It's the Falling in Love

THE STORY BEHIND ' IT'S THE FALLING IN LOVE'

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This track is often considered the hidden pop gem of the Off the Wall album. It features a rare duet with R&B singer Patti Austin and showcases the polished, "yacht rock" sound that was dominating the late 70s airwaves.

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By the late 1970s, the music charts were being taken over by a sound known today as "Yacht Rock", a smooth, highly polished blend of R&B, jazz, and pop, popularized by artists like Toto, Steely Dan, and The Doobie Brothers. Quincy Jones, always with his finger on the pulse of the industry, wanted Off the Wall to touch on every major genre of black music. He had the disco ("Don't Stop..."), the funk ("Workin' Day and Night"), and the ballads ("She's Out of My Life"). But he needed a track that had that breezy, radio-friendly pop sheen.

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To fill this slot, he chose "It's the Falling in Love." The song was written by Carole Bayer Sager and David Foster. Foster was a rising star in the production world (who would later produce hits for Whitney Houston and Celine Dion), known for his intricate keyboard work and glossy arrangements. The song had actually been recorded previously by polished pop singer Dee Dee Bridgewater, but Quincy believed that with Michael's voice, it could be transformed into something punchier and more soulful.

 

Most fans remember "I Just Can't Stop Loving You" (from Bad) as Michael's big duet moment. However, "It's the Falling in Love" features a prominent female vocal that makes it a de facto duet. The female voice belongs to Patti Austin, a jazz and R&B singer who was a favorite of Quincy Jones.

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Austin wasn't just a backup singer on this track; she sings the harmony lines so loudly and distinctly in the chorus that she effectively shares the lead. Quincy Jones designed the vocal arrangement this way intentionally. He wanted the chorus to sound like a conversation between a man and a woman discovering romance. Michael sings the verses with a cool, detached confidence, but when the chorus hits, Austin’s voice joins in to create a warm, enveloping wall of sound.

 

If you listen to the instrumentation of "It's the Falling in Love," it sounds incredibly tight and professional. That is because the band playing on it is essentially the band Toto.

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Before they were famous for "Africa" or "Rosanna," the members of Toto were the most in-demand session musicians in Los Angeles. The track features David Paich on synthesizers, Steve Porcaro on synthesizer programming, and Jeff Porcaro on drums.

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• The Drums: Jeff Porcaro’s drumming on this track is a masterclass in the "shuffle" feel. It is bouncy and light, driving the song forward without ever feeling heavy.

• The Synths: The synthesizer hook that plays throughout the song (a distinctive, horn-like melody) was programmed by Steve Porcaro. It gives the song a quirky, electronic edge that prevents it from sounding too much like a standard easy-listening track.

 

The production of "It's the Falling in Love" is arguably the most "pop" sounding moment on the album. Unlike the gritty funk of "Get on the Floor," this track is sparkling clean. Engineer Bruce Swedien used a technique called "double tracking" on the brass section to make it sound larger than life. The horns, arranged by Jerry Hey, play quick, staccato bursts that punctuate the melody.

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One subtle detail to listen for is the bass line played by Louis Johnson. While Johnson was known for his aggressive thumb-slapping (as heard on "Get on the Floor"), on this track, he plays with a smooth, muted tone. He locks in perfectly with the kick drum, creating a rhythm section that is solid but unobtrusive, allowing the vocal harmonies to shine.

 

This song required a different kind of singing from Michael. It wasn't about the rhythmic grunts or the emotional sobbing. It was about "straight" pop singing. He had to sing with clear diction and a bright tone to match the sunny disposition of the lyrics.

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Critics often point to this track as proof of Michael’s versatility. He could go from the complex jazz phrasing of "I Can't Help It" to the radio-ready pop of "It's the Falling in Love" on the same record effortlessly. It showed the industry that Michael was a "chameleon", he could adapt his voice to fit any genre Quincy Jones threw at him.

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Many music historians believe "It's the Falling in Love" could have been a massive #1 hit on the Pop and Adult Contemporary charts if it had been released as a single. It was tailor-made for radio in 1980. However, Off the Wall was already crowded with hits. With "Rock With You," "Don't Stop 'Til You Get Enough," "Off the Wall," and "She's Out of My Life" dominating the airwaves, the label simply ran out of room to promote another single.

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As a result, the song remains a "deep cut" a favorite among musicians and producers who admire its chord structure and production value, but largely unknown to the general public compared to the album's blockbusters.

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Like many tracks on Off the Wall, "It's the Falling in Love" found a second life in hip-hop. The song was heavily sampled by the Japanese producer Questlove and has appeared in various house music remixes. The infectious, bouncy nature of the opening riff makes it perfect for loop-based music.

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It stands today as a time capsule of the late 70s "California Sound", a moment where R&B, pop, and soft rock intersected perfectly, with the future King of Pop standing right at the crossroads.