When Michael Jackson announced the release of his new album Thriller, fans eagerly awaited a groundbreaking follow-up to 1979’s Off the Wall. But to much surprise, the lead single was a soft, mid-tempo duet with ex-Beatle Paul McCartney titled The Girl Is Mine. For many, this lighthearted, almost cheesy tune seemed like an odd and underwhelming choice for a project expected to redefine pop music.

Jackson, however, was confident the collaboration would work. He believed the track fused McCartney’s melodic charm with his own rhythmic groove, and many, including industry legend Dick Clark, sensed its potential. “Even during rehearsals,” Clark noted, “you could tell it was going to be a hit.” Jackson, who often referred to entertainment as “magic,” saw this collaboration as part of that vision.

McCartney himself had some reservations, particularly about the song’s sugary tone and use of the word “doggone.” He admitted it could be seen as shallow, but Jackson clarified that he was aiming not for lyrical depth, but for rhythm and feel.

The Girl Is Mine was released on October 18, 1982—just weeks before Thriller’s debut—and even while the album was still being finalized. Engineer Bruce Swedien recalled Quincy Jones starting each day by playing local radio, which was saturated with the new single. The song’s cover photo was taken by McCartney’s wife, Linda.

Despite its commercial appeal, fans and critics alike were puzzled. This wasn’t Don’t Stop ’Til You Get Enough Part Two. It lacked the funk and flair many expected. But from a strategic standpoint, Jackson saw it as the obvious first single. Earlier that year, McCartney had scored a hit with Ebony and Ivory, a duet with Stevie Wonder. Jackson recognized the commercial power of two iconic names on one track.

He later explained, “We really didn’t have much choice. When you have two strong names like that together on a song, it has to come out first or it gets overexposed.” Releasing it early got the collaboration “out of the way,” allowing space for bolder tracks to follow.

Still, many critics viewed the move as a calculated attempt to cater to white pop audiences. With no other songs yet released, some feared Thriller would prioritize crossover success over innovation. But Jackson had learned from years of racially biased radio play. Launching with a McCartney duet would virtually guarantee airplay across stations that might otherwise ignore a Black artist’s solo work.

Indeed, The Girl Is Mine did just that. It was a safe, conventional track that eased Jackson into mainstream rotation. The single sold 1.3 million copies, reaching No. 2 on the Billboard Hot 100 and topping the R&B chart—marking the first time a Beatle had done so.

Then came Thriller’s opening track, Wanna Be Startin’ Somethin’. It immediately shattered expectations. With its pounding drums, urgent bassline, and frenzied vocals, the song proved Jackson had not lost his edge. Originally conceived during the Off the Wall era, the track didn’t fit neatly into any genre. It wasn’t disco, funk, R&B, or new wave. It was something entirely new—restless, confrontational, and alive.

Lyrically, Jackson was venturing into darker territory. The song’s themes explored media gossip, paranoia, and societal pressure, a shift from his earlier focus on romance and celebration. One lyric, “You’re a vegetable—they eat off of you,” reflected Jackson’s growing wariness of fame and exploitation. Inspired by the toxic relationships surrounding his siblings, particularly La Toya, the track carried personal weight.

Its climax, a chant based on the Douala language of Cameroon, drew from Manu Dibango’s 1972 song Soul Makossa. Jackson and Quincy Jones knew its African rhythm would inject authenticity and global resonance. Jackson, who had visited Senegal with the Jackson 5 in 1973, often said, “I want us to remember where our music comes from.”

Wanna Be Startin’ Somethin’ was eventually released as a single and praised for its raw energy and innovation. Rolling Stone called it Thriller’s “most combative track,” while Cashbox lauded its danceability and unusual but uplifting lyrics. The song earned a Grammy nomination and helped solidify Jackson’s image as a boundary-pushing artist.

In hindsight, Jackson’s strategy was brilliant. The Girl Is Mine opened the door; Wanna Be Startin’ Somethin’ kicked it off its hinges. The blend of commercial savvy and creative risk-taking would ultimately make Thriller the best-selling album of all time.