Review Summary: The first in Michael Jackson's legendary trio of career-defining albums.
Off the Wall could not have been released at a better time. In 1979, it was generally thought among the public that disco would be left for dead as new wave and arena rock music were gaining more and more steam. Of course, this was also the same year that housed the (in)famous Disco Demolition Night, in which the destruction of countless disco records ruined a baseball promotion. So with such a genre receiving significant backlash, disco's last stand came in the form of an inspired and energetic Michael Jackson. Already coming off the heels of both his tenure in the young R&B group The Jackson 5 and his own blossoming solo career, Jackson was eventually able to give tired audiences something to root for... out of the very genre they were against.
Whereas
Thriller looks more into the future of pop music with its stronger level of musical diversity, stronger lyricism, and more songwriting attributed to Michael Jackson himself,
Off the Wall is more of a full-fledged disco record from beginning to end. Actually, more like a mix of disco and R&B. Elements of Jackson's older efforts creep into this album's more dance-oriented vibe to create a stronger balance between fun and emotional depth, something that would definitely carry over into his future efforts. The production is superb here as well, being both slick and vintage at the right moments without going overboard; in any case, it definitely fits Michael Jackson's transition into a new phase of his career.
The album also marks the beginning of Jackson's long-running collaboration with songwriters and producers Quincy Jones and Rod Temperton, who were crucial in moving his career along. While Jones is only the producer this time around, he gives
Off the Wall, his bright and grand production work would strengthen the more bombastic numbers such as famous opener "Don't Stop 'Til You Get Enough" or the synth and brass-laden "Get on the Floor." But while Jackson wrote "Don't Stop 'Til You Get Enough," Rod Temperton was definitely more important in the songwriting department this time around. He wrote "Rock With You," the title track, and "Burn this Disco Out," all of which showcase his ear for melody and highly danceable rhythms as well as good dynamic variety (especially on the title track).
However, Michael Jackson and co. aren't afraid of slowing things down either to shake things up a bit. The Paul McCartney-penned "Girlfriend" is a peppy but vocally-layered ballad that displays how much progress Paul's songwriting has seen since the Beatles' early work. But my personal favorite song on this album is the beautifully somber "She's Out of My Life," an extremely sparse number that best displays Jackson's vocal vulnerability. It almost reminds me of how someone's very first heartbreak might play out, with a tone that's sad but also a bit sweet and innocent. Especially in the line "I don't know whether to laugh or cry," Jackson's conflicting emotions and words of longing become quite strong. Even though it was written by Tom Bahler, this song represented a turning point in Michael's career... it ditched the traditional format of the other tunes to focus on something much more dramatic and intense. Songs like "Human Nature" and "Man in the Mirror" would certainly follow in its footsteps.
If anything, the limitations of disco were the only thing holding
Off the Wall from being a pop masterpiece, as a few moments here and there sound a bit samey because of the genre's conventions. But for how many bright and energetic disco songs there are here, Michael Jackson's R&B and soul touches really brought something quite different to it all. Sure, soul and R&B have been explored plenty in the genre, but
Off the Wall was the record that melded it all almost flawlessly.
Thriller may be the better record, but without this gem, I don't think there ever would have been a
Thriller at all since this is what put Jackson on the map in the first place. What a hell of an introduction to your heyday, Michael!
