Steve Lukather shared a fascinating insight into how Quincy Jones intervened to prevent him from transforming Michael Jackson’s iconic track “Beat It” into a heavy metal anthem—even though the legendary producer was not present during the recording sessions. This moment highlights Jones’ remarkable talent for directing musicians and shaping their contributions, much like a film director orchestrates a cinematic masterpiece. Lukather, a seasoned guitarist and member of Toto, emphasized Jones’ exceptional ability to guide artists to achieve the best possible outcome, emphasizing the importance of collaboration and artistic vision in the music-making process.

In a recent interview with The Guardian, Lukather recounted how, inspired by Eddie Van Halen‘s explosive guitar work on “Beat It,” he initially planned to back it with a powerful, heavy rhythm guitar foundation. However, Jones’ foresight and instinct for what would resonate with audiences ultimately steered the song in a different direction, showcasing the delicate balance between artistic expression and commercial appeal.

READ MORE: Eddie Van Halen Broke a Band Rule to Play on ‘Beat It’

“What many people overlook about Quincy is his brilliant instinct as a casting director,” Lukather noted. “He had an extensive network of diverse musicians at his disposal, and when he received a particular piece of material, he would confidently select the perfect person for the job.” This ability to assemble the right talent contributed significantly to the success of many tracks and is a testament to Jones’ unparalleled expertise in music production.

Lukather first entered the creative world of Quincy Jones at just 23 years old. He reminisced about the thrill of collaborating with musical legends: “You never knew who you were going to encounter in the studio with Quincy. I was trying to keep my composure, being a young fan surrounded by icons. The excitement of seeing Stevie Wonder on keyboards was surreal.” Instead of dictating every note, Jones provided a framework—a chord sheet—and encouraged the musicians to explore their creativity. “He would say, ‘What do you guys have? Make me shine!’ Once he grasped the vibe, he skillfully directed us: ‘That’s fantastic; let’s develop that further.’”

When Lukather and fellow Toto member Jeff Porcaro received the opportunity to work on Jackson’s groundbreaking album Thriller, their first assignment was the track “The Girl Is Mine,” featuring none other than Paul McCartney. Reflecting on the experience, Lukather expressed his disbelief, saying, “Can you believe it? Quincy, Michael, and Paul McCartney all in one room? It doesn’t get bigger than that in 1982.” The excitement was palpable, even though he acknowledged the song was somewhat lighthearted. This encounter with one of the Beatles was monumental for Lukather, as McCartney’s music had inspired him to begin playing in the first place. The energy shifted dramatically when Paul and Linda McCartney entered the studio, making it a memorable moment.

“We had a straightforward song with basic chords, and we began creating a groove together,” Lukather explained. “The level of musicianship in the room was astounding, and by the end of our first take, we were incredibly close to the final product. By the third take, we captured the magic that would define the song.”

How Quincy Jones Guided Steve Lukather’s Approach to ‘Beat It’

Turning to the iconic track “Beat It,” Lukather recalled the unconventional recording process: “We approached it in reverse: Michael’s lead vocals and Eddie Van Halen’s legendary guitar solo were captured with minimal overdubs and no click track initially. Jeff created a click track for the drums, while I experimented with some wild guitar riffs, knowing that Eddie’s solo was a part of it—all of which leaned towards hard rock with a quadruple-track riff.”

“Interestingly, Quincy wasn’t even in the studio with us; he was at Westlake [Recording Studios] doing overdubs for ‘Billie Jean’ while we were perfecting ‘Beat It.’ We stayed in touch via phone, and he said, ‘It sounds too metal; you need to tone it down. I need this to make it onto pop radio! Use a smaller amp and less distortion.’”

The outcome of their collaboration was undeniable. “Beat It” not only became a chart-topping sensation, but it also earned Grammy Awards for Record of the Year and Best Male Rock Vocal Performance in 1984. Lukather attributed much of the song’s success to Jones’ visionary approach in crafting a pop-rock masterpiece that resonated with audiences worldwide.

“Quincy is the only individual capable of producing a solo album without playing or writing a single note,” Lukather remarked. “Somehow, regardless of his direct involvement, there was always a distinct Quincy Jones sound. He truly mastered the role of a director.”