The song's lyricist, Siedah Garrett, was a member of the Quincy Jones-produced five-piece, Deco, when she penned this tune. She had never written a song before when Jones invited her along to a meeting with other songwriters at the producer's home to come up with material for Jackson's next album. The appointment was for 11am, but as Garrett explained to author Adam White, she arrived an hour late. "I got lost," she explained. Once she eventually arrived Jones told the assembled company. "I just want hits, that's all I want."
Garrett took the commission to her writing partner, the then little known Glen Ballard, who later achieved enormous success as a co-writer and producer with Alanis Morrisette on her first albums. "I sat down and started playing a figure on the keyboard and Siedah opened up her notebook," Ballard recalled to SongTalk magazine. Garrett caught Ballard's attention with some lyrics about a man looking in the mirror. She told SongTalk that she had been holding onto the title "for about a year. I have a book and when I hear things that I like, I write it down. I keep a pad in my car at all times."
By the end of the week the pair had completed a demo, with Garrett's guide vocal. Garrett recalled to SongTalk the rest of the song's story: "We had the demo of the song done on a Friday evening. Knowing that Quincy Jones' offices were going to be closed until Monday, I called [Quincy] and said, 'I can't wait until Monday.' He told me to bring the tape over. I did. Four hours later – four hours! – he called me. He said, 'Baby, the song is great. It's really good. But– ' I said, 'But what?' And he said, 'I don't know. I've been playing songs for Michael for two years. And he has yet to accept an outside song.'
Three days later I got a call from Quincy and he told me that Michael loved the song and wanted to cut it. I screamed! Couldn't believe it.
Then he said that Michael had a great idea for the background; he's gonna have the Winans and Andre Crouch an a choir. Then he said, 'and I might be able to squeeze you in on that.' I said, 'Q Babe! Thanks!' [Laughs]
A few days before the session I got a call from Quincy. He told me Michael wanted to extend the bridge and needed some new lyrics for it. And he was trying to tell me the message that should be in these new lyrics. He would say, 'Michael wants so-and-so,' and then, in the background I would hear, [softly and high-pitched] 'Mmmrrrmmrr…' And it was Michael, you know?
This went on for a little while, with Quincy translating for Michael. Finally, Quincy says, 'Hold on,' and puts Michael Jackson on the phone, right? I'm home cooking dinner, right? And inside I'm like 'OMIGOD!! It's MICHAEL JACKSON!!' But on the phone I'm like [softly and coolly], 'Yes, Michael?' Really cool, you know?
He said, 'I love your song and I think you have a great voice.'
I said, 'Wow. Thanks! Thanks for doing it, dude!' [Laughs]
So Michael tells me what he wants and I take off to find the answer to his dilemma in the bridge. I came up with three different ideas for the part. But then the song turned out to be long anyway, that they never used it. So it's pretty much as it was in demo form with the exception of the key change."
Jackson was so impressed by the soulful beauty of Garrett's voice on the demo that he immediately enlisted her to sing a duet with him on "I Just Can't Stop Loving You."