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I Can't Help It

"I Can't Help It" is a song by American singer , serving as the eighth track on his fifth studio album, , released in 1979. Co-written by and , the R&B track blends and elements, with lyrics depicting an overwhelming, inescapable infatuation that the narrator compares to a divine force. Produced by , the recording took place primarily at in and features a sophisticated including by , synthesizer programming by , bass by Louis Johnson, drums by John Robinson, and percussion by . The Seawind Horns, arranged by , add brass accents, while strings are arranged by with Gerald Vinci as concertmaster. Rhythm arrangements were handled by Phillinganes and Wonder himself, marking an early collaboration between the two artists after Jackson's transition to . Though not issued as an A-side single, "I Can't Help It" appeared as the B-side to Jackson's chart-topping debut single "Don't Stop 'Til You Get Enough" from the same album. The song has been lauded for its smooth groove and Jackson's tender, emotive vocals, contributing to 's status as a landmark disco-era release that sold more than 20 million copies globally and helped establish Jackson as a solo superstar.

Background

Song origins

"I Can't Help It" was originally composed by and in 1976 during sessions for Wonder's landmark double album Songs in the Key of Life. The track, envisioned as part of Wonder's expansive exploration of life's themes, was ultimately shelved and excluded from the release. Susaye Greene, who had joined the Supremes as their final member in 1976 following stints as a backup singer with Ray Charles' Raelettes and Wonder's own Wonderlove ensemble, collaborated intimately with Wonder on the song. Their process emphasized instinctive creativity, with Wonder mentoring Greene to compose rapidly without strict rules, likening songwriting to assembling a jigsaw puzzle until the elements aligned perfectly. This approach yielded the song's distinctive jazz-soul roots, drawing from Wonder's experimental mid-1970s sound that blended complex harmonies, improvisational elements, and social introspection across albums like Innervisions (1973) and Fulfillingness' First Finale (1974). Wonder held onto the demo for two years before sharing it with Michael Jackson in 1978, inviting the young artist to his studio where he performed the track on piano. Jackson later recounted the moment: “I was at home and [Stevie Wonder] invited me to the studio. And he played me ['I Can't Help It']. I said 'I love it! What is it? When are you going to put it out?' He said ‘I’m not putting it out, it’s for you.’ I was so excited because he is so good and the melody is so good.” This exchange exemplified Wonder's broader mentorship influence on Jackson's breakthrough album Off the Wall.

Collaboration with Stevie Wonder

Following his departure from Motown Records in 1975, where he had risen to fame as the lead singer of with a series of youthful, bubblegum pop hits, signed a solo deal with as part of the group's transition to the label. This move was driven by Jackson's ambition to explore more mature, adult-oriented material that reflected his evolving artistry and allowed for greater creative autonomy beyond the family's group dynamic. In 1978, during preparations for what would become his breakthrough solo album Off the Wall, Jackson received an invitation from to visit his studio. There, Wonder played a demo of "I Can't Help It," a track he had co-written with former member . Wonder's involvement extended beyond providing the demo; as co-writer, he shaped the song with elements that complemented Jackson's vocal style, incorporating rhythmic interplay and harmonic nuances suited to Jackson's expressive, fluttery delivery. This collaboration represented the first major professional songwriting partnership between the two artists following Jackson's deal, fostering a creative exchange that highlighted their mutual admiration and shared roots in and R&B traditions.

Recording and production

Studio sessions

The recording sessions for "I Can't Help It" occurred between December 1978 and June 1979 at Allen Zentz Recording, Westlake Recording Studios, and Cherokee Studios in Los Angeles, California, as part of the broader production for Michael Jackson's album Off the Wall. Rhythm tracks and vocals were recorded at Allen Zentz Recording, horns at Westlake Audio, and strings at Cherokee Studio. These sessions involved a collaborative effort under producer Quincy Jones, who oversaw the integration of the track into the album's overall sound. Quincy Jones's production approach emphasized meticulous layering of instrumentation to complement Jackson's vocal performance, drawing on Jones's extensive experience in blending genres for rhythmic depth and emotional resonance. Vocals for the track were primarily tracked in early 1979, aligning with the album's core recording phase. , who co-wrote the song with , contributed to the rhythm arrangement alongside , providing foundational elements before final overdubs.

Key personnel

The production of "I Can't Help It" was led by , who served as the primary producer for the track as part of his oversight of Michael Jackson's 1979 album , with Jackson receiving co-production credits on select songs from the project. The song was written by and , marking an early collaboration between Wonder and Jackson. Key performers on the recording included on lead and backing vocals; on keyboards and , along with rhythm arrangement duties shared with ; on Prophet-5 synthesizer programming; Louis Johnson on bass; John Robinson on drums; and additional support from percussionist , horn section arranged by featuring Gary Grant, William Reichenbach, , and Kim Hutchcroft, and strings arranged by led by concertmaster Gerald Vinci. Recording and mixing were handled by engineer , renowned for his work on , with assistance from Tom Perry.

Composition

Musical style and structure

"I Can't Help It" blends and R&B elements with subtle and influences, creating a sophisticated groove that highlights Michael Jackson's evolving sound in the late . The track is written in the key of and maintains a moderate of around 100 beats per minute, contributing to its relaxed yet engaging rhythm. The song adheres to a classic pop format, structured as an intro, verse, chorus, verse, chorus, , chorus, and outro, with a total duration of approximately 4:30. This arrangement allows for a gradual build-up, starting with atmospheric synth layers and evolving into fuller ensemble sections. The core groove is anchored by the warm tones of a Fender Rhodes and lush pads, providing a dreamy, floating quality reminiscent of Stevie Wonder's original demo style. In terms of arrangement, the track features a prominent, melodic bass line played by Louis Johnson, which drives the funk-infused undercurrent. John Robinson delivers subtle, precise drumming that supports the mid-tempo pulse without overpowering the melody. Stevie Wonder's work adds ethereal textures, enhancing the song's intimate, jazz-tinged atmosphere, while contributes on . Jackson employs his signature prominently in the , soaring over the to convey emotional vulnerability and adding a layer of vocal dynamism.

Lyrics and themes

"I Can't Help It" was written by and , with lyrics that revolve around the theme of irresistible romantic attraction, portraying as an overwhelming beyond the singer's control. The encapsulates this sentiment through lines such as "I can't help it if I wanted to / I wouldn't help it even if I could," emphasizing a helpless to . The song's themes delve into vulnerability and passion, depicting the subject as "an angel in disguise" who evokes deep, uncontrollable emotions, blending admiration with emotional exposure. This reflects Michael Jackson's maturation from his earlier persona toward a more adult expression of sensuality, as heard in the track's intimate portrayal of romantic longing on his 1979 album . A subtle influence appears in the lyrical phrasing, contributing to the song's smooth, confessional tone that heightens its sense of authenticity and risk-taking. Jackson's vocal delivery underscores these themes through layered harmonies that build emotional depth and ad-libs that convey raw surrender, creating a multi-textured expression of passion and helplessness.

Release and reception

Album context and promotion

"I Can't Help It" was released on August 10, 1979, as the eighth track on Michael Jackson's fifth solo studio album, , which marked his transition from child star to adult pop icon and was produced by . The album represented Jackson's first major collaboration with Jones, following their work together on the 1978 film , and it featured a blend of , , and influences that helped redefine Jackson's sound. Although not released as a standalone , "I Can't Help It" gained exposure through its inclusion as the B-side to the album's , " 'Til You Get Enough," which was issued on July 10, 1979, and became a major hit. This positioning contributed to its promotion within the broader campaign, which emphasized Jackson's mature artistry through television appearances, print ads, and album-oriented marketing. The commercial triumph of , which has sold over 20 million copies worldwide, played a crucial role in elevating the profile of album tracks like "I Can't Help It," embedding it within one of the best-selling albums of all time. By 2025, the album's enduring sales and cultural resonance—further boosted by its diamond certification in the United States for 10 million units—continued to highlight the song's place in Jackson's breakthrough era.

Critical reception

Upon its release in 1979, "I Can't Help It" received positive notice from critics as a highlight of Michael Jackson's album. In a contemporary review for , Stephen Holden praised the track for showcasing Jackson's vocal prowess, noting that his "vocal is reminiscent of [Stevie Wonder's] breathless, dreamy style," particularly in its of and elements. The song's intimate groove and sophisticated arrangement were also highlighted in broader album assessments, contributing to 's acclaim as a breakthrough for Jackson's mature artistry. In retrospective analyses, "I Can't Help It" has been consistently ranked among the album's standout tracks for its seductive blend of , and R&B. A 2014 Billboard track-by-track review called it a sultry co-write that showcases Jackson's and emotional depth, with a slinky bassline and lush that make it one of the album's sleeper hits. Similarly, Pitchfork's 2016 reissue review underscored its integration with twinkling synths and its lasting influence on off-kilter , as heard in ' work, positioning it as a key example of 's genre-expanding innovation. The track's critical mentions have often been scattered across album overviews due to the lack of a dedicated entry in major encyclopedias, but post-2000 reviews have filled gaps by elevating its status as an underappreciated gem. This renewed attention aligns with 's 2025 RIAA Diamond certification for 10 million U.S. units sold, which has spotlighted deep cuts like "I Can't Help It" amid the album's enduring commercial success.

Legacy

Notable covers

"I Can't Help It," originally composed by and for Michael Jackson's 1979 album , has inspired numerous reinterpretations across genres, with SecondHandSongs documenting 69 cover versions as of 2025. Its appeal stems from the song's versatile structure, blending soulful R&B with -inflected harmonies and chord progressions that allow for , alongside emotionally resonant about inescapable love that resonate in , R&B, and pop contexts. Among the earliest notable covers is saxophonist 's instrumental rendition, released in February 1980 on his album Skylarkin', which reimagines the track as a fusion piece emphasizing melodic lines over the original's vocal focus. In the realm, vocalist contributed a soulful interpretation in collaboration with trumpeter on the 2014 album Afro Physicist, transforming the song into a vibrant, Afrocentric arrangement with Bridgewater's powerful vocals and Croker's flourishes highlighting the track's rhythmic groove. Later covers continue to showcase the song's enduring adaptability. Bassist and vocalist released a jazz-infused version featuring tenor saxophonist on her 2012 album , with a accompanying its 2022 digital reissue, emphasizing intimate and upright bass to underscore the lyrics' vulnerability. Co-writer has performed the song live, including a 2013 studio session jam that captures its improvisational spirit in a spontaneous R&B setting. These reinterpretations highlight how the song's roots and heartfelt themes continue to attract diverse artists.

Cultural impact

The song "I Can't Help It" has exerted a notable influence on subsequent artists, particularly through its sampling in hip-hop tracks during the 1990s. De La Soul's 1993 single "Breakadawn" from the album Buhloone Mindstate prominently samples the track's bassline and vocal elements, integrating Jackson's smooth funk into alternative hip-hop's eclectic sound. This usage exemplifies how the song's dreamy, Stevie Wonder-penned groove bridged disco-era soul with rap's innovative production techniques. Its soulful, jazz-inflected style has also resonated in neo-soul and , inspiring ballads with lush instrumentation and emotional vulnerability. For instance, The Weeknd's 2022 track "Out of Time" from evokes a similar atmospheric vibe to "I Can't Help It," reflecting broader nods to Jackson's Off the Wall-era sensuality in modern R&B production. Stevie Wonder's own live performances of the song, such as his 2013 studio rendition and collaborations with jazz ensembles like Jazz Mafia in 2009, have further embedded it in jazz circles, where its harmonic complexity and improvisational potential have made it a favored cover among instrumentalists. As part of Michael Jackson's 1979 album , "I Can't Help It" symbolizes his artistic transition from to mature solo artist, marking a pivot toward adult-oriented themes and sophisticated pop-soul arrangements that redefined Black music's commercial landscape. This collaboration between Jackson and —Jackson's first major co-write with the legendary musician—has been frequently highlighted in tributes following Jackson's 2009 , including Wonder's emotional of the at events, underscoring their enduring partnership. By 2025, the track continues to experience cultural revivals, particularly within the renaissance that has seen renewed interest in and reinterpretation among younger artists. Spalding's 2022 visualizer release of her , featuring saxophonist from her 2012 album , ties the song to contemporary explorations, blending its original with improvisational flair to appeal to new audiences. This resurgence aligns with broader discussions of Wonder-Jackson synergies in music retrospectives, affirming the song's lasting role in evolving soul and traditions.

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