Michael Jackson, a name synonymous with pop music royalty, remains an unparalleled figure in music history. As a singer, dancer, and songwriter, his influence spans generations, and his music continues to captivate audiences worldwide. From his early days as the sensational frontman of the Jackson 5 to his groundbreaking solo career, Michael Jackson crafted a songbook filled with iconic hits and unforgettable melodies. payoffsong.com delves into the impressive catalog of this legendary singer, ranking 50 essential Michael Jackson songs that showcase his genius, innovation, and enduring appeal. This list celebrates not just the hits, but also the deep cuts and transformative tracks that solidify Michael Jackson’s legacy as the King of Pop and one of the greatest singers of all time.
50. “This Place Hotel”
Triumph, 1980
Michael Jackson, even within the family dynamic of The Jacksons, was already asserting his creative dominance. “This Place Hotel,” penned by Michael himself for the Triumph album, takes a fascinating detour from the Elvis Presley classic “Heartbreak Hotel,” despite its initial title mirroring the King of Rock & Roll’s hit. Instead of a direct cover, Michael reimagines the theme of heartbreak, setting it within the pulsing rhythm of disco-pop. The song is less about rockabilly angst and more about the sophisticated disillusionment of relationships falling apart in a metaphorical “hotel.” Initially charting high on the R&B charts as “Heartbreak Hotel,” the title was later sanitized, possibly for legal reasons, to the more ambiguous “This Place Hotel.” Regardless of the name change, the song remains a testament to Michael’s burgeoning songwriting prowess and his ability to infuse even family band projects with his unique artistic vision. The track’s sleek production and Michael’s increasingly distinctive vocal stylings hint at the solo superstardom that was just around the corner.
49. “Who’s Lovin’ You”
Diana Ross Presents the Jackson 5, 1969
The Jackson 5’s debut album, Diana Ross Presents the Jackson 5, was designed to launch them into the Motown stratosphere. While “I Want You Back” was the undeniable rocket fuel propelling them forward, the B-side, “Who’s Lovin’ You,” offered a poignant nod to Motown’s soulful past. This cover of a Smokey Robinson masterpiece, originally a B-side for The Miracles’ “Shop Around” in 1960, became a showcase for young Michael Jackson’s astonishing vocal talent. Under the guidance of R&B singer Bobby Taylor, who played a crucial role in bringing the Jackson 5 to Motown and producing their early recordings, Michael truly shines. Backed by the legendary Funk Brothers, Motown’s house band, Michael delves into the emotional depths of Robinson’s heartbroken lyrics. He pushes his vocal range to its limit, delivering a performance that is both raw and remarkably mature for his age. “Who’s Lovin’ You” isn’t just a cover; it’s a vocal tour-de-force that cemented Michael’s status as a prodigious talent within the Motown family.
48. “Blood on the Dance Floor”
Blood on the Dance Floor: HIStory in the Mix, 1997
Emerging from the Dangerous sessions but ultimately finding its home on the Blood on the Dance Floor: HIStory in the Mix remix album in 1997, this title track is a masterclass in ominous, slinking funk. “Blood on the Dance Floor” carries a chilling backstory that adds to its unsettling atmosphere. Producer Teddy Riley recounted how he skipped a party to work on the track, only to learn later that a shooting had occurred on that very dance floor. Remarkably, without knowing this, Michael Jackson suggested “Blood on the Dance Floor” as the title, seemingly tapped into the song’s dark undercurrents. Lyrically, the song delves into Jackson’s recurring theme of dangerous women, this time a stalker armed with a knife, blurring the lines between desire and destruction. The track’s unsettling groove and Jackson’s intense vocal delivery create a sense of unease, making “Blood on the Dance Floor” a compelling, if disturbing, chapter in his exploration of darker themes.
47. “Will You Be There”
Dangerous, 1991
“Will You Be There,” the sweeping theme song for the 1993 film Free Willy and a single from the Dangerous album, exemplifies Michael Jackson’s boundless ambition and his penchant for the grandiose. Even by his own extravagant standards, this track stands out. Composed in his “Giving Tree” at Neverland Ranch, the song opens with a majestic orchestral prelude, borrowing from Beethoven and performed by the Cleveland Orchestra. This segues into soaring hosannas from the Andraé Crouch Singers and culminates in a deeply emotional spoken monologue delivered by Jackson himself. More than just a movie theme, “Will You Be There” is a gospel-infused ballad that reflects a recurring motif in Jackson’s career: the evolution from unwavering confidence to vulnerability and isolation. From “I’ll Be There” with the Jackson 5 to his early solo hit “Got to Be There,” “Will You Be There” represents the culmination of this personal and artistic journey, a powerful statement of faith and a plea for connection.
46. “In the Closet”
Dangerous, 1991
“In the Closet” is a fascinating study in contrasts, perfectly capturing the enigmatic persona of early-Nineties Michael Jackson. He crafts his most overtly sexual song to date, yet titles it with a phrase that hints at secrecy and hidden desires. Producer Teddy Riley’s production is equally intriguing, building a dissonant, almost atonal beat that somehow perfectly complements Jackson’s breathy whispers and passionate wails. Keyboardist Brad Buxer described the sound as “incredible, almost atonal,” highlighting the track’s innovative and slightly unsettling sonic landscape. Originally envisioned as a duet with Madonna, the final version features spoken word passages by the “Mystery Girl,” Princess Stéphanie of Monaco, adding to the song’s air of intrigue. The music video, featuring Naomi Campbell, further amplifies the song’s sensual energy. “In the Closet” is a daring exploration of sexuality and secrecy, wrapped in a cutting-edge R&B sound that pushed the boundaries of mainstream pop.
45. “State of Shock”
Victory, 1984
Amidst the mixed reception of The Jacksons’ Victory album, “State of Shock” emerged as a clear triumph. This electrifying duet between Michael Jackson and Mick Jagger soared to Number Three on the charts, a testament to its infectious energy and the star power of its collaborators. The song seamlessly blends rock and pop sensibilities, creating a dynamic middle ground that appealed to a broad audience. 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 meticulous preparation Jackson demanded, even from rock royalty like Jagger, stating, “[Michael] had Mick doing scales for over an hour to warm up before he would even start.” This anecdote underscores the respect Michael commanded and his unwavering commitment to vocal excellence. “State of Shock” is more than just a successful single; it’s a powerful fusion of two iconic musical forces at their peak.
44. “Scream”
HIStory: Past, Present and Future, 1995
“Scream” marks a pivotal moment in Michael Jackson’s career, a raw and visceral reaction to the intense media scrutiny and accusations he faced in the early 1990s. This collaboration with his sister Janet Jackson is one of his most confrontational songs, even featuring his first recorded use of the word “fuck,” underscoring the depth of his frustration. “Scream” reached Number Five on the Hot 100, boosted by its groundbreaking and extravagant music video, often cited as the most expensive ever made. Despite the turmoil surrounding its creation, Jackson recalled the positive aspects of the project, 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” is a powerful expression of anger and defiance, but also a testament to the enduring bond between Michael and Janet Jackson, finding creative catharsis amidst personal crisis.
43. “Dancing Machine”
Dancing Machine, 1974
By 1974, the Jackson 5, while still popular, were experiencing a slight dip in their chart dominance. “Dancing Machine” proved to be the electrifying jolt they needed. Producer and co-writer Hal Davis took a bold risk, steering them away from their bubblegum pop origins and plunging them headfirst into the burgeoning disco sound, complete with a prominent synthesizer. The gamble paid off spectacularly. Coupled with Michael’s now-iconic “robot” dance moves, debuted during a memorable performance on Soul Train, “Dancing Machine” became a massive crossover hit. This track not only revitalized the Jackson 5’s career but also charted a new course for their future musical direction. Michael himself acknowledged the song’s impact, recalling in Moonwalk, “I loved ‘Dancing Machine,’ loved the groove and the feel of that song.” It was a pivotal moment, signaling the group’s evolution and Michael’s growing influence within it.
42. “Jam”
Dangerous, 1991
“Jam,” the opening track of the Dangerous album, is a fascinatingly tense and fragmented take on a danceable anthem for universal understanding. While the groove bears the unmistakable stamp of producer Teddy Riley’s New Jack Swing sound, the core concept originated with Michael 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 performance is equally unconventional, his voice entering the mix gradually and his delivery of the chorus almost stuttered, as if his voice is being chopped and sampled. Perhaps the most immediately accessible element of “Jam” is the guest verse by Heavy D, Jackson’s favorite rapper at the time, adding another layer to the song’s sonic tapestry. Despite its unconventional structure, “Jam” resonated strongly on the R&B charts, proving Jackson’s willingness to experiment and push boundaries even within a pop context.
41. “Farewell My Summer Love”
Farewell My Summer Love, 1984
In 1984, Michael Jackson’s popularity was such that virtually anything associated with him was guaranteed to generate interest. Motown, capitalizing on this phenomenon, released Farewell My Summer Love, an album comprised of previously unreleased material from 1973, overlaid with updated, 1980s instrumentation. Jackson himself expressed his displeasure, stating, “It’s not fair. I had no control over that music.” Despite his reservations, the album’s title track, “Farewell My Summer Love,” became a Top 10 hit in the UK. The song offers a poignant snapshot of Michael’s voice in transition, capturing a moment just before his vocal power fully matured. While the circumstances of its release were contentious, “Farewell My Summer Love” remains a charming artifact of Michael’s early vocal development, a bittersweet reminder of his journey from child star to global icon.
40. “Can You Feel It”
Triumph, 1980
“Can You Feel It,” from The Jacksons’ Triumph album, is an epic, uplifting anthem that embodies the group’s message of unity and positivity. Vocal coordinator Stephanie Spruill recounted a late-night call from Michael Jackson requesting a choir for the song, but with a specific vision: “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.'” Spruill, who also sings the song’s soaring high notes, managed to assemble the diverse choir on short notice. The choir’s voices were triple-tracked, creating a massive, triumphant soundscape that perfectly complements the song’s message of global harmony. According to Tito Jackson, “Can You Feel It” is definitive of the Jacksons’ core values, stating to Larry King, “It speaks about what we’re about. Love and peace and harmony for the world.” The song’s uplifting message, combined with its powerful musical arrangement, makes it a standout track in the Jacksons’ discography and a testament to their positive global vision.
39. “Blame It On the Boogie”
Destiny, 1978
After the commercial disappointment of The Jacksons’ Goin’ Places album in 1977, it was Michael Jackson who played a key role in revitalizing the group’s fortunes, though perhaps not in the way one might expect. “Blame It On the Boogie” was originally co-written and performed by Michael “Mick” Jackson, a UK-based singer-songwriter, who released his version around the same time as The Jacksons. Despite the potential for competition, Mick Jackson harbored no ill will towards the more famous group’s success with the song. 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.” The Jacksons’ rendition transformed “Blame It On the Boogie” into a disco inferno, propelled by their signature energy and Michael’s dynamic vocals, overshadowing the original and becoming a defining hit for the group in their post-Motown era.
38. “Leave Me Alone”
Bad, 1987
“Leave Me Alone” is Michael Jackson’s funky and defiant response to the relentless tabloid sensationalism that surrounded his life in the late 1980s. Fueled by outlandish rumors – from sleeping in a hyperbaric chamber to purchasing the Elephant Man’s bones to owning exotic pets (famously prompting Freddie Mercury’s exasperated call about recording with a llama) – Jackson channeled his frustration into this sharp-tongued track. Powered by dueling keyboard lines and a Stevie Wonder-esque synthesizer-vocal solo, “Leave Me Alone” is both a musical tour-de-force and a pointed rebuttal to the media frenzy. The song’s music video is equally iconic, satirizing the tabloid culture with surreal and biting imagery. “Leave Me Alone” showcases Jackson’s ability to transform personal struggles into compelling art, turning the invasive scrutiny he faced into a powerful and memorable pop anthem.
37. “Goin’ Back to Indiana”
Third Album, 1970
“Goin’ Back to Indiana” is more than just a song title; it was also the name of the Jackson 5’s 1971 TV special, for which this rousing, horn-infused pop number served as the theme. Composed by the Motown songwriting collective The Corporation, the song blends Michael’s soaring vocals with a chanted soul-rap from his brothers, reminiscing about their hometown of Gary, Indiana, punctuated by Michael’s signature helium-voiced “yeeaah.” Despite their young age, “Goin’ Back to Indiana” taps into a genuine sense of nostalgia, a feeling amplified by the group’s rapid rise to global fame. Michael later reflected in Moonwalk, “Our records had become hits all over the world since we’d seen our hometown last.” The song captures a specific moment in the Jackson 5’s journey, a poignant look back at their roots as they experienced unprecedented success.
36. “Say Say Say”
Pipes of Peace, 1983
“Say Say Say,” the smooth and urgent-feeling duet between Michael Jackson and Paul McCartney, was born from the same creative sessions that produced “The Girl Is Mine.” Co-written by Jackson and McCartney and recorded at Abbey Road Studios with George Martin, the song represents a meeting of pop music titans. Jackson later noted that he and McCartney “shared the same idea of how a pop song should work,” emphasizing their collaborative synergy. He also added, “We worked together as equals and enjoyed ourselves. Paul never had to carry me in that studio,” highlighting the mutual respect and creative partnership. The song’s video, with its snake-oil salesman theme and cameo by La Toya Jackson, was filmed near an estate north of Santa Barbara that Michael would later purchase and rename Neverland Ranch, adding another layer of personal history to the collaboration. “Say Say Say” is a testament to the power of collaboration between two pop music giants, resulting in a sophisticated and enduring hit.
35. “We Are The World”
USA for Africa, 1985
“We Are the World” is more than just a song; it’s a cultural phenomenon and a landmark of musical philanthropy. Conceived by Harry Belafonte to raise funds for African famine relief, the project brought together 45 of the biggest celebrities of the era for an all-night recording session at A&M Studios in Los Angeles. Michael Jackson co-wrote the song with Lionel Richie over several weeks, even testing lines on his sister Janet in the dark before sneaking into a studio to complete a demo in a single night, driven by his creative urgency. Quincy Jones, who produced the track, famously instructed the assembled stars to “check your ego at the door,” fostering a collaborative atmosphere that resulted in a truly benevolent hit. “We Are the World” raised over $60 million and became an anthem of global unity, solidifying Michael Jackson’s role not only as a musical icon but also as a humanitarian force.
34. “Enjoy Yourself”
The Jacksons, 1976
“Enjoy Yourself” marked a significant turning point for the Jacksons, their first single released as “The Jacksons” after leaving Motown and signing with CBS, now including their brother Randy. Ron Alexenburg, who signed them to CBS, sought out Philadelphia soul hitmakers Kenny Gamble and Leon Huff to helm the project, recognizing their expertise in crafting crossover hits. Together, they created “Enjoy Yourself,” a hard-driving, disco-infused track that reached the Top 10. Beyond its commercial success, the recording sessions proved to be a valuable learning experience for Michael. He later 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.” “Enjoy Yourself” not only launched The Jacksons’ CBS era but also provided Michael with invaluable insights into songwriting and production, shaping his future solo career.
33. “Get on the Floor”
Off the Wall, 1979
“Get on the Floor” is a high-energy funk explosion from Michael Jackson’s Off the Wall album, a track that Quincy Jones credits as a leftover from a Brothers Johnson session. However, Brothers Johnson bassist Louis “Thunder Thumbs” Johnson recalls it originating from a home-recorded cassette of bass ideas he played for Michael. Regardless of its exact origins, the slap-happy collaboration is undeniably the funkiest track on the album. Despite Louis Johnson contributing to three other Jackson albums, “Get on the Floor” remained a unique high point. He cherished the Off the Wall sessions, recalling, “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.” “Get on the Floor” captures the infectious joy and collaborative spirit of those sessions, resulting in a pure, unadulterated funk masterpiece.
32. “Mama’s Pearl”
Third Album, 1970
“Mama’s Pearl,” from the Jackson 5’s Third Album, showcases the Motown songwriting team The Corporation’s knack for crafting hits tailored to the group’s youthful image. The lyrics were toned down from the original title, “Guess Who’s Making Whoopie (With Your Girlfriend),” to ensure pre-pubescent Michael could sing it without causing parental concern. Musically, the track shares a kinship with “I Want You Back,” featuring a bouncy piano riff and the catchy “doo-doo-doo” backup vocals, but with a slightly scrappier, more playful feel. Michael’s charming vocal delivery perfectly captures the song’s innocent flirtation. Reaching Number Two on the charts, “Mama’s Pearl” held a special place for Jackson throughout his life. In Moonwalk, he noted that it reminded him of his schoolyard days, highlighting its connection to his childhood and the Jackson 5’s early appeal.
31. “Morphine”
Blood on the Dance Floor: HIStory in the Mix, 1997
“Morphine,” a harrowing industrial funk track from Blood on the Dance Floor: HIStory in the Mix, delves into the darker aspects of Michael Jackson’s life and public image, specifically addressing rumors of painkiller addiction. Slash of Guns N’ Roses, who played on the track, reflected on the intensity of Jackson’s fame, comparing it to Elvis Presley’s and acknowledging its “scary” magnitude. The lyrics directly confront the rumors, with Jackson singing, “Demerol, Demerol/Oh, God, he’s taking Demerol,” almost like a cry for help. Jermaine Jackson claimed Michael’s pain medication use stemmed from burns sustained during his 1984 Pepsi commercial incident, stating, “I doubt he gave a second thought to Demerol’s side effects.” “Morphine” is a raw and unsettling track, offering a glimpse into Jackson’s personal struggles and the pressures of his immense fame, set against a stark and industrial soundscape.
30. “Got to Be There”
*Got to Be There***, 1972**
“Got to Be There,” Michael Jackson’s debut solo single, signaled his ambition to carve out his own artistic identity beyond the Jackson family sound. This buttery ballad, a Top 5 pop and R&B hit, was penned by New Jersey songwriter Elliot Willensky and featured a plush, pillow-talk arrangement that was significantly more mature than the Jackson 5’s bubblegum fare. At just 13 years old, Michael 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 romantic themes. “Got to Be There” established Michael as a compelling solo artist, showcasing his vocal versatility and his ability to connect with more mature material, even at a young age.
29. “Butterflies”
Invincible, 2002
“Butterflies,” arguably the standout track from Michael Jackson’s final studio album, Invincible, offers a refreshing return to light, innocent R&B, a welcome departure from the darker themes that dominated much of his later work. The song was presented to Jackson as a demo featuring vocals by Marsha Ambrosius of Floetry, who co-wrote the track. Co-producer Vidal Davis recalled the vocal challenges, 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 finished product recaptures the effortless soulfulness of Jackson’s earliest solo recordings, even incorporating finger snaps into the rhythm track, a detail Davis noted: “He had the loudest snaps in the world.” “Butterflies” is a testament to Michael’s enduring vocal talent and his ability to craft timeless R&B, even in the later stages of his career.
28. “Ben”
Ben, 1972
“Ben” stands out as one of the most peculiar Number One hits of the 1970s, a decade known for its unconventional chart-toppers. For much of the decade, it remained Michael Jackson’s only solo Number One single. This ballad of affection for a killer rat, from a B-movie horror film about mutant rodents terrorizing Los Angeles, is undeniably bizarre. In the film, it’s sung by a lonely boy who befriends the titular rat. Lyricist Don Black (famous for his James Bond themes) noted Michael’s affinity for the song’s unusual subject matter, stating, “He’s quite an animal-lover – very sensitive. He enjoys anything that crawls or flies.” Despite its unconventional theme, “Ben” resonated with audiences, showcasing Michael’s ability to imbue even the most unusual material with genuine emotion, and solidifying his early solo success.
27. “Burn This Disco Out”
Off the Wall, 1979
“Burn This Disco Out,” the exhilarating closing track of Off the Wall, bursts with infectious dance-floor energy. The song’s wriggly guitar line evokes Stevie Wonder’s signature funk sound. Michael, known for his meticulous preparation, memorized the lyrics on a Saturday night to avoid using a cheat sheet during a Sunday recording session, demonstrating his dedication. His vocal performance is percussive and dynamic, perfectly suited to the melody crafted by Rod Temperton. Temperton explained his writing process: “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 track is a perfect encapsulation of the Off the Wall era’s joyous and sophisticated disco-funk aesthetic.
26. “Dirty Diana”
Bad, 1987
“Dirty Diana” marked a deliberate effort by Michael Jackson to toughen his sound and image for the Bad album. Billy Idol’s guitarist, Steve Stevens, played a significant role in this transformation, not only contributing the song’s searing metal guitar solo but also introducing Jackson to his tailor, leading to the pop star’s adoption of the leather-clad, heavy-metal-inspired look for the Bad era. Stevens recalled Jackson’s fascination with rock bands, recounting, “[Michael] kept asking me about rock bands: ‘Do you know Mötley Crüe?'” “Dirty Diana,” a steamy power ballad with a hard rock edge, became Bad‘s fifth consecutive Number One single. Famously, Princess Diana herself reportedly requested the song at a 1988 Jackson concert in London, adding another layer of intrigue to this already iconic track.
25. “The Girl Is Mine”
Thriller, 1982
Michael Jackson initially considered “The Girl Is Mine,” his duet with Paul McCartney, the “obvious first single” from Thriller. However, Quincy Jones viewed it as a “red herring,” hinting at the album’s broader sonic palette. Jackson offered the song to McCartney as a duet to “repay the favor” of McCartney gifting him “Girlfriend” for Off the Wall. The song, with its easy, jazzy groove, highlights the breezy rapport between Jackson and the ex-Beatle. McCartney’s only reservation was the word “doggone,” which he felt might sound “shallow.” Jackson clarified that he wasn’t aiming for profound depth but rather “rhythm” and “feel.” “The Girl Is Mine” is a charming and lighthearted collaboration, a pleasant entry point into the Thriller era, though not fully representative of the album’s groundbreaking impact.
24. “Dangerous”
Dangerous, 1991
“Dangerous,” the title track of the Dangerous album, marks a significant shift in Michael Jackson’s artistic direction. Longtime Jackson engineer Bruce Swedien noted the contrast between his earlier albums and Dangerous and HIStory, stating, “Off the Wall and Thriller and Bad were more entertainment. Dangerous and HIStory were more Michael’s life story.” Reflecting the evolving R&B landscape of the 1990s, “Dangerous” is stark and driving, with vocals that oscillate between anger and fear, and lyrics exploring themes of lust and temptation. The track evolved from a Bad-era outtake called “Streetwalker,” which Jackson revisited and retitled during the Dangerous sessions with co-writer Bill Bottrell. Co-producer Teddy Riley dramatically reworked the track, adding a new “floor” to the bottom end, mixing bright strings with a stark, hard-hitting beat, a departure from Quincy Jones’ lush orchestrations. “Dangerous” is a sonic reinvention for Jackson, reflecting a darker, more introspective phase in his career.
23. “Never Can Say Goodbye”
Maybe Tomorrow, 1971
Looking back on the Jackson 5 era, Michael Jackson cited “Never Can Say Goodbye,” “I’ll Be There,” and “ABC” as his “three favorite songs from those days,” a testament to his own discerning taste. “Never Can Say Goodbye,” written by Clifton Davis (who would later perform it at Jackson’s funeral in 2009), sets heartbroken lyrics to a sparkling melody. Davis initially worried that the young Michael, then 11, might not grasp the song’s emotional depth. Davis recalled, “I recall him asking about one of the lines. ‘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, with its dreamily baroque arrangement, reached Number Two on the charts, a slight dip from the Jackson 5’s usual Number One dominance, but still a significant hit, showcasing Michael’s ability to convey complex emotions even at a young age.
22. “Off the Wall”
Off the Wall, 1979
“Off the Wall,” the title track of Michael Jackson’s breakthrough solo album, perfectly captures his playful and liberated spirit during that era. Rod Temperton, who wrote the song, recalled Jackson’s lighthearted studio demeanor, noting his aversion to profanity, even replacing “funky” with “smelly,” which became Quincy Jones’ nickname for him. “Off the Wall” is an ode to carefree revelry, inviting listeners to embrace the dance floor and “hide your inhibitions/Gotta let that fool loose deep inside your soul.” Its succulent groove, layered with Jackson’s lush harmonies, is both seductive and celebratory. Temperton, drawing on his disco band Heatwave’s vibe, arranged the rhythm and vocal tracks, while jazz keyboardist George Duke contributed the song’s growling funk synths. Ironically, “Off the Wall,” an anthem of liberation, became somewhat prophetic, foreshadowing the increasingly unconventional path Jackson’s life would take in the decades that followed.
21. “Thriller”
Thriller, 1982
While the iconic music video for “Thriller” often overshadows the song itself, the track is a masterpiece of theatrical funk and pop innovation. Written by Rod Temperton, the song was initially titled “Starlight” before Quincy Jones requested a more impactful title. Temperton recalled, “The next morning I woke up and I just said this word [‘thriller’]. Something in my head just said, ‘This is the title.’ You could visualize it at the top of the Billboard charts.” Temperton then revised the lyrics to incorporate Jackson’s love of horror films. “Thriller” elevates the percolating funk of Off the Wall to a grander, more cinematic scale, with supernatural sound effects and Vincent Price’s unforgettable narration. The song’s production was famously intense, even involving Jackson’s pet boa constrictor, Muscles, slithering across the mixing console during a session. The last of seven singles from Thriller, “Thriller” reached Number Four, solidifying the album’s unprecedented dominance.
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 stated, encapsulating the effortless coolness of these Bad era hits. “The Way You Make Me Feel,” the third consecutive Number One single from Bad, is perhaps the last unambiguously joyful hit of Jackson’s miraculous 1980s run. Keyboardist Greg Phillinganes recalled the infectious energy of the sessions: “I remember how much fun I had laying down those offbeat parts, the bass line, all that stuff, and watching the expression on Michael’s face.” The song’s unshakable groove was inspired by Jackson’s mother, Katherine, who suggested he create a song “with a shuffling kind of rhythm.” Jackson, originally titling it “Hot Fever,” recorded all the vocal parts, including backing vocals, dancing in a darkened studio, creating a performance filled with pure, unadulterated joy.
19. “She’s Out of My Life”
Off the Wall, 1979
“She’s Out of My Life” provides a moment of poignant balladry amidst the disco celebration of Off the Wall. Michael Jackson himself considered it “too personal for a party – it was for me.” Written by Los Angeles musician Thomas Bähler about a past relationship, the song was initially intended for Frank Sinatra by Quincy Jones, but Jackson ultimately recorded a deeply moving version. “She’s Out of My Life” became Off the Wall‘s fourth Top 10 single, and Greg Phillinganes’ electric piano set the template for countless ballads in the following decades. Famously, Jackson’s voice cracks with emotion during the song’s final moments. Jones recounted, “Every time we did it, I’d look up at the end and Michael would be crying. I said, ‘We’ll come back in two weeks and do it again. . . .’ Came back and he started to get teary. So we left it in.” A staple of Jackson’s live performances from 1981 to 1993, “She’s Out of My Life” offered a raw and vulnerable glimpse into the emotional depth beneath his pop star persona.
18. “P.Y.T. (Pretty Young Thing)”
Thriller, 1982
“P.Y.T. (Pretty Young Thing)” is Thriller‘s most carefree and playful single, brimming with funky keyboard squiggles and playful slang like “tenderoni.” Quincy Jones co-wrote it with singer James Ingram after Jones’ wife brought home lingerie labeled “Pretty Young Things.” Ingram was struck by Jackson’s physical engagement during recording, noting he actually danced in the studio while singing. This infectious energy is palpable in the track, as Jackson trades “na-na-na’s” with backup singers who were close to home: his sisters Janet and La Toya. Covered by numerous artists, including Justin Guarini and Jones himself, no version quite captures the original’s electric spark. Jackson himself loved the song’s playful language, recalling, “I loved ‘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
“The Love You Save” continued the Jackson 5’s unprecedented streak of chart-topping hits, reaching Number One in June 1970, following “I Want You Back” and “ABC.” Unlike some J5 songs adaptable for adult singers, “The Love You Save” was specifically “written for our young voices, with parts for Jermaine as well as me,” Michael explained. He recognized the tag-team vocal lines and opening 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 hits, it was designed for dancing, both for kids at home and the choreographed group onstage. The recurring “Stop!” is a clever echo of The Supremes’ “Stop! In the Name of Love.” “The Love You Save” arguably highlights the ABC album, which saw the Jackson 5 evolving beyond novelty act into a more potent musical force, incorporating covers of Funkadelic and The Delfonics alongside their original hits.
16. “Human Nature”
Thriller, 1982
“Human Nature,” one of Michael Jackson’s most vulnerable R&B ballads, has a surprising origin in the rock band Toto, known for hits like “Africa.” Toto members played on Thriller, including keyboardist Steve Porcaro. Late in the album sessions, Quincy Jones, still seeking songs, received demos from Toto. An unfinished instrumental at the end of one tape caught Jones’ attention. He recalled, “There was this dummy lyric, a very skeletal thing, but such a wonderful flavor.” Jones passed it to lyricist John Bettis, known for tender hits like The Carpenters’ “Top of the World.” The result perfectly suited Michael’s shy, breathy vocals, even with lyrics that hint at fleeting encounters (“If this town is just an apple, then let me take a bite”). A last-minute Thriller addition, “Human Nature” became its fifth single and a Top 10 hit, later returning to the charts as SWV’s 1993 R&B hit “Right Here/Human Nature,” from the film Free Willy.
15. “Remember the Time”
Dangerous, 1991
“Remember the Time,” a lush reverie, represents Michael Jackson’s most successful effort to update his sound for the hip-hop era. After parting ways with Quincy Jones post-Bad, Jackson sought a younger producer and found Teddy Riley, the architect of New Jack Swing, the dominant R&B sound of the time. Riley recalled presenting Jackson with “10 grooves,” all of which Jackson liked. “Remember the Time” was a highlight of their collaboration and features one of Jackson’s finest post-1980s vocal performances. Engineer Dave Way described Jackson’s meticulous vocal work on the track, nailing “each note and harmony, double it, triple it and then maybe quadruple – each time singing it perfectly, vibratos perfectly matched, perfectly in tune, rhythmically dead on, knowing exactly what he wanted to do the whole time. Flawless.” While the song’s subject remains debated – Riley initially claimed it was about Debbie Rowe, then retracted it, while Jermaine Jackson suggested it was for Diana Ross – its musical impact is undeniable.
14. “Workin’ All Day and Night”
Off the Wall, 1979
“Workin’ All Day and Night” is a prime example of the monster grooves on Off the Wall that could have easily been a massive hit single. However, it remained an album cut, perhaps due to the album already overflowing with chart-toppers. Positioned midway through the unstoppable first side of the vinyl LP, it’s one of two tracks Jackson wrote solo on the album. The lyrics offer an early glimpse into Jackson’s fiercely driven persona, with a bluesman-esque complaint about demanding work. However, the hyperactive Latin percussion, sharp horns, and breathless vocals truly reflect the fanatical work ethic Jackson brought to his solo breakthrough. Quincy Jones noted, “When he commits to an idea, he goes all the way with it. It’s ass power, man. You have to be emotionally ready to put as much energy into it as it takes to make it right.” “Workin’ Day and Night” is a prized deep cut among MJ enthusiasts, a testament to his relentless creative energy.
13. “Bad”
Bad, 1987
The searing title track of Bad injected a new level of aggression and tension into Michael Jackson’s music. Inspired by a news article about a Black student killed returning to his inner-city neighborhood from a predominantly white school, and fueled by Jackson’s perceived rivalry with Prince, “Bad” was initially conceived as a duet or showdown between the two music icons. Prince met with Jackson and Quincy Jones but ultimately declined, reportedly saying as he left, “It will be a big hit, even if I am not on it!” The song became a solo showcase, from Jackson’s seething vocals and mouth-percussion to Jimmy Smith’s organ solo. “Bad” marked a deliberate shift towards a harder, more confrontational sound for Jackson, solidifying his image transformation for the Bad era.
12. “Man in the Mirror”
Bad, 1987
“Man in the Mirror,” Michael Jackson’s most ambitious and emotionally resonant ballad, was written late in the Bad sessions by Glen Ballard and Siedah Garrett. Ballard recalled Quincy Jones’ last-minute request for songs, leading to a quick demo with Garrett singing. Jones loved it, played it for Michael, and the track was quickly put into production. Jackson then took it to another level, enlisting the Andrae Crouch Choir and the Winans to create a powerful gospel-infused backdrop. 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.'” Mavis Staples interpreted Jackson’s signature “sch-mon!” ad-lib as an homage to her performance in The Staple Singers’ gospel-rooted hit “I’ll Take You There.” “Man in the Mirror” became an anthem of self-reflection and social change, showcasing Jackson’s ability to blend pop sensibilities with profound emotional and spiritual depth.
11. “ABC”
ABC, 1970
Following the massive success of “I Want You Back,” the Jackson 5 needed an equally impactful follow-up. “ABC” delivered spectacularly. Songwriter Deke Richards expanded upon a riff from “I Want You Back”’s chorus, crafting a new, equally potent song. The Corporation songwriting team drew lyrical inspiration from the Jackson 5’s youthful fanbase, as co-writer Freddie Perren explained, “[They were] the age they were, and . . . most of their fans were still in school.” “ABC” was bubblegum pop, but elevated, funnier and funkier than its contemporaries. Its growling breakdown, fuzz guitar riff, and sophisticated arrangement were cutting-edge for 1969 pop. Michael noted, “The verses were tongue-twisting, and that’s why they were split up between Jermaine and me.” Despite Jermaine’s vocal contribution, Michael’s dynamic performance dominates, solidifying “ABC” as another Jackson 5 classic.
10. “Rock With You”
Off the Wall, 1979
“Rock With You” is a quintessential seduction jam, a smooth and sophisticated disco classic that remains a timeless R&B template. Michael Jackson described its appeal: “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.” This chart-topper, arguably the last major hit of classic disco, is balanced between a silky ballad and a dance-floor burner, enriched by vibrant string arrangements. Usher cited “Rock With You” as the song that inspired him to become a performer. It was the first song Rod Temperton wrote for Jackson after a request from Quincy Jones, initiating a prolific partnership. The music video, featuring Jackson in a silver outfit amidst lasers and smoke, portrays a young artist in complete command of his burgeoning solo career.
9. “Black or White”
Dangerous, 1991
“Black or White” is Michael Jackson’s powerful call for racial unity, seamlessly blending rock swagger and R&B groove. Bill Bottrell, who co-wrote and co-produced the song, felt Jackson’s previous rock-influenced tracks were “kind of cartoonish,” aiming for a more authentic rock sound with “Black or White.” The Stones-esque riff originated from Jackson humming it to Bottrell. Bottrell developed it into a “Southern-rock thing, a real gutbucket tune,” and Jackson conceived the hard-hitting rhythm track. Bottrell added layers of percussion, including cowbells and shakers, to create a “swingy sort of groove.” Instead of a guest rapper, Bottrell himself delivered the consciousness-raising rap bridge. However, it’s Jackson’s incisive and dynamic vocal performance that truly elevates the song, a blend of pop polish and raw energy. Remarkably, the final vocal take was actually a scratch vocal, demonstrating Jackson’s innate vocal perfectionism.
8. “Beat It”
Thriller, 1982
“Beat It” is a visionary fusion of metal aggression and disco glitz, highlighted by Eddie Van Halen’s explosive guitar solo. With its gritty, urban music video, “Beat It” conquered rock radio alongside pop and R&B stations, reaching Number One just a week after “Billie Jean” concluded its seven-week reign. “Beat It” was the last song added to Thriller, recorded under intense time pressure. Quincy Jones described the chaotic 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.” Ironically, David Lee Roth of Van Halen downplayed Eddie’s contribution, but “Beat It” remains a landmark genre-bending hit.
7. “Wanna Be Startin’ Somethin’”
Thriller, 1982
Originally conceived during the Off the Wall sessions, “Wanna Be Startin’ Somethin’,” Thriller‘s opening track, is a bold declaration of artistic intent. Incorporating the African chant “ma ma se ma ma sa ma ma ku sa” from Manu Dibango’s “Soul Makossa,” Jackson expanded the earlier song’s global appeal, paying homage to his roots with a prescient hip-hop sensibility. Primarily a club banger, “something you can play with on the dance floor and get sweaty working out to,” as Jackson described it, it also possesses lyrical depth and dramatic vocal tension. With its swirling synths, Brazilian percussion, sharp horn stabs, and rhythms created on a “bathroom stomping board,” the groove is relentless. If Off the Wall was disco’s peak, “Wanna Be Startin’ Somethin’” is an early example of polyglot, post-disco dance music, foreshadowing the global pop landscape to come.
6. “Smooth Criminal”
Bad, 1987
Despite Michael Jackson’s global popularity, “Smooth Criminal,” with its darker, more aggressive tone, generated some internal resistance. He and Quincy Jones reportedly clashed over its inclusion on Bad, and Jehovah’s Witness elders expressed concern about its violent imagery. Jackson, however, stood firm, resulting in his finest blend of R&B groove and rock edge, a turning point towards his harder-edged material. Inspired partly by serial killer Richard Ramirez, “Smooth Criminal” had existed in earlier forms since 1985, initially titled “Chicago 1945” and then “Al Capone,” all featuring a rapid-fire bass line. The heartbeat sound on the track is a Synclavier rendition of Jackson’s own, adding a chilling counterpoint to his haunting cries of “Annie, are you OK?” “Smooth Criminal” is a testament to Jackson’s artistic vision, even when it challenged expectations.
5. “Shake Your Body (Down to the Ground)”
Destiny, 1978
“Shake Your Body (Down to the Ground)” marks the pivotal moment Michael Jackson transitioned from boy band lead singer to the burgeoning King of Pop. Building on the proto-disco energy of the Jackson 5’s “Dancing Machine,” it added a kinetic energy reminiscent of Sly and the Family Stone and Stevie Wonder-esque synth funk. Alongside percussive vocals and Michael’s increasingly mature exhortations, “Shake Your Body” became a defining track for the newly rebranded “Jacksons” (post-Jermaine, post-Motown). Destiny was their first self-produced album, signaling their creative independence. While peaking at Number Seven, its impact was profound, foreshadowing future pop trends. It was memorably sampled in hip-hop tracks like Rob Base and DJ E-Z Rock’s “Get on the Dance Floor” and covered by Justin Timberlake, an artist heavily indebted to Michael Jackson’s legacy.
4. “I’ll Be There”
Third Album, 1970
“I’ll Be There” showcases Michael Jackson’s extraordinary ability to convey profound emotion at a young age. Midway through the song, he misquotes The Four Tops’ “Reach Out I’ll Be There,” singing “Just look over your shoulders, honey!” instead of “Just look over your shoulder.” This minor error, however, only enhances the performance’s raw sincerity. At just 11 years old, Michael sang of emotions far beyond his years with remarkable power. Extensively rewritten from a demo by bassist Bob West and vocally arranged by Willie Hutch, “I’ll Be There” also features Jermaine Jackson’s powerful bridge. Their fourth consecutive Number One hit and Motown’s best-selling single to that point, “I’ll Be There” revealed the Jackson 5’s deeper emotional range and gospel roots. Michael considered it “our real breakthrough song; it was the one that said, ‘We’re here to stay.'”
3. “Don’t Stop ‘Til You Get Enough”
Off the Wall, 1979
“Don’t Stop ‘Til You Get Enough,” the opening track of Off the Wall, marked Michael Jackson’s “first big chance,” as he described it. This six-minute pop-funk masterpiece was both a massive hit and a pivotal moment in his creative evolution. Jackson wrote the song, sang all the layered backing vocals, and devised the spoken intro “to build up tension and surprise people.” He even played glass bottles for added rhythmic texture. When his mother questioned the suggestive lyrics, Jackson cleverly responded, “Well, if you think it means something dirty, then that’s what it’ll mean. But that’s not how I intended it.” “Don’t Stop ‘Til You Get Enough” embodied Jackson’s hands-on approach to his music, showcasing his burgeoning songwriting and production talents alongside his undeniable vocal and performance prowess.
2. “I Want You Back”
Diana Ross Presents the Jackson 5, 1969
From its iconic opening piano riff, “I Want You Back” is a series of glorious shocks, most notably the revelation of its lead singer as both a phenomenal performer and a young child. Recorded when Michael was just 11 (Motown falsely claimed he was eight), the song was initially a demo called “I Wanna Be Free” for Gladys Knight and the Pips. Berry Gordy helped rewrite it for the Jackson 5, signed from Gary, Indiana. The Corporation songwriting team crafted many of the Jackson 5’s early hits, including this national debut. “I Want You Back” is irresistible, with a brilliant arrangement that perfectly complements Michael’s cartwheeling vocals. It remained a cornerstone of nearly every Michael Jackson performance for the rest of his career, a testament to its enduring power and his electrifying early talent.
1. “Billie Jean”
Thriller, 1982
Michael Jackson moonwalking in the "Billie Jean" music video.
“Billie Jean,” Michael Jackson’s magnum opus, encapsulates the contradictions at the heart of his artistry: youthful exuberance, inner turmoil, and unparalleled grace. Reflecting his personal experiences with fame, Jackson told Rolling Stone the song stemmed from “sexual paranoia as a 24-year-old megastar.” He described the constant attention from fans and the need to retreat into his music. Despite being an early Thriller track, “Billie Jean” underwent constant refinement with Quincy Jones. Louis Johnson’s deep bass line, Ndugu Chancler’s drum track layered over Jackson’s drum machine beat, and Tom Scott’s eerie lyricon solo all contribute to its sonic depth. At five minutes long, “Billie Jean” possesses both disco’s sleekness and classic rock’s epic scale. Jones initially questioned the intro’s length, but Jackson insisted, “That’s the jelly, that’s what makes me want to dance.” The world has been dancing to “Billie Jean” ever since, cementing its place as not only Michael Jackson’s greatest song but also one of the most iconic songs in pop music history.
