Michael Jackson, an unmatched icon in pop music history, dedicated over four decades of his illustrious 50-year life to music. Rising to prominence as the undeniable star of Motown’s groundbreaking Jackson 5, he evolved into a sensitive solo artist delivering 70s chart-toppers, a pioneer of the MTV era, and a timeless voice behind 90s records that, despite multi-million sales, remain somewhat “slept-on” by some. This list delves into his expansive catalog to spotlight 50 of his most exceptional songs, celebrating the breadth and depth of Michael Jackson Jackson Songs.
50. “This Place Hotel”
Triumph, 1980
In “This Place Hotel,” from the Jacksons’ Triumph album in 1980, Michael Jackson, already hinting at his future King of Pop status, playfully nods to the legacy of the King of Rock & Roll. Initially titled “Heartbreak Hotel,” this track, penned by Michael himself, diverges significantly from Elvis Presley’s 1956 classic. Instead, it unfolds as a sleek disco-pop anthem, adopting the original’s theme of heartbreak but steering it into a more shadowy territory, depicting a hotel as a metaphor for relationship demise. While “Heartbreak Hotel” achieved Number Two on the R&B charts, the Jacksons’ label, possibly preempting legal issues, rebranded it into the enigmatic “This Place Hotel,” showcasing early Michael Jackson Jackson songs.
49. “Who’s Lovin’ You”
Diana Ross Presents the Jackson 5, 1969
“Who’s Lovin’ You,” featured on Diana Ross Presents the Jackson 5 (1969), served as the B-side to “I Want You Back,” acting as both a nod to Motown’s heritage and a glimpse into its future. This cover of a Smokey Robinson ballad, originally the B-side to The Miracles’ “Shop Around” in 1960, is a testament to the fruitful early collaboration between the Jackson 5 and R&B artist Bobby Taylor. Taylor was instrumental in bringing them to Motown and producing some of their foundational tracks. Supported by Motown’s in-house band, the Funk Brothers, a young Michael Jackson pushes his vocal limits, passionately delivering every syllable of Robinson’s poignant lyrics of heartbreak, marking it as a standout among early Michael Jackson Jackson songs.
48. “Blood on the Dance Floor”
Blood on the Dance Floor: HIStory in the Mix, 1997
Resurrected from the Dangerous era as the title track for Jackson’s 1997 remix album, “Blood on the Dance Floor” is an ominously seductive song with a chilling backstory. Producer Teddy Riley, working on the track, missed a party where a shooting occurred on the dance floor. Unaware of this tragedy, Jackson’s suggestion of “Blood on the Dance Floor” as the title eerily resonated with the event, shocking Riley. Lyrically, Jackson portrays a stalker armed with a seven-inch knife, another iteration of his recurring femme fatale characters, where the lines between desire and danger, sex and murder, become blurred. This track highlights the darker themes explored in later Michael Jackson Jackson songs.
47. “Will You Be There”
Dangerous, 1991
“Will You Be There,” the theme song for the 1993 film Free Willy and the eighth single from Dangerous (1991), exemplifies Jackson’s boundless ambition, even by his own standards. Composed in his “Giving Tree” at Neverland Ranch, this grandiose recording commences with a lengthy orchestral introduction from Beethoven, performed by the Cleveland Orchestra, interwoven with uplifting hosannas from the Andraé Crouch Singers, and culminates in an emotionally charged spoken monologue. This gospel-infused song continues a thematic thread throughout his career, from “I’ll Be There” to “Got to Be There” to “Will You Be There,” charting a journey from unwavering confidence to vulnerability and isolation, and stands as a unique piece among Michael Jackson Jackson songs.
46. “In the Closet”
Dangerous, 1991
Titling his most overtly sensual song “In the Closet” epitomizes Michael Jackson’s mastery of ambiguity in the early 90s. Producer Teddy Riley crafted a jarring, off-kilter beat that perfectly complemented Jackson’s whispered and moaned vocals, aligning with the contemporary R&B sound. Keyboardist Brad Buxer described it as “almost atonal,” emphasizing its unconventional nature. Initially envisioned as a duet with Madonna, the released version of “In the Closet” features spoken interludes by a “Mystery Girl”—Princess Stéphanie of Monaco—and the music video stars Naomi Campbell in a provocative visual narrative. The song’s suggestive title and content marked a new level of explicitness in Michael Jackson Jackson songs.
45. “State of Shock”
Victory, 1984
“State of Shock,” a duet with Mick Jagger, became the most significant hit from the Jacksons’ Victory era in 1984, reaching Number Three on the charts. This collaboration smoothly bridges the realms of guitar rock and pop. Originally intended for Freddie Mercury of Queen, scheduling conflicts led to Jagger’s involvement. Sound engineer Bruce Swedien recounted, “[Michael] had Mick doing scales for over an hour to warm up before he would even start.” Jagger, recognizing Jackson’s exceptional talent, complied without hesitation, acknowledging Jackson’s status and professionalism. This powerful duet remains a memorable entry in Michael Jackson Jackson songs.
44. “Scream”
HIStory: Past, Present and Future, 1995
“Scream,” born from a period of intense personal turmoil for Jackson following accusations of sexual molestation, is one of his most defiant tracks and notably his first to include explicit language. Co-written with his sister Janet, it reached Number Five on the Hot 100, bolstered by an extravagant music video often cited as the most expensive ever produced. Despite the challenging circumstances, Jackson recalled the positive aspects of the collaboration, stating in 1995, “I have had so much fun working with my sister. It’s like a reunion. I’m closest to Janet of all the family members. We were very emotional on the set.” “Scream” represents a confrontational and intensely personal phase in Michael Jackson Jackson songs.
43. “Dancing Machine”
Dancing Machine, 1974
By 1974, the Jackson 5’s popularity had slightly waned, three years since their last Top 10 hit. Producer and co-writer Hal Davis innovatively steered them away from their typical kid-centric pop towards disco with “Dancing Machine,” incorporating a prominent synthesizer. Coupled with Michael’s electrifying “robot” dance, debuted on Soul Train, “Dancing Machine” became a major crossover success, charting a new direction for the group. Michael Jackson himself expressed fondness for the track in Moonwalk, “I loved ‘Dancing Machine,’ loved the groove and the feel of that song,” recognizing its pivotal role in their evolution as artists and highlighting the early disco influences within Michael Jackson Jackson songs.
42. “Jam”
Dangerous, 1991
“Jam,” the opening track of Dangerous (1991), is a surprisingly edgy and fragmented dance anthem advocating for universal understanding. While bearing producer Teddy Riley’s signature sound, the primary creative force was Jackson himself. 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 his delivery of the chorus is deliberately stuttered, creating a sliced and diced effect. The most commercially accessible part of “Jam” is arguably the verse by Heavy D, Jackson’s preferred rapper at the time. Despite its innovative sound, it performed moderately on pop charts but achieved Top Five status in R&B, showcasing the experimental side of Michael Jackson Jackson songs.
41. “Farewell My Summer Love”
Farewell My Summer Love, 1984
In 1984, Michael Jackson’s marketability was so high that even archival material was guaranteed to chart. Motown capitalized on this by releasing Farewell My Summer Love, an album comprising nine tracks recorded in 1973, overlaid with contemporary 80s instrumentation. Jackson voiced his disapproval, stating, “It’s not fair. I had no control over that music.” Despite this, the album’s title track, “Farewell My Summer Love,” became a Top 10 hit in the UK. The song captures a snapshot of Michael’s vocal transition, showcasing his changing voice with nascent hints of his mature power, making it a unique artifact among Michael Jackson Jackson songs.
40. “Can You Feel It”
Triumph, 1980
“Can You Feel It,” from the Jacksons’ Triumph (1980), is characterized by its uplifting and inclusive spirit. Vocal coordinator Stephanie Spruill recounted receiving a 3 AM call from Michael Jackson requesting not just a choir, but “a choir of children. And I want them to be every race, creed and color.” Spruill successfully assembled this diverse choir on short notice for a session just two days away. The choir’s vocals were triple-tracked, resulting in a triumphant disco-infused anthem. According to Tito Jackson, the song encapsulates the essence of the Jacksons’ message: “It speaks about what we’re about. Love and peace and harmony for the world,” making it a definitive representation of Michael Jackson Jackson songs’ positive messaging.
39. “Blame It On the Boogie”
Destiny, 1978
Following the commercial disappointment of the Jacksons’ 1977 album Goin’ Places, “Blame It On the Boogie” from Destiny (1978) became a rescue hit, though its origins are somewhat complex. The song was co-written and originally performed by Michael “Mick” Jackson, a UK-based singer-songwriter, who released his version almost concurrently with the Jacksons. Despite Mick Jackson’s version, the Jackson’s disco-infused rendition overshadowed it. Mick Jackson harbored 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.” This track marks a significant point in the Jackson’s discography and is a notable example of Michael Jackson Jackson songs’ crossover appeal.
38. “Leave Me Alone”
Bad, 1987
“Leave Me Alone,” from Bad (1987), directly addresses the tabloid frenzy surrounding Michael Jackson during the late 80s. Rumors and outlandish stories, such as sleeping in a hyperbaric chamber or purchasing the Elephant Man’s bones, were rampant. Jackson responded to these with humor and defiance in this funky, shuffling track. Powered by dueling keyboard lines and Jackson’s own distinctive Stevie Wonder-esque synthesizer-vocal solo, “Leave Me Alone” is a direct riposte to media intrusion, showcasing a personal and defensive side within Michael Jackson Jackson songs.
37. “Goin’ Back to Indiana”
Third Album, 1970
“Goin’ Back to Indiana,” from Third Album (1970), became the title song for the Jackson 5’s 1971 TV special. This upbeat, horn-driven pop track, composed by the Corporation, features Michael’s energetic vocals alongside a chanted soul-rap from his brothers celebrating their hometown of Gary, Indiana, punctuated by Michael’s high-pitched “yeeaah.” “Goin’ Back to Indiana” evokes a sense of nostalgia, remarkable 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,” highlighting the personal connection within these early Michael Jackson Jackson songs.
36. “Say Say Say”
Pipes of Peace, 1983
“Say Say Say,” a collaboration with Paul McCartney featured on McCartney’s Pipes of Peace (1983), was co-written during the same sessions that produced “The Girl Is Mine.” Recorded with George Martin at Abbey Road Studios, Jackson later noted his shared musical philosophy with McCartney, stating, “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 theme and a cameo by La Toya, was filmed near an estate north of Santa Barbara, which Jackson later acquired and renamed Neverland Ranch. This collaboration stands as a significant entry in Michael Jackson Jackson songs, bridging pop icons.
35. “We Are The World”
USA for Africa, 1985
“We Are the World,” from USA for Africa (1985), a monumental charity single for African famine relief that raised over $60 million, was initiated by Harry Belafonte. It involved an all-night recording session with 45 celebrities at A&M Studio in Los Angeles. Jackson co-wrote the song with Lionel Richie and worked on it intensely, even singing lines to Janet in the dark and secretly working in a 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 gathered stars to “check your ego at the door,” resulting in a globally impactful and benevolent hit, representing a unique chapter in Michael Jackson Jackson songs’ history.
34. “Enjoy Yourself”
The Jacksons, 1976
“Enjoy Yourself,” the debut single by “the Jacksons” (post-Motown, and including Randy), marked their first release outside of Motown in 1976. CBS Records’ Ron Alexenburg enlisted Philly soul pioneers Kenny Gamble and Leon Huff to helm the project. Together, they crafted this driving, disco-leaning Top 10 hit. The recording sessions were also formative for 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.” This track signifies a transitional phase in Michael Jackson Jackson songs, moving towards a more mature sound.
33. “Get on the Floor”
Off the Wall, 1979
“Get on the Floor,” from Off the Wall (1979), is described by Quincy Jones as originating from a Brothers Johnson session, while bassist Louis “Thunder Thumbs” Johnson recalls it stemming from a home-recorded cassette of bass ideas he shared with Michael. Regardless of its precise origin, this slap-bass infused collaboration is the funkiest track on Off the Wall. Despite Louis Johnson contributing to three other Jackson albums, he considered this a peak. “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.” This song exemplifies the infectious energy of Michael Jackson Jackson songs during his Off the Wall era.
32. “Mama’s Pearl”
Third Album, 1970
For “Mama’s Pearl,” from Third Album (1970), Motown’s songwriting team, the Corporation, softened the original lyrics, initially titled “Guess Who’s Making Whoopie (With Your Girlfriend),” to suit a pre-pubescent Michael’s vocals. Musically, it’s reminiscent of “I Want You Back,” featuring bouncy piano and “doo-doo-doo” backup vocals. Michael’s charming delivery as he sings about winning a girl’s affection is central to the song’s appeal. Reaching Number Two, “Mama’s Pearl” remained a special song for Jackson. In Moonwalk, he noted it reminded him of his schoolyard days, reflecting the youthful innocence of early Michael Jackson Jackson songs.
31. “Morphine”
Blood on the Dance Floor: HIStory in the Mix, 1997
“Morphine,” featured on Blood on the Dance Floor: HIStory in the Mix (1997), is a harrowing industrial funk track featuring Slash of Guns N’ Roses. Slash commented on the immense fame surrounding both Guns N’ Roses and Michael, “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.” In the song, Jackson addresses rumors of painkiller addiction, with lines like “Demerol, Demerol/Oh, God, he’s taking Demerol,” seemingly a cry for help. Jermaine Jackson suggested Michael’s pain medication use began after burns sustained during a 1984 Pepsi commercial, noting, “I doubt he gave a second thought to Demerol’s side effects.” “Morphine” delves into darker, more personal themes within later Michael Jackson Jackson songs.
30. “Got to Be There”
*Got to Be There***, 1972**
“Got to Be There,” from Got to Be There (1972), Jackson’s debut solo single, showcased his artistic independence beyond the Jackson family framework. A Top Five pop and R&B hit, this smooth ballad, penned by Elliot Willensky, featured a sophisticated, pillow-talk arrangement, a departure from the Jackson 5’s bubblegum sound. Lyrically suggestive lines like “Got to be there in the morning/And welcome her into my world” were unusually mature for a 13-year-old pop star, adding a layer of intrigue and marking a significant step in Michael Jackson Jackson songs’ solo journey.
29. “Butterflies”
Invincible, 2002
“Butterflies,” from Invincible (2002), Jackson’s final studio album, stands out as a light, tender, and innocent R&B track, free from the darker undertones prevalent in much of his later work. The song was presented to Jackson as a demo with vocals by Marsha Ambrosius of Floetry, a co-writer of the song. Co-producer Vidal Davis recalled the vocal challenges, “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 soulful ease of Jackson’s early solo recordings, even incorporating his finger snaps into the rhythm track. Davis noted, “He had the loudest snaps in the world.” “Butterflies” represents a return to gentler sounds within Michael Jackson Jackson songs.
28. “Ben”
Ben, 1972
“Ben,” from Ben (1972), is one of the most unusual Number One hits of the 1970s. For Jackson, it was his only solo Number One for much of the decade. This love ballad to a killer rat, from a horror film about mutant rodents, was sung in the movie by a misfit boy who befriends the rat. While the pro-vermin theme was largely overlooked by fans, Jackson appreciated it. Lyricist Don Black noted, “He’s quite an animal-lover – very sensitive. He enjoys anything that crawls or flies.” “Ben” remains a quirky but iconic entry in Michael Jackson Jackson songs, showcasing his versatility.
27. “Burn This Disco Out”
Off the Wall, 1979
“Burn This Disco Out,” the closing track of Off the Wall (1979), is an explosion of dance-floor energy. Its wiry guitar line echoes Stevie Wonder’s style. Jackson, committed to perfection, memorized the lyrics to avoid using a cheat sheet during a Sunday recording session. Rod Temperton, who wrote the song, noted Jackson’s rhythmic focus, “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.’ ” This track perfectly encapsulates the disco fervor of Michael Jackson Jackson songs in the late 70s.
26. “Dirty Diana”
Bad, 1987
“Dirty Diana,” from Bad (1987), saw Jackson toughening his sound and image, partly influenced by Billy Idol’s guitarist Steve Stevens. Stevens introduced Jackson to his tailor, leading to the leather-clad heavy-metal look on the Bad cover. Stevens also contributed the searing guitar solo in “Dirty Diana.” He recalled Jackson’s curiosity about rock bands, “[Michael] kept asking me about rock bands: ‘Do you know Mötley Crüe?’ ” This hard-edged track became Bad‘s fifth consecutive Number One single and was reportedly a favorite of Princess Diana, who requested it at a 1988 London concert, marking a rock-infused moment in Michael Jackson Jackson songs.
25. “The Girl Is Mine”
Thriller, 1982
“The Girl Is Mine,” a duet with Paul McCartney from Thriller (1982), was initially deemed the “obvious first single” by Jackson. Quincy Jones, however, considered it a “red herring,” hinting at Thriller‘s deeper musical scope. Jackson offered McCartney the duet as a reciprocal gesture for McCartney giving him “Girlfriend” for Off the Wall. McCartney’s only reservation was the word “doggone,” which he felt might sound simplistic. Jackson clarified his intent wasn’t depth but “rhythm” and “feel,” resulting in a breezy, jazzy track that highlights the easy rapport between these music icons in Michael Jackson Jackson songs.
24. “Dangerous”
Dangerous, 1991
“Dangerous,” the title track from Dangerous (1991), marked a shift from the pure entertainment focus of Off the Wall, Thriller, and Bad to a more autobiographical approach. Engineer Bruce Swedien noted, “Dangerous and HIStory were more Michael’s life story.” Reflecting the 90s R&B sound, “Dangerous” is stark and intense, with vocals oscillating between anger and fear, and lyrics exploring lust and temptation. Evolving from a Bad-era outtake “Streetwalker,” it was revamped during the Dangerous sessions with Bill Bottrell. Producer Teddy Riley significantly altered the track’s foundation, incorporating brighter strings with stark beats, contrasting Quincy Jones’s lush orchestrations, and creating a pivotal track in Michael Jackson Jackson songs’ evolution.
23. “Never Can Say Goodbye”
Maybe Tomorrow, 1971
Looking back at the Jackson 5 era, Jackson cited “Never Can Say Goodbye,” from Maybe Tomorrow (1971), along with “I’ll Be There” and “ABC,” as his favorite songs from that period. Written by Clifton Davis, who later performed it at Jackson’s funeral in 2009, “Never Can Say Goodbye” sets poignant lyrics to a shimmering melody. Davis initially worried about 11-year-old Michael’s understanding of the song’s emotional depth. Recalling Michael asking about the word “anguish,” Davis explained it, and Michael effortlessly sang the line “There’s that anguish and there’s that doubt,” convincingly conveying the emotion. The single, with its baroque arrangement, reached Number Two, proving the enduring appeal of early Michael Jackson Jackson songs.
22. “Off the Wall”
Off the Wall, 1979
“Off the Wall,” the title track from Off the Wall (1979), showcases Jackson’s playful studio persona. Rod Temperton, who worked extensively with Jackson in the late 70s, described him as “silly and fun-loving” and noted his aversion to profanity, even using “smelly” instead of “funky,” which became Quincy Jones’s nickname for him. Written by Temperton, “Off the Wall” is an anthem for “party people night and day,” encouraging listeners to shed inhibitions and embrace carefree living through dance. Its smooth groove, rich harmonies, and funk synths (partly played by George Duke) embody Jackson’s vision of dance music. The song’s title also became strangely prophetic of Jackson’s increasingly unconventional life, marking a defining moment in Michael Jackson Jackson songs.
21. “Thriller”
Thriller, 1982
The iconic video for “Thriller,” from Thriller (1982), often overshadows the song itself, one of Jackson’s most peculiar. Rod Temperton initially titled it “Starlight” before Quincy Jones requested a title change. Temperton recalled, “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 for horror films. The track escalated the funk feel of Off the Wall with supernatural sound effects and Vincent Price’s narration. Even during mixing, the bizarre continued when Jackson’s boa constrictor, Muscles, crossed the console. The last of seven singles from Thriller, it reached Number Four, solidifying its place among classic Michael Jackson Jackson songs.
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 said of “The Way You Make Me Feel,” from Bad (1987). The third consecutive Number One single from Bad, it’s the last unambiguously joyful hit of Jackson’s 80s era. 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 a song “with a shuffling kind of rhythm.” Jackson recorded all vocals, dancing in a darkened studio, creating an atmosphere of spontaneous joy within Michael Jackson Jackson songs.
19. “She’s Out of My Life”
Off the Wall, 1979
“She’s Out of My Life,” from Off the Wall (1979), is the ballad amidst the album’s disco celebration. Jackson described it as “maybe that was too personal for a party – it was for me.” Written by Thomas Bähler about a breakup, Quincy Jones initially intended it for Frank Sinatra. Jackson’s deeply emotional rendition made it Off the Wall‘s fourth Top 10 single. Greg Phillinganes’ electric piano set the standard for ballads for years to come. Famously, Jackson’s voice cracks at the song’s end. Jones recounted, “Every time we did it, I’d look up at the end and Michael would be crying. 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.” A concert staple from 1981 to 1993, it showcased the vulnerability within Michael Jackson Jackson songs.
18. “P.Y.T. (Pretty Young Thing)”
Thriller, 1982
“P.Y.T. (Pretty Young Thing),” from Thriller (1982), is Thriller‘s most lighthearted single, filled with funky keyboards and slang. Quincy Jones and James Ingram wrote it after Jones’s wife brought home lingerie labeled Pretty Young Things. Ingram was amazed by Jackson’s dance moves while recording. The energy is palpable as Jackson trades “na-na-na’s” with backup singers Janet and La Toya. Covered by many artists, including Jones himself with T-Pain and Robin Thicke, none captured the original’s spark. Jackson loved the song’s “code” in the lyrics and the “fun rock & roll-type words,” adding a playful dimension to Michael Jackson Jackson songs.
17. “The Love You Save”
ABC, 1970
“The Love You Save,” from ABC (1970), was the Jackson 5’s third consecutive chart-topping single, following “I Want You Back” and “ABC.” Unlike some J5 songs adaptable for adult singers, “The Love You Save” was “written for our young voices, with parts for Jermaine as well as me,” Michael explained. He saw its tag-team vocals and “doo-doo-doos/bum-bum-bum” scat as a nod to Sly & the Family Stone’s rotating singers. Like Sly’s hits, it was dance music for kids and the band alike. The recurring “Stop!” echoes the Supremes’ “Stop! In the Name of Love.” It highlighted the group’s growth beyond novelty, marking a potent phase in early Michael Jackson Jackson songs.
16. “Human Nature”
Thriller, 1982
“Human Nature,” from Thriller (1982), one of Jackson’s most delicate R&B ballads, originated unexpectedly from the rock band Toto. Toto members played on Thriller, including keyboardist Steve Porcaro. Late in the sessions, Jones sought more songs, and Toto sent demos. An unfinished instrumental with “dummy lyric, a very skeletal thing” caught Jones’s ear. He gave it to lyricist John Bettis, known for tender hits. The result perfectly suited Jackson’s breathy vocals, though the theme involves fleeting encounters. A last-minute Thriller addition, “Human Nature” became its fifth single and a Top 10 hit. It re-charted in 1993 as SWV’s “Right Here/Human Nature,” linking it to the film Free Willy, showcasing its enduring appeal within Michael Jackson Jackson songs.
15. “Remember the Time”
Dangerous, 1991
“Remember the Time,” from Dangerous (1991), is a lush reverie, Jackson’s best attempt to modernize his sound for the hip-hop era. After parting with Quincy Jones, he sought a younger producer, Teddy Riley, of New Jack Swing fame. Riley recalled, “I came in with 10 grooves. He liked them all.” “Remember the Time” was a highlight of their collaboration and a vocal peak for Jackson post-80s. Engineer Dave Way witnessed Jackson’s meticulousness, nailing “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.” While Riley claimed it was about Debbie Rowe (later retracted), Jermaine Jackson suggested Diana Ross was the inspiration, adding layers to Michael Jackson Jackson songs’ interpretations.
14. “Workin’ All Day and Night”
Off the Wall, 1979
“Workin’ All Day and Night,” from Off the Wall (1979), is a high-energy groove that could have been a hit single, but wasn’t, likely due to Off the Wall‘s already packed charts. Midway through Side One of the vinyl, it’s one of two tracks Jackson wrote solo on the album. The lyrics hint at a combative side, with a bluesman-esque complaint about a demanding woman. Yet, the Latin percussion, horns, and breathless vocals reflect Jackson’s intense work ethic during his solo breakthrough. Jones noted, “When he commits to an idea, he goes all the way with it. 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.” Prized by MJ fans, it exemplifies the raw energy in Michael Jackson Jackson songs.
13. “Bad”
Bad, 1987
“Bad,” the title track of Bad (1987), injected aggression into Jackson’s music. Inspired by a story about a black student killed returning home from a white school, and fueled by Jackson’s rivalry with Prince, it was initially conceived as a duet or showdown between them. Prince declined, reportedly saying, “It will be a big hit, even if I am not on it!” The song became a solo showcase, from Jackson’s seething delivery to Jimmy Smith’s organ solo. It marked a new level of intensity in Michael Jackson Jackson songs.
12. “Man in the Mirror”
Bad, 1987
“Man in the Mirror,” from Bad (1987), Jackson’s most ambitious ballad, was written late in the Bad sessions by Glen Ballard and Siedah Garrett. Ballard recalled Quincy Jones asking for more material at the last minute. A quick demo with Garrett’s vocals led to rapid production. Jackson enhanced it with Garrett’s backing vocals and gospel choirs, including Andrae Crouch and the Winans. Sandra Crouch described Jackson’s direction: “‘I want you to make it big – do it however you hear it. Just make it sound real gospel. Make it sound like church.'” Mavis Staples saw Jackson’s “sch-mon!” as an homage to her in “I’ll Take You There,” linking gospel roots to Michael Jackson Jackson songs’ emotional depth.
11. “ABC”
ABC, 1970
“ABC,” from ABC (1970), built upon the Jackson 5’s success with “I Want You Back.” Songwriter Deke Richards expanded on a riff from the previous hit, creating a new, equally potent song. Lyrics, by the Corporation, were inspired by the Jackson 5’s youthful reality and fan base. “ABC” was bubblegum pop, but funkier and more sophisticated than contemporaries. The percussive breakdown and fuzz guitar added complexity. Michael noted, “The verses were tongue-twisting, and that’s why they were split up between Jermaine and me.” Michael’s vocal dominance and energy defined this early hit among Michael Jackson Jackson songs.
10. “Rock With You”
Off the Wall, 1979
“Rock With You,” from Off the Wall (1979), is a quintessential disco-era seduction jam. Jackson described it as “coaxing, the gentleness, taking a shy girl and letting her shed her fears rather than forcing them out of her.” A chart-topper with lush strings, it bridges balladry and dance floor energy. Usher cited it as inspiration to become a performer. Rod Temperton wrote it for Jackson at Quincy Jones’s request, leading to further collaborations like “Thriller.” The video, showcasing Jackson in silver with lasers and smoke, captured a young artist in complete control, making it a defining track in Michael Jackson Jackson songs.
9. “Black or White”
Dangerous, 1991
“Black or White,” from Dangerous (1991), is a call for racial unity, blending rock swagger and R&B drive. Bill Bottrell, co-writer and producer, initially found Jackson’s rock efforts “cartoonish” until this song. The Stones-esque riff came from Jackson, developed by Bottrell into a “Southern-rock thing.” Jackson conceived the rhythm track. Bottrell added percussion, including cowbells, for a “swingy groove.” Bottrell also delivered the consciousness-raising rap bridge. Jackson’s incisive vocals, actually a scratch take, are the song’s core. It’s considered Jackson’s best 90s song and a powerful statement among Michael Jackson Jackson songs.
8. “Beat It”
Thriller, 1982
“Beat It,” from Thriller (1982), is a visionary mix of metal and disco, featuring Eddie Van Halen’s guitar solo. Its video crashed rock radio and topped charts a week after “Billie Jean.” The last song added to Thriller, it was produced under tight deadlines. Quincy Jones described frantic studio sessions with Eddie Van Halen, Jackson, and mixing occurring simultaneously, even resulting in overloaded, smoking speakers. David Lee Roth of Van Halen downplayed Eddie’s contribution, but “Beat It” remains a genre-bending classic in Michael Jackson Jackson songs.
7. “Wanna Be Startin’ Somethin”
Thriller, 1982
“Wanna Be Startin’ Somethin’,” from Thriller (1982), originally from the Off the Wall sessions, opens Thriller with intent. Using the African chant from Manu Dibango’s “Soul Makossa,” Jackson broadened its appeal, nodding to his roots with hip-hop savvy. Primarily a club track, it’s also lyrically dramatic with call-and-response vocals. With synth beats, Brazilian percussion, horns, and rhythms created by Jackson and bandmates, the groove is relentless. If Off the Wall was disco’s peak, this is early polyglot, post-disco dance music, anticipating global pop and a high-energy example of Michael Jackson Jackson songs.
6. “Smooth Criminal”
Bad, 1987
“Smooth Criminal,” from Bad (1987), built on the aggression of “Beat It,” despite some controversy. Quincy Jones and Jackson reportedly clashed over its inclusion on Bad, and Jehovah’s Witness elders disapproved of its violent imagery. Jackson stood firm, creating his best blend of R&B and rock, a shift towards darker themes. Inspired by serial killer Richard Ramirez, it evolved from earlier tracks “Chicago 1945” and “Al Capone.” The heartbeat in the track is Jackson’s own, adding to the haunting atmosphere and making it a standout among darker Michael Jackson Jackson songs.
5. “Shake Your Body (Down to the Ground)”
Destiny, 1978
“Shake Your Body (Down to the Ground),” from Destiny (1978), marks Michael Jackson’s transformation from boy band lead to Pop royalty. Expanding on “Dancing Machine,” it added Sly and the Family Stone-esque soul and Stevie Wonder-style synth funk. Destiny was the Jacksons’ first self-produced LP post-Motown. Peaking at Number Seven, its pop prescience is profound. Sampled in hip-hop and covered by Justin Timberlake, it’s a pivotal track in Michael Jackson Jackson songs’ evolution, bridging eras.
4. “I’ll Be There”
Third Album, 1970
“I’ll Be There,” from Third Album (1970), showcases Jackson’s emotional depth at just 11 years old. Misquoting the Four Tops, “Just look over your shoulders, honey!” somehow enhances his performance. Rewritten from a demo with a vocal arrangement by Willie Hutch, it features Jermaine Jackson prominently. Their fourth consecutive Number One hit and Motown’s best-selling single then, it revealed the Jackson 5’s deeper artistry and gospel roots. Jackson called it “our real breakthrough song; it was the one that said, ‘We’re here to stay,'” a cornerstone of early Michael Jackson Jackson songs.
3. “Don’t Stop ‘Til You Get Enough”
Off the Wall, 1979
“Don’t Stop ‘Til You Get Enough,” from Off the Wall (1979), Jackson called “my first big chance.” Six minutes of pop funk, it was a hit and a creative milestone. “That song means a lot to me,” he wrote in Moonwalk, “because it was the first song I wrote as a whole.” He wrote it, sang backing vocals, and devised the spoken intro. He and Randy played glass bottles for rhythm. Despite his mother’s questions about sexual undertones, Jackson’s intention was pure, making it a defining track in Michael Jackson Jackson songs’ solo career.
2. “I Want You Back”
Diana Ross Presents the Jackson 5, 1969
“I Want You Back,” from Diana Ross Presents the Jackson 5 (1969), is a series of shocks, starting with its piano intro, most notably that its singer was a child prodigy. Michael was 11 (Motown claimed 8). Initially a demo for Gladys Knight and the Pips, Berry Gordy rewrote it for the Jackson 5. The Corporation crafted many of their early hits. “I Want You Back,” their national debut, is irresistible, with an arrangement allowing Michael’s voice to soar. A fixture in nearly every performance, it’s an iconic start to Michael Jackson Jackson songs.
1. “Billie Jean”
Thriller, 1982
“Billie Jean,” from Thriller (1982), Michael Jackson’s signature song, encapsulates his musical contradictions: youth, nerves, grace. Reflecting his sexual paranoia as a megastar, he told Rolling Stone it was about “Girls in the lobby…guards getting them out of elevators. But you stay in your room and write a song.” Despite being an early Thriller song, he and Quincy Jones refined it intensely. Louis Johnson’s bassline, Ndugu Chancler’s drums over Jackson’s drum machine, and Tom Scott’s lyricon solo contribute to its depth. Five minutes long, it blends disco and epic rock. Jones worried about the long intro, but Jackson insisted, “‘That’s the jelly, that’s what makes me want to dance.'” The world has danced to “Billie Jean” ever since, making it the ultimate Michael Jackson Jackson song.
