Motown, and became more sophisticated with touches of disco, soul, soft pop, and rock. He collaborated with a number of musicians on the album including Paul McCartney and Stevie Wonder, and released a number of top singles including "Rock With You", "Don't Stop Till You Get Enough", "She's Out Of My Life", and the title track. Other compelling tracks included "Workin' Day and Night", "Get On the Floor", and "Girlfriend". The album was so successful that it went on to go 7x multi-Platinum and sell 20 million copies worldwide. It even won a Grammy Award, his first since his days with the Jackson 5.

"Off the Wall' was Jackson's first album where he had full creative control. One thing he did not want to do was record another album where he would sound like The Jacksons. He was not sure how well the album would do, but he finally got to do an album he had wanted to release for years. His gamble paid off handsomely, it became a huge seller all over, and Michael Jackson was a name on everyone's lips. He was no longer the cute kid living under his brothers' shadows. He was coming into his own. He had finally grown up and had given a mature performance with his huge dance-oriented album. Critics hailed the album as a brilliant work. Writer, journalist and biographer John Randall Taraborrelli stated, "Fans and industry peers alike were left with their mouths agape when Off the Wall was issued to the public. Fans proclaimed that they hadn't heard him sing with such joy and abandon since the early Jackson 5 days". No longer the mere Boy Wonder visually, Michael even gave a striking pose on the album cover in a tux and his distinctive ruffled socks.

About his performance in 'The Wiz', Michael had nothing but fond memories of his role in the film. It was "my greatest experience so far...I'll never forget that." He did not think the movie could be any better, and critics found his acting in the Scarecrow role to be one of the few truly enjoyable moments of the film. There was no question that Michael had a star quality, and could act very well. It was surprising that he did not act more in movies.

However, his career would suffer a serious setback when, while performing an intricate dance routine, he broke his nose. :eek: This injury would affect his breathing ability throughout his career, and, as breathing is ultimately important in singing, he required rhinoplasty, plastic surgery for his nose. The surgery unfortunately was not a complete success, and, in spite of repeated subsequent attempts at plastic surgery, his breathing problems would continue to affect his singing throughout the remainder of his performing career.

Regardless, Michael Jackson had become the biggest R & B performer of the late 70's. He was masterful in his vocals, songwriting, and performance. Ironically, for all the success of the album, it only won one Grammy for "Don't Stop Till You Get Enough". Jackson angrily felt the album deserved more due to its commercial impact. He complained that, "It was totally unfair that it didn't get Record of the Year and it can never happen again."

In a few years, Michael's resentment would be soon forgotten, as he continued on his work with Quincy Jones for another decent collaboration. This record was one of the biggest albums of all time. One could only guess how, or if, Michael Jackson could improve upon perfection.

Rock With You:

http://www.youtube.com/watch?v=7hK3Y1Ehv9c

Don't Stop Till You Get Enough:

http://www.youtube.com/watch?v=4_hz2am90Hk

She's Out Of My Life:

http://www.youtube.com/watch?v=qF0o-W5uu8o

Off the Wall:

http://www.youtube.com/watch?v=Xrd3lSn5FqQ

After the huge success of 'Off the Wall', Michael Jackson was hit by a personal tragedy when he discovered that his father Joseph was having an affair with another woman, and to add insult to injury, secretly had a child with her. Michael felt hurt and betrayed by his father's actions. The woman was twenty years younger than his father, and this caused a deep schism between Jackson and his father. This was complicated by the deep pain and resentment over his father's abusive behavior in his early years. He remained angry with his father for many years after that, and fell out with him, becoming estranged from him. How could his father hurt him, his mother, and his family like that?

In the first few years of the 80's, Michael became very morose and isolated.
"Even at home, I'm lonely. I sit in my room sometimes and cry. It's so hard to make friends ... I sometimes walk around the neighborhood at night, just hoping to find someone to talk to. But I just end up coming home." When Jackson turned 21 in the summer of 1979, he fired his father as manager and
hired a new person, John Branca, to manage him.

Jackson confided to Branca that he "wanted to be the biggest star in show business", and to be "the wealthiest." Jackson felt that, in spite of the popularity of 'Off the Wall', it was underrated by the music industry and was not given the attention or praise it deserved. Why did it get an award for only one song? Why did it not become Record Of the Year? "It was totally unfair that it didn't get Record of the Year and it could never happen again", he complained. He felt totally underappreciated in the music industry. No one recognized his worth. In 1980, when he asked a Rolling Stone reporter if he would be interested in doing a cover story on him, the reporter declined.
Jackson knew the reason for this treatment. "I've been told over and over that black people on the cover of magazines doesn't sell copies ... Just wait. Someday those magazines are going to be begging me for an interview. Maybe I'll give them one. And maybe I won't." :(

At the end of the 70's, the music industry's discrimination toward people of color was glaring. In spite of major successes as such artists as Donna Summer, the industry ran with the whole Disco Demolition night at Comiskey Park that summer during a baseball double header in Chicago, where fans were invited to bring their unwanted disco albums for a public trashing. The event was to show that disco was no longer welcome in America, it was time for rock and roll to come back--but underneath there was a hateful message of resentment toward gays, who helped popularize disco a few years before, and toward African-Americans, who performed many of the songs. It could be summed up in one word: racism. The country was about to undergo a massive shift to the right, as conservative values trumped the tolerant mindset of liberalism--which many on the right blamed for many social ills. Disco's hedonistic nature must be dealt with accordingly, and it was time to keep people of color in their place. Their time with that insipid, amoral disco was over, time for whites to take back their rightful place in society and music. R & B of any stripe was similarly thrown into the "disco" label, it was "all the same". Why, reasoned whites, would any one care about the coloreds? The Stepin Fetchits and Rochesters needed to go. It was a huge step backwards for racial progress. Who in conservative America would ever want one of those people to be on magazine covers? Save it for Ebony, the rednecks reasoned. This was the reality in 1980. Blacks just were not taken seriously in those years. And, according to the Caucasian-controlled industry, that was the way it was meant to be.


Did Michael ever feel like giving up? Was the success of 'Off the Wall' simply a musical version of Negro League baseball? Would it be like this all the time?

In the spring of 1982, Michael Jackson contributed the song "Someone In the Dark" on the storybook to 'E.T. The Extra-Terrestrial', the hit motion picture by Stephen Spielberg about the lonely space alien stranded on Earth and befriended by a group of children. The record won a Grammy for Best Album For Children. This would pale in comparison to what lie in store later that year.

Jackson teamed up once again with producer Quincy Jones for his followup album to 'Off the Wall'. The two worked on over 300 songs, nine of which were chosen for the album. Between April and November of that year, the pair worked on each song, feeling thoroughly dissatisfied with each of them. Both Jackson and Jones had a budget of $750,000 to work with on the album, which also featured members of the band Toto to assist with the tracks. Jackson wrote four songs for the album, "Wanna Be Startin' Somethin'", "The Girl Is Mine" (with Paul McCartney), "Beat It" and "Billie Jean". Instead of writing in a traditional way on paper, he dictated the songs onto a tape recorder and sang them from memory.

Tensions flared between Jackson and Jones during the recording. The famed producer was frustrated that Michael was focused more on his dance moves routines rather than on the songs. The two were unhappy with the results on the recordings, and spent a week on each song, working them to perfection. Jackson wanted each song to be "killer", and even based the album's concept along the lines of Tchaikovsky's 'The Nutcracker'. The album was to be different than anything he had done before, something with broader appeal than even 'Off the Wall' had. With few exceptions, music fans
were not very receptive to much R & B, which was evident in the public backlash against anything resembling disco. Jackson had to broaden its appeal, and found a number of musicians to work with him to create a vastly different album than anything else anyone ever expected. The album was to be more rock oriented, pop oriented, with a broad range of influences.

The album's name would say it all:


THRILLER.

The album opens with the highly infectious dance track, "Wanna Be Startin' Somethin'", which was in fact the fourth single released from the record. The album reached #5 on the charts, topped the Billboard Hot Black Singles charts and hit #8 on the British charts. The album was originally intended for
the 'Off the Wall' album but not recorded until 'Thriller'.

The song is about starting rumors and even contains a reference to Billy Jean.
Being the longest song on the album, it clocks in at a little over six minutes, rather lengthy for airplay, but it became a hit regardless in an edited radio version to fit standard Top 40 formats. No accompanying video was done with the release of the song, though Jackson opened his concerts with the track.

The song ends with a chorus repeatedly singing "Mama-se, mama-sa, ma-ma-coo-sa". According to writer Mark Anthony Neal, "the lyrics were taken directly from the music of Cameroonian saxophonist Manu Dibango who broke into the American market in 1973 with his classic 'Soul Makossa'." Kelefa Sanneh of The New Yorker magazine, explains that "Soul Makossa", "was [a big] hit, in Africa, in Europe, and in America, where it came to be seen as one of the first disco records". Also, Sanneh explains that, "[Dibango] named his song after the makossa, a Cameroonian dance, but he stretched the word out, [and] played with it [so that it sounded like]: 'Ma-mako, ma-ma-ssa, mako-makossa'." Although Jackson's chant imitates Dibango's chant, Jackson's version is essentially a mispronunciation of the word Dibango is chanting.


Wanna Be Startin' Somethin'

[Chorus]
I Said You Wanna Be Startin' Somethin'
You Got To Be Startin' Somethin'
I Said You Wanna Be Startin' Somethin'
You Got To Be Startin' Somethin'
It's Too High To Get Over (Yeah, Yeah)
Too Low To Get Under (Yeah, Yeah)
You're Stuck In The Middle (Yeah, Yeah)
And The Pain Is Thunder (Yeah, Yeah)
It's Too High To Get Over (Yeah, Yeah)
Too Low To Get Under (Yeah, Yeah)
You're Stuck In The Middle (Yeah, Yeah)
And The Pain Is Thunder (Yeah, Yeah)

[1st Verse]
I Took My Baby To The Doctor
With A Fever, But Nothing He Found
By The Time This Hit The Street
They Said She Had A Breakdown
Someone's Always Tryin' To Start My Baby Cryin'
Talkin', Squealin', Lyin'
Sayin' You Just Wanna Be Startin' Somethin'

[Chorus]
I Said You Wanna Be Startin' Somethin'
You Got To Be Startin' Somethin'
I Said You Wanna Be Startin' Somethin'
You Got To Be Startin' Somethin'
It's Too High To Get Over (Yeah, Yeah)
Too Low To Get Under (Yeah, Yeah)
You're Stuck In The Middle (Yeah, Yeah)
And The Pain Is Thunder (Yeah, Yeah)
It's Too High To Get Over (Yeah, Yeah)
Too Low To Get Under (Yeah, Yeah)
You're Stuck In The Middle (Yeah, Yeah)
And The Pain Is Thunder (Yeah, Yeah)

[2nd Verse]
You Love To Pretend That You're Good
When You're Always Up To No Good
You Really Can't Make Him Hate Her
So Your Tongue Became A Razor
Someone's Always Tryin' To Keep My Baby Cryin'
Treacherous, Cunnin', Declinin'
You Got My Baby Cryin'

[Chorus]
I Said You Wanna Be Startin' Somethin'
You Got To Be Startin' Somethin'
I Said You Wanna Be Startin' Somethin'
You Got To Be Startin' Somethin'
It's Too High To Get Over (Yeah, Yeah)
Too Low To Get Under (Yeah, Yeah)
You're Stuck In The Middle (Yeah, Yeah)
And The Pain Is Thunder (Yeah, Yeah)
It's Too High To Get Over (Yeah, Yeah)
Too Low To Get Under (Yeah, Yeah)
You're Stuck In The Middle (Yeah, Yeah)
And The Pain Is Thunder (Yeah, Yeah)
You're A Vegetable, You're A Vegetable
Still They Hate You, You're A Vegetable
You're Just A Buffet, You're A Vegetable
They Eat Off Of You, You're A Vegetable

[3rd Verse]
Billie Jean Is Always Talkin'
When Nobody Else Is Talkin'
Tellin' Lies And Rubbin' Shoulders
So They Called Her Mouth A Motor
Someone's Always Tryin' To Start My Baby Cryin'
Talkin', Squealin', Spyin'
Sayin' You Just Wanna Be Startin' Somethin'

[Chorus]
I Said You Wanna Be Startin' Somethin'
You Got To Be Startin' Somethin'
I Said You Wanna Be Startin' Somethin'
You Got To Be Startin' Somethin'
It's Too High To Get Over (Yeah, Yeah)
Too Low To Get Under (Yeah, Yeah)
You're Stuck In The Middle (Yeah, Yeah)
And The Pain Is Thunder (Yeah, Yeah)
It's Too High To Get Over (Yeah, Yeah)
Too Low To Get Under (Yeah, Yeah)
You're Stuck In The Middle (Yeah, Yeah)
And The Pain Is Thunder (Yeah, Yeah)
You're A Vegetable, You're A Vegetable
Still They Hate You, You're A Vegetable
You're Just A Buffet, You're A Vegetable
They Eat Off Of You, You're A Vegetable

[Ad-Lib]
If You Cant Feed Your Baby (Yeah, Yeah)
Then Don't Have A Baby (Yeah, Yeah)
And Don't Think Maybe (Yeah, Yeah)
If You Can't Feed Your Baby (Yeah, Yeah)
You'll Be Always Tryin'
To Stop That Child From Cryin'
Hustlin', Stealin', Lyin'
Now Baby's Slowly Dyin'

[Chorus]
I Said You Wanna Be Startin' Somethin'
You Got To Be Startin' Somethin'
I Said You Wanna Be Startin' Somethin'
You Got To Be Startin' Somethin'
It's Too High To Get Over (Yeah, Yeah)
Too Low To Get Under (Yeah, Yeah)
You're Stuck In The Middle (Yeah, Yeah)
And The Pain Is Thunder (Yeah, Yeah)
It's Too High To Get Over (Yeah, Yeah)
Too Low To Get Under (Yeah, Yeah)
You're Stuck In The Middle (Yeah, Yeah)
And The Pain Is Thunder (Yeah, Yeah)

[Ad-Lib]
Lift Your Head Up High
And Scream Out To The World
I Know I Am Someone
And Let The Truth Unfurl
No One Can Hurt You Now
Because You Know What's True
Yes, I Believe In Me
So You Believe In You
Help Me Sing It, Ma Ma Se,
Ma Ma Sa, Ma Ma Coo Sa
Ma Ma Se, Ma Ma Sa,
Ma Ma Coo Sa
[Repeat/Fade-Out]


Wanna Be Startin' Somethin' (Live):

http://www.youtube.com/watch?v=xg0AsWruz4k

Wanna Be Startin' Somethin' (Studio):

http://www.youtube.com/watch?v=dPTsmswQVwg&feature=related

The next song on 'Thriller' was "Baby Be Mine", a very decent 80's-style dance number. The song served as the B-side to the single "Human Nature".

Baby Be Mine

[1st Verse]
I Don't Need No Dreams When I'm By Your Side
Every Moment Takes Me To Paradise
Darlin', Let Me Hold You
Warm You In My Arms And Melt Your Fears Away
Show You All The Magic That A Perfect Love Can
Make
I Need You Night And Day

[Chorus (1)]
So Baby, Be Mine (Baby You Gotta Be Mine)
And Girl I'll Give You All I Got To Give
So Baby, Be My Girl (All The Time)
And We Can Share This Ecstasy
As Long As We Believe In Love

[2nd Verse]
I Won't Give You Reason To Change Your Mind
(I Guess It's Still You Thrill Me, Baby, Be Mine)
You Are All The Future That I Desire
Girl, I Need To Hold You
Share My Feelings In The Heat Of Love's Embrace
Show You All The Passion Burning In My Heart
Today
It's Never Gonna Fade

[Chorus (2)]
So Baby, Be Mine (Baby You Gotta Be Mine)
And Girl I'll Give You All I Got To Give
So Baby, Be My Girl (All The Time)
You're Everything This World Could Be
The Reason That I Live

[Bridge]
Won't You Stay With Me Until The Mornin' Sun
I Promise You Now That The Dawn Will Be Different
Lady Can't You See That Heaven's Just Begun
It's Livin' Here Inside Our Hearts

[3rd Verse]
There'll Be No More Mountains For Us To Climb
(I Can't Be Still You Thrill Me, Baby, Be Mine)
This Will Be A Love Lasting For All Time
Girl You Got To Hold Me
We Can Touch The Sky And Light The Darkest Day
Hold Me, Only You And I Can Make Sweet Love This Way
There's No More I Can Say

[Chorus]
So Baby, Be Mine (Baby You Gotta Be Mine)
And Girl I'll Give You All I Got To Give
So Baby, Be My Girl (All The Time)
You're Everything This World Could Be
The Reason That I Live

[Chorus]
Baby Be My Girl
And Girl I'll Give You All I Got To Give
So Baby, Be Mine, Baby, Be Mine
You're Everything This World Could Be To Me

[Chorus]
C'mon, Girl, C'mon Girl
So Baby, Be Mine
You're Everything This World Could Be To Me

:guitar: :banana: :mango

Baby Be Mine

http://www.youtube.com/watch?v=Tw0Y2cdF0T0

"The Girl Is Mine", the third track off of 'Thriller', is a duet with Paul McCartney. Jackson and McCartney had worked together the previous year for recording two duets, "Say, Say, Say" and "The Man", for the former Beatle's solo album 'Pipes Of Peace'. The general consensus among the music-buying public was one of contempt for the song, they felt that Jackson and Jones were trying a little too hard to cater to the white pop audience; regardless, the song reached #2 on the charts and eventually hit Platinum status in sales of over one million. The song was also the subject of two lawsuits for plagiarism. Jackson appeared twice in court for these, and both times the court ruled in the singer's and the label's favor.

Jones instructed Jackson to write a song about two men fighting over another woman. Michael was inspired during the middle of the night as he woke up and began singing the words into a tape recorder. The song's lyrics were written during cartoons Jackson and McCartney were watching on t.v.

Jackson later explained: "I sang exactly what I heard in my head, starting with the melody and the keyboard and the strings and everything. So, I just orally put it all on tape." He also recalled, "Quincy called me up one morning and says, 'Smelly'—he calls me Smelly—'we have to have some rapping in this.'" So accordingly, Michael added a rap verse. He said that the recording
of the song was one of the most pleasurable experiences of the recording process. "One of my favourite songs to record, of all my recordings as a solo artist, is probably "The Girl Is Mine", because working with Paul McCartney was pretty exciting and we just literally had fun. It was like lots of kibitzing and playing, and throwing stuff at each other, and making jokes. We actually recorded the track and the vocals pretty much live at the same time, and we do have footage of it, but it's never been shown." He concluded, "Maybe one day we'll give you a sneak preview of it." The footage of the pair was later shown at The Paul McCartney World Tour.

Many thought "This Girl Is Mine" would derail the potential success of 'Thriller'.
Fans were dissatisfied with the track, and many critics simply loathed it.
Music journalist Robert Christgau wrote that Jackson teaming up with McCartney was "Michael's worst idea since 'Ben'." A review in Rolling Stone claimed that the song was a "wimpoid MOR [middle of the road] ballad" and that McCartney was "tame". Stephen Erlewine of Allmusic noted that the song had a "sweet schmaltz". Jackson's breakdown with the "irrepressibly silly Paul McCartney" was "disarmingly goofy", according to Stylus Magazine. Salon.com later described "The Girl Is Mine" as a "sappy duet". They concluded that McCartney had become a "wimpy old fart". One reviewer, however, was less damning and more complimentary of the song. Jackson's biographer, J. Randy Taraborrelli. The writer stated that the song was "cute" but lacked substance. He added that the track had a "middle-of-the-road calm" and was the antithesis of the "rambunctious" "Beat It".

The first plagiarism trial took place in 1984, when a songwriter by the name of Fred Sanford (wasn't this guy actually a junkyard dealer by profession? ;) :lol: ) claimed that Jackson had stolen a tape of the plaintiff's song "Please Love Me Now". Jackson was not a defendent in the suit, but chose to appear to maintain his credibility. Jackson testified that he in fact composed "This Girl Is Mine". After three days, the jury deliberated and ruled in favor of Jackson. James Klenk, Jackson's attorney, praised the singer upon the jury's verdict. "The man is a genius. He doesn't need anyone else's songs. His own words were the key." During the court proceedings, Jackson revealed how he composes his songs. "I put them in a tape recorder and I orally sing them into the tape, and that's how it happens." One juror stated, "His presentation indicated that he was well able to develop his own songs."

In 1993, some ten years after the success of 'Thriller', Jackson faced another plagiarism lawsuit (as if he did not have enough legal problems that year, as we shall see) over the song. The plaintiffs, Reynaud Jones and Robert Smith (not the lead singer of The Cure), claiming to be a former neighbor in Jackson's hometown of Gary, Indiana, said the song, in addition to "Thriller" and "We Are the World", were identical to their own musical works. Jackson, Lionel Richie—co-writer of "We Are the World"—and Quincy Jones were named as the defendants in the suit. The plaintiffs asserted that Joseph Jackson had received a demo tape from them. From the tapes, the defendants were alleged to have stolen the three hit songs. Reynaud Jones also claimed that he had considered suing Jackson over "Billie Jean". Jackson appeared in court via a taped testimony. Following the testimony, the nine-member jury found Jackson to be the writer and composer of "The Girl Is Mine" in early 1994. They also ruled that the defendants had not plagiarized "Thriller" or "We Are the World".

Lawsuits over a pop song. Makes you think about the cannibalistic nature of pop music, huh? :yeahthat: :nod: Isn't that the problem often with pop?
Songs begin to sound so identical that it's not hard to think the sources may be the same? Lack of originality? Michael may have been a pop genius, but it's easy to see where the usurpers come in.

In 2008, the 25th anniversary of the release of 'Thriller', a new version of the song, "This Girl Is Mine 2008" was released, with remixing by Black Eyed Peas
vocalist will.i.am. Unfortunately, Paul McCartney was not involved in the new version of the song. Apparently, Jackson and McCartney had a major legal row previously, over the ownership of the Beatles' catalog. :eek:

The photo on cover to the single was taken by Linda McCartney.


The Girl Is Mine

1st Verse (Michael)]
Every Night She Walks Right In My Dreams
Since I Met Her From The Start
I'm So Proud I Am The Only One
Who Is Special In Her Heart

[Chorus]
The Girl Is Mine
The Doggone Girl Is Mine
I Know She's Mine
Because The Doggone Girl Is Mine

[2nd Verse (Paul)]
I Don't Understand The Way You Think
Saying That She's Yours Not Mine
Sending Roses And Your Silly Dreams
Really Just A Waste Of Time

[Chorus]
Because She's Mine
The Doggone Girl Is Mine
Don't Waste Your Time
Because The Doggone Girl Is Mine

[Bridge (Paul)]
I Love You More Than He
(Take You Anywhere)

[Michael]
But I Love You Endlessly
(Loving We Will Share)

[Michael & Paul]
So Come And Go With Me
To One Town

[Michael]
But We Both Cannot Have Her
So It's One Or The Other
And One Day You'll Discover
That She's My Girl Forever And Ever

[3rd Verse (Paul)]
I Don't Build Your Hopes To Be Let Down
'Cause I Really Feel It's Time

[Michael]
I Know She'll Tell You I'm The One For Her
'Cause She Said I Blow Her Mind
Chorus (Michael)
The Girl Is Mine
The Doggone Girl Is Mine
Don't Waste Your Time
Because The Doggone Girl Is Mine

[Michael & Paul]
She's Mine, She's Mine
No, No, No, She's Mine
The Girl Is Mine, The Girl Is Mine
The Girl Is Mine, The Girl Is Mine

[Paul]
The Girl Is Mine, (Yep) She's Mine
The Girl Is Mine, (Yep) She's Mine

[Michael]
Don't Waste Your Time
Because The Doggone Girl Is Mine
The Girl Is Mine, The Girl Is Mine

[Paul]
Michael, We're Not Going To Fight About This, Okay

[Michael]
Paul, I Think I Told You, I'm A Lover Not A Fighter

[Paul]
I've Heard It All Before, Michael
She Told Me That I'm Her Forever Lover, You Know, Don't You Remember

[Michael]
Well, After Loving Me, She Said She Couldn't Love Another

[Paul]
Is That What She Said

[Michael]
Yes, She Said It, You Keep Dreaming

[Paul]
I Don't Believe It

[Michael & Paul]
The Girl Is Mine (Mine, Mine, Mine)

[Fade-Out/Repeat]

:banana: :mango

If the third song, a fluffy, innocuous duet with Paul McCartney, threatened to kill sales of the album, the fourth song, the title track, hammered the record's promise into listeners' heads. "Thriller" became one of Michael Jackson's signature tracks, helped in no small part by the video. The accompanying video became practically synonymous with the song, due to Michael's further foray into acting, his role as a dancing zombie. The song was featured a rap monologue by veteran horror actor Vincent Price (whose
voice was previously used in the track "Black Widow" by Alice Cooper on 'Welcome To My Nightmare" in 1975). The song became a huge hit single in early 1984.

The video for the song was filmed by director John Landis and released in early December 1983. The 14-minute video became a landmark on MTV with its storyline resembling more of a film short, or featurette. The plot of the film, a short story horror piece, goes as follows:

In the early 60's, Jackson and his date park in the woods. As they make plans to go steady, Jackson informs her that he is a little "different", and under a full moon, he demonstrates just how different he is--he morphs into a fearsome werecat (not a werewolf, as some have mistakenly claimed). He begins to chase her through the woods and pounces on her.

The scene then cuts to the couple watching themselves in this segment on a movie screen. Both, along with the audience, tremble in fear at the sequence. While Michael enjoys the movie, his date is revulsed and announces she's leaving the theater. Michael follows her and insists, "It's only a movie." (Jackson insists that his co-star in the video, former Playboy Playmate/actress Ola Ray, was really scared by that scene, but she denies this.)

As they pass a misty graveyard, he begins to sing the opening lines of "Thriller", at which point zombies and legions of the undead begin to arise from their graves. As they surround Michael and his horrified date, he begins to transform into a zombie himself! Michael and his zombie cohorts launch into a dance routine as he continues singing the song. His frightened date runs away, as his features now turn thoroughly gruesome, partially decomposed and skeletal.

She races into an abandoned house, where Michael and his undead minions follow her and back her into a corner. He reaches to clasp her throat and she begins to shriek. At that moment, she awakens, realizing it was all a dream. Michael, now restored to human form, asks, "What's the problem?" he consoles her and takes her home. He parts with one last glance to the fourth wall of the scene, grins, and flashes his fiendish cat-like eyes. Vincent Price's macabre laughter closes the scene.

In the closing credits, the zombies give one last dance routine while a disclaimer caption comically states: "Any similarity to actual events or persons living, dead (or undead) is purely coincidental."

Jackson wanted to both literally "thrill" his audiences and provide entertaining dance routines:

"Well, it was a delicate thing to work on because I remember my original approach was, 'How do you make zombies and monsters dance without it being comical?' So I said, 'We have to do just the right kind of movement so it doesn't become something that you laugh at.' But it just has to take it to another level. So I got in a room with [choreographer] Michael Peters, and he and I together kind of imagined how these zombies move by making faces in the mirror. I used to come to rehearsal sometimes with monster makeup on, and I loved doing that. So he and I collaborated and we both choreographed the piece and I thought it should start like that kind of thing and go into this jazzy kind of step, you know. Kind of gruesome things like that, not too much ballet or whatever."

Jackson, as a staunch Jehovah's Witness at the time, offered his own disclaimer at the start of the video:

"Due to my strong personal convictions, I wish to stress that this film in no way endorses a belief in the occult".

The video won a Grammy for Best Video, Long Form, in 1985, as well as one for Best Video Album for 'Michael Jackson's Thriller'. In 1999, the video won an MTV Award for Best Video of All Time at #1.

Unfortunately, John Landis had sued Jackson for over four years of unpaid royalties from the video. Jackson's co-star Ola Ray had also sued him twice for uncollected royalties, even over one month before his death in 2009.

With "Thriller", music video became something more than a nifty, clever (and often corny) commercial promoting a single for an up-and-coming band. Hollywood fully entered the picture of music videos, with a big-name director, effective special effects and makeup, retro-kitch, and a unique combination of lifelike horror and exciting dance moves. It was professionally done, and propelled music video into new heights of sophistication and excellence.

When Michael's songwriting partner Rod Temperton first wrote the lyrics to "Thriller", he was about to call it "Midnight Man" or "Starlight", but Michael chose the title "Thriller" because he felt it had marketing potential. He was right. He also chose a famous figure in Hollywood to do the spoken-word vocals to help further the sales of the song (in similar fashion, Iron Maiden used veteran actor Patrick McGoohan of 'The Prisoner' for the spoken monologue at the opening of "Number Of the Beast"), and who else to do it but veteran actor Vincent Price? The horror legend performed the spoken word portion in two takes.

Thriller


It's close to midnight
something evil's lurkin' from the dark
Under the moonlight
You see a sight that almost stops your heart
You try to scream
But terror takes the sound before you make it
You start to freeze
As horror looks you right between the eyes
You're paralyzed

'Cause this is thriller
Thriller night
And no one's gonna save you
From the beast about to strike
You know it's thriller
Thriller night
You're fighting for your life
Inside a killer
Thriller tonight, yeah

You hear the door slam
And realize there's nowhere left to run
You feel the cold hand
And wonder if you'll ever see the sun
You close your eyes
And hope that this is just imagination
Girl, but all the while
You hear a creature creepin' up behind
You're outta time

'Cause this is thriller
Thriller night
There ain't no second chance
Against the thing with the forty eyes, girl
(Thriller)
(Thriller night)
You're fighting for your life
Inside a killer
Thriller tonight

Night creatures call
And the dead start to walk in their masquerade
There's no escaping the jaws of the alien this time
(They're open wide)
This is the end of your life

They're out to get you
There's demons closing in on every side
They will possess you
Unless you change that number on your dial
Now is the time
For you and I to cuddle close together, yeah
All through the night
I'll save you from the terror on the screen
I'll make you see

That this is thriller
Thriller night
'Cause I can thrill you more
Than any ghoul would ever dare try
(Thriller)
(Thriller night)
So let me hold you tight
And share a
(killer, diller, chiller)
(Thriller here tonight)

'Cause this is thriller
Thriller night
Girl, I can thrill you more
Than any ghoul would ever dare try
(Thriller)
(Thriller night)
So let me hold you tight
And share a
(killer, thriller)

I'm gonna thrill you tonight

[Rap]
Darkness falls across the land
The midnight hour is close at hand
Creatures crawl in search of blood
To terrorize y'all's neighborhood
And whosoever shall be found
Without the soul for getting down
Must stand and face the hounds of hell
And rot inside a corpse's shell

I'm gonna thrill you tonight
(Thriller, thriller)
I'm gonna thrill you tonight
(Thriller night, thriller))
I'm gonna thrill you tonight
Ooh, babe, I'm gonna thrill you tonight
Thriller night, babe

[Rap]
The foulest stench is in the air
The funk of forty thousand years
And grizzly ghouls from every tomb
Are closing in to seal your doom
And though you fight to stay alive
Your body starts to shiver
for no mere mortal can resist
the evil of the thriller

:guitar: :banana: :mango

Thriller:

http://www.youtube.com/watch?v=AtyJbIOZjS8

One of the most important songs on the album, "Beat It", was the third single released from the album. Ironically, the track was nearly dropped from the album. Due to its inclusion on the record, it remains one of the standout tracks on the album, and one of Michael Jackson's signature songs.

Originally, producer Quincy Jones wanted an ambitious black rock song on the album, but Michael was never really interested in the genre. He then later said, "I wanted to write a song, the type of song that I would buy if I were to buy a rock song... That is how I approached it and I wanted the kids to really enjoy it—the school kids as well as the college kids." After hearing his first vocals on the track, he knew he wanted to do it. For this, he decided he needed a little help. Steve Lukather, guitarist for Toto and accomplished L.A. session musician in his own right, performed the track's compelling riff. But Jones wanted a special soloist to make the song sparkle and shine. There was one special guest who would do the song justice. One of the biggest names in rock, guitarist Eddie Van Halen. Jackson was actually impressed with the axeman's work on previous Van Halen albums, and wanted him for the record.

The story of how Eddie Van Halen became involved with the song is quite an interesting tale. According to Eddie, he was sitting home alone one night when the phone rang. Picking it up, he heard no one on the other end of the line after answering, "Hello?", and hung the phone up. Bad connection. Wrong number. Whatever. He went back to his guitar playing (or whatever he was previously doing, Eddie Van Halen is known to prefer noodling away at home on guitar than going out and partying) when a few minutes later, the phone rang again. He picked it up and again, got the same response. Nothing. By this time, he raised his voice: "HELLO? HELLO?" and slammed the phone down, exasperated. He went back to his previous activities when yet again, the phone rang a third time. He grabbed the phone and answered it, shouting, "What the hell do you want, you f:censored:ing a:censored:hole??!!" :mad: Finally a voice came across the phone lines:
"Eddie, don't hang up, it's me, Quincy Jones, the producer!" Eddie calmed down and profusely apologized. He thought it was a crank call or something similar. Eddie lightened up and asked what was up.

Jones asked Eddie asked if he would be interested in making a guest appearance on the new Michael Jackson, to do a brief solo. Eddie said he might think about it and get back with him. He pondered the decision for a while: He wasn't too sure if the rest of the band would go for it, as the other members of Van Halen did not like him going behind their backs to do whatever in music. But then, since his brother, drummer Alex, was off doing something, and bassist Michael Anthony was out of town, and lead vocalist David Lee Roth was down in the Amazon jungles in South America on a safari,
Eddie could do it with no one noticing. He would refuse any payment or royalties or credits on the album, it was just all a favor for Quincy. Nothing more. What were the chances the song would be heard and get popular? Eddie would go incognito, get in, get out, and that would be that. He called Jones back and agreed to do it.

Michael and Jones met Eddie at home with a "skeleton" version of the song. Michael told him that he really liked "all that high-sounding stuff you do" on guitar. Eddie listened to the track and felt he needed a few changes in the song in order for him to solo over. They adjusted the riff, and, with the tapes rolling, Eddie knocked off one of the most memorable guitar solos of his, or anyone else's, career in rock. It was perfect, an excellent take, complete with Eddie's trademark tapping technique on the fretboard, and "high-sounding" on the upper notes of the top E string. It was stunning. Jackson and Jones were very pleased with Eddie's work.

For all of Eddie's prediction that the song would just be a little tucked-away track on the album, for all he or anyone knew, he was surprised when the album--and the single, especially--took off like a bullet. The song became a huge seller, one of Jackson's biggest songs--and Eddie got paid NOTHING. :eek2:

When David Lee Roth heard about Eddie's decision not to receive royalties or payments from such a hugely successful single, he said in regards to his humble bandmate, "He and I do NOT think alike!" :lol:

"Beat It" stayed in the Top 5 on the charts--before being knocked off, for only one week, by "Come On Eileen" by new wave Irish-folk band Dexy's Midnight Runners. But another Jackson single would quickly topple that song.

Later, after the 'Thriller' album became a stellar success, Quincy Jones sent Eddie an official letter thanking him for his contribution to the album, and, in regards to the phone connection problems preceding the initial conversation, humorously signed it, "Quincy Jones--the f:censored:ing a:censored:hole!" :lol: ;)

"Beat It" guitar track (http://www.youtube.com/watch?v=ChXpNv9KFds&fmt=18)
Steve Lukather, Eddie Van Halen (solo)

"Beat It" actually marked a departure for Jackson, the song began the singer's
move from radio-friendly upbeat themes and sounds into darker, fear-filled territory. The lyrics of "Beat It" are about defeat and courage, and have been described as a "sad commentary on human nature". The video appears to be a contemporary re-enactment of 'West Side Story'. Jackson disliked violence, as evidenced by the line "don't be a macho man"--a reference to his own father's physical abuse when Michael was a child.

The song was released on Valentine's Day, 1983, and while it was predicted the track would remain at the top of the charts for a long time, it was toppled after seven weeks by "Come On Eileen" by Dexy's Midnight Runners, which stayed at #1 for a single week before "Beat It" regained the top spot for a second time! "Beat It" was released while "Billy Jean" was still strong on the charts.

Before Anthrax helped form rap-metal with their 1987 novelty song "I'm the Man", and artists such as Living Colour and Faith No More helped merge the worlds of metal and R & B two years later, it was Michael Jackson's collaboration with Eddie Van Halen which threw open the doors to the public's massive acceptance of both rock, pop-metal and R & B on the same track with "Beat It" in 1983. Black and white artists playing each other's music had come full circle, joining together in a way not seen since the late 60's. White audiences now found it cool to have their rock with a danceable groove, while
black audiences could get an earful of stunning guitar shredding on Van Halen's solo.

In a Rolling Stone review, Christopher Connelly describes "Beat It" as the best song on Thriller, adding that it "ain't-no-disco AOR track". He notes of the "nifty dance song", "Jackson's voice soars all over the melody, Eddie Van Halen checks in with a blistering guitar solo, you could build a convention center on the backbeat". Allmusic's Stephen Thomas Erlewine states that the song is both "tough" and "scared". Robert Christgau claimed that the song, in which Eddie Van Halen "wends his night in the service of antimacho", is the "triumph and the thriller". Slant Magazine observed that the song was an "uncharacteristic dalliance with the rock idiom". Stylus expressed amazement that Van Halen performed a rock guitar solo on a R&B record. The track also won praise from Jackson biographer J. Randy Taraborrelli, who stated that the song was "rambunctious".

"Beat It" has been recognized with several awards. At the 1984 Grammy Awards the song earned Jackson two of a record eight awards; Record of the Year and Best Rock Vocal Performance. The track won the Billboard Music Award for favorite dance/disco 12" LP in 1983. The single was certified gold, a few months after its release, for shipments of at least one million units. In 1989, the standard format single was re-certified platinum by the Recording Industry Association of America, based on the revised sales level of one million units for platinum singles. The total number of digital sales in the US, as of March 2009, stands at 668,000.

It was Jackson's performance on the video to "Beat It" which established him as a major pop icon. His choreography, his red jacket and "urban" apparel,
and his timeless, relevant message of the dangers of street violence strongly resonated with viewing audiences. The film was Jackson's first treatment of black youth and the streets. Both "Beat It" and Thriller are notable for their "mass choreography" of synchronized dancers, a Jackson trademark. The video included around 80 genuine gang members—to add authenticity to the production—and 18 professional dancers. Inspired by the Broadway musical West Side Story, the video cost Jackson $150,000 to create after CBS refused to finance it. The video's featured choreography opened up many job opportunities for dancers in the US. The video also won many awards. Apparently CBS declining to finance the video turned out to be a big mistake for the label.

The video also shows the lesson that violence is not the solution, as evidenced at the end by both rival gangs calling for a truce through the power of dance.

Beat It

They told him don't you ever come around here
Don't wanna see your face, you better disappear
The fire's in their eyes and their words are really clear
So beat it, just beat it

You better run, you better do what you can
Don't wanna see no blood, don't be a macho man
You wanna be tough, better do what you can
So beat it, but you wanna be bad

Just beat it, beat it, beat it, beat it
No one wants to be defeated
Showin' how funky and strong is your fight
It doesn't matter who's wrong or right
Just beat it, beat it
Just beat it, beat it
Just beat it, beat it
Just beat it, beat it

They're out to get you, better leave while you can
Don't wanna be a boy, you wanna be a man
You wanna stay alive, better do what you can
So beat it, just beat it

You have to show them that you're really not scared
You're playin' with your life, this ain't no truth or dare
They'll kick you, then they beat you,
Then they'll tell you it's fair
So beat it, but you wanna be bad

Just beat it, beat it, beat it, beat it
No one wants to be defeated
Showin' how funky and strong is your fight
It doesn't matter who's wrong or right

Just beat it, beat it, beat it, beat it
No one wants to be defeated
Showin' how funky and strong is your fight
It doesn't matter who's wrong or right

Just beat it, beat it, beat it, beat it
No one wants to be defeated
Showin' how funky and strong is your fight
It doesn't matter who's wrong or right
Just beat it, beat it
Beat it, beat it, beat it

Beat it, beat it, beat it, beat it
No one wants to be defeated
Showin' how funky and strong is your fight
It doesn't matter who's wrong or who's right

Just beat it, beat it, beat it, beat it
No one wants to be defeated
Showin' how funky and strong is your fight
It doesn't matter who's wrong or right

Just beat it, beat it, beat it, beat it
No one wants to be defeated
Showin' how funky and strong is your fight
It doesn't matter who's wrong or right
Just beat it, beat it
Beat it, beat it, beat it

Beat it, beat it, beat it, beat it
No one wants to be defeated
Showin' how funky and strong is your fight
It doesn't matter who's wrong or who's right

Just beat it, beat it, beat it, beat it
No one wants to be defeated
Showin' how funky and strong is your fight
It doesn't matter who's wrong or right

Just beat it, beat it, beat it, beat it
No one wants to be defeated
Showin' how funky and strong is your fight
It doesn't matter who's wrong or right

Just beat it, beat it, beat it, beat it
No one wants to be defeated
Just beat it, beat it
Beat it, beat it, beat it

:rock: :guitar: :guitar: :rock:

Beat It:

http://www.youtube.com/watch?v=ZkGOiS75Lwk

The next song on the album, "Billie Jean", became not only one of Michael Jackson's biggest signature hits, but oddly, was nearly omitted from the album! :eek: Producer Quincy Jones was not a fan of the song, and felt it was too "weak" to include on the record. He and Jackson argued about the song, until Jones relented and kept it on. Very wise move. Released on January 2, 1983, as the album's second single, it became Jackson's fastest rising single since "ABC", "The Love You Save", and "I'll Be There" with the Jackson 5, and remained on the charts for seven weeks.

The song's lyrics dealt with a mentally ill female fan who claimed that Jackson fathered her child, and the song was Michael's response to her. There was no actual "Billie Jean", but was in fact a composite of the groupies that Jackson and his brothers encountered over the years in the Jackson 5. Some of these women seemed to have designs on the brothers by insisting that they had slept with them, in spite of the group's squeaky clean image. Michael said in his autobiography, "I could never understand how these girls could say they were carrying someone's child when it wasn't true." There seemed to be more to the story than this--in 1981, according to biographer
J. Randy Taraborrelli, the singer actually experienced a strange stalking incident where a female fan wrote a letter to Jackson claiming that he was the father of one of her children. Since Jackson regularly received such letters, he ignored it, until she sent more disturbing letters where she said she loved him and wanted to spend his life with him, and how could he ignore his flesh and blood? The incident with the letters was so traumatic that he began to experience nightmares.

He later received a parcel with a letter and a gun, with instructions as to kill himself on a certain day and time, and she would simultaneously do the same to her child and herself, and join him in the next life. A bizarre suicide pact--Jackson was horrified! To his mother's dismay, Jackson had the photograph framed and hung above the dining room table of their family home. Afterward, the Jacksons discovered that the female fan had been sent to a psychiatric hospital.