Released in 1983 as the third single from the "Thriller" album, "Beat It" was a calculated risk by Jackson and his legendary producer, Quincy Jones. Jackson wrote the song with the specific intention of creating a rock anthem that could bridge the gap between pop and mainstream rock audiences. As he explained at the time, he wanted to write a song that would resonate with the "hard rockers" and "younger kids" in the suburbs, while also addressing the serious themes of street violence and peer pressure that plagued urban youth. The approach worked beyond anyone's wildest dreams: "Beat It" shot to number one on the Billboard Hot 100, won two Grammy Awards (Record of the Year and Best Male Rock Vocal Performance), and solidified Michael Jackson's transition from pop star to global cultural phenomenon.
A comparison of how was recorded during the same sessions. Share public link
layered directly beneath the bassline to give the low frequencies an organic, aggressive edge. 3. The Guitar Masterclass: Lukather and Van Halen
The most exclusive part of the multitrack is undoubtedly the guitar solo by Eddie Van Halen. Isolated, the solo showcases Eddie's raw energy and technical brilliance, including his iconic tapping technique. Interestingly, the multitrack highlights that the solo was recorded in a single take, with Eddie reportedly asking to turn up the gain, creating the gritty, tearing sound that defines the track. 2. Vocal Mastery: Michael Jackson's Studio Genius michael jackson beat it multitrack exclusive
For collectors, the 2001 Thriller: Special Edition DVD contains a 5.1 surround mix—which, when center-channelisolated, approximates the vocal stem.
If you are interested in using these multitracks to practice your mixing, you can find a high-quality version at , where you can solo, mute, and remix the track just like Quincy Jones did.
Solo the bass stem, and you will hear why Louis Johnson (of The Brothers Johnson) was a legend. The line is not just root notes. It is a percussive, funky slap bass that dances around the kick drum. On the exclusive multitrack, you can hear Johnson’s fingers squeaking against the strings—a human element usually buried in the final mix. Released in 1983 as the third single from
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The backing vocals are layered multiple times, creating a thick, chorused sound that adds an eerie, haunting quality to the pre-chorus. 3. The Exclusive Van Halen Solo Session
Van Halen altered the underlying arrangement of the song to fit his solo. He instructed the engineers to cut the rhythm section beneath his section, allowing him to solo over a simplified chord progression. The approach worked beyond anyone's wildest dreams: "Beat
Van Halen’s monitor speaker literally caught fire during the recording of this solo due to the sheer volume and power of his performance. Listening to the raw stem reveals the absolute raw power and feedback of his signature "Brown Sound" before it was EQ'd for the radio. Why the "Beat It" Multitracks Matter Today
Of course, no discussion of the "Beat It" multitracks is complete without the isolated guitar layers. The session famously features Steve Lukather on rhythm guitar and bass, but the crown jewel is Eddie Van Halen’s legendary solo. In the exclusive multitrack view, you can hear the exact moment Eddie’s amplifier hums to life. The solo, which Van Halen performed for free as a favor, is a lightning strike of "brown sound" tapping and dives that famously caused a speaker in the control room to catch fire during the session. Hearing the dry signal of this solo reveals the technical complexity and the sheer spontaneous energy that a polished radio mix can sometimes mask.
The string synth (played by Greg Phillinganes on a Jupiter-8) has a track where the filter cutoff is opened manually by hand during the second verse, creating a subtle rise in tension that most listeners never consciously notice.
Before we break down the components, let’s clarify the terminology. A “multitrack” refers to the original session tapes where each instrument and vocal is recorded on a separate channel (or “stem”). The final song you hear on Spotify or vinyl is a mixdown of these tracks.
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