The driving force behind "Beat It" begins with its iconic intro, immediately followed by an unyielding drum groove.
For decades, Thriller has been the gold standard of pop production. But while most fans focus on the final stereo mix, the real magic of Michael Jackson’s "Beat It" lives in the raw, isolated tracks of the multitrack master.
To make the pop track appeal to rock radio stations, Steve Lukather and Paul Jackson Jr. multi-tracked their rhythm guitars. The stems show that the main riff is actually composed of : one clean line down the center, one heavily distorted track panned hard left, and a matching distorted track panned hard right. This creates an immense stereo spread that gives the track its aggressive edge. How to Utilize Multitracks Legally michael jackson beat it multitrack exclusive
When Michael Jackson’s Thriller shattered global sales records in 1983, it didn't just change the pop music landscape—it fundamentally altered how records were produced. At the epicenter of this sonic revolution was "Beat It." While millions know the iconic opening synth gongs and the blistering guitar solo, true audio aficionados know that the real magic is hidden deep within the song's original multitrack sessions.
Provides a clear view of the acoustic kick drum and the "bleed" between microphones, which added a natural, organic feel to the programmed-sounding rhythm. The driving force behind "Beat It" begins with
Producers who’ve studied the stems note three production moves that define the track:
To prevent the programmed beat from sounding sterile, legendary Toto drummer Jeff Porcaro recorded live acoustic drums over the loop. The multitracks reveal how Porcaro locked in perfectly with the electronic grid. His snare hits are famously crisp, achieved through Bruce Swedien’s "Acusonic Recording Process," which involved recording pairs of tracks in true stereo to capture the natural ambient space of the room. Louis Johnson’s Bassline To make the pop track appeal to rock
The vocal stems are perhaps the most chilling element of the "Beat It" exclusive multitracks. Stripped of the lush instrumentation, Jackson’s lead vocal is a masterclass in intensity and rhythmic phrasing. You can hear his finger snaps, the rhythmic grunts (his signature "hee-hees"), and the physical movement in the booth. These tracks prove that Michael wasn't just singing notes; he was performing the song with his entire body, treating his voice as a percussive instrument to cut through the heavy rock production.
Most people don't notice the strings in Beat It until the outro. But solo the string track (arranged by Jerry Hey).
What do you think of this exclusive multitrack recording of "Beat It"? Share your thoughts in the comments below! Do you have a favorite part of the song, or a favorite Michael Jackson album? Let us know!
The solo track is incredibly hot. You can hear the raw hiss and hum of his custom amplifier setup before he strikes the first note.