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	<pubDate>Wed, 13 Nov 2024 16:57:22 +0100</pubDate>
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<p>“I gotta get it on pop radio!”: How Quincy Jones saved Beat It from becoming “too metal”</p>
<p><img width="2000" height="1500" src="https://musictech.com/wp-content/uploads/2024/11/Quincy-Jones-new@2000x1500.jpg" alt="Quincy Jones" srcset="https://musictech.com/wp-content/uploads/2024/11/Quincy-Jones-new@2000x1500.jpg 2000w, https://musictech.com/wp-content/uploads/2024/11/Quincy-Jones-new@2000x1500-400x300.jpg 400w, https://musictech.com/wp-content/uploads/2024/11/Quincy-Jones-new@2000x1500-800x600.jpg 800w, https://musictech.com/wp-content/uploads/2024/11/Quincy-Jones-new@2000x1500-696x522.jpg 696w, https://musictech.com/wp-content/uploads/2024/11/Quincy-Jones-new@2000x1500-1392x1044.jpg 1392w, https://musictech.com/wp-content/uploads/2024/11/Quincy-Jones-new@2000x1500-1068x801.jpg 1068w"></p><p>With over 12 million sales worldwide, <a rel="nofollow" href="https://musictech.com/artists/michael-jackson">Michael Jackson</a>‘s 1983 smash hit <em>Beat It</em> is one of the best-selling songs of all time – but it could have sounded completely different.</p><p>According to Toto’s Steve Lukather – who played guitar on the song, alongside Eddie Van Halen, who played the solo – <em>Beat It</em> nearly sounded a hell of a lot heavier. In a recent chat with <a href="https://www.theguardian.com/music/2024/nov/08/from-thriller-to-sinatra-quincy-jones-collaborators-tell-the-stories-behind-his-songs" target="_blank" rel="noopener nofollow"><em>The Guardian</em></a>, the guitarist and producer reflects on his experience working with the late <a rel="nofollow" href="https://musictech.com/artists/quincy-jones/">Quincy Jones</a> to produce 1982’s <em>Thriller</em>, on which the song appears. And Jones wasn’t afraid to tell Lukather when he was wrong.</p><ul><li><b>READ MORE: <a rel="nofollow" href="https://musictech.com/guides/essential-guide/10-lessons-everyone-in-music-can-learn-from-quincy-jones/">10 lessons everyone in music can learn from Quincy Jones</a></b></li>
</ul><p>If it had been up to Lukather, <em>Beat It</em> would have been a more gritty, distorted affair. “I played a bunch of really wild guitar parts, because I knew Eddie [Van Halen]’s solo was on it,” he recalls. “I was doing real hard rock, a quadruple-track riff.”</p><p>“Quincy wasn’t even there, he was at Westlake doing overdubs on <em>Billie Jean</em> while we were fixing <em>Beat It</em>,” he goes on. “So we’d be on the phone and he goes: ‘It’s too metal, you gotta calm down. I gotta get it on pop radio! Use the small amp, not so much distortion.’”</p><p></p><p>“Quincy just creates a vibe in the studio,” Lukather explains. “He orders up great food, makes everybody feel comfortable and happy, and that makes for a great creative experience. He didn’t write out parts for us; he gave us free rein.”</p><p>“He’d give us a chord sheet and say: ’What have you guys got? Make me look good!’” he continues. “Then, once he started to get a feel for everything, he was a great director.”</p><p><a rel="nofollow" href="https://musictech.com/news/music/quincy-jones-dies-aged-91/">Jones’ passing</a> has come with <a rel="nofollow" href="https://musictech.com/news/music/kamala-harris-barack-obama-tribute-quincy-jones/">a wave of loving tributes</a>. Lukather’s words paint Jones as an irreplaceable creative force: “Quincy is the only guy that can do a solo album without playing or writing anything. Somehow, no matter what he did, there was a Quincy Jones sound – even if he didn’t play, sing, write or whatever. He was a director.”</p><p></p><p>The post <a rel="nofollow" href="https://musictech.com/news/music/quincy-jones-beat-it-metal/">“I gotta get it on pop radio!”: How Quincy Jones saved Beat It from becoming “too metal”</a> appeared first on <a rel="nofollow" href="https://musictech.com/">MusicTech</a>.</p>]]></description>
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