{$Michael Jackson} had recorded solo prior to the release of {^Off the Wall} in 1979, but this was his breakthrough, the album that established him as an artist of astonishing talent and a bright star in his own right. This was a visionary album, a record that found a way to break {\disco} wide open into a new world where the beat was undeniable, but not the primary focus -- it was part of a colorful tapestry of lush ballads and strings, smooth {\soul} and {\pop}, {\soft rock} and alluring {\funk}. Its roots hearken back to {$the Jacksons}' huge mid-'70s hit {&"Dancing Machine,"} but this is an enormously fresh record, one that remains vibrant and giddily exciting years after its release. This is certainly due to {$Jackson}'s emergence as a blindingly gifted vocalist, equally skilled with overwrought ballads as {&"She's Out of My Life"} as driving dancefloor shakers as {&"Working Day and Night"} and {&"Get on the Floor,"} where his asides are as gripping as his delivery on the verses. It's also due to the brilliant songwriting, an intoxicating blend of strong melodies, rhythmic hooks, and indelible construction. Most of all, its success is due to the sound constructed by {$Jackson} and producer {$Quincy Jones}, a dazzling array of {\disco} beats, {\funk} guitars, clean mainstream {\pop}, and unashamed (and therefore affecting) schmaltz that is utterly thrilling in its utter joy. This is highly professional, highly crafted music, and its details are evident, but the overall effect is nothing but pure pleasure. {$Jackson} and {$Jones} expanded this approach on the blockbuster {^Thriller}, often with equally stunning results, but they never bettered it. [The 2001 reissue adds demo versions of {&"Don't Stop 'Til You Get Enough"} and {&"Workin' Day and Night,"} interviews with producer {$Quincy Jones} and songwriter {$Rod Temperton}, and a new booklet] ~ Stephen Thomas Erlewine, All Music Guide