Michael Jackson, a name synonymous with pop royalty, carved a career that spanned over four decades of his remarkable 50 years. From his early days as the prodigious frontman of Motown’s groundbreaking Jackson 5, through his sensitive solo ballads of the Seventies, to becoming a pioneer of the MTV era and the enduring voice behind some of the most underrated multi-platinum records of the Nineties, Jackson’s musical journey is unparalleled. We’ve delved into his extensive catalog to curate a list of 50 best Michael Jackson Michael Songs that showcase his genius.
50. “This Place Hotel”
Triumph, 1980
In “This Place Hotel,” featured on the Jacksons’ 1980 album Triumph, Michael Jackson, the emerging King of Pop, playfully nods to the King of Rock & Roll. Initially titled “Heartbreak Hotel,” and penned by Michael himself, this track shares little more than a thematic ancestor with Elvis Presley’s 1956 classic. Instead of rockabilly, “This Place Hotel” unfolds as a sleek disco-pop anthem, taking the original concept of heartbreak in a hotel to a more contemporary and subtly darker space, narrating a tale of relationship demise within hotel walls. It climbed to Number Two on the R&B charts, demonstrating its immediate appeal. However, perhaps due to concerns over similarities with the Elvis hit, the title was changed to the more ambiguous “This Place Hotel,” adding a layer of intrigue to its story.
49. “Who’s Lovin’ You”
Diana Ross Presents the Jackson 5, 1969
“Who’s Lovin’ You,” found on Diana Ross Presents the Jackson 5 from 1969, served as a fascinating B-side to “I Want You Back,” offering a contrast between Motown’s forward-looking sound and a respectful glance at its rich history. This cover is a rendition of a Smokey Robinson classic, originally the B-side to the Miracles’ “Shop Around” in 1960. It stands as a testament to the fruitful early collaboration between the Jackson 5 and R&B artist Bobby Taylor, who was instrumental in bringing them to Motown and producing some of their initial recordings. Supported by the legendary Motown house band, the Funk Brothers, a young Michael Jackson pushes his vocal limits, passionately embodying every ounce of heartbreak within Robinson’s poignant lyrics. This performance not only honored a Motown legacy but also heralded the arrival of a phenomenal vocal talent.
48. “Blood on the Dance Floor”
Blood on the Dance Floor: HIStory in the Mix, 1997
“Blood on the Dance Floor,” the title track of Michael Jackson’s 1997 remix album Blood on the Dance Floor: HIStory in the Mix, emerged from the Dangerous era as a compelling outtake, revived and repurposed. This ominously seductive song carries a suitably chilling backstory. Producer Teddy Riley recounted how he had skipped a party to work on the track, only to learn later that a shooting had occurred on that very party’s dance floor. Unaware of this tragedy, Riley was taken aback when Jackson suggested “Blood on the Dance Floor” as the title, seemingly echoing the grim event. In the song, Jackson portrays a narrative of a stalker wielding a seven-inch knife, adding another chapter to his repertoire of dangerous female figures, for whom the lines between passion and violence blur into a terrifying unity.
47. “Will You Be There”
Dangerous, 1991
“Will You Be There,” featured on 1991’s Dangerous, and famously the theme for the 1993 film Free Willy, stands as a testament to Michael Jackson’s boundless ambition, even within his own extraordinarily high standards. Released as the eighth single from Dangerous, it’s one of his most monumental recordings. Reportedly composed in his “Giving Tree” at Neverland Ranch, “Will You Be There” begins with an extensive orchestral introduction, borrowing from Beethoven and performed by the Cleveland Orchestra. This is interwoven with soaring vocals from the Andraé Crouch Singers, culminating in a deeply emotional spoken monologue. Essentially a gospel song, it extends a recurring theme in Jackson’s career – from “I’ll Be There” to “Got to Be There” to “Will You Be There” – charting a personal evolution from unwavering confidence to feelings of vulnerability and isolation.
46. “In the Closet”
Dangerous, 1991
With “In the Closet,” from Dangerous (1991), Michael Jackson masterfully played with duality, crafting what was arguably his most overtly sexual song and paradoxically naming it “In the Closet.” This period of Jackson’s career in the early Nineties was marked by a fascinating embrace of mixed messages. Producer Teddy Riley constructed a beat that was both dissonant and captivating, perfectly complementing Jackson’s breathy whispers and passionate wails, aligning seamlessly with the contemporary sound of R&B radio. Keyboardist Brad Buxer described it as “almost atonal,” highlighting its unique sonic landscape. Initially envisioned as a duet with Madonna, the final version of “In the Closet” includes spoken word passages by a “Mystery Girl,” revealed to be Princess Stéphanie of Monaco. Adding to its provocative nature, the music video featured supermodel Naomi Campbell in a visually striking and sensual portrayal.
45. “State of Shock”
Victory, 1984
The Jacksons’ Victory album in 1984 might have been lackluster overall, but it produced one undeniable triumph: “State of Shock.” This electrifying duet between Michael Jackson and Mick Jagger reached Number Three on the charts, skillfully bridging the worlds of guitar-driven rock and mainstream pop. Originally conceived as a collaboration with Freddie Mercury of Queen, scheduling conflicts led to Mick Jagger stepping in, a fortuitous turn of events. Sound engineer Bruce Swedien recounted the recording session, noting, “[Michael] had Mick doing scales for over an hour to warm up before he would even start.” Jagger’s ready compliance underscored Jackson’s already established reputation for excellence; as Swedien put it, “By then, everyone knew how good Michael was. If Michael Jackson says warm up, you warm up – even if you are Mick Jagger.”
44. “Scream”
HIStory: Past, Present and Future, 1995
“Scream,” from 1995’s HIStory: Past, Present and Future, was born from a point of intense personal crisis for Michael Jackson, following accusations of sexual molestation. This track became one of his most openly confrontational works, notably marking the first instance of him using explicit language (“fuck”) in his music. Co-written with his sister Janet Jackson, “Scream” resonated deeply, reaching Number Five on the Hot 100, bolstered by an extravagant and visually arresting music video, often cited as one of the most expensive ever produced. Despite the difficult personal circumstances surrounding its creation, Jackson reflected positively on the collaborative process, 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.”
43. “Dancing Machine”
Dancing Machine, 1974
By 1974, the Jackson 5’s initial meteoric rise had begun to plateau; it had been three years since they had cracked the Top 10. Recognizing the need for reinvention, producer and co-writer Hal Davis took a bold step, steering them away from their bubblegum pop origins and into the burgeoning disco scene with “Dancing Machine,” a track infused with a pulsating synthesizer rhythm. Coupled with Michael Jackson’s groundbreaking “robot” dance, first showcased on Soul Train, “Dancing Machine” became a massive crossover success. It not only revitalized their career but also charted a new musical direction for the group. Michael himself expressed fondness for the song, recalling in Moonwalk, “I loved ‘Dancing Machine,’ loved the groove and the feel of that song.”
42. “Jam”
Dangerous, 1991
“Jam,” the opening track of 1991’s Dangerous, stands as a paradox – a danceable anthem advocating for universal understanding, yet imbued with surprising tension and fragmentation. The track bears the unmistakable sonic fingerprint of producer Teddy Riley, though the foundational ideas largely originated from Jackson himself. Riley recounted, “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 enter the mix gradually, and his delivery of the chorus is intentionally stuttered, creating a sense of sonic fragmentation. Perhaps the most immediately accessible element of “Jam” is the verse contributed by Heavy D, who was Jackson’s favorite rapper at the time. Despite its innovative sound, “Jam” achieved moderate success on the pop charts but resonated strongly within the R&B scene, becoming a Top Five hit in that genre.
41. “Farewell My Summer Love”
Farewell My Summer Love, 1984
In 1984, Michael Jackson’s popularity was so immense that virtually any recording bearing his name was guaranteed chart success. Capitalizing on this, Motown unearthed and released an album of previously unused material from his early career. The Farewell My Summer Love album comprised nine songs recorded in 1973, overlaid with new, contemporary Eighties instrumentation. Jackson himself expressed his disapproval, stating, “It’s not fair. I had no control over that music.” Despite his reservations, the album’s title track, an innocent song about youthful heartbreak, became a Top 10 hit in the UK. “Farewell My Summer Love” provides a unique auditory snapshot of Michael’s voice in transition, capturing a moment just as it was maturing, with glimpses of the vocal power he would soon fully command.
40. “Can You Feel It”
Triumph, 1980
“Can You Feel It,” from The Jacksons’ 1980 Triumph album, is an epic undertaking that began with a late-night call. Vocal coordinator Stephanie Spruill recounted, “I got a call at three in the morning, it’s Michael Jackson. 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 assembled the diverse 30-voice children’s choir on short notice. The choir’s vocals were triple-tracked, creating a soaring, anthemic disco plea for unity and positivity. According to Tito Jackson, the song encapsulates the essence of The Jacksons’ message: “It speaks about what we’re about,” he told Larry King, “Love and peace and harmony for the world.”
39. “Blame It On the Boogie”
Destiny, 1978
After the commercial disappointment of The Jacksons’ 1977 album Goin’ Places, it was Michael Jackson who played a crucial role in the band’s resurgence with “Blame It On the Boogie,” from 1978’s Destiny – though not the Michael Jackson you might immediately think of. “Blame It On the Boogie” was co-written and originally performed by Michael “Mick” Jackson, a UK-based singer-songwriter. He released his own version around the same time as The Jacksons. Despite the coincidence, Mick Jackson recognized the Jackson brothers’ version would inevitably overshadow his own, and harbored no ill will. He acknowledged, “The fact that the song made it, made it a lot easier for me. And of course the Jacksons went on to huge success.” Indeed, The Jacksons transformed the song into a disco inferno, propelling it to become a signature hit.
38. “Leave Me Alone”
Bad, 1987
“Leave Me Alone,” a track from 1987’s Bad, was Michael Jackson’s funky, rhythmic retort to the relentless tabloid scrutiny he faced. The lyrics directly address outlandish rumors, such as whether he slept in a hyperbaric chamber (his mother Katherine denied it), if he purchased the Elephant Man’s bones (“And why would I want some bones?” he questioned Oprah), or if he kept unusual pets (Queen’s Freddie Mercury famously joked about recording with a llama at Jackson’s studio). Musically, “Leave Me Alone” is driven by intertwining keyboard melodies and features Jackson himself delivering an emphatic synthesizer-vocal solo reminiscent of Stevie Wonder. This song is both a defiant statement and a showcase of Jackson’s musical playfulness amidst intense media pressure.
37. “Goin’ Back to Indiana”
Third Album, 1970
“Goin’ Back to Indiana,” from the Jackson 5’s Third Album (1970), became more than just a song; it was a declaration. As Michael Jackson proclaimed in the 1971 TV special of the same name, just before launching into the rousing title track, “You can go back to bed, but I know where I’m going.” This energetic, horn-infused pop tune, penned by the songwriting collective The Corporation, features Michael’s soaring vocals along with a chanted, soul-infused rap from his brothers, celebrating their hometown of Gary, Indiana, punctuated by Michael’s signature helium-pitched “yeeaah.” “Goin’ Back to Indiana” tapped into a genuine sense of nostalgia, remarkable coming from someone so young. Years later, in Moonwalk, he reflected, “Our records had become hits all over the world since we’d seen our hometown last,” highlighting the poignant contrast between their global fame and their humble origins.
36. “Say Say Say”
Pipes of Peace, 1983
“Say Say Say,” a collaboration between Michael Jackson and Paul McCartney from McCartney’s 1983 album Pipes of Peace, is a smooth yet urgent track that emerged from the same creative sessions that produced “The Girl Is Mine.” Recorded with Beatles producer George Martin at Abbey Road Studios, Jackson later noted that he and McCartney shared a common understanding of pop songcraft. “We worked together as equals and enjoyed ourselves,” he recalled, adding, “Paul never had to carry me in that studio.” The song’s music video, with a snake-oil salesman theme and a cameo by La Toya Jackson, was filmed near an estate north of Santa Barbara, which Jackson would later acquire and rename Neverland Ranch, adding an interesting layer of foreshadowing to the visual narrative.
35. “We Are The World”
USA for Africa, 1985
“We Are the World,” released under the banner of USA for Africa in 1985, became a monumental anthem of global unity, raising over $60 million for famine relief in Africa and bringing together an unprecedented assembly of 45 iconic musicians, from Bob Dylan and Ray Charles to Kenny Loggins and Cyndi Lauper. The project was initiated by Harry Belafonte, culminating in an all-night recording session at A&M Studios in Los Angeles. Michael Jackson collaborated with Lionel Richie over weeks to write the song, even testing lines on his sister Janet in secrecy before venturing into a recording studio alone, driven by creative urgency. “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.” Producer Quincy Jones famously instructed the assembled stars to “check your ego at the door,” setting the tone for the creation of a truly benevolent hit.
34. “Enjoy Yourself”
The Jacksons, 1976
“Enjoy Yourself,” released in 1976 on The Jacksons, marked the first single from “The Jacksons” – the rebranded quartet (originally the Jackson 5, now including Randy) as they transitioned from Motown to CBS. Ron Alexenburg, who signed them to CBS, sought out Philadelphia soul pioneers Kenny Gamble and Leon Huff to spearhead the project. This collaboration yielded “Enjoy Yourself,” a high-energy, disco-infused Top 10 single. However, the recording sessions offered Michael Jackson more than just a hit song. “Just watching Huff play the piano while Gamble sang taught me more about the anatomy of a song than anything else,” he later wrote. “I’d sit there like a hawk, observing every decision, listening to every note,” highlighting the invaluable learning experience he gained from these masters of soul music.
33. “Get on the Floor”
Off the Wall, 1979
“Get on the Floor,” from Michael Jackson’s Off the Wall (1979), is a track with contested origins. Quincy Jones attributed it to leftover material from a Brothers Johnson session, while Brothers Johnson bassist Louis “Thunder Thumbs” Johnson claimed it originated from a home-recorded cassette of bass ideas he shared with Michael. Regardless of its precise genesis, the resulting collaboration is undeniably the funkiest track on Off the Wall. Despite Louis Johnson’s subsequent contributions to three more Jackson albums, “Get on the Floor” remained a unique high point. Johnson fondly recalled, “What I’ll always cherish is the fun and excitement of playing live together on the Off the Wall sessions. Michael and everybody laughing, knowing we were making magic.” This track captures the raw, joyful energy of those sessions.
32. “Mama’s Pearl”
Third Album, 1970
“Mama’s Pearl,” featured on the Jackson 5’s Third Album (1970), underwent lyrical sanitization by Motown’s songwriting team, The Corporation. Originally titled “Guess Who’s Making Whoopie (With Your Girlfriend),” the lyrics were toned down to be more palatable for the young Michael Jackson to sing without causing parental concern. Musically, “Mama’s Pearl” is a spirited, almost scrappy relative to “I Want You Back,” characterized by its bouncy piano rhythm and the catchy “doo-doo-doo” backup vocals. Michael’s youthful charm shines through as he playfully attempts to woo a girl. The song reached Number Two on the charts and held a special place for Jackson throughout his life. In Moonwalk, he noted that it evoked memories of his schoolyard days, connecting the song to a simpler, more innocent time.
31. “Morphine”
Blood on the Dance Floor: HIStory in the Mix, 1997
“Morphine,” a track from 1997’s Blood on the Dance Floor: HIStory in the Mix, features a surprising collaboration with Guns N’ Roses guitarist Slash. Slash reflected on the context of the recording, “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.” The song delves into the harrowing themes of painkiller addiction rumors surrounding Jackson, with lyrics like “Demerol, Demerol/Oh, God, he’s taking Demerol,” sounding like a desperate cry for help. Jermaine Jackson suggested that Michael’s reliance on pain medication began after burns sustained during a 1984 Pepsi commercial, noting, “I doubt he gave a second thought to Demerol’s side effects,” highlighting the potential origins of this personal struggle reflected in the song.
30. “Got to Be There”
Got to Be There, 1972
“Got to Be There,” released in 1972 on the album of the same name, marked Michael Jackson’s debut single as a solo artist and signaled his early ambition to explore beyond the Jackson family sound. This buttery smooth ballad, a Top Five pop and R&B hit, was penned by New Jersey songwriter Elliot Willensky and featured a lush, intimate arrangement that was considerably more mature than the Jackson 5’s bubblegum pop. Even at just 13 years old, Jackson ventured into sweetly suggestive lyrics like “Got to be there in the morning/And welcome her into my world,” blurring the lines between youthful infatuation and more adult themes, leaving listeners to interpret whether he was singing about schoolyard romance or something more intimate. His performance was undeniably convincing, showcasing a burgeoning artistry.
29. “Butterflies”
Invincible, 2002
“Butterflies,” from 2002’s Invincible, Michael Jackson’s final studio album, stands out as a moment of lightness and innocence in his later work, a stark contrast to the darker themes that often dominated his music during that period. This gentle, doting R&B track was presented to Jackson as a demo featuring vocals by Marsha Ambrosius of Floetry, who co-wrote the song. 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 successfully recaptures the effortless soulfulness of Jackson’s earliest solo recordings, even incorporating rhythm through his finger snaps. Davis noted, “He had the loudest snaps in the world,” adding a unique percussive element to this tender track.
28. “Ben”
Ben, 1972
“Ben,” from the 1972 album of the same name, is one of the most peculiar Number One hits of the 1970s, a decade known for its unconventional chart-toppers. Remarkably, for much of that decade, it remained Jackson’s only solo chart-topper. “Ben” is a ballad of affection dedicated to a killer rat, originating 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 listeners were likely unaware of the pro-rodent undertones, lyricist Don Black (renowned for his James Bond themes) suggested Jackson connected with the song’s animal-loving sentiment. “He’s quite an animal-lover – very sensitive. He enjoys anything that crawls or flies,” Black explained, offering insight into Jackson’s affinity for the unusual subject matter.
27. “Burn This Disco Out”
Off the Wall, 1979
“Burn This Disco Out,” the closing track of Off the Wall (1979), explodes with infectious dance-floor energy. The song’s sinuous guitar riff could easily have been lifted from a Stevie Wonder record, highlighting its funk and soul influences. Michael Jackson, committed to perfection, reportedly spent a Saturday night memorizing the lyrics to avoid using a cheat sheet during a Sunday recording session. His vocal delivery is dynamic, bouncing across a melody crafted for his percussive singing style. Songwriter Rod Temperton explained his approach: “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.'” The result is a high-octane track that encapsulates the exhilaration of disco.
26. “Dirty Diana”
Bad, 1987
“Dirty Diana,” from 1987’s Bad, saw Michael Jackson collaborating with Billy Idol’s guitarist Steve Stevens to inject a harder rock edge into his sound and image. Stevens reportedly introduced Jackson to his tailor, leading to Jackson’s adoption of the leather-clad, heavy-metal-inspired look seen on the Bad album cover. However, Stevens’ most significant contribution to the album is arguably his searing, spiraling guitar solo in the power ballad “Dirty Diana.” Stevens recalled Jackson’s curiosity about rock music, “[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 gained a notable fan in Princess Diana, who reportedly requested the song at a 1988 Jackson concert in London, adding a layer of real-life intrigue to the song’s narrative of a captivating and potentially dangerous woman.
25. “The Girl Is Mine”
Thriller, 1982
“The Girl Is Mine,” a duet with Paul McCartney featured on 1982’s Thriller, was initially deemed by Michael Jackson as the “obvious first single” from the album. However, Quincy Jones later described it as a “red herring,” suggesting it only hinted at the true power of Thriller. Jackson offered McCartney this song, characterized by its relaxed, jazzy groove and the easy rapport between the two music icons, as a reciprocal gesture for McCartney having gifted him “Girlfriend” for Off the Wall. McCartney’s sole reservation was the word “doggone,” which he worried might sound “shallow” to some listeners. However, McCartney recounted, “When I checked with Michael, he explained that he wasn’t going for depth, he was going for rhythm, he was going for feel,” emphasizing the song’s primary focus on musicality and lighthearted charm over profound lyrical content.
24. “Dangerous”
Dangerous, 1991
“Off the Wall,” “Thriller,” and “Bad” were primarily about entertainment,” reflected Bruce Swedien, Michael Jackson’s long-time engineer. “Dangerous” and “HIStory” were more Michael’s life story,” suggesting a shift towards more personal and introspective themes. The title track of 1991’s Dangerous, “Dangerous,” reflects Jackson’s move to update his sound to align with the contemporary R&B of the Nineties. The result is stark and intensely driven, with vocals that oscillate between aggression and vulnerability, and lyrics exploring the darker side of desire, portraying lust as a “web of sin.” “Dangerous” evolved from a Bad-era outtake called “Streetwalker,” which Jackson revisited and retitled during the Dangerous sessions with co-writer Bill Bottrell. Producer Teddy Riley recalled initial challenges: “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 revamped track blended vibrant strings, a Jackson signature, with one of the most minimalistic beats he had ever sung over, a deliberate departure from Quincy Jones’ rich orchestrations. Riley emphasized, “We don’t just add music or instruments just to be adding,” highlighting the intentionality behind the track’s sonic architecture.
23. “Never Can Say Goodbye”
Maybe Tomorrow, 1971
Reflecting on the Jackson 5 era, Michael Jackson identified “Never Can Say Goodbye,” “I’ll Be There,” and “ABC” from their body of work as his “three favorite songs from those days,” demonstrating his keen ear for quality even within his early discography. “Never Can Say Goodbye,” from 1971’s Maybe Tomorrow, penned by Clifton Davis (who would later perform it at Jackson’s memorial service in 2009), sets poignant lyrics of heartbreak to a sparkling melody. Davis initially doubted whether the 11-year-old Michael could grasp the emotional depth of the lyrics. “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,” highlighting Jackson’s innate ability to convey profound emotion even at a young age. The single, enhanced by a dreamlike baroque arrangement featuring flute and chimes, reached Number Two on the Billboard chart, breaking the Jackson 5’s streak of Number One hits but still achieving considerable success. Jermaine Jackson recalled in his book You Are Not Alone that neither their father, Joseph Jackson, nor Motown’s Berry Gordy complained, acknowledging the song’s undeniable quality despite not reaching the top spot.
22. “Off the Wall”
Off the Wall, 1979
“In the studio, Michael was silly and fun-loving,” recalled Rod Temperton, who began his influential collaboration with Jackson in the late Seventies. “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 of Jackson is evident in the title track of 1979’s Off the Wall, “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 embracing dance clubs and “livin’ crazy, that’s the only way.” Its irresistible groove, layered with Jackson’s rich, overdubbed harmonies, is as smoothly seductive as his vision of dance music. Temperton, who arranged the rhythm and vocal tracks, recreated the dance-floor energy of his disco band Heatwave, and the song’s distinctive funk synths were partially played by jazz and fusion keyboardist George Duke. “Off the Wall” also carries a sense of unintended prophecy; in the years following its release, the world would witness just how truly “off the wall” Jackson’s life could become, adding a layer of irony to the celebratory anthem.
21. “Thriller”
Thriller, 1982
The iconic video for “Thriller,” the title track of Michael Jackson’s best-selling album from 1982, has become so culturally dominant that it’s easy to overlook the song itself, one of his most sonically and thematically unusual creations. Written by Rod Temperton, the song was initially titled “Starlight” until Quincy Jones prompted Temperton to reconsider the title. “The next morning I woke up and I just said this word [‘thriller’],” Temperton recounted. “Something in my head just said, ‘This is the title.’ You could visualize it at the top of the Billboard charts.” Temperton subsequently revised the lyrics to incorporate Jackson’s love of horror films, enhancing the song’s narrative dimension. The track elevated the percolating funk of Off the Wall to a more grandiose, theatrical scale, incorporating supernatural sound effects – wolf howls and creaking coffins – and a chilling narration by horror film legend Vincent Price, a friend of Jones’ then-wife, Peggy Lipton, who delivered his iconic part in just two takes. The strangeness of “Thriller” extended beyond its sonic elements; during the mixing process, Jackson’s pet boa constrictor, Muscles, reportedly slithered across the mixing console, adding an unexpected real-life surreal element to the song’s creation. Released as the final single from Thriller‘s unprecedented run of seven singles, it reached Number Four on the charts, testament to its enduring appeal despite its late release cycle.
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,” Michael Jackson explained, linking two distinct tracks from 1987’s Bad to his prevailing creative mood. “The Way You Make Me Feel,” the third consecutive Number One single from Bad, represents the last unequivocally upbeat hit of Jackson’s miraculous Eighties 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 initial idea for the song’s infectious groove came from 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 rapidly developed the track, originally titled “Hot Fever.” Jackson recorded all vocal parts, including backing vocals, dancing in a darkened studio to fully immerse himself in the music. Engineer Bruce Swedien recalled, “He’d sing his line, then he’d disappear into the darkness,” highlighting Jackson’s intensely physical and immersive recording process.
19. “She’s Out of My Life”
Off the Wall, 1979
“Maybe that was too personal for a party – it was for me,” Michael Jackson said of “She’s Out of My Life,” the ballad of heartbreak nestled within the disco exuberance of Off the Wall (1979). The song, written by Los Angeles musician Thomas Bähler about the end of a two-year relationship (Bähler had been involved with Karen Carpenter but clarified the song wasn’t specifically about her), was originally intended by Quincy Jones for Frank Sinatra. However, Jackson was given the opportunity and delivered a deeply moving rendition. “She’s Out of My Life” became Off the Wall‘s fourth Top 10 single, and Greg Phillinganes’ electric piano arrangement set a stylistic precedent for countless hit ballads in the following decade and a half. Famously, Jackson’s voice cracks and wavers on the song’s final words, a moment of raw emotion captured on record. “Every time we did it, I’d look up at the end and Michael would be crying,” Jones recounted 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,” preserving the vulnerability of the performance. From 1981 to 1993, “She’s Out of My Life” was a consistent feature of Jackson’s live performances, always followed by an upbeat medley to shift the mood back to celebratory.
18. “P.Y.T. (Pretty Young Thing)”
Thriller, 1982
“P.Y.T. (Pretty Young Thing),” from 1982’s Thriller, brimming with funky keyboard riffs and playful slang like “tenderoni,” 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 was reportedly amazed by Jackson’s physicality in the studio, noting how he danced as he sang the song, an energy that is palpable in the final recording. Jackson engages in playful vocal exchanges, trading “na-na-na’s” with backup singers who were also his sisters, Janet and La Toya Jackson. “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 featured on the 25th-anniversary edition of Thriller. However, none have quite replicated the original’s electric energy. “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,” highlighting his appreciation for the song’s playful and inventive use of language.
17. “The Love You Save”
ABC, 1970
“The Love You Save,” from the Jackson 5’s ABC album (1970), became the third in their unprecedented streak of chart-topping singles, reaching Number One in June 1970, following “I Want You Back” and “ABC.” Unlike some other Jackson 5 hits that could easily be adapted for adult voices, “The Love You Save” was specifically “written for our young voices, with parts for Jermaine as well as me,” Michael Jackson explained. He noted the tag-team vocal arrangement and the opening “doo-doo-doos/bum-bum-bum” scat percussives as The Corporation’s “bow to the Sly [and the Family Stone] sound, which rotated singers around the stage.” Like Sly Stone’s uptempo hits, it was designed as dance music, intended for both basement dance parties and the group’s choreographed stage performances. The recurring command “Stop!” subtly echoes “Stop! In the Name of Love,” a previous hit by their labelmates, The Supremes. “The Love You Save” is arguably a highlight of their second LP, which, with covers of Funkadelic’s “I Bet You” and The Delfonics’ “La La Means I Love You,” demonstrated the group’s artistic growth beyond novelty act status into a more substantial musical force.
16. “Human Nature”
Thriller, 1982
“Human Nature,” from 1982’s Thriller, one of Michael Jackson’s most tender R&B ballads, has a surprising origin in the rock band Toto, known for hits like “Africa” and “Hold the Line.” Several Toto members contributed to Thriller, including keyboardist Steve Porcaro. Late in the Thriller sessions, Quincy Jones was still seeking additional songs, and Toto submitted a few demos. At the end of one tape, Jones discovered an unfinished instrumental track that captured his attention. “There was this dummy lyric, a very skeletal thing,” he recalled, “but such a wonderful flavor.” Jones then gave it to lyricist John Bettis, known for writing tender hits like The Carpenters’ “Top of the World” and Madonna’s “Crazy for You.” The resulting lyrics perfectly complemented Michael’s shy, breathy vocal style, even as the narrative touches upon themes of nightlife and fleeting encounters (“If this town is just an apple,” he sings, “then let me take a bite”). Despite being a late addition to Thriller, “Human Nature” became its fifth single and a Top 10 summer hit. It experienced a chart resurgence a decade later when SWV sampled it for their 1993 Number One R&B hit “Right Here/Human Nature,” featured in the film Free Willy, surprisingly connecting it back to another Jackson track, “Will You Be There,” from the same movie.
15. “Remember the Time”
Dangerous, 1991
“Remember the Time,” from 1991’s Dangerous, is a lush and nostalgic track, representing Michael Jackson’s most refined attempt to modernize his sound for the hip-hop era. Following his creative split with Quincy Jones after Bad, Jackson sought a younger producer and chose Teddy Riley, the architect of New Jack Swing, the dominant R&B sound of the time. “I came in with 10 grooves,” Riley recalled. “He liked them all.” “Remember the Time” emerged as a highlight of their collaboration and one of Jackson’s strongest post-Eighties vocal performances. Engineer Dave Way witnessed Jackson’s meticulous approach to vocals on this track, noting how he flawlessly executed “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 subject of the song’s reminiscence has been debated. Riley initially claimed it was inspired by Jackson’s feelings for his second wife, Debbie Rowe (a claim he later retracted on Twitter), while Jermaine Jackson suggested it was written for Diana Ross, adding layers of speculation to the song’s romantic undertones.
14. “Workin’ All Day and Night”
Off the Wall, 1979
“Workin’ All Day and Night,” from Off the Wall (1979), is one of the album’s powerhouse grooves that arguably could have been a major hit single in its own right. However, it remained an album track, perhaps because the charts were already saturated with hits from Off the Wall. Positioned midway through the unstoppable Side One of the original vinyl release (the “disco side”), “Workin’ All Day and Night” is one of two tracks solely written by Jackson on the album (the other being “Don’t Stop ‘Til You Get Enough”). The lyrics offer an early glimpse into Jackson’s assertive side, employing the classic bluesman’s complaint about a demanding woman. However, the song’s hyperactive Latin percussion, sharp horn arrangements, and Jackson’s breathless vocals all reflect the intense work ethic he poured into his solo breakthrough. Quincy Jones observed, “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.” As a deep cut, “Workin’ All Day and Night” is highly valued by Michael Jackson enthusiasts, largely due to its raw energy and “ass power.”
13. “Bad”
Bad, 1987
“Bad,” the searing title track of the 1987 album Bad, injected a new level of aggression and tension into Michael Jackson’s music. Written by Jackson, the song was inspired by a news article he read about an African-American student who, after leaving the inner city to attend a predominantly white school, was tragically killed during a visit back home. Simultaneously, Jackson was keenly aware of Prince, whom he perceived as a significant rival. (Producers L.A. Reid and Babyface recounted visiting Jackson at Neverland and watching Prince’s film Under the Cherry Moon in his home theater). Perhaps seeking to definitively assert his status as the King of Pop, Jackson and Jones initially conceived “Bad” as a duet – a musical showdown – between Jackson and Prince (with Prince intended to sing the opening line “your butt is mine”). Prince met with Jackson and Jones to discuss the collaboration but ultimately 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 ultimately became a solo showcase for Jackson, from his seething vocal delivery and percussive mouth sounds to a distinctive organ solo by jazz legend Jimmy Smith.
12. “Man in the Mirror”
Bad, 1987
“Man in the Mirror,” from 1987’s Bad, stands as Michael Jackson’s most ambitious and emotionally resonant ballad. It was written relatively 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 took the song further, enlisting Garrett to arrange backing vocals and bringing in San Francisco’s Andrae Crouch Choir and The Winans to provide powerful gospel backing. Sandra Crouch, Andrae’s sister and choir leader, recalled Jackson’s direction: “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.’ And that’s what we did.” Upon hearing the song, gospel singer Mavis Staples interpreted Jackson’s distinctive made-up vocalization “sch-mon!” as an homage to her performance in The Staple Singers’ R&B classic “I’ll Take You There,” another song deeply rooted in gospel tradition, highlighting the spiritual depth of “Man in the Mirror.”
11. “ABC”
ABC, 1970
“ABC,” from the Jackson 5’s ABC album (1970), posed a significant challenge: how to follow up the monumental success of “I Want You Back.” The solution was to build upon it. Songwriter Deke Richards expanded on a small riff from the chorus of their previous hit, developing it into a new song of equal potency. Richards and his partners in The Corporation songwriting team drew lyrical inspiration from the Jackson 5’s reality; as co-writer Freddie Perren explained, “[They were] the age they were, and . . . most of their fans were still in school.” “ABC” was, in essence, pure bubblegum pop, yet it was more sophisticated and funkier than the overtly kid-oriented hits of groups like The Archies and Ohio Express from the preceding years. The song features a growling, percussive breakdown and a prominent fuzz guitar riff that intensifies with each repetition, showcasing a level of musical complexity rare in 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 undeniably dominates the track; Jermaine’s lines are mixed lower, and Michael’s vocal delivery is urgent, demanding attention like a student vying for the teacher’s notice.
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,” Michael Jackson explained, describing the ethos behind “Rock With You,” from 1979’s Off the Wall. Arguably the last major hit of the classic disco era, “Rock With You” remains a quintessential seduction anthem in modern R&B, setting a template for countless aspiring romancers on the dance floor. The song is characterized by its lush string arrangements and balanced poise 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,” highlighting its inspirational impact. “Rock With You” was the first song written for Jackson by key collaborator Rod Temperton, of the band Heatwave, following a request from Quincy Jones. (Temperton would go on to pen numerous other Jackson hits, including “Thriller,” “Off the Wall,” “Burn This Disco Out,” and “Baby Be Mine”). The music video, featuring Jackson performing his magic in a shimmering silver outfit against a backdrop of lasers and smoke, presents a solo artist seemingly barely out of adolescence yet completely in command of his artistry and charisma.
9. “Black or White”
Dangerous, 1991
“Black or White,” from 1991’s Dangerous, is a powerful call for racial unity that effectively embodies its message by seamlessly blending classic rock swagger with R&B drive, making it arguably the best song Jackson recorded in the Nineties. “I thought his rock stuff up to that point had been kind of cartoonish,” admitted Bill Bottrell, who co-wrote and co-produced the track. The song’s Rolling Stones-esque riff originated from Jackson himself, 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 explained, “trying to get a swingy sort of groove.” Rather than enlisting a prominent hip-hop MC for the rap bridge, Jackson entrusted Bottrell with the consciousness-raising rap section. However, it is Jackson’s incisive vocals that truly define the song, delivering a tour de force of pop polish and raw energy. Remarkably, the final vocal performance was initially intended as a scratch vocal. Yet, Jackson, a renowned sonic perfectionist who often re-recorded even exceptional takes, recognized its unique quality and decided to keep it, testament to its inherent power and emotion.
8. “Beat It”
Thriller, 1982
“Beat It,” from 1982’s Thriller, is a visionary fusion of heavy metal intensity and disco sheen, punctuated by Eddie Van Halen’s explosive guitar solo. Accompanied by its iconic “down-in-jungleland” music 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 of the charts (the song that briefly interrupted Jackson’s dominance at Number One was Dexys Midnight Runners’ “Come on Eileen”). “Beat It” was the last song added to Thriller, created under intense time pressure as the album’s release date approached. 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.” Ironically, the only person seemingly unimpressed by Van Halen’s contribution was Van Halen’s own frontman, 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!” despite the track’s groundbreaking success.
7. “Wanna Be Startin’ Somethin’”
Thriller, 1982
“Wanna Be Startin’ Somethin’,” the opening track of 1982’s Thriller, originally conceived during the Off the Wall sessions, served as a bold declaration of 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, crate-digging 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 edge and a dynamic call-and-response vocal tension. Amidst the swirling synth beats, Brazilian percussionist Paulinho da Costa’s friction drum textures, sharp horn stabs, and rhythms crafted by Jackson and band members on a “bathroom stomping board,” the groove is relentlessly propulsive. If Off the Wall represented pop disco’s pinnacle, “Wanna Be Startin’ Somethin'” stands as an early exemplar of polyglot, post-disco dance music – essentially, a precursor to the global pop landscape that would follow.
6. “Smooth Criminal”
Bad, 1987
Given Michael Jackson’s status as the world’s biggest and most beloved pop star, the release of “Smooth Criminal,” from 1987’s Bad, which built upon the aggressive sonic template of Thriller‘s “Beat It,” was met with mixed reactions. Reportedly, Jackson and Quincy Jones clashed over including the irresistibly menacing “Smooth Criminal” on Bad, and Jehovah’s Witness elders even visited the set of the song’s music video to express their disapproval of its violent imagery. However, Jackson stood firm, and the result is his most successful fusion of R&B groove and rock edginess, marking a significant turning point in his artistic evolution towards darker, more hard-edged material. Inspired in part by the story of mid-Eighties serial killer Richard Ramirez, “Smooth Criminal” had been in development in various forms since 1985, initially titled “Chicago 1945” and later “Al Capone.” Both earlier versions featured a rapid, funky bass line akin to the driving synth-bass of the final version. The heartbeat sound effect in the track is a Synclavier-generated rendition of Jackson’s own heartbeat, providing a chilling counterpoint to his haunting cries of “Annie, are you OK?” adding to the song’s unsettling atmosphere.
5. “Shake Your Body (Down to the Ground)”
Destiny, 1978
“Shake Your Body (Down to the Ground),” from The Jacksons’ 1978 album Destiny, represents a transformative moment in Michael Jackson’s career trajectory, signaling his evolution from lead singer of a successful boy band into the nascent King of Pop – or at least, its crown prince. Building on the proto-disco focus of the Jackson 5’s “Dancing Machine,” “Shake Your Body” incorporated a dynamic energy reminiscent of Sly and the Family Stone’s crossover soul and Stevie Wonder’s synth-funk innovations, alongside percussive vocals and Michael’s still-youthful yet distinctly post-pubescent vocalizations and squeals. Notably, Destiny was the first self-produced LP by the brother group, now renamed The Jacksons (following their split with older brother Jermaine and their departure from Motown). While the song peaked at Number Seven on the pop chart, its profound pop prescience is undeniable. It has been memorably sampled in hip-hop tracks, including Rob Base and DJ E-Z Rock’s “Get on the Dance Floor,” and was covered in 2013 by Justin Timberlake – an artist who owes a significant debt to Michael Jackson’s musical legacy.
4. “I’ll Be There”
Third Album, 1970
“Just look over your shoulders, honey!” Michael Jackson exclaims midway through “I’ll Be There,” from the Jackson 5’s Third Album (1970), playfully misquoting another Motown hit, the Four Tops’ “Reach Out I’ll Be There.” This slight lyrical slip-up somehow enhances the performance’s charm; at just 11 years old during the recording, Jackson sang about emotions seemingly beyond his years, with a passion and intensity that belied his young age. Extensively reworked from a demo by the recording’s bassist, Bob West, and featuring a vocal arrangement by Willie Hutch (who later achieved solo stardom), “I’ll Be There” also showcases Jermaine Jackson’s powerful vocals on the 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 the infectious joy of their earlier hits, revealing the gospel underpinnings of their music. In Moonwalk, Jackson described it as “our real breakthrough song; it was the one that said, ‘We’re here to stay,'” marking a pivotal moment in their career trajectory.
3. “Don’t Stop ‘Til You Get Enough”
Off the Wall, 1979
“Don’t Stop ‘Til You Get Enough,” the opening track of 1979’s Off the Wall, was described by Michael Jackson as “my first big chance,” and it undeniably lived up to that description. This six-minute explosion of joyous pop-funk, with its jet-stream-like momentum, became both an inescapable hit and a landmark in Jackson’s creative evolution. “That song means a lot to me,” he wrote in his memoir Moonwalk, “because it was the first song I wrote as a whole.” It embodied Jackson’s burgeoning hands-on approach to his music. He not only wrote the song 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 to the track. 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,” highlighting the song’s playful ambiguity and open interpretation.
2. “I Want You Back”
Diana Ross Presents the Jackson 5, 1969
From the iconic shooting-star piano intro, “I Want You Back,” from Diana Ross Presents the Jackson 5 (1969), is a cascade of musical brilliance. In 1969, its most significant shock was the realization that its lead singer was not only an exceptionally talented performer but also clearly a young child (Michael was 11 during recording, though Motown initially claimed he was eight). Deke Richards, Freddie Perren, and Fonce Mizell initially wrote it as a demo for Gladys Knight and the Pips titled “I Wanna Be Free.” Motown head Berry Gordy helped refine it for the brother group from Gary, Indiana, he had recently signed. Under the collective pseudonym The Corporation, this songwriting team continued to craft many of the Jackson 5’s early hits. “I Want You Back” was not the Jackson 5’s debut single (that was the locally released “Big Boy” in 1968), but it marked their national introduction, an irresistible song with a masterful arrangement that allowed Michael’s voice to soar and dance within its groove. It remained a cornerstone of almost every performance Jackson gave throughout his entire career, testament to its enduring power and foundational importance.
1. “Billie Jean”
Thriller, 1982
“Billie Jean,” from 1982’s Thriller, Michael Jackson’s magnum opus, encapsulates all the complexities and contradictions within his artistry: youthful exuberance, underlying anxiety, and sheer physical grace. As he revealed to Rolling Stone at the time, “Billie Jean” reflected his personal experience of sexual paranoia as a 24-year-old global superstar: “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 up until the final mastering stage. The deep, resonant bass line is provided 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 carries the epic scope of classic rock. Quincy Jones initially worried that the intro was too long. However, Jackson countered, “‘That’s the jelly, that’s what makes me want to dance,'” recognizing the intro’s crucial role in establishing the song’s irresistible rhythm and allure. The world has been dancing to “Billie Jean” ever since, solidifying its status as not only Michael Jackson’s greatest song but also one of the most iconic and influential tracks in pop music history.
