Michael Jackson, the undisputed King of Pop, boasts a career that spanned over four decades of his remarkable 50 years. From his early days as the sensational frontman of Motown’s groundbreaking Jackson 5, to his evolution as a sensitive solo artist in the 70s, and his reign as a pioneer of the MTV era, Jackson consistently delivered timeless music. His voice resonated through generations, producing some of the best-selling records of the 90s and beyond. This definitive Michael Jackson Songs List explores his extensive catalog to celebrate 50 of his most exceptional tracks.
50. “This Place Hotel”
Triumph, 1980
Michael Jackson, already hinting at his future King of Pop status, channeled the spirit of Elvis Presley’s “Heartbreak Hotel” with The Jacksons in 1980. Penned by Michael himself, “This Place Hotel” diverges significantly from the 1956 rock and roll classic. Instead, it’s a sleek disco-pop creation exploring a darker thematic territory – a hotel symbolizing relationship demise. Initially titled “Heartbreak Hotel,” and achieving Number Two on the R&B charts, the song was later renamed “This Place Hotel,” possibly to preempt any legal issues, resulting in a somewhat cryptic title.
49. “Who’s Lovin’ You”
Diana Ross Presents the Jackson 5, 1969
While “I Want You Back” signaled Motown’s innovative future, its B-side, “Who’s Lovin’ You,” paid homage to the label’s rich past. This cover of a Smokey Robinson ballad, originally a B-side to The Miracles’ “Shop Around” in 1960, represents the fruitful early collaboration between the Jackson 5 and R&B singer Bobby Taylor. Taylor was instrumental in bringing them to Motown and producing their initial tracks. Supported by Motown’s legendary house band, the Funk Brothers, a young Michael Jackson pushes his vocal limits, passionately conveying every ounce of heartbreak in Robinson’s poignant lyrics.
48. “Blood on the Dance Floor”
Blood on the Dance Floor: HIStory in the Mix, 1997
Resurrected from the Dangerous era outtakes, “Blood on the Dance Floor” became the title track for Jackson’s 1997 remix album. This ominously seductive song has a chilling backstory. Producer Teddy Riley, engrossed in working on the track, missed a party where a shooting occurred on the dance floor. Unaware of the tragedy, Riley was taken aback when Jackson proposed “Blood on the Dance Floor” as the title. Jackson’s lyrics depict a dangerous stalker armed with a seven-inch knife, another iteration in his recurring theme of femme fatales where the lines between sex and violence blur.
47. “Will You Be There”
Dangerous, 1991
Even within Michael Jackson’s ambitious discography, “Will You Be There,” the theme song for the 1993 film Free Willy and the eighth single from Dangerous, stands out as exceptionally grand. Conceived at his Neverland Ranch’s “Giving Tree,” this track opens with a lengthy orchestral prelude from Beethoven, performed by the Cleveland Orchestra. It interweaves powerful hosannas from the Andraé Crouch Singers, culminating in an emotionally charged spoken monologue. A gospel-infused song, “Will You Be There” continues a thematic thread throughout his career, from “I’ll Be There” to “Got to Be There,” reflecting a journey from unwavering confidence to vulnerability and isolation.
46. “In the Closet”
Dangerous, 1991
Creating his most explicitly sensual song to date and naming it “In the Closet” exemplified Michael Jackson’s mastery of ambiguity in the early 90s. Producer Teddy Riley crafted a jarring, unconventional beat, perfectly complementing Jackson’s breathy whispers and passionate wails, aligning with the edgy R&B sound of the era. Keyboardist Brad Buxer described it as “almost atonal,” highlighting its unique sonic landscape. Initially intended as a duet with Madonna, “In the Closet” features spoken interludes by a “Mystery Girl” – Princess Stéphanie of Monaco – in the recording, while supermodel Naomi Campbell starred in the song’s provocative music video.
45. “State of Shock”
Victory, 1984
“State of Shock,” a dynamic duet between Michael Jackson and Mick Jagger, was the highlight of The Jacksons’ otherwise underwhelming Victory album era, reaching Number Three on the charts. Seamlessly blending guitar-driven rock and pop sensibilities, the song was initially envisioned as a collaboration with Queen’s Freddie Mercury. However, due to scheduling conflicts, Jagger stepped in. Sound engineer Bruce Swedien recounted, “[Michael] had Mick doing vocal scales for over an hour to warm up before he would even start.” Jagger, recognizing Jackson’s unparalleled talent, complied without hesitation, underscoring Jackson’s already legendary status.
44. “Scream”
HIStory: Past, Present and Future, 1995
Following intense media scrutiny and accusations, Michael Jackson reached a boiling point, resulting in “Scream,” one of his most fiercely confrontational songs. Marking the first instance of profanity in his discography, written with his sister Janet Jackson, it soared to Number Five on the Hot 100. This success was amplified by an extravagant music video, often cited as the most expensive ever produced. Despite the challenging period, Jackson found solace in collaboration. “I have had so much fun working with my sister,” he stated in 1995. “It’s like a reunion. I’m closest to Janet of all the family members. We were very emotional on the set.”
43. “Dancing Machine”
Dancing Machine, 1974
By 1974, the Jackson 5’s star power had slightly waned, with three years passing since their last Top 10 hit. Producer and co-writer Hal Davis took a bold step, steering them away from juvenile pop towards a full-fledged disco sound, complete with a pulsating synthesizer. Coupled with Michael’s mesmerizing “robot” dance, debuted on Soul Train, “Dancing Machine” became a massive crossover success, charting a new course for the group’s future musical direction. Michael Jackson fondly remembered in Moonwalk, “I loved ‘Dancing Machine,’ loved the groove and the feel of that song.”
42. “Jam”
Dangerous, 1991
“Jam,” the opening track of Dangerous, presents a surprisingly edgy and fragmented take on danceable calls for unity. The groove bears the signature sound of producer Teddy Riley, though the core concept originated with Jackson. Riley recalled, “He brought it to me as a DAT, and he told me there were things he wanted done, and I did them.” Jackson’s vocals gradually emerge in the mix, and the stuttering chorus gives the impression of his voice being fragmented. The most accessible element of “Jam” is arguably the verse by Heavy D, Jackson’s preferred rapper at the time. While it underperformed on pop charts, it achieved Top Five status on the R&B charts.
41. “Farewell My Summer Love”
Farewell My Summer Love, 1984
In 1984, Michael Jackson’s popularity was so immense that even a recording of him reciting mundane text would likely chart. Capitalizing on this, Motown released Farewell My Summer Love, an album of previously unreleased MJ material. Comprising nine songs from 1973, overdubbed with contemporary 80s instrumentation, Jackson expressed his disapproval: “It’s not fair,” Jackson stated. “I had no control over that music.” Despite Jackson’s reservations, the album’s innocent title track became a Top 10 hit in the UK. Fittingly for a song about youthful heartbreak, Michael’s performance captures his voice in transition, revealing nascent hints of his mature vocal power.
40. “Can You Feel It”
Triumph, 1980
“I got a call at three in the morning, it’s Michael Jackson,” recounts vocal coordinator Stephanie Spruill, who assembled the 30-person choir for The Jacksons’ “Can You Feel It.” “He says, ‘I know I asked you to get the choir of voices . . . but now I need a choir of children. And I want them to be every race, creed and color.’ Mind you, the session was in two days.” Spruill successfully managed to assemble the choir for the session, which was triple-tracked to create a triumphant disco anthem. According to Tito Jackson, the song encapsulates the essence of The Jacksons. Speaking to Larry King, he stated, “It speaks about what we’re about. Love and peace and harmony for the world.”
39. “Blame It On the Boogie”
Destiny, 1978
Following the commercial disappointment of The Jacksons’ 1977 album Goin’ Places, Michael Jackson played a crucial role in revitalizing the band – though not the Michael Jackson most might assume. “Blame It On the Boogie” was co-written and performed by Michael “Mick” Jackson, a UK-based singer-songwriter, who released his own rendition almost concurrently. Despite Mick Jackson’s version, the Jackson disco juggernaut naturally overshadowed it commercially. Mick Jackson, however, harbors no resentment, stating, “The fact that the song made it, made it a lot easier for me. And of course the Jacksons went on to huge success.”
38. “Leave Me Alone”
Bad, 1987
Rumors and tabloid stories swirled around Michael Jackson: Did he sleep in a hyperbaric chamber? (His mother, Katherine, denied it). Did he spend a million dollars on the Elephant Man’s bones? (“And why would I want some bones?” he questioned Oprah). Did he keep unusual pets? (Queen’s Freddie Mercury famously called his manager from a recording session, exclaiming, “You’ve got to get me out of here, I’m recording with a llama.”). “Leave Me Alone,” a funky, shuffling track from the Bad album, was Jackson’s direct response to the relentless media scrutiny. Powered by dueling keyboard melodies and Jackson’s emphatic, Stevie Wonder-esque synthesizer-vocal solo, it’s a defiant anthem against tabloid intrusion.
37. “Goin’ Back to Indiana”
Third Album, 1970
“You can go back to bed, but I know where I’m going,” Michael Jackson declared in the 1971 TV special Goin’ Back to Indiana, just before launching into the spirited title song. This funky, horn-infused pop track, composed by the songwriting collective The Corporation, features Michael’s soaring vocals alongside a chanted soul-rap from his brothers celebrating their hometown of Gary, Indiana, punctuated by Michael’s signature helium-voiced “yeeaah“. “Goin’ Back to Indiana” evoked a surprising sense of nostalgia, especially coming from someone so young. Jackson later reflected in Moonwalk, “Our records had become hits all over the world since we’d seen our hometown last.”
36. “Say Say Say”
Pipes of Peace, 1983
Michael Jackson and Paul McCartney’s collaboration, “Say Say Say,” a smooth yet urgent-feeling track, originated from the same sessions that produced “The Girl Is Mine.” Recorded with George Martin at Abbey Road Studios, Jackson later noted that he and McCartney “shared the same idea of how a pop song should work.” He further emphasized their collaborative dynamic, “We worked together as equals and enjoyed ourselves. Paul never had to carry me in that studio.” The song’s video, with a snake-oil salesman theme, featured a cameo by La Toya Jackson and was filmed near an estate north of Santa Barbara, which Jackson later purchased and renamed Neverland Ranch.
35. “We Are The World”
USA for Africa, 1985
“We Are the World,” a monumental charity single that raised over $60 million for famine relief in Africa and united an unprecedented gathering of 45 celebrities in one room, was Harry Belafonte’s vision. The all-night recording session at A&M Studio in Los Angeles saw icons like Bob Dylan and Ray Charles alongside pop stars like Kenny Loggins and Cyndi Lauper. Jackson co-wrote the song with Lionel Richie over weeks, even singing lines to his sister Janet in the dark for feedback. Driven by inspiration, Jackson secretly entered a recording studio alone. “I couldn’t wait,” he said. “I went in and came out the same night with the song completed – drums, piano, strings and words to the chorus.” Quincy Jones famously instructed the assembled stars to “check your ego at the door,” and a globally impactful hit was born.
34. “Enjoy Yourself”
The Jacksons, 1976
“Enjoy Yourself,” the debut single from “The Jacksons”—comprising four of the original Jackson 5 members and newly added Randy—marked their first release outside the Motown umbrella. Ron Alexenburg, who signed them to CBS, sought out Philly soul luminaries Kenny Gamble and Leon Huff to spearhead the project. Their collaboration with The Jacksons resulted in this high-energy, disco-infused Top 10 single. However, the recording sessions had a deeper impact on Michael. “Just watching Huff play the piano while Gamble sang taught me more about the anatomy of a song than anything else,” he wrote. “I’d sit there like a hawk, observing every decision, listening to every note.”
33. “Get on the Floor”
Off the Wall, 1979
Quincy Jones attributed “Get on the Floor” to being a leftover track from a Brothers Johnson session. Louis “Thunder Thumbs” Johnson, bassist for the Brothers Johnson, claimed it originated from a home-recorded cassette of bass ideas he played for Michael. Regardless of its exact origin, this slap-bass driven collaboration is the funkiest track on Off the Wall. Despite Louis Johnson contributing to three subsequent Jackson albums, he couldn’t replicate the magic of this track. “What I’ll always cherish is the fun and excitement of playing live together on the Off the Wall sessions,” he said. “Michael and everybody laughing, knowing we were making magic.”
32. “Mama’s Pearl”
Third Album, 1970
Motown’s songwriting team, The Corporation, had to soften the lyrics of “Mama’s Pearl,” originally titled “Guess Who’s Making Whoopie (With Your Girlfriend),” to be appropriate for a pre-teen Michael to sing without causing parental concern. Musically, the track is a spirited cousin to “I Want You Back,” featuring a bouncy piano and bass-heavy “doo-doo-doo” backing vocals. Michael’s endearing vocals, attempting to woo a girl, are central to its charm. Reaching Number Two, “Mama’s Pearl” remained a significant song for Jackson. In Moonwalk, he noted it evoked memories of his schoolyard days.
31. “Morphine”
Blood on the Dance Floor: HIStory in the Mix, 1997
“Guns n’ Roses was probably the biggest stadium rock band at the time, and then you have Michael, who is sort of the Elvis Presley of the period – and, like, that’s scary fame,” observed Slash, who played guitar on this harrowing industrial funk track from Jackson’s 1997 remix album. “Morphine” directly addresses rumors of Jackson’s painkiller dependence with stark lyrics: “Demerol, Demerol/Oh, God, he’s taking Demerol,” sounding like a cry for help. Jermaine Jackson claimed Michael’s pain medication use stemmed from burns sustained during his 1984 Pepsi commercial mishap: “I doubt he gave a second thought to Demerol’s side effects,” Jermaine recalled.
30. “Got to Be There”
*Got to Be There***, 1972**
Jackson’s debut single as a solo artist, “Got to Be There,” showcased his ambition beyond the Jackson family sound. A Top Five hit on both pop and R&B charts, this smooth ballad, penned by New Jersey songwriter Elliot Willensky, featured a lush, intimate arrangement, significantly more mature than the J5’s bubblegum pop. Even at just 13 years old, Jackson ventured into subtly suggestive lyrics like “Got to be there in the morning/And welcome her into my world,” leaving listeners to interpret whether he was referring to school or something more intimate. Regardless, his delivery was undeniably convincing.
29. “Butterflies”
Invincible, 2002
The standout track from Jackson’s final studio album, Invincible, “Butterflies” is a light, innocent, and tender R&B song, a refreshing departure from the darker themes prevalent in much of his later work. The song was presented to Jackson as a demo featuring vocals by Marsha Ambrosius of Floetry, who was also a co-writer. Co-producer Vidal Davis recalled the recording process, “We originally demo’ed it with a woman singing, so it was hard for him to hit those notes. We did tons and tons of takes.” The final version recaptures the effortless soul of Jackson’s earliest solo recordings, even incorporating his finger snaps into the rhythm track. Davis noted, “He had the loudest snaps in the world.”
28. “Ben”
Ben, 1972
“Ben” stands as one of the most peculiar Number One hits of the 1970s, a decade known for its eccentric chart-toppers. For much of that decade, it remained Jackson’s only solo Number One hit. “Ben” is a ballad dedicated to a killer rat, from a low-budget horror film about mutant rodents terrorizing Los Angeles. In the movie, it’s sung by a lonely boy who befriends the titular rat. While most fans were likely unaware of the pro-rodent subtext, MJ embraced the concept, according to lyricist Don Black: “He’s quite an animal-lover – very sensitive. He enjoys anything that crawls or flies.”
27. “Burn This Disco Out”
Off the Wall, 1979
“Burn This Disco Out,” the closing track of Off the Wall, is a burst of pure dance-floor energy. The sinuous guitar riff could easily have been lifted from a Stevie Wonder record. Jackson, who dedicated a Saturday night to memorizing the lyrics to avoid using a cheat sheet during a Sunday recording session, expertly navigates a melody designed for his percussive vocal style. Rod Temperton, who wrote the song, explained, “He was very rhythmically driven. So I tried to write melodies that had a lot of short notes to give him some staccato things he could do . . . and came up with ‘Burn This Disco Out.'”
26. “Dirty Diana”
Bad, 1987
Billy Idol’s guitarist, Steve Stevens, contributed to both Michael Jackson’s tougher sound and his evolving image. After introducing the pop star to his tailor, Jackson adopted the leather-clad, heavy-metal aesthetic seen on the Bad album cover. Stevens’ most significant contribution to the record is the soaring, metallic guitar solo in the power ballad “Dirty Diana.” Stevens recalled Jackson’s curiosity about rock bands: “‘Do you know Mötley Crüe?'” The hard-edged track became Bad‘s fifth consecutive Number One single and a favorite of Princess Diana, who reportedly requested the song at a 1988 Jackson concert in London.
25. “The Girl Is Mine”
Thriller, 1982
Jackson deemed “The Girl Is Mine,” his duet with Paul McCartney, the “obvious first single” from Thriller. However, Quincy Jones considered it a “red herring,” suggesting it only hinted at the album’s true power. Jackson offered McCartney the song, characterized by its relaxed, jazzy groove and easy rapport between the two artists, as a “repayment” for McCartney giving him “Girlfriend” for Off the Wall. McCartney’s sole concern was the word “doggone,” which he felt might sound “shallow.” “When I checked with Michael, he explained that he wasn’t going for depth, he was going for rhythm, he was going for feel,” McCartney recounted.
24. “Dangerous”
Dangerous, 1991
“Off the Wall,” “Thriller,” and “Bad” were primarily entertainment,” reflected longtime Jackson engineer Bruce Swedien. “Dangerous and HIStory were more Michael’s life story.” Reflecting Jackson’s sonic evolution to align with 90s R&B, the title track “Dangerous” is stark and forceful, with vocals fluctuating between anger and fear, and lyrics exploring the darker side of desire, descending into a “web of sin.” The track evolved from a Bad-era outtake called “Streetwalker,” revisited and renamed during the Dangerous sessions with co-writer Bill Bottrell. Co-producer Teddy Riley initially found the music uninspiring: “The music didn’t move Michael. I told Michael . . . ‘This is your album. If this is the right tune, I can utilize what you have in your singing. Let me change that whole bottom and put a new floor in there.’ He said, ‘Try it. I guess we gotta use what we love.'” The resulting track blends lush strings, a Jackson hallmark, with one of his starkest beats, a stark contrast to Quincy Jones’ rich orchestrations. Riley emphasized their approach, “We don’t just add music or instruments just to be adding.”
23. “Never Can Say Goodbye”
Maybe Tomorrow, 1971
Looking back on the Jackson 5 era, Michael Jackson identified “Never Can Say Goodbye,” “I’ll Be There,” and “ABC” as his “three favorite songs from those days.” He clearly had a keen ear for his best early work. Written by Clifton Davis, who later performed it at Jackson’s funeral in 2009, “Never Can Say Goodbye” sets heartbreaking lyrics to a shimmering melody. Davis initially worried that 11-year-old Michael might not grasp the song’s emotional depth. “I recall him asking about one of the lines,” Davis said. “‘What’s this word mean, “anguish”?’ he asked me. I explained it. He shrugged his shoulders and just sang the line ‘There’s that anguish and there’s that doubt.’ And I believed him.” The single, enhanced by a dreamy, baroque arrangement with flute and chimes, reached Number Two on the Billboard chart. Jermaine Jackson recalled in his book You Are Not Alone that neither their father, Joseph Jackson, nor Berry Gordy complained about it not reaching Number One, acknowledging its undeniable quality.
22. “Off the Wall”
Off the Wall, 1979
“In the studio, Michael was silly and fun-loving,” recalled Rod Temperton, who began collaborating with Jackson in the late 70s. “He never swore. He didn’t even say the word ‘funky,’ he said ‘smelly.’ So that was Quincy’s nickname for him: Smelly.” This playful side is evident in the title track, “Off the Wall,” written by Temperton. The song is an ode to “party people night and day,” encouraging listeners to “hide your inhibitions/Gotta let that fool loose deep inside your soul” by hitting the dance clubs and “livin’ crazy, that’s the only way.” Its seductive groove, layered with Jackson’s rich harmonies, perfectly captures his vision of dance music. Temperton, who arranged the rhythm and vocal tracks, drew inspiration from his disco band Heatwave. The song’s growling funk synths were partly played by jazz and fusion keyboardist George Duke. “Off the Wall” also proved strangely prophetic, foreshadowing the increasingly eccentric trajectory of Jackson’s life in the decades that followed.
21. “Thriller”
Thriller, 1982
The iconic video for “Thriller,” the title track of Jackson’s best-selling album, has become so culturally dominant that the song itself is often underestimated. It’s one of the most unique pieces of music he ever released. Written by Rod Temperton, the song was initially titled “Starlight” until Quincy Jones requested a title change. Temperton recounted, “The next morning I woke up and I just said this word [‘thriller’]. Something in my head just said, ‘This is the title.’ You could visualize it at the top of the Billboard charts.” Temperton then revised the lyrics to incorporate Jackson’s love of horror films. The track elevated the percolating funk of Off the Wall to a grander, more theatrical scale, complete with supernatural sound effects—howling werewolves and creaking coffins—and the chilling narration by horror film legend Vincent Price, a friend of Jones’ then-wife, Peggy Lipton, who nailed his part in just two takes. Adding to the song’s bizarre aura, Jackson’s eight-foot boa constrictor, Muscles, reportedly slithered across the mixing console during mixing sessions. As the final of seven singles from Thriller, it reached Number Four on the charts.
20. “The Way You Make Me Feel”
Bad, 1987
“‘The Way You Make Me Feel’ and ‘Smooth Criminal’ are simply the grooves I was in at the time,” Jackson explained. Planet Earth resonated with these grooves as well. “The Way You Make Me Feel,” the third consecutive Number One single from Bad, is the last unequivocally joyful hit of Jackson’s remarkable 80s run. Keyboardist Greg Phillinganes recalled, “That was one of my favorites. I remember how much fun I had laying down those offbeat parts, the bass line, all that stuff, and watching the expression on Michael’s face.” The song’s infectious groove was inspired by Jackson’s mother, Katherine, who suggested he create a song “with a shuffling kind of rhythm.” Jackson responded, “I think I know what you mean,” and quickly conceived the track (originally titled “Hot Fever”). Jackson recorded all vocal parts, including backing vocals, dancing in a darkened studio to the track. Engineer Bruce Swedien recalled, “He’d sing his line, then he’d disappear into the darkness.”
19. “She’s Out of My Life”
Off the Wall, 1979
“Maybe that was too personal for a party – it was for me,” Jackson said of “She’s Out of My Life,” the ballad of heartbreak nestled within the disco celebration of Off the Wall. Written by Los Angeles musician Thomas Bähler about the end of a two-year relationship (rumored to be with Karen Carpenter, though Bähler has not confirmed this), Quincy Jones initially intended to record it with Frank Sinatra. However, Jackson got the opportunity and delivered a deeply moving version. “She’s Out of My Life” became Off the Wall‘s fourth Top 10 single, and Greg Phillinganes’ signature electric piano sound defined countless ballads in the following decade and a half. Famously, Jackson’s voice cracks with emotion during the song’s final words. “Every time we did it, I’d look up at the end and Michael would be crying,” Jones recalled in 1983. “I said, ‘We’ll come back in two weeks and do it again. . . .’ Came back and he started to get teary. So we left it in.” It became a staple of Jackson’s live performances from 1981 to 1993, always followed by an upbeat medley to lift the mood.
18. “P.Y.T. (Pretty Young Thing)”
Thriller, 1982
Bursting with funky keyboard riffs and playful slang like “tenderoni,” “P.Y.T.” was Thriller‘s most lighthearted single. Quincy Jones co-wrote it with singer James Ingram after Jones’ wife brought home lingerie labeled Pretty Young Things. Ingram recounted being amazed by Jackson’s dancing in the studio while recording the vocals. That infectious energy is palpable, as Jackson trades “na-na-na’s” with backup singers who were very close to him: his sisters Janet and La Toya. “P.Y.T.” has been covered by artists ranging from American Idol‘s Justin Guarini to Jones himself (with T-Pain and Robin Thicke), and a remixed version by Will.i.am appeared on the Thriller 25th-anniversary edition. However, none could capture the original’s electric spark. “I love ‘Pretty Young Thing,’ ” Jackson recalled. “I liked the ‘code’ in the lyrics, and ‘tenderoni’ and ‘sugar fly’ were fun rock & roll-type words that you couldn’t find in the dictionary.”
17. “The Love You Save”
ABC, 1970
“The Love You Save,” the third in the Jackson 5’s unprecedented streak of chart-topping singles, reached Number One in June 1970, following “I Want You Back” and “ABC.” Unlike other J5 songs adaptable for adult singers, “The Love You Save” was specifically “written for our young voices, with parts for Jermaine as well as me,” Michael later explained. He noted the tag-team vocals and opening “doo-doo-doos/bum-bum-bum” scat percussion as The Corporation’s “bow to the Sly [and the Family Stone] sound, which rotated singers around the stage.” Mirroring Sly Stone’s upbeat hits, it was conceived as dance music, for kids dancing at home and the band’s energetic stage choreography. The recurring “Stop!” acts as a subtle echo of “Stop! In the Name of Love,” a previous hit by their labelmates, The Supremes. “The Love You Save” is a highlight of their second LP, which, with covers of Funkadelic’s “I Bet You” and The Delfonics’ “La La Means I Love You,” showcased the group evolving beyond novelty into a more potent musical force.
16. “Human Nature”
Thriller, 1982
One of Jackson’s most vulnerable R&B ballads, “Human Nature,” had an unexpected origin—the rock band Toto, known for “Africa” and “Hold the Line.” Some Toto members contributed to Thriller, including keyboardist Steve Porcaro. Late in the album sessions, Quincy Jones was still seeking songs, and Toto sent over demos. An unfinished instrumental at the end of one tape caught Jones’ attention. “There was this dummy lyric, a very skeletal thing,” he recalled, “but such a wonderful flavor.” Jones sent it to lyricist John Bettis, known for tender hits like The Carpenters’ “Top of the World” and Madonna’s “Crazy for You.” The result perfectly complemented Michael’s shy, breathy vocals, even with lyrics about seeking a fleeting romantic encounter (“If this town is just an apple, then let me take a bite”). Though a last-minute addition to Thriller, “Human Nature” became its fifth single and a Top 10 summer hit. It re-entered the charts a decade later as SWV’s 1993 Number One R&B hit “Right Here/Human Nature,” featured in the film Free Willy.
15. “Remember the Time”
Dangerous, 1991
“Remember the Time,” a lush and nostalgic track, represents Jackson’s most successful attempt to modernize his sound for the hip-hop era. After parting ways with Quincy Jones following Bad due to creative differences, he sought a younger producer and collaborated with Teddy Riley, the architect of New Jack Swing, the dominant R&B sound of the time. “I came in with 10 grooves,” Riley said. “He liked them all.” “Remember the Time” was a highlight of their collaboration and showcases one of Jackson’s finest post-80s vocal performances. Engineer Dave Way witnessed Jackson’s meticulous approach while recording “Remember the Time,” noting his flawless execution of “each note and harmony, double it, triple it and then maybe quadruple – each time singing it perfectly, vibratos perfectly matched, perfectly in tune, rhythmically dead on, knowing exactly what he wanted to do the whole time. Flawless.” The song’s subject remains debated. Riley initially claimed it was inspired by Jackson’s feelings for his second wife, Debbie Rowe (a claim he later retracted), while Jermaine Jackson suggested it was written for Diana Ross.
14. “Workin’ All Day and Night”
Off the Wall, 1979
“Workin’ Day and Night” is one of the monster grooves from Off the Wall that could easily have been a major hit, yet it was never released as a single, perhaps because the charts were already saturated with Off the Wall hits. Positioned midway through the unstoppable Side One of the original vinyl LP (the disco side), it’s one of two tracks Jackson solely wrote on the album (the other being “Don’t Stop ‘Til You Get Enough”). The lyrics offer an early glimpse of MJ’s assertive side, with a classic bluesman’s complaint about demanding female companionship. However, the hyperactive Latin percussion, sharp horns, and breathless vocals reflect the intense work ethic Jackson poured into his solo breakthrough. “When he commits to an idea, he goes all the way with it,” Jones stated. “It’s ass power, man. You have to be emotionally ready to put as much energy into it as it takes to make it right.” As a deep cut, “Workin’ Day and Night” is highly regarded among MJ aficionados, thanks to its undeniable energy and “ass power.”
13. “Bad”
Bad, 1987
The searing title track “Bad” injected a new level of aggression and tension into Michael Jackson’s music. Inspired by a news article about an African-American student killed after returning to his inner-city neighborhood from a predominantly white school, the song, written by Jackson, also reflected his competitive dynamic with Prince, whom he saw as a genuine rival. (Producers L.A. Reid and Babyface recounted watching Prince’s film Under the Cherry Moon with Jackson at Neverland Ranch). Perhaps aiming to assert his status as the true King of Pop, Jackson and Jones initially envisioned “Bad” as a duet—or showdown—between himself and Prince (with Prince slated to sing the opening “your butt is mine” line). Prince met with Jackson and Jones to discuss the collaboration but declined after hearing the song. Reportedly, as he left the meeting, Prince remarked, “It will be a big hit, even if I am not on it!” The song became a solo showcase, from Jackson’s seething delivery and mouth-percussion to an organ solo by jazz legend Jimmy Smith.
12. “Man in the Mirror”
Bad, 1987
“Man in the Mirror,” Jackson’s most ambitious and emotionally resonant ballad, was written late in the Bad sessions by Glen Ballard and Siedah Garrett. “It was the last weekend; we were going to close out the Bad record, and Quincy said, ‘Don’t you guys have anything for us?'” Ballard recalled. “We did a quick demo with Siedah singing, and she drove over and played it for Quincy the next day. He loved it, and he played it for Michael on Monday, and he said, ‘Make a track.’ So we started building this track, and it was magic.” Jackson then expanded upon it, requesting Garrett to add backing vocals and bringing in San Francisco’s Andrae Crouch Choir and The Winans. “He said, ‘I want you to make it big – do it however you hear it. Just make it sound real gospel. Make it sound like church,’ ” recalled Sandra Crouch, Andrae’s sister and choir leader. “And that’s what we did.” Upon hearing the song, Mavis Staples interpreted Jackson’s signature made-up phrase “sch-mon!” as a tribute to her performance in The Staple Singers’ gospel-infused R&B classic “I’ll Take You There.”
11. “ABC”
ABC, 1970
How would the Jackson 5 follow up “I Want You Back”? By building upon it. Songwriter Deke Richards expanded on a riff from their previous hit’s chorus, developing it into a new, equally powerful song. He and his partners in The Corporation crafted lyrics inspired by the group’s youthful reality; as co-writer Freddie Perren noted, “[They were] the age they were, and . . . most of their fans were still in school.” “ABC” was quintessential bubblegum pop, but infused with more humor and funk than previous kid-oriented hits. The growling, percussive breakdown, and a blazing fuzz guitar riff that intensifies with each repetition, were as sophisticated as any pop music of 1969. In Michael’s words, “The verses were tongue-twisting, and that’s why they were split up between Jermaine and me.” Despite the vocal sharing, Michael dominates the song, his youthful energy and vocal prowess grabbing the listener’s attention.
10. “Rock With You”
Off the Wall, 1979
“So much uptempo dance music is threatening, but I liked the coaxing, the gentleness, taking a shy girl and letting her shed her fears rather than forcing them out of her,” Jackson explained, describing “Rock With You.” Arguably the final major hit of the classic disco era, this chart-topper remains a quintessential seduction anthem in modern R&B, a blueprint for countless aspiring romantic figures, wrapped in lush string arrangements. It strikes a perfect balance between a silky ballad and a dance-floor burner. Usher stated in 2009, “Songs like ‘Rock With You’ made me want to become a performer.” It was the first song written for Jackson by key collaborator Rod Temperton, from Heatwave, after a request from Quincy Jones. (Temperton went on to write “Thriller,” “Off the Wall,” “Burn This Disco Out,” “Baby Be Mine,” and numerous others). The music video, featuring Jackson’s captivating performance in a silver outfit with minimal visuals beyond lasers and smoke, showcases a solo artist, barely more than a teenager, completely in command of his artistry.
9. “Black or White”
Dangerous, 1991
“Black or White,” a powerful call for racial unity, effectively practiced its message by seamlessly merging classic-rock swagger with R&B drive. It stands as the best song Jackson recorded in the 90s. “I thought his rock stuff up to that point had been kind of cartoonish,” said Bill Bottrell, who co-wrote and co-produced the track. The Stones-esque riff originated from Jackson, who hummed it to Bottrell in the studio one day. “I turned it into a Southern-rock thing, a real gutbucket tune,” Bottrell recalled. Jackson also conceived the hard-hitting rhythm track. “I set about adding loads of percussion, including cowbells and shakers,” Bottrell said, “trying to get a swingy sort of groove.” Instead of featuring a prominent hip-hop MC, Jackson entrusted Bottrell with the consciousness-raising rap in the song’s bridge. However, it’s Jackson’s incisive vocals that truly define the song, a masterclass in pop polish and raw energy. The performance was actually a scratch vocal, but Jackson, a sonic perfectionist known for re-recording even excellent takes, recognized its inherent quality and kept it as is.
8. “Beat It”
Thriller, 1982
“Beat It” is a visionary fusion of metal intensity and disco sheen, highlighted by Eddie Van Halen’s electrifying guitar solo. With its gritty, streetwise video, “Beat It” stormed rock radio and every other format, reaching Number One just a week after “Billie Jean” concluded its seven-week reign at the top. (The song that briefly interrupted Jackson’s dominance at Number One was Dexys Midnight Runners’ “Come on Eileen”). “Beat It” was the final track added to Thriller, as the album’s release deadline loomed. Quincy Jones recounted to Rolling Stone, “When we were finishing ‘Beat It,’ we had three studios going. We had Eddie Van Halen in one. Michael was in another singing a part through a cardboard tube, and we were mixing in another. We were working five nights and five days with no sleep. And at one point, the speakers overloaded and caught on fire.” The only dissenting voice was Van Halen’s David Lee Roth, who dismissively remarked, “What did Edward do with Michael Jackson? He went in and played the same fucking solo he’s been playing in this band for 10 years. Big deal!”
7. “Wanna Be Startin’ Somethin’”
Thriller, 1982
Originally conceived during the Off the Wall sessions, “Wanna Be Startin’ Somethin’,” the opening track of Thriller, served as a declaration of bold artistic intent. Utilizing the African chant “ma ma se ma ma sa ma ma ku sa” from Cameroonian saxophonist Manu Dibango’s unexpected 1972 international hit “Soul Makossa,” Jackson broadened the song’s global appeal, paying homage to his musical roots with a forward-thinking, hip-hop sensibility. Primarily, it’s a club anthem, “something you can play with on the dance floor and get sweaty working out to,” as Jackson described it. However, it also possesses a darker lyrical undertone and a dynamic call-and-response vocal interplay. Between the swirling synth beats, Brazilian percussionist Paulinho da Costa’s friction drum textures, sharp horn stabs, and rhythms created by Jackson and bandmates on a “bathroom stomping board,” the groove is relentless. If Off the Wall represented pop disco’s pinnacle, “Wanna Be Startin’ Somethin'” is an early, defining example of polyglot, post-disco dance music—essentially, the blueprint for global pop music as we know it today.
6. “Smooth Criminal”
Bad, 1987
Despite being the world’s biggest and most beloved pop star, Michael Jackson’s release of “Smooth Criminal,” a song building upon the aggression of “Beat It,” was met with mixed reactions. Reportedly, he and Quincy Jones clashed over its inclusion on Bad, and Jehovah’s Witness elders even visited the video set, expressing disapproval of its violent imagery. However, Jackson stood firm, and the result is his finest blend of R&B groove and rock edge, marking a pivotal point in his shift towards darker, harder-edged material. Partly inspired by the story of 1980s serial killer Richard Ramirez, “Smooth Criminal” had existed in various forms since 1985, initially titled “Chicago 1945” and then “Al Capone.” Both earlier versions featured a rapid-fire funky bass line, similar to the menacing synth-bass of the final version. The heartbeat sound effect in the track is a Synclavier rendition of Jackson’s own heartbeat, creating a haunting counterpoint to his cries of “Annie, are you OK?”
5. “Shake Your Body (Down to the Ground)”
Destiny, 1978
“Shake Your Body (Down to the Ground)” is a seismic track that marks Michael Jackson’s transformation from the lead singer of a successful boy band into the King of Pop—or, at least, its young prince. Building upon the proto-disco energy of the J5’s “Dancing Machine,” it incorporated a dynamic dose of Sly and the Family Stone-esque crossover soul and Stevie Wonder-inspired synth funk, alongside percussive vocals and Michael’s still-teenaged yet unmistakably maturing vocals. Significantly, Destiny was the first self-produced LP by the brother group, now rebranded as The Jacksons (following Jermaine’s departure and their move from Motown). While the song peaked at Number Seven on the pop chart, its pop prescience is profound. It was memorably sampled in Rob Base and DJ E-Z Rock’s “Get on the Dance Floor,” among other hip-hop tracks, and covered by Justin Timberlake in 2013—an artist who owes a significant debt to Michael Jackson.
4. “I’ll Be There”
Third Album, 1970
“Just look over your shoulders, honey!” Jackson declares mid-song in “I’ll Be There,” slightly misquoting The Four Tops’ Motown hit “Reach Out I’ll Be There.” This minor lyrical slip-up somehow enhances his performance—at just 11 years old during the recording, he conveyed emotions he couldn’t have fully experienced, with the passion and intensity of someone who had lived a lifetime. Extensively revised from a demo by bassist Bob West and featuring a vocal arrangement by Willie Hutch, “I’ll Be There” also features Jermaine Jackson’s powerful bridge (“I’ll be there to comfort you…”). Their fourth consecutive Number One hit and Motown’s best-selling single to that point, “I’ll Be There” demonstrated the Jackson 5’s artistic depth beyond their earlier upbeat hits, revealing the gospel roots underpinning their music. In Moonwalk, Jackson called it “our real breakthrough song; it was the one that said, ‘We’re here to stay.'”
3. “Don’t Stop ‘Til You Get Enough”
Off the Wall, 1979
Jackson called “Don’t Stop ‘Til You Get Enough,” the opening track of Off the Wall, “my first big chance,” and he wasn’t exaggerating. This six-minute explosion of joyous pop funk, with its jet-stream energy, was both a massive hit and a milestone in Jackson’s creative evolution. “That song means a lot to me,” he wrote in Moonwalk, “because it was the first song I wrote as a whole.” Indeed, it embodied Jackson’s newfound hands-on approach to his music. He not only wrote it but also sang all the multi-layered backing vocals and conceived the spoken intro (“to build up tension and surprise people,” he explained). He even played glass bottles (along with his brother Randy) to add rhythmic sparkle. When his mother, Katherine, questioned the suggestive undertones of lines like “Ain’t nothing like a love desire. . . . I’m melting like hot candle wax,” Jackson responded, “Well, if you think it means something dirty, then that’s what it’ll mean. But that’s not how I intended it.”
2. “I Want You Back”
Diana Ross Presents the Jackson 5, 1969
From the opening piano riff that ignites it, “I Want You Back” is a series of exhilarating shocks—and in 1969, its biggest shock was that its lead singer was both an undeniably magnificent performer and clearly a young child. (Michael was 11 when recorded, though Motown claimed he was eight). Deke Richards, Freddie Perren, and Fonce Mizell initially wrote it as a demo for Gladys Knight and the Pips called “I Wanna Be Free.” Motown boss Berry Gordy helped reshape it for the brother group from Gary, Indiana, he had recently signed. Under the collective name The Corporation, this songwriting team continued to create many of the Jackson 5’s early hits. “I Want You Back” wasn’t the Jackson 5’s first single (that was 1968’s locally released “Big Boy”), but it was their national debut, an irresistible song with a brilliant arrangement that allowed Michael’s voice to soar across its groove. It remained a staple of nearly every performance throughout his career.
1. “Billie Jean”
Thriller, 1982
“Billie Jean,” Michael Jackson’s magnum opus, encapsulates all the complexities of his artistry: youthful exuberance, inner turmoil, and unparalleled physical grace. As he told Rolling Stone at the time, “Billie Jean” reflected his personal anxieties as a 24-year-old megastar: “Girls in the lobby, coming up the stairway. You hear guards getting them out of elevators. But you stay in your room and write a song. And when you get tired of that, you talk to yourself. Then let it all out onstage.” Although “Billie Jean” was among the first songs Jackson wrote for Thriller, he and Quincy Jones meticulously refined it until the final mastering stage. The deep, resonant bass line is by funk legend Louis Johnson of the Brothers Johnson. Drummer Ndugu Chancler layered the drum track over Jackson’s original drum machine beat, and jazz veteran Tom Scott contributed the haunting lyricon solo. At five minutes in length, “Billie Jean” possesses the sleekness of disco yet the epic scope of classic rock. Quincy Jones initially worried the intro was too long: “But [Jackson] said, ‘That’s the jelly, that’s what makes me want to dance.'” The world has been dancing to “Billie Jean” ever since, solidifying its place as the number one song on this Michael Jackson songs list.
