Michael Jackson, an undisputed titan of pop music, carved a legacy that resonates across generations. His career, spanning over four decades of his remarkable 50 years, is a testament to his unparalleled artistry and innovation. From his early days as the sensational frontman of Motown’s groundbreaking Jackson 5 to his reign as a solo icon in the MTV era, Michael Jackson consistently redefined the landscape of popular music. His timeless voice and groundbreaking music videos propelled him to global superstardom, leaving an indelible mark on the world of entertainment. Even in the 1990s, an era often considered a quieter period in his discography, Jackson produced multi-million selling records brimming with innovation and depth.
This curated list delves into the expansive and illustrious catalog of Michael Jackson songs, spotlighting 50 of his absolute best. These selections represent not just chart-topping hits, but also deeper cuts that showcase the breadth of his musical genius and enduring appeal. Prepare to rediscover the magic of the King of Pop through these essential tracks.
50. “This Place Hotel”
Triumph, 1980
Alt text: The Jacksons Triumph album cover featuring the band members in a futuristic setting, relevant to Michael Jackson songs list.
In “This Place Hotel,” from The Jacksons’ Triumph album released in 1980, Michael Jackson boldly steps into the territory of rock royalty while maintaining his signature pop sensibility. Originally conceived as “Heartbreak Hotel,” this track, penned by Michael himself, bears little resemblance to Elvis Presley’s iconic 1956 hit beyond its thematic exploration of love gone wrong in a hotel setting. Instead, “This Place Hotel” emerges as a sleek disco-pop anthem, imbued with a darker, more contemporary edge. Its narrative unfolds within the walls of a hotel where relationships meet their demise, a departure from the more general heartbreak of Elvis’s classic. The song became a significant hit, reaching Number Two on the R&B charts. However, perhaps due to perceived legal sensitivities surrounding the title’s similarity to the Elvis classic, it was retitled to the more ambiguous “This Place Hotel,” adding an intriguing layer to its already compelling story. This track is a testament to Michael’s burgeoning songwriting talent and his ability to infuse familiar themes with fresh, modern sounds.
49. “Who’s Lovin’ You”
Diana Ross Presents the Jackson 5, 1969
Alt text: Diana Ross Presents The Jackson 5 album art, showcasing the young Jackson 5, relevant to early Michael Jackson songs.
“Who’s Lovin’ You,” featured on the Jackson 5’s debut album Diana Ross Presents the Jackson 5 in 1969, is a powerful showcase of young Michael Jackson’s vocal prowess. While “I Want You Back,” the A-side of its single release, pointed towards Motown’s exciting future, the B-side, “Who’s Lovin’ You,” deliberately looked back to the label’s soulful past. This cover song, originally a poignant ballad by Smokey Robinson, first appeared as the B-side to The Miracles’ “Shop Around” in 1960. It became a standout example of the fruitful early collaboration between the Jackson 5 and R&B singer Bobby Taylor. Taylor, who was instrumental in bringing the group to Motown, also produced some of their initial recordings. Backed by the legendary Motown house band, the Funk Brothers, Michael Jackson delivers a breathtaking performance. He fearlessly pushes his vocal range to its limits, injecting raw emotion into every syllable of Robinson’s heartbroken lyrics. This song not only solidified the Jackson 5’s arrival on the music scene but also highlighted Michael’s exceptional talent as a vocalist even at such a young age.
48. “Blood on the Dance Floor”
Blood on the Dance Floor: HIStory in the Mix, 1997
Alt text: Blood on the Dance Floor: HIStory in the Mix album cover featuring Michael Jackson in a red outfit, relevant to later Michael Jackson songs.
“Blood on the Dance Floor,” the title track from Michael Jackson’s 1997 remix album Blood on the Dance Floor: HIStory in the Mix, is a resurrected gem from the Dangerous era sessions. This ominously seductive song is shrouded in a fittingly eerie backstory. Producer Teddy Riley recounts how he missed a party to dedicate time to this track, only to learn that a shooting had occurred on that very party’s dance floor. Remarkably, Riley hadn’t shared this chilling detail with Jackson, making it all the more uncanny when the singer proposed “Blood on the Dance Floor” as the song’s title. Lyrically, Jackson delves into the dark territory of obsession, portraying a stalker armed with a seven-inch knife. This character fits into Jackson’s recurring motif of dangerous women, femmes fatales where the lines between desire and destruction blur. The song’s slinky, unsettling groove and its macabre narrative showcase Jackson’s willingness to explore darker themes in his music, even amidst his pop-oriented career.
47. “Will You Be There”
Dangerous, 1991
Alt text: Dangerous album cover featuring Michael Jackson’s eyes and a black panther, relevant to 90s Michael Jackson songs.
“Will You Be There,” from the Dangerous album released in 1991, exemplifies Michael Jackson’s boundless artistic ambition. Serving as the theme song for the 1993 film Free Willy and remarkably, the eighth single from Dangerous, this track is one of his most spectacularly grandiose recordings. Reportedly composed while Jackson was seated in his cherished “Giving Tree” at Neverland Ranch, “Will You Be There” commences with an extensive orchestral prelude drawn from Beethoven, performed by the prestigious Cleveland Orchestra. This majestic opening is further enriched by interwoven hosannas from the Andraé Crouch Singers, culminating in a deeply emotional spoken monologue delivered by Jackson himself. At its core, it is a gospel-infused ballad that continues a thematic thread throughout his career. From the youthful optimism of “I’ll Be There” to the earnest plea of “Got to Be There,” “Will You Be There” encapsulates a journey from unwavering confidence to a poignant reflection on fear and solitude. Its epic scale and heartfelt message solidify its place as a signature Michael Jackson song.
46. “In the Closet”
Dangerous, 1991
Alt text: In The Closet single cover featuring Michael Jackson and Naomi Campbell, relevant to sensual Michael Jackson songs.
With “In the Closet,” featured on Dangerous (1991), Michael Jackson masterfully played with duality and suggestion. Crafting what is arguably his most overtly sexual song to date, he ironically titled it “In the Closet,” showcasing his penchant for layered meanings and mixed messages. Producer Teddy Riley constructed a beat that was both dissonant and captivating, an off-kilter rhythm that perfectly complemented Jackson’s breathy whispers and passionate wails, aligning seamlessly with the edgy sound of contemporary R&B radio. Keyboardist Brad Buxer aptly described the sound as “almost atonal,” highlighting its innovative and unconventional nature. Initially intended as a duet with Madonna, the final version of “In the Closet” features spoken interludes by a “Mystery Girl,” revealed to be Princess Stéphanie of Monaco. The song’s provocative nature was further amplified by its music video, featuring supermodel Naomi Campbell in a visually stunning and suggestive portrayal. “In the Closet” stands as a bold exploration of sensuality within Jackson’s oeuvre, challenging perceptions and pushing boundaries.
45. “State of Shock”
Victory, 1984
Alt text: The Jacksons Victory album cover, featuring the band in dynamic poses, relevant to 80s Michael Jackson songs.
“State of Shock,” a standout track from The Jacksons’ Victory album (1984), marked a triumphant moment in a somewhat lackluster era for the group. This electrifying duet, pairing Michael Jackson with Rolling Stones legend Mick Jagger, soared to Number Three on the charts, successfully bridging the gap between rock and pop sensibilities. Originally envisioned as a collaboration with Queen’s Freddie Mercury, scheduling conflicts ultimately led to Jagger stepping into the role. Sound engineer Bruce Swedien recounted the recording session dynamics, noting, “[Michael] had Mick doing scales for over an hour to warm up before he would even start.” Remarkably, Jagger, despite his own iconic status, readily complied. Swedien observed, “Mick didn’t hesitate. By then, everyone knew how good Michael was. If Michael Jackson says warm up, you warm up – even if you are Mick Jagger.” This anecdote underscores the immense respect Michael Jackson commanded within the music industry, even among his fellow legends. “State of Shock” is a powerful testament to his ability to collaborate with diverse artists and create music that transcended genre boundaries.
44. “Scream”
HIStory: Past, Present and Future, 1995
Alt text: HIStory: Past, Present and Future album cover, featuring a statue of Michael Jackson, relevant to 90s Michael Jackson songs.
“Scream,” a raw and visceral track from Michael Jackson’s HIStory: Past, Present and Future, Book I album (1995), emerged from a period of intense personal turmoil. Following accusations of sexual molestation, Jackson reached a breaking point, channeling his anger and frustration into this confrontational song. “Scream” is notable for being his first ever recording to explicitly use profanity, featuring the word “fuck.” Co-written with his sister Janet Jackson, the song resonated deeply with audiences, reaching Number Five on the Hot 100, bolstered by an extravagant and visually arresting music video. Often cited as one of the most expensive music videos ever produced, “Scream” was a cinematic spectacle. Despite the difficult circumstances surrounding its creation, Jackson recalled a positive aspect of the experience, 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” stands as a powerful artistic statement, reflecting Jackson’s personal struggles while showcasing his enduring creative force and familial bonds.
43. “Dancing Machine”
Dancing Machine, 1974
Alt text: Dancing Machine album cover featuring the Jackson 5 in coordinated outfits, relevant to Jackson 5 Michael Jackson songs.
By 1974, the Jackson 5, while still popular, were experiencing a slight dip in their chart dominance. It had been three years since their last Top 10 hit. In response, producer and co-writer Hal Davis took a calculated risk, steering the group away from their established kid-friendly pop sound and towards a more mature, disco-infused direction with “Dancing Machine,” the title track of their 1974 album. The song featured a prominent, burbling synthesizer, a sound that was becoming increasingly prevalent in the evolving musical landscape. Crucially, the song’s success was amplified by Michael Jackson’s captivating “robot” dance, which he debuted during a performance on the television show Soul Train. This dynamic combination of music and movement propelled “Dancing Machine” to become a massive crossover hit, broadening their audience and pointing the way for the group’s musical evolution. Michael Jackson himself fondly remembered the song, stating in Moonwalk, “I loved ‘Dancing Machine,’ loved the groove and the feel of that song.” It marked a pivotal moment in the Jackson 5’s career, demonstrating their adaptability and Michael’s growing influence.
42. “Jam”
Dangerous, 1991
Alt text: Jam single cover featuring Michael Jackson in a street style outfit, relevant to 90s hip-hop influenced Michael Jackson songs.
“Jam,” the opening track from Michael Jackson’s Dangerous album (1991), is a danceable anthem with a surprising undercurrent of tension and fragmentation, considering its theme of universal understanding. While the groove bears the unmistakable stamp of producer Teddy Riley’s New Jack Swing style, the core concept originated with 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 vocal presence is initially subtle, gradually weaving its way into the mix. He delivers the chorus with a stuttering, almost sliced-and-diced vocal effect, adding to the song’s edgy feel. Perhaps the most conventionally accessible moment in “Jam” is the verse contributed by Heavy D, who was reportedly Jackson’s favorite rapper at the time. While “Jam” underperformed on the mainstream pop charts, it resonated strongly within the R&B community, becoming a Top Five hit in that genre. This highlights the song’s complex and genre-bending nature, appealing to different audiences in distinct ways.
41. “Farewell My Summer Love”
Farewell My Summer Love, 1984
Alt text: Farewell My Summer Love album cover featuring a young Michael Jackson, relevant to early solo Michael Jackson songs.
In 1984, Michael Jackson’s popularity was at an unprecedented peak. Recognizing this, Motown Records shrewdly capitalized on his fame by releasing Farewell My Summer Love, an album comprised of previously unreleased material. This album consisted of nine songs recorded in 1973, featuring a young Michael Jackson, which were then overdubbed with contemporary, 1980s-sounding instrumentation to appeal to current tastes. Michael Jackson himself expressed his disapproval of this release, stating, “It’s not fair. I had no control over that music.” Despite his objections, the album’s title track, “Farewell My Summer Love,” achieved significant commercial success, becoming a Top 10 hit in the United Kingdom. Fittingly, given its themes of adolescent melancholy and fleeting romance, Michael’s vocal performance on the song captures a snapshot of his voice at a transitional stage, just as it was beginning to deepen and mature. Listeners can even detect hints of the immense vocal power he would later unleash, making “Farewell My Summer Love” a fascinating artifact of his early solo career.
40. “Can You Feel It”
Triumph, 1980
Alt text: Can You Feel It single cover featuring the Jacksons in a vibrant artistic style, relevant to uplifting Michael Jackson songs.
“Can You Feel It,” from The Jacksons’ Triumph album (1980), is an uplifting anthem that showcases the group’s message of unity and positivity. Vocal coordinator Stephanie Spruill recounted a memorable late-night phone call from Michael Jackson regarding the song’s choir. “I got a call at three in the morning, it’s Michael Jackson,” she recalled. “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.'” With only two days before the recording session, Spruill successfully assembled the diverse children’s choir. Their voices were triple-tracked, creating a powerful and triumphant sound that perfectly complemented the song’s disco-infused energy. According to Tito Jackson, “Can You Feel It” encapsulates the essence of The Jacksons’ artistic mission. “It speaks about what we’re about,” he explained to Larry King, “Love and peace and harmony for the world.” The song’s soaring vocals, infectious rhythm, and message of global harmony solidify its place as a defining track in The Jacksons’ catalog and a testament to their enduring ideals.
39. “Blame It On the Boogie”
Destiny, 1978
Alt text: Destiny album cover featuring the Jacksons in cosmic outfits, relevant to disco era Michael Jackson songs.
Following the commercial disappointment of The Jacksons’ 1977 album Goin’ Places, it was Michael Jackson who played a crucial role in revitalizing the group’s fortunes with “Blame It On the Boogie,” featured on their 1978 Destiny album. However, there’s a fascinating twist to the song’s origin. “Blame It On the Boogie” was co-written and originally performed by Michael “Mick” Jackson, a singer-songwriter from Yorkshire, England. He released his own version of the song almost simultaneously with The Jacksons. Unsurprisingly, Mick Jackson’s rendition was overshadowed by The Jacksons’ disco-infused inferno, but he harbors no resentment. “The fact that the song made it, made it a lot easier for me,” Mick Jackson stated. “And of course the Jacksons went on to huge success.” Despite the shared title and theme, The Jacksons’ version of “Blame It On the Boogie” became the definitive hit, showcasing their signature blend of funk, disco, and pop, and re-establishing their position as music chart toppers.
38. “Leave Me Alone”
Bad, 1987
Alt text: Leave Me Alone single cover featuring animated depictions of tabloid rumors surrounding Michael Jackson, relevant to controversial Michael Jackson songs.
“Leave Me Alone,” a track from Michael Jackson’s Bad album (1987), directly addresses the relentless tabloid scrutiny that plagued his life. The song playfully confronts a series of outlandish rumors that circulated about Jackson, such as whether he slept in a hyperbaric chamber, if he purchased the bones of the Elephant Man, or if he kept unusual pets. Queen’s Freddie Mercury famously quipped about a recording session with Jackson involving a llama, highlighting the surreal nature of Jackson’s world as perceived by the media. “Leave Me Alone” serves as Jackson’s funky and defiant response to this sensationalism. Driven by dueling keyboard lines and punctuated by Jackson’s own impressive Stevie Wonder-esque synthesizer-vocal solo, the song is both catchy and pointed. It’s a testament to his ability to turn personal frustrations into compelling and relatable music, even while maintaining a sense of humor amidst the chaos.
37. “Goin’ Back to Indiana”
Third Album, 1970
Alt text: The Jackson 5 Third Album cover featuring the young band members, relevant to early Jackson 5 Michael Jackson songs.
“Goin’ Back to Indiana,” from The Jackson 5’s Third Album (1970), and the title song of their 1971 TV special, is a vibrant and nostalgic track. The song opens with Michael Jackson proclaiming, “You can go back to bed, but I know where I’m going,” before launching into the rousing title song. This funky, horn-infused pop number, composed by the songwriting collective known as the Corporation, features not only Michael’s soaring vocals but also a chanted soul-rap from his brothers. Their rap section celebrates their hometown of Gary, Indiana, punctuated by Michael’s signature helium-voiced “yeeaah.” “Goin’ Back to Indiana” taps into a deep sense of nostalgia, which is particularly striking coming from someone so young. Years later, Michael Jackson reflected in his autobiography Moonwalk, “Our records had become hits all over the world since we’d seen our hometown last.” The song captures the bittersweet feeling of fame and distance from one’s roots, a theme that would resonate throughout Jackson’s career.
36. “Say Say Say”
Pipes of Peace, 1983
Alt text: Pipes of Peace album cover featuring Paul McCartney and a dove, relevant to Michael Jackson collaboration songs.
“Say Say Say,” a collaboration between Michael Jackson and Paul McCartney, featured on McCartney’s Pipes of Peace album (1983), is a smooth and urgent-feeling duet born from a fruitful creative partnership. Jackson and McCartney co-wrote “Say Say Say” during the same sessions that yielded “The Girl Is Mine,” another collaborative track. They recorded the song with legendary Beatles producer George Martin at Abbey Road Studios, a location steeped in music history. Jackson later commented on their creative synergy, noting that he and McCartney “shared the same idea of how a pop song should work.” He also emphasized their equal footing in the collaboration, stating, “We worked together as equals and enjoyed ourselves. Paul never had to carry me in that studio.” The song’s accompanying music video, with a snake-oil salesman theme and a cameo appearance by La Toya Jackson, was filmed near an estate just north of Santa Barbara, which Jackson would later purchase and rename Neverland Ranch, adding another layer of personal connection to the song’s history.
35. “We Are The World”
USA for Africa, 1985
Alt text: We Are the World single cover featuring the diverse group of artists involved, relevant to charity Michael Jackson songs.
“We Are the World,” released under the banner USA for Africa in 1985, stands as a monumental charity single, raising over $60 million for famine relief in Africa and uniting an unprecedented collection of musical superstars. Conceived by Harry Belafonte, the project culminated in an all-night recording session at A&M Studio in Los Angeles, bringing together 45 iconic artists, from Bob Dylan and Ray Charles to Kenny Loggins and Cyndi Lauper. Michael Jackson played a pivotal role in the song’s creation, co-writing it with Lionel Richie over several weeks. Driven by inspiration, Jackson even secretly entered a recording studio alone one night, stating, “I couldn’t wait. I went in and came out the same night with the song completed – drums, piano, strings and words to the chorus.” Quincy Jones, who produced the track, famously instructed the assembled stars to “check your ego at the door,” fostering a collaborative spirit that resulted in a globally impactful and benevolent hit song. “We Are the World” remains a powerful example of music’s capacity for social change and Jackson’s commitment to humanitarian causes.
34. “Enjoy Yourself”
The Jacksons, 1976
Alt text: The Jacksons album cover, the first album under their new name, relevant to post-Motown Michael Jackson songs.
“Enjoy Yourself,” the debut single released by “The Jacksons” – now including Randy Jackson and excluding Jermaine who stayed with Motown – from their self-titled 1976 album, marked their departure from the Motown Records era and their entry into a new phase of their career. Ron Alexenburg, who signed them to CBS Records, specifically sought out Philly soul hitmakers Kenny Gamble and Leon Huff to helm their first project with the new label. The collaboration yielded “Enjoy Yourself,” a hard-driving, disco-leaning track that became a Top 10 single. However, the recording sessions had a deeper impact on Michael Jackson’s artistic development. He wrote, “Just watching Huff play the piano while Gamble sang taught me more about the anatomy of a song than anything else. I’d sit there like a hawk, observing every decision, listening to every note.” This experience provided invaluable firsthand insight into songwriting and production from two masters of the craft, shaping Jackson’s own approach to music creation in the years to come.
33. “Get on the Floor”
Off the Wall, 1979
Alt text: Get on the Floor single cover featuring Michael Jackson dancing, relevant to funk Michael Jackson songs.
“Get on the Floor,” from Michael Jackson’s Off the Wall album (1979), is a high-energy funk track with debated origins. Producer Quincy Jones attributed it to being leftover material from a session by the funk group Brothers Johnson. However, Brothers Johnson bassist Louis “Thunder Thumbs” Johnson offered a different account, claiming it originated from a home-recorded cassette of bass ideas that he played for Michael Jackson. Regardless of its precise genesis, the slap-happy collaboration resulted in arguably the funkiest track on Off the Wall. Louis Johnson, who went on to contribute to three more Jackson albums, considered this collaboration a peak experience. “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.” “Get on the Floor” captures the infectious energy and joyful atmosphere of those recording sessions, showcasing Jackson’s ability to infuse pure fun into his music.
32. “Mama’s Pearl”
Third Album, 1970
Alt text: Mama’s Pearl single cover featuring the Jackson 5, relevant to bubblegum pop Michael Jackson songs.
“Mama’s Pearl,” featured on The Jackson 5’s Third Album (1970), underwent a lyrical transformation to ensure its suitability for a young audience. Originally titled “Guess Who’s Making Whoopie (With Your Girlfriend),” the Motown songwriting team the Corporation toned down the lyrics to create “Mama’s Pearl,” making it appropriate for pre-pubescent Michael Jackson to sing without causing parental concern. Musically, the track shares similarities with “I Want You Back,” resembling its scrappy cousin with its bouncy piano chords and distinctive “doo-doo-doo” backup vocals. Michael Jackson’s youthful charm shines through as he attempts to woo a girl into falling in love with him. Despite reaching Number Two on the charts, “Mama’s Pearl” held a special place in Jackson’s memory. Decades later, in Moonwalk, he wrote that the song evoked memories of his schoolyard days, highlighting its connection to his childhood and the innocence of his early career.
31. “Morphine”
Blood on the Dance Floor: HIStory in the Mix, 1997
Alt text: Morphine single cover featuring a stylized image of Michael Jackson, relevant to dark themed Michael Jackson songs.
“Morphine,” a harrowing track from Michael Jackson’s Blood on the Dance Floor: HIStory in the Mix album (1997), delves into the sensitive and often speculated topic of his painkiller use. Slash, the guitarist from Guns N’ Roses who played on this industrial funk song, reflected on the context of its creation. “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,” Slash noted, highlighting the immense pressure Jackson faced. The lyrics of “Morphine” directly address rumors of Jackson’s addiction, with lines like “Demerol, Demerol/Oh, God, he’s taking Demerol,” sounding like a cry for help. Jermaine Jackson claimed that Michael’s pain medication use began after suffering burns during his 1984 Pepsi commercial incident, stating, “I doubt he gave a second thought to Demerol’s side effects.” “Morphine” is a stark and unflinching exploration of pain, addiction, and the darker side of fame, adding a layer of vulnerability to Jackson’s later work.
30. “Got to Be There”
*Got to Be There***, 1972**
Alt text: Got to Be There album cover featuring a young Michael Jackson smiling, relevant to early solo Michael Jackson ballads.
“Got to Be There,” Michael Jackson’s debut single as a solo artist, released in 1972 and featured on the album of the same name, signaled his intention to carve his own path beyond the Jackson family group. This buttery smooth ballad, penned by New Jersey songwriter Elliot Willensky, became a Top Five hit on both the pop and R&B charts. Its plush, pillow-talk arrangement was noticeably more mature and sultrier than the Jackson 5’s bubblegum pop fare. Even at the young age of 13, Michael Jackson ventured into sweetly suggestive lyrics like “Got to be there in the morning/And welcome her into my world,” leaving listeners to interpret whether he was referring to innocent schoolyard romance or something more intimate. Regardless of the intended meaning, his delivery was undeniably convincing and emotionally resonant, establishing him as a compelling solo vocalist capable of handling mature themes.
29. “Butterflies”
Invincible, 2002
Alt text: Butterflies single cover featuring a close up of Michael Jackson’s face, relevant to late career Michael Jackson songs.
“Butterflies,” a standout track from Michael Jackson’s final studio album Invincible (2002), offers a refreshing touch of lighthearted and innocent R&B, a departure from the darker themes that permeated much of his later work. This song is characterized by its gentle, doting tone, reminiscent of classic soul ballads. “Butterflies” was initially presented to Jackson as a demo featuring vocals by Marsha Ambrosius of the group Floetry, who also co-wrote the song. Co-producer Vidal Davis recalled the vocal recording process, stating, “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 beautifully recaptures the effortless soulfulness of Jackson’s earliest solo recordings, even incorporating his signature finger snaps into the rhythm track. Davis noted, “He had the loudest snaps in the world,” adding a distinctive percussive element to the song’s smooth and tender vibe.
28. “Ben”
Ben, 1972
Alt text: Ben album cover featuring Michael Jackson and a rat, relevant to unusual Michael Jackson songs.
“Ben,” the title track from Michael Jackson’s 1972 album Ben, stands as one of the most peculiar Number One hits of the 1970s, a decade known for its musical eccentricities. For much of the decade, it remained Jackson’s only solo chart-topper. “Ben” is a heartfelt ballad dedicated to a killer rat, originating from a low-budget horror film about mutant rodents terrorizing Los Angeles. In the movie, the song is sung by a lonely young boy who befriends the titular rat. While the pro-rodent subtext may have been lost on many listeners, Michael Jackson reportedly embraced the unusual premise. Lyricist Don Black, renowned for his James Bond themes, noted, “He’s quite an animal-lover – very sensitive. He enjoys anything that crawls or flies.” “Ben” transcended its bizarre origins to become a genuine hit, showcasing Jackson’s ability to infuse sincerity and emotion into even the most unconventional material.
27. “Burn This Disco Out”
Off the Wall, 1979
Alt text: Burn This Disco Out single cover featuring Michael Jackson in a sparkly outfit, relevant to disco Michael Jackson songs.
“Burn This Disco Out,” the exhilarating closing track of Michael Jackson’s Off the Wall album (1979), bursts with infectious dance floor energy. The song’s wriggly guitar riff evokes the sound of Stevie Wonder’s recordings, adding to its funky vibe. Jackson, known for his dedication, reportedly spent a Saturday night memorizing the lyrics so he wouldn’t need a cheat sheet during a Sunday recording session. His vocal performance is dynamic and percussive, bouncing around a melody specifically crafted for his rhythmic style. Songwriter Rod Temperton explained his compositional approach, stating, “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 disco anthem that perfectly encapsulates the album’s celebratory spirit.
26. “Dirty Diana”
Bad, 1987
Alt text: Dirty Diana single cover featuring Michael Jackson in a leather jacket, relevant to rock influenced Michael Jackson songs.
“Dirty Diana,” from Michael Jackson’s Bad album (1987), marked a deliberate effort to toughen his sound and image. Billy Idol’s guitarist Steve Stevens played a significant role in this transformation. Stevens not only contributed the searing metal guitar solo to “Dirty Diana” but also introduced Jackson to his tailor, leading to Jackson adopting the leather-clad, heavy-metal inspired look featured on the Bad album cover. Stevens recalled Jackson’s curiosity about rock music, saying, “[Michael] kept asking me about rock bands: ‘Do you know Mötley Crüe?'” “Dirty Diana” itself is a steamy power ballad fueled by Stevens’ spiraling guitar work. The hard-edged track became the fifth consecutive Number One single from Bad and gained a famous admirer in Princess Diana, who reportedly requested the song at a 1988 Jackson concert in London, adding an intriguing real-life dimension to its provocative title.
25. “The Girl Is Mine”
Thriller, 1982
Alt text: The Girl Is Mine single cover featuring cartoon images of Michael Jackson and Paul McCartney, relevant to Michael Jackson duets.
“The Girl Is Mine,” a duet with Paul McCartney featured on Michael Jackson’s Thriller album (1982), was initially chosen as the “obvious first single,” according to Jackson. However, producer Quincy Jones later described it as a “red herring,” suggesting it only hinted at the true power of Thriller. The song features an easy, jazzy groove and showcases the breezy rapport between Jackson and the former Beatle. Jackson offered McCartney the duet as a way to “repay the favor” after McCartney had given him “Girlfriend” for his Off the Wall album. McCartney’s only reservation about “The Girl Is Mine” was the inclusion of the word “doggone,” which he worried might sound “shallow.” However, as 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.” “The Girl Is Mine” serves as a lighthearted and charming prelude to the groundbreaking album that followed, showcasing Jackson’s versatility and collaborative spirit.
24. “Dangerous”
Dangerous, 1991
Alt text: Dangerous single cover featuring Michael Jackson in a black and white artistic shot, relevant to edgy Michael Jackson songs.
“Dangerous,” the title track from Michael Jackson’s Dangerous album (1991), marks a shift towards more personal and introspective songwriting. Longtime Jackson engineer Bruce Swedien noted, “Off the Wall, Thriller and Bad were more entertainment. Dangerous and HIStory were more Michael’s life story.” Reflecting Jackson’s evolving sound in the 1990s to keep pace with contemporary R&B, “Dangerous” is stark and driving, with vocals that oscillate between anger and vulnerability. The lyrics explore themes of lust and temptation, portraying desire as a “web of sin.” The track 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 initially found the music lacking, recalling, “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.'” Riley’s revamped production, blending bright strings with a stark beat, created a striking contrast to Quincy Jones’s richer orchestrations, resulting in a track that is both intense and innovative.
23. “Never Can Say Goodbye”
Maybe Tomorrow, 1971
Alt text: Never Can Say Goodbye single cover featuring the Jackson 5 in a group shot, relevant to soulful Jackson 5 Michael Jackson songs.
Looking back on the Jackson 5 era, Michael Jackson identified “Never Can Say Goodbye,” featured on their Maybe Tomorrow album (1971), along with “I’ll Be There” and “ABC,” as his “three favorite songs from those days,” demonstrating his keen ear for quality even in his early work. Written by Clifton Davis, who would later perform it at Jackson’s funeral in 2009, “Never Can Say Goodbye” sets heartbroken lyrics against a sparkling melody. Davis initially worried that the 11-year-old Michael might not grasp the depth of emotion in 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.” The single, enhanced by a dreamily baroque arrangement with flute and chimes, reached Number Two on the Billboard chart, breaking the Jackson 5’s streak of Number One hits. However, Jermaine Jackson recounted in his book You Are Not Alone that neither their father, Joseph Jackson, nor Motown boss Berry Gordy complained, recognizing the song’s undeniable quality.
22. “Off the Wall”
Off the Wall, 1979
Alt text: Off the Wall single cover featuring Michael Jackson in a dynamic pose, relevant to disco funk Michael Jackson songs.
“Off the Wall,” the title track from Michael Jackson’s breakthrough 1979 album, perfectly captures his playful and exuberant personality. Songwriter Rod Temperton, who began working with Jackson in the late 1970s, recalled, “In the studio, Michael was silly and fun-loving. He never swore. He didn’t even say the word ‘funky,’ he said ‘smelly.’ So that was Quincy’s nickname for him: Smelly.” This lighthearted side is evident in “Off the Wall,” written by Temperton as an ode to “party people night and day.” The song invites listeners to “hide your inhibitions/Gotta let that fool loose deep inside your soul” by embracing the dance floor and “livin’ crazy, that’s the only way.” Its infectious groove, layered with Jackson’s sumptuous harmonies, is both seductive and liberating. Temperton, drawing on his experience with his disco band Heatwave, recreated their dance floor vibe, while jazz and fusion keyboardist George Duke contributed growling funk synths. Ironically, “Off the Wall” proved strangely prophetic, foreshadowing the increasingly unconventional and “off the wall” trajectory of Jackson’s life in the decades that followed.
21. “Thriller”
Thriller, 1982
Alt text: Thriller single cover featuring Michael Jackson in zombie makeup, relevant to iconic Michael Jackson songs.
The iconic music video for “Thriller,” the title track of Michael Jackson’s best-selling album Thriller (1982), has become so culturally dominant that it sometimes overshadows the song itself, which is one of his most sonically and thematically unique creations. Written by Rod Temperton, the song was initially titled “Starlight” until Quincy Jones requested a title change. Temperton recounted, “The next morning I woke up and I just said this word [‘thriller’]. Something in my head just said, ‘This is the title.’ You could visualize it at the top of the Billboard charts.” Temperton also revised the lyrics to incorporate Jackson’s fascination with horror movies. The track builds upon the percolating funk of Off the Wall but elevates it to a grander, more theatrical scale, complete with supernatural sound effects – howling werewolves and creaking coffins – and the chilling narration of horror icon Vincent Price. Price, a friend of Jones’ then-wife, Peggy Lipton, reportedly nailed his part in just two takes. Even during the mixing process, “Thriller” maintained its air of the bizarre, with Jackson’s eight-foot-long boa constrictor, Muscles, slithering across the mixing console. Despite being the seventh single released from Thriller, “Thriller” reached Number Four on the charts, solidifying its place as a cultural phenomenon.
20. “The Way You Make Me Feel”
Bad, 1987
Alt text: The Way You Make Me Feel single cover featuring Michael Jackson in a romantic street scene, relevant to feel-good Michael Jackson songs.
“‘The Way You Make Me Feel’ and ‘Smooth Criminal’ are simply the grooves I was in at the time,” Michael Jackson stated, reflecting on the creative inspiration behind these Bad album (1987) hits. The world wholeheartedly embraced these grooves, with “The Way You Make Me Feel” becoming the third consecutive Number One single from Bad and arguably the last unambiguously upbeat hit of Jackson’s remarkable 1980s 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 shuffle rhythm 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 quickly developed the song, originally titled “Hot Fever.” He recorded all the vocal parts, including the backing vocals, dancing energetically in a darkened studio. Engineer Bruce Swedien recounted, “He’d sing his line, then he’d disappear into the darkness,” capturing Jackson’s immersive and dynamic recording process.
19. “She’s Out of My Life”
Off the Wall, 1979
Alt text: She’s Out of My Life single cover featuring a portrait of a melancholic Michael Jackson, relevant to ballad Michael Jackson songs.
“She’s Out of My Life,” from Off the Wall (1979), provides a poignant moment of balladry amidst the album’s otherwise celebratory disco atmosphere. Michael Jackson himself acknowledged its personal nature, saying, “Maybe that was too personal for a party – it was for me.” The song was written by Los Angeles musician Thomas Bähler about the end of a two-year relationship (though Bähler clarified it was not specifically about Karen Carpenter, with whom he had been romantically involved). Quincy Jones initially intended to record the song with Frank Sinatra, but Jackson was given the opportunity instead and delivered a deeply moving performance. “She’s Out of My Life” became Off the Wall‘s fourth Top 10 single, and Greg Phillinganes’ emotive electric piano work set the template for countless hit ballads in the following decade and a half. Famously, Jackson’s voice cracks with raw emotion during the song’s final words. Jones recalled in 1983, “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.” “She’s Out of My Life” became a consistent fixture in Jackson’s live performances from 1981 to 1993, always followed by a more upbeat medley to lift the mood after its emotional intensity.
18. “P.Y.T. (Pretty Young Thing)”
Thriller, 1982
Alt text: P.Y.T. (Pretty Young Thing) single cover featuring a playful image of Michael Jackson, relevant to fun Michael Jackson songs.
“P.Y.T. (Pretty Young Thing),” from Thriller (1982), is brimming with funky keyboard flourishes and playful slang like “tenderoni” and “sugar fly,” making it the album’s most lighthearted and carefree single. Quincy Jones co-wrote the song with singer James Ingram after Jones’ wife brought home lingerie labeled “Pretty Young Things,” sparking the song’s title and concept. Ingram recounted being amazed by Jackson’s energetic dance moves in the studio while recording the vocals. That vibrant energy is palpable in the final track, as Jackson trades playful “na-na-na’s” with his backup singers, who were none other than his sisters Janet and La Toya. “P.Y.T.” has been covered by various artists, including Justin Guarini and even Quincy Jones himself in a version featuring T-Pain and Robin Thicke. A Will.i.am remix was also featured on the 25th-anniversary edition of Thriller. However, none of these versions quite capture the electric spontaneity of the original. Michael Jackson himself expressed his fondness for the song, saying, “I love ‘Pretty Young Thing.’ I liked the ‘code’ in the lyrics, and ‘tenderoni’ and ‘sugar fly’ were fun rock & roll-type words that you couldn’t find in the dictionary.”
17. “The Love You Save”
ABC, 1970
Alt text: The Love You Save single cover featuring the Jackson 5 in a dynamic performance pose, relevant to early hit Michael Jackson songs.
“The Love You Save,” from The Jackson 5’s ABC album (1970), marked the third consecutive chart-topping single for the group, following “I Want You Back” and “ABC,” reaching Number One in June 1970. Unlike some Jackson 5 songs that could have been performed by adult singers, “The Love You Save” was specifically “written for our young voices, with parts for Jermaine as well as me,” as Michael Jackson later explained. He noted the tag-team vocal lines 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, “The Love You Save” was designed as dance music, intended for both kids dancing at home and the band’s energetic stage choreography. The recurring “Stop!” in the chorus subtly echoes “Stop! In the Name of Love,” a previous hit by their Motown labelmates, The Supremes. “The Love You Save” is arguably the highlight of the ABC album, which also included covers of Funkadelic’s “I Bet You” and The Delfonics’ “La La Means I Love You,” demonstrating the group’s artistic growth beyond novelty act status into a more substantial musical force.
16. “Human Nature”
Thriller, 1982
Alt text: Human Nature single cover featuring a dreamy image of Michael Jackson, relevant to soft rock Michael Jackson songs.
“Human Nature,” a delicate R&B ballad from Thriller (1982), 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 album sessions, Quincy Jones was still seeking additional songs, prompting Toto to submit a couple of demos. At the end of one tape was an unfinished instrumental piece that caught Jones’ attention. “There was this dummy lyric, a very skeletal thing,” he recalled, “but such a wonderful flavor.” Jones sent the instrumental to lyricist John Bettis, who had co-written tender hits for The Carpenters and Madonna. The resulting lyrics perfectly complemented Michael Jackson’s shy, breathy vocal style, even with the somewhat suggestive theme of seeking a one-night stand in the city (“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. Remarkably, it re-entered the charts a decade later as SWV’s 1993 Number One R&B hit “Right Here/Human Nature,” featured in the Free Willy soundtrack, a children’s movie about a killer whale, demonstrating the song’s enduring appeal across genres and generations.
15. “Remember the Time”
Dangerous, 1991
Alt text: Remember the Time single cover featuring Michael Jackson in Egyptian attire, relevant to R&B Michael Jackson songs.
“Remember the Time,” a lush and evocative track from Dangerous (1991), represents Michael Jackson’s most successful 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 collaborated with Teddy Riley, the architect of New Jack Swing, the dominant R&B sound of the time. Riley recalled his initial meeting with Jackson, “I came in with 10 grooves. He liked them all.” “Remember the Time” emerged as a highlight of their collaboration and showcases one of Jackson’s finest vocal performances of the post-1980s period. Engineer Dave Way described witnessing Jackson’s meticulous vocal work on the song, 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 inspiration behind the song’s lyrics remains debated. Riley initially claimed it was written about Jackson’s feelings for his second wife, Debbie Rowe, a claim he later retracted. Jermaine Jackson, however, suggested the song was inspired by Diana Ross, adding to the song’s mystique and romantic ambiguity.
14. “Workin’ All Day and Night”
Off the Wall, 1979
Alt text: Workin’ Day and Night single cover featuring a silhouette of Michael Jackson dancing, relevant to energetic Michael Jackson songs.
“Workin’ All Day and Night,” from Off the Wall (1979), is an explosive funk groove that, despite its potential, was never released as a single, possibly because the charts were already saturated with hits from the same album. Positioned midway through the first side of the original vinyl LP (the “disco side”), “Workin’ Day and Night” is one of two tracks solely written by Jackson on Off the Wall. The lyrics offer an early glimpse into Jackson’s more assertive side, employing the classic bluesman’s lament about a demanding woman. However, the song’s hyperactive Latin percussion, sharp horns, and breathless vocals reflect the relentless work ethic Jackson 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’ Day and Night” is highly prized by Michael Jackson aficionados, celebrated for its raw energy and Jackson’s unwavering commitment to his craft.
13. “Bad”
Bad, 1987
Alt text: Bad single cover featuring Michael Jackson in a tough street pose, relevant to edgy Michael Jackson songs.
“Bad,” the searing title track of Michael Jackson’s 1987 album, injected a new level of aggression and tension into his music. Written by Jackson himself, the song was inspired by a news article he read about a young African-American student from a disadvantaged background who was killed during a visit back to his inner-city neighborhood after attending a predominantly white school. Simultaneously, Jackson was intensely aware of Prince as a musical rival. Producers L.A. Reid and Babyface recounted visiting Jackson at Neverland Ranch and watching Prince’s film Under the Cherry Moon with him in his home theater, highlighting Jackson’s competitive spirit. Perhaps to definitively assert his position as the King of Pop, Jackson and Jones initially conceived “Bad” as a duet – or showdown – between Jackson and Prince, with Prince slated 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. As he reportedly left the meeting, he remarked, “It will be a big hit, even if I am not on it!” “Bad” became a solo showcase for Jackson, from his seething vocal delivery and mouth-percussion to jazz great Jimmy Smith’s organ solo, solidifying its status as an iconic and defiant track.
12. “Man in the Mirror”
Bad, 1987
Alt text: Man in the Mirror single cover featuring a reflective image of Michael Jackson, relevant to inspirational Michael Jackson songs.
“Man in the Mirror,” Michael Jackson’s most emotionally resonant ballad, emerged late in the Bad album (1987) sessions, written by Glen Ballard and Siedah Garrett. Ballard recalled Quincy Jones’s last-minute request, “‘Don’t you guys have anything for us?’ 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 to another level, enlisting Garrett for backing vocals and bringing in the Andrae Crouch Choir and The Winans to provide powerful gospel harmonies. Sandra Crouch, Andrae’s sister and choir leader, recounted 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 legend Mavis Staples interpreted Jackson’s signature made-up vocalization “sch-mon!” as an homage to her performance in The Staple Singers’ R&B classic “I’ll Take You There,” further emphasizing the song’s deep gospel roots. “Man in the Mirror” became an anthem of self-reflection and social responsibility, resonating deeply with audiences worldwide.
11. “ABC”
ABC, 1970
Alt text: ABC single cover featuring the Jackson 5 spelling out ABC with their bodies, relevant to catchy Jackson 5 Michael Jackson songs.
Following the phenomenal success of “I Want You Back,” The Jackson 5 faced the challenge of creating an equally impactful follow-up. “ABC,” from their ABC album (1970), not only met but arguably exceeded that challenge. Songwriter Deke Richards cleverly expanded upon a riff from “I Want You Back”‘s chorus, developing it into a completely new and equally potent song. Richards and his songwriting partners in the Corporation drew lyrical inspiration from the Jackson 5’s own reality and that of their young fanbase. Co-writer Freddie Perren explained, “[They were] the age they were, and . . . most of their fans were still in school.” “ABC” is bubblegum pop at its finest, but with a level of funk and sophistication that surpassed the kid-oriented hits of groups like The Archies and The Ohio Express. The song features a growling, percussive breakdown and a blazing fuzz guitar riff that intensifies with each repetition. Michael Jackson himself noted the song’s complexity, saying, “The verses were tongue-twisting, and that’s why they were split up between Jermaine and me.” Despite the shared vocals, Michael’s energetic and attention-grabbing performance dominates the track, making “ABC” another iconic Jackson 5 hit.
10. “Rock With You”
Off the Wall, 1979
Alt text: Rock With You single cover featuring Michael Jackson in a silver outfit with lasers, relevant to smooth Michael Jackson songs.
“Rock With You,” from Off the Wall (1979), is a quintessential example of Michael Jackson’s ability to blend danceable rhythms with tender emotion. Jackson described the song’s intention, saying, “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.” Arguably the last major hit of the classic disco era, “Rock With You” remains a timeless seduction anthem in R&B, setting a template for countless aspiring romantic performers. Its vibrant string arrangements and balance between balladry and dance-floor energy make it universally appealing. Usher cited “Rock With You” as a formative influence, stating in 2009, “Songs like ‘Rock With You’ made me want to become a performer.” It was the first song written for Jackson by Rod Temperton, a key collaborator from the band Heatwave, after a request from Quincy Jones. The music video, featuring Jackson performing in a shimmering silver outfit amidst lasers and smoke, portrays him as a young solo artist in complete command of his artistry, solidifying his burgeoning star power.
9. “Black or White”
Dangerous, 1991
Alt text: Black or White single cover featuring diverse faces morphing, relevant to socially conscious Michael Jackson songs.
“Black or White,” from Dangerous (1991), is a powerful anthem for racial unity that effectively blends classic rock swagger with R&B drive, becoming arguably the best song Jackson recorded in the 1990s. Co-writer and co-producer Bill Bottrell noted, “I thought his rock stuff up to that point had been kind of cartoonish.” The song’s Rolling Stones-esque riff originated from Jackson himself, who hummed it to Bottrell in the studio. Bottrell then developed it into “a Southern-rock thing, a real gutbucket tune.” Jackson also conceptualized the song’s impactful rhythm track. “I set about adding loads of percussion, including cowbells and shakers,” Bottrell said, “trying to get a swingy sort of groove.” Instead of featuring a prominent hip-hop MC, Jackson entrusted Bottrell with the consciousness-raising rap in the song’s bridge. However, it is Jackson’s incisive and dynamic vocals that truly elevate “Black or White,” showcasing a tour de force of pop polish and raw energy. Remarkably, the final vocal performance was actually a scratch vocal take, but Jackson, a renowned perfectionist, recognized its inherent quality and kept it as is, highlighting the song’s raw and authentic feel.
8. “Beat It”
Thriller, 1982
Alt text: Beat It single cover featuring Michael Jackson with gang members, relevant to rock and roll Michael Jackson songs.
“Beat It,” from Thriller (1982), is a visionary fusion of metal intensity and disco sheen, culminating in Eddie Van Halen’s iconic guitar solo. With its visually striking music video depicting gang rivalry, “Beat It” crossed over into rock radio and dominated airwaves across genres, reaching Number One just a week after “Billie Jean” concluded its seven-week reign at the top. “Beat It” was the last song added to Thriller as the album’s release deadline approached. Quincy Jones recounted the frantic recording process 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.” While “Beat It” was universally acclaimed, Van Halen’s Van Halen bandmate David Lee Roth famously quipped, “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 Roth’s dismissive comment, “Beat It” remains a groundbreaking and genre-bending hit, showcasing Jackson’s innovative approach to music and his ability to seamlessly integrate rock elements into his pop sound.
7. “Wanna Be Startin’ Somethin’”
Thriller, 1982
Alt text: Wanna Be Startin’ Somethin’ single cover featuring Michael Jackson in a vibrant outfit, relevant to high-energy Michael Jackson songs.
“Wanna Be Startin’ Somethin’,” the opening track of Thriller (1982), 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 1972 hit “Soul Makossa,” Jackson broadened the song’s global appeal, paying homage to his musical roots with a forward-thinking, hip-hop-esque crate-digging sensibility. Primarily, “Wanna Be Startin’ Somethin'” is a high-energy club banger, “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 undercurrent and a tense, call-and-response vocal dynamic. Fueled by swirling synth beats, Brazilian percussionist Paulinho da Costa’s friction drum textures, sharp horn stabs, and rhythmic stomping sounds created by Jackson and his bandmates, the groove is relentlessly infectious. If Off the Wall represented the pinnacle of pop disco, “Wanna Be Startin’ Somethin'” marks the emergence of polyglot, post-disco dance music, essentially foreshadowing the global pop sound that would follow.
6. “Smooth Criminal”
Bad, 1987
Alt text: Smooth Criminal single cover featuring Michael Jackson in a fedora and suit, relevant to iconic Michael Jackson songs.
Despite Michael Jackson’s status as the world’s biggest and most beloved pop star, the release of “Smooth Criminal,” from Bad (1987), with its darker and more aggressive tone than previous hits like “Thriller”‘s “Beat It,” was met with some initial resistance. 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 his ground, resulting in what many consider his finest blend of R&B groove and rock edginess, marking a turning point towards more mature and harder-edged material. Inspired in part by the story of mid-1980s serial killer Richard Ramirez, “Smooth Criminal” had been in development since 1985, initially titled “Chicago 1945” and then “Al Capone.” Both earlier versions featured a rapid-fire funk bass line similar to the final version’s driving synth-bass. The heartbeat sound effect in the track is a Synclavier rendition of Jackson’s own heartbeat, adding a chilling counterpoint to his haunting cries of “Annie, are you OK?” “Smooth Criminal” remains a testament to Jackson’s willingness to push creative boundaries and explore darker themes within his pop framework.
5. “Shake Your Body (Down to the Ground)”
Destiny, 1978
Alt text: Shake Your Body single cover featuring the Jacksons in a dynamic stage performance, relevant to dance Michael Jackson songs.
“Shake Your Body (Down to the Ground),” from The Jacksons’ Destiny album (1978), is a seismic track that signifies Michael Jackson’s transformation from a successful boy band lead singer into the emerging King of Pop, or at least his young prince. Building upon the proto-disco energy of the Jackson 5’s “Dancing Machine,” “Shake Your Body” incorporated a kinetic dose of Sly and the Family Stone-esque crossover soul and Stevie Wonder-inspired synth funk, alongside percussive vocals and Michael’s increasingly mature vocalizations. Notably, Destiny was the first self-produced album by the brother group, now renamed The Jacksons after Jermaine’s departure and their move 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 by Justin Timberlake in 2013, underscoring its enduring influence on subsequent generations of pop artists heavily indebted to Michael Jackson’s legacy.
4. “I’ll Be There”
Third Album, 1970
Alt text: I’ll Be There single cover featuring the Jackson 5 in a loving embrace, relevant to heartfelt Jackson 5 Michael Jackson songs.
“I’ll Be There,” from The Jackson 5’s Third Album (1970), showcases Michael Jackson’s remarkable vocal depth and emotional maturity even at a young age. Midway through the song, Jackson declares, “Just look over your shoulders, honey!” subtly misquoting The Four Tops’ Motown hit “Reach Out I’ll Be There.” This minor lyrical slip actually enhances the performance, highlighting the fact that the then 11-year-old Jackson was singing about emotions he could not have fully experienced himself, yet conveying them with the power and conviction of someone far beyond his years. Extensively rewritten from a demo by bassist Bob West, with vocal arrangements by Willie Hutch, “I’ll Be There” also features Jermaine Jackson’s powerful bridge vocals (“I’ll be there to comfort you. . . . “). The song became their fourth consecutive Number One hit and Motown’s best-selling single to that point, demonstrating that the Jackson 5’s talents extended far beyond novelty pop into deeper emotional territory, revealing the gospel roots that underpinned their artistry. In Moonwalk, Michael Jackson called “I’ll Be There” “our real breakthrough song; it was the one that said, ‘We’re here to stay.'”
3. “Don’t Stop ‘Til You Get Enough”
Off the Wall, 1979
Alt text: Don’t Stop ‘Til You Get Enough single cover featuring Michael Jackson in a glittery outfit, relevant to disco funk Michael Jackson anthems.
“Don’t Stop ‘Til You Get Enough,” the opening track of Off the Wall (1979), is a jubilant pop-funk masterpiece that propelled Michael Jackson into solo superstardom. Jackson himself referred to it as “my first big chance,” and for good reason. This six-minute explosion of joyous energy, with its jet-stream-like momentum, was both a massive hit and a pivotal moment in Jackson’s creative evolution. “That song means a lot to me,” he wrote in Moonwalk, “because it was the first song I wrote as a whole.” “Don’t Stop ‘Til You Get Enough” embodied Jackson’s newfound hands-on approach to music creation. 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 song’s suggestive lyrics, 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 double entendre and Jackson’s artistic control over his work.
2. “I Want You Back”
Diana Ross Presents the Jackson 5, 1969
Alt text: I Want You Back single cover featuring the Jackson 5 in a group shot, relevant to iconic Jackson 5 Michael Jackson songs.
“I Want You Back,” from Diana Ross Presents the Jackson 5 (1969), is an explosive debut single that remains just as thrilling and groundbreaking today as it was upon release. From the opening shooting-star piano riff, the song delivers one glorious shock after another, the biggest being the realization that its lead singer was both an undeniably magnificent performer and clearly a very young child. Michael Jackson was only 11 years old when he recorded “I Want You Back,” although Motown initially claimed he was eight to enhance his youthful appeal. The song was originally conceived as a demo for Gladys Knight and the Pips titled “I Wanna Be Free” by songwriters Deke Richards, Freddie Perren, and Fonce Mizell. Motown boss Berry Gordy helped rewrite it for the brother group from Gary, Indiana, he had just signed. Under the collective name The Corporation, this songwriting team continued to craft many of the Jackson 5’s early hits. “I Want You Back” wasn’t the Jackson 5’s first single overall (that was the locally released “Big Boy” in 1968), but it was their national debut, an irresistible song with a brilliant arrangement that allowed Michael’s dynamic voice to soar. It remained a staple of nearly every performance Michael Jackson gave throughout his entire career, a testament to its enduring power and iconic status.
1. “Billie Jean”
Thriller, 1982
Alt text: Billie Jean single cover featuring Michael Jackson in a classic pose with a fedora, relevant to number one Michael Jackson songs.
“Billie Jean,” from Thriller (1982), Michael Jackson’s magnum opus, encapsulates the many contradictions within his music: youthful exuberance juxtaposed with inner turmoil, raw emotion channeled through polished artistry. As he explained to Rolling Stone at the time, “Billie Jean” reflected his own anxieties as a 24-year-old megastar, “Girls in the lobby, coming up the stairway. You hear guards getting them out of elevators. But you stay in your room and write a song. And when you get tired of that, you talk to yourself. Then let it all out onstage.” Despite being one of the first songs Jackson wrote for Thriller, he and Quincy Jones meticulously refined “Billie Jean” until the final mastering stage. The deep, resonant bass line was contributed by funk legend Louis Johnson of the Brothers Johnson. Drummer Ndugu Chancler created the drum track over Jackson’s original drum machine beat, and jazz veteran Tom Scott added the haunting lyricon solo. At five minutes in length, “Billie Jean” possesses the sleekness of disco yet achieves a classic rock sense of epic scale. Quincy Jones initially worried the intro was too long, “But [Jackson] said, ‘That’s the jelly, that’s what makes me want to dance.'” And indeed, the world has been dancing to “Billie Jean” ever since, solidifying its place as Michael Jackson’s greatest song and a timeless masterpiece of popular music.
