Don’t Stop Til You Get Enough

This song represents a lot of firsts for Michael Jackson. It was the first single from Off The Wall, and the first recording MJ made that he had complete creative control over. Many of his hits were written by Quincy Jones or Rod Temperton or the guys from Toto, but Michael wrote this one himself. It was also his first solo song to get a music video.

I’ve loved this song for years while barely being able to make out any of the words. I finally had to look them up on Google. MJ isn’t exactly Cole Porter, but his lyrics have nice body logic, they sound good and are super pleasurable to sing. MJ had the same songwriting strategy as the Beatles: he started with a melody over a rhythmic groove, developed using nonsense syllables. Only later, once the whole song was in place and recorded as a demo, did he find words that fit the metrical scheme.

Verse one:

Lovely is the feeling now
Fever, temperatures rising now
Power (ah power) is the force, the vow
That makes it happen
It asks no questions why
So get closer
To my body now
Just love me
‘Til you don’t know how

The melodic nut meat of this tune is on the words “lovely,” “fever,” “power,” “happen” and so on. The first syllable of these words is sung on D-sharp, the major third in the key of B. The second syllable is on the A below, the flat seventh in B. The interval between these two notes is a tritone. It’s a sound with a richly conflicted emotional resonance. If you’re willing to follow me through a little music theory, it’ll help you understand what makes this song so awesome.

Western music theory is based on the buildup and release of tension. One of the best ways to create tension is with dissonance. The tritone is considered by European tradition to be a very dissonant interval. Every major key has a tritone in it, between the fourth and seventh notes of the scale (fa and ti, for Sound Of Music fans.) If you’re a typical Western listener and you hear a tritone, your ear wants it to resolve to a less dissonant interval. You want the fa to resolve down to mi, and the ti to resolve up to do.

Tritone resolution

African-American music treats the tritone very differently. The blues uses tons of unresolved tritones. In blues, chords with tritones can functionally feel stable and resolved, “dissonant” though they may be. (The music has lots of other intriguing harmonic grittiness, like microtones, and the simultaneous use of minor and major thirds.) The blues passed the unresolved tritone on to its many musical descendants: jazz, rock, R&B, and funk.

MJ is squarely within his musical tradition to be basing his melody on an unresolved tritone. Still, it’s startling to hear it featured so prominently and starkly in a pop song, on the very first two notes of the vocal melody. It gives a jolt of intensity to what might otherwise be a harmless piece of disco fluff.

Music is fundamentally all about math. Most of the musical intervals in the western tuning system are based on simple ratios, the kinds of numbers you can count on your fingers. The interval between A and the next A up is an octave, meaning that the ratio between the two notes’ frequencies is one to two. The interval between A and E is a fifth, a ratio of two to three. The interval between A and C-sharp is a major third, a ratio of four to five. The tritone is different. The interval between A and D# is one to the square root of two. Your ear might not know which specific irrational number it’s hearing, but it knows that something weird and complex is at work, something you can’t count on your fingers.

“Don’t Stop ‘Til You Get Enough” asserts further non-European quality in its extremely minimalist chord progression. It has just two chords, A major and B7. The A major has B as its bass note, which really makes it more of a B9sus4 chord. The music term for this kind of unvarying chord pattern is a modal groove. In this case the mode is B Mixolydian.

Western music is mostly linear. The chord progression tells a story of dissonance leading to consonance, or vice versa. Modal tunes are more Eastern, trance-like and drone-oriented. They’re about creating a cyclical ambiance, a mood rather than a narrative. “Don’t Stop ‘Til You Get Enough” shares its modal quality with my other favorite Michael Jackson original, “Wanna Be Startin’ Something,” which he wrote around the same time.

MJ’s chorus adds to the trance-inducing vibe by repeating the same line over and over:

Keep on with the force, don’t stop
Don’t stop ’til you get enough

It’s more of a mantra than a semantic idea. It helps keep the mind clear for the business at hand, the business of getting your groove on from the waist down.

The harmony and lyrics might be static, but there’s a lot of music packed into this track. Ben Wright’s string arrangement chases up and down the chromatic scale, adding another dash of unsettling dissonance. There are multiple layers of bells, handclaps and other percussion, and the bass and guitar mostly function as percussion too. Jerry Hey’s tight horn chart makes the brass into yet another percussion element, rather than a melodic one. Check out the stab at 1:37, the end of the first chorus. Hot!

As with all of MJ’s hits, “Don’t Stop Til You Get Enough” has been sampled many times. Some highlights, more or less in chronological order:

Purists might find it jarring, but I’m also enjoying this remix with Jay-Z.

The synth solo in this tune is an excellent example of blues tonality.

Here’s my mashup of this song with the Force Theme from Star Wars:

Update: this post is quoted in a terrific video about “Don’t Stop Til You Get Enough” by Nerdwriter.

4 thoughts on “Don’t Stop Til You Get Enough

  1. Don’t Stop ‘Til You Get Enough is my favorite MJ song, it is so infectious and I never get tired of playing it, I even play it in my head when I don’t have my MP3 player or near my computer and I always turn up the radio when it comes on. Its such an infectious song and when you look into it, its surprisingly long. Part of what I like is the aurora MJ creates with the speaking introduction, ‘You know, I was wondering you know, if we should keep on, because the forces got a lot power and it makes feel like….makes me feel like……… Oooooooooooooooooooooh!’, accompanied by the base guitar from one of the members of the Brothers Johnson. It just creates such a momentum that literally continues to the vary end. The falsetto from MJ is like an instrument itself and instead of MJ singing to the tune, its more like he is leading the instruments with the various horns, bottles you hear that help to make up that cabal of sounds. There is something tremendously exhilarating as you listen the entire song, its like you are being lead somewhere else, new yet familiar and of course that break down section, where you hear like a group of guys just met up (it puts me in the mind of Eddie Griffin and Dave Chappelle talking, lol) and then it jumps right back into that oneness of MJ singing of ‘heart break, enemy despise, eternal rushes in our hearts’. The song is simply amazing, poetic, strikingly connected and LSD like in its experience, combined with ecstasy and sexuality, yet innocent in its objective of focusing on whatever you want until you’get enough’ or eventually accomplish it and savor it.

  2. Ha, I just heard “Even Flow” by Pearl Jam, and the vocal melody starts with the exact same tritone as “Don’t Stop Til You Get Enough.”

  3. Wow, thanks for the breakdown – a lot of it’s over my head since I’m not a musician, but I still appreciate the analysis. Don’t Stop and Wanna Be have always been my favorite MJ songs as well! I also love Workin’ Day And Night, which to me also has a similar sound/feel. I think he wrote all three around the same time – I love the energy, funkiness and frantic beats of the songs. His voice sounds amazing on them, too.

    • Oh yeah, Workin’ Day And Night is totally in that same family. Dorian mode instead of mixolydian but structurally the same basic deal. I love the intensity of all three songs, I feel like I get new energy out of them every time I listen, and I’ve listened to them a lot.

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