Michael Jackson’s Thriller, released 40 years ago on November 30, 1982, wasn’t just an album; it was a cultural reset. Following his breakthrough solo effort, Off the Wall in 1979, Jackson aimed higher, seeking to not just match but surpass his previous success. Teaming up again with the legendary producer Quincy Jones, the burgeoning King of Pop delivered a masterpiece with Thriller, an album that cemented his status and remains unmatched even within his own illustrious discography. This nine-track powerhouse dominated the Billboard 200 for an astounding 37 nonconsecutive weeks and unleashed seven singles, each reaching the Hot 100 top 10, with “Billie Jean” and “Beat It” hitting the coveted No. 1 spot.
Sweeping the 1984 Grammy Awards with eight wins, including Album of the Year, Thriller became a benchmark for commercial success, becoming one of the best-selling albums of all time. Its impact reverberates through modern pop music, serving as a blueprint for artists from Usher and Justin Timberlake to Beyoncé and even his sister, Janet Jackson. Beyond sales, Thriller shattered racial barriers in the music industry, proving that genre boundaries were meant to be broken. Even now, the thrill endures. The album recently surged back into the Billboard 200 top 10, boosted by its 40th-anniversary reissue, proving its timeless appeal. Here, we dive deep into this moonwalking masterpiece and rank every track, from the collaborations to the solo hits, revealing the sonic tapestry that captivated a generation.
9. “The Girl Is Mine” with Paul McCartney
“The Girl Is Mine,” the lead single from Thriller, marked a historic collaboration between Paul McCartney and Michael Jackson, a pairing that foreshadowed Jackson’s later acquisition of the Beatles’ catalog. Despite reaching No. 2 on the Billboard Hot 100, it stands as arguably one of Jackson’s weakest singles during his peak. One of four tracks penned solely by Jackson on Thriller – alongside the superior “Billie Jean,” “Beat It,” and “Wanna Be Startin’ Somethin'” – “The Girl Is Mine” felt like a calculated attempt at crossover appeal. Its somewhat contrived and saccharine nature, punctuated by the infamous spoken word exchange at the end, makes even their later duet, the chart-topping “Say Say Say” from 1983 (actually recorded prior to this), seem comparatively profound. While commercially successful, within the context of Thriller, it feels out of place.
8. “Baby Be Mine”
“Baby Be Mine,” one of only two non-singles on Thriller, occupies the album’s second track slot and exudes a shimmering soul-disco vibe. This song, penned by Rod Temperton (who contributed three songs to the album), continues the smooth, roller-skating groove reminiscent of “Rock with You” from Off the Wall, another Temperton creation. Jackson’s vocal performance here is undeniably charming and confident. In terms of asserting his romantic interest, Jackson is far more convincing and less awkward than he is on “The Girl Is Mine.” While not a standout single, “Baby Be Mine” is a solid album cut that maintains the upbeat energy of Thriller‘s opening.
7. “P.Y.T. (Pretty Young Thing)”
“P.Y.T. (Pretty Young Thing)” is a track on Thriller that has become increasingly difficult for some listeners to fully embrace due to the child molestation allegations against Michael Jackson that surfaced later in his life. Regardless of one’s ability to separate the art from the artist, the lyrics about a “pretty young thing” carry a disturbing weight in retrospect. However, if one can momentarily set aside these problematic associations, “P.Y.T.,” co-written by James Ingram, another protégé of Quincy Jones, is undeniably a slice of pop-funk perfection. There’s an infectious playfulness to this jam, enhanced by the inclusion of Janet and La Toya Jackson on background vocals, adding a family element to the track’s joyful energy. Musically, it’s a vibrant and expertly crafted pop song.
6. “The Lady in My Life”
Despite Thriller‘s overt crossover ambitions, the album wisely bookended itself by delving into Jackson’s R&B roots. While “Wanna Be Startin’ Somethin'” provided the aggressive funk opening, “The Lady in My Life” offered the album’s seductive soul closer. Perhaps Jackson’s quintessential slow jam, this quiet storm staple, penned by Rod Temperton specifically for a more mature audience, served as his Marvin Gaye moment. It reminded listeners that before the elaborate costumes and groundbreaking dance moves, Michael Jackson was a genuine heartthrob, someone who evoked desire. Without resorting to the overt sexuality of his contemporary Prince’s “Do Me, Baby,” Jackson achieved a level of sensuality that was both sophisticated and deeply alluring.
5. “Human Nature”
“Human Nature,” the fifth single from Thriller, represented a perfectly executed change of pace, showcasing the breadth of Jackson’s talent as both a vocalist and interpreter. Interestingly, this song originated as a Toto track, which Jackson masterfully transformed into a signature MJ song. Co-written by Steve Porcaro of Toto, it also features fellow Toto members Jeff Porcaro (drums), Steve Lukather (guitar), and David Paich (synths), contributing to its atmospheric and polished sound. Jackson’s strikingly vulnerable vocal performance unveiled the human being beneath the pop icon persona. “Human Nature” captured a sense of longing and loneliness that seemed to reflect Jackson’s inner emotional landscape, adding a layer of depth to the album’s overall narrative.
4. “Thriller”
More than even “Billie Jean” or “Beat It,” “Thriller” the song is inextricably linked to its groundbreaking and iconic music video. The video transformed the seventh and final single from the album into a cultural phenomenon, becoming an enduring Halloween classic, arguably surpassing even “Monster Mash” in popularity and cultural impact. Aside from “Billie Jean,” “Thriller” likely enjoys the most enduring airplay of any track from the album. Beneath the undeniably campy horror elements – including Vincent Price’s legendary voiceover cameo – lies a deceptively strong groove. Jackson’s soulful and urgent vocal delivery sells the spooky narrative, making listeners believe in the supernatural and solidifying “Thriller” as a cornerstone of both pop music and visual storytelling.
3. “Beat It”
While “Beat It” might not have aged quite as seamlessly as some other Thriller tracks, this song, which followed “Billie Jean” to the No. 1 spot on the Hot 100, is arguably the most culturally significant and groundbreaking song on the album. “Beat It” smashed color barriers in music, paving the way for Black artists to embrace rock music in a mainstream way, exemplified by Jackson’s collaboration with guitar legend Eddie Van Halen. It established a rock-and-soul template that influenced everything from Jackson’s own later hits like “Dirty Diana” and “Black or White” to Janet Jackson’s “Black Cat” and “If.” It also arguably prepared audiences for Prince’s funk-rock revolution with Purple Rain in 1984. Beneath the bravado and tough-guy persona Jackson adopted for the song, you can still sense the vulnerable, insecure individual yearning to overcome adversity and prove his detractors wrong.
2. “Wanna Be Startin’ Somethin'”
Of all the tracks on Thriller, “Wanna Be Startin’ Somethin’,” the album’s electrifying opener, remains guaranteed to ignite any party, even decades later. Picking up directly from where Off the Wall concluded, it serves as Thriller‘s equivalent of “Don’t Stop ‘Til You Get Enough.” Jackson sounds as if he’s still proudly sporting his Afro, channeling a primal, almost ancestral energy. In full vocal command, Jackson rides the song’s driving bassline with relentless intensity. It’s a dizzying funk tour-de-force that invariably compels listeners to join in with the iconic “Ma ma se, ma ma sa, ma ma coo sa” chant, showcasing Jackson’s unparalleled ability to blend funk rhythms with pop sensibilities.
1. “Billie Jean”
There’s an undeniable sense of danger and intrigue that permeates “Billie Jean,” the haunting Thriller track that, while technically the second single released, effectively launched the album into the stratosphere. Inspired by the unsettling experience of a fan claiming Jackson was the father of her child – a claim he refutes with the iconic line, “But the kid is not my son” – “Billie Jean” is a gripping pop psycho-drama exploring the paranoia and feelings of persecution that Jackson was already experiencing at the height of his fame. Yet, it simultaneously maintains the enigmatic allure of an artist who remained perpetually just beyond our grasp. The eerie tension is palpable in every beat and signature “hee hee,” conveying Jackson’s precarious emotional state. Decades later, the song’s bassline remains instantly recognizable and irresistibly compelling, solidifying “Billie Jean” as not just the best song on Thriller, but one of the greatest pop songs ever recorded, capturing the complex genius of Michael Jackson at his peak.
