The Top Fifty Michael Jackson Songs
- Billy Listyl
- Aug 22, 2020
- 15 min read
Updated: Nov 27, 2020
In what feels like the work my last decade of life has led to, I will attempt to rank what I believe to be the top fifty songs in the greatest discography in the history of music; that of the great Michael Jackson. I will try not to be long-winded in any of my descriptions explaining why each song ranked where they did but I will say this: Michael has fifty more songs I could have ranked and a possible 20-30 more than could have cracked this list depending on who you ask. The criteria of this list are any song that MJ's voice is featured on. That includes the work with his brothers, collaborations with other artists, tracks from movie soundtracks, and of course, work from his solo albums. I will also say this; I am a huge fan of MJ, like many others, but I have not heard every song that has Michael's voice on it. I am ranking what I believe to be his 50 best/most iconic songs on the basis of the historical reverberations of the song and, most importantly, the quality of the music and Michael (and others') vocal performance.
Honorable Mention:
Got To Be There (1972)
Say Say Say (1983)
State of Shock (1984)
We Are The World (1985)
Scream (1995)
Love Never Felt So Good (2014)
You Are Not Alone (1995)
Ben (1972)
Dangerous (1991)
History (1995)
50. Hold My Hand (Michael, 2010)
The leading single from MJ's first posthumous release is a sure tearjerker. I was nine when this came out and it was my absolute favorite song for months. Michael's prevailing subject matter of love and community is felt particularly in the last sixty seconds.
49. Who's Lovin' You (Diana Ross Presents, 1969)
Before he was the GOAT of performers, MJ was a very young man with a very mature and seasoned knack for evoking feelings he may not have even felt yet. This is also one of the first times were able to marvel at Michael's (actually underrated) vocals.
48. Will You Be There (Dangerous, 1991)
In what I can only assume was meant to be the triumphant sequel to 'Man In The Mirror', The Cleveland Orchestra uses the first two minutes to set the stage for this 8-minute "take 'em to church" moment that sounds like a Hans Zimmer 'Lion King' cut.
47. They Don't Care About Us (HIStory, 1995)
This song will be remembered more for its political controversy and pair of equally-profound visuals, but, what a showcase for using your platform and talent for speaking for those who can't speak for themselves. The concept behind the actual music is skillfully made.
46. Jam (Dangerous, 1991)
This high-energy track Michael would use to open his concerts from this point on was and is a speaker-buster, best suited for high-decibels. The lyrics on this one are another nod to MJ's ability to fit concepts mostly addressed in epics into pop-song sized verses.
RIP Heavy D.
45. The Girl is Mine (Thriller, 1982)
The superior of the MJ/Paul McCartney collaborations, 'The Girl is Mine' is one of the great male duets with two of the great artists of the 21st century. Not to be outdone by the Grammy award-winning song with a similar name Monica and Brandy would team up for a decade and a half later. The dialogue Paul and Mike have at the end is one of those moments you don't forget.
44. Liberian Girl (Bad, 1987)
In one of Michael's more sensual ballads, he implicitly voices his appreciation and love for #BlackGirlMagic. We have no choice but to stan. The African roots of this one set the stage for a sound Michael would employ a lot more in 'Dangerous'.
43. You Can't Win ('The Wiz' Original Soundtrack, 1978)
The only entry from the remarkable 'The Wiz' soundtrack is the Scarecrow's theme. I often think about when MJ's vocal prime was. Listen to this song, and convince me it was not around the time of the recording of this track.
42. I Wanna Be Where You Are (Got to Be There, 1972)
Besides the vocals and lyrics, the music on this record is masterful. I don't even know what that instrument is that makes the first sounds, but I hear beautiful guitar, percussion, and violin before MJ utters a note. Also, I think this is one of the most overlooked performances of Michael's young career.
41. Dancing Machine (Get It Together, 1973)
A staple Jacksons dance number. The songwriting here is simple but unique especially delivered with Michael's teenage bravado. 'Automatic, systematic', 'captivating, stimulating'. 'rhythmatic, acrobatic'; it is like a funky Dr. Suess book. The horns on the bridge make the record for me.
40. In The Closet (Dangerous, 1991)
The sexiness is palpable in Dangerous's most suggestive track. From the soft feminine voice that comes before the choruses to Michael's PG-13 vocalization in the third verse, 'In The Closet' is a far cry from 'ABC'. This one, along with others from 'Dangerous', was produced by famed R&B mind Teddy Riley.
39. Get On The Floor (Off The Wall, 1979)
Off The Wall's first entry in the top fifty is this contagion of funky energy which often gets lost in the sea that is MJ's catalog. Quincy put his foot into this one. Very similar in structure to another Quincy project, The Brothers Johnson's 'Stomp' (Louis Johnson of the group helped co-write); 'Get On The Floor' makes up for what it may lack in distinction with what it boasts in exuberance made evident by Michael's obvious laughter on the recording.
38. 2 Bad (HIStory, 1995)
One of MJ's more unapologetic songs, '2 Bad' was featured on the Ghosts video but gets regular play from me for its hip hop foundation.
Shaq is never a loss.
37. Whatever Happens (Invincible, 2001)
'Whatever Happens' is a great example of MJ's unparalleled ability to move with the times all while trailblazing. The great Carlos Santana is recruited to supply the Latin sound that spells Michael's continued influence from various cultures.
36. Stranger In Moscow (HIStory, 1995)
By far the simplest song so far on the top 50, 'Stranger In Moscow' is a sign of Michael's songwriting chops. A song with personal implications and possibly Michael at his most vulnerable, it has become a fan favorite in a way few well-known MJ songs are.
35. Dirty Diana (Bad, 1987)
The fact that a song this classic and revisited is thirty-fifth on MJ's rankings is a testament to the depth of his discography. Some of the greatest writing and rock instrumentalization in any of these songs, 'Dirty Diana' is one of the five #1's from 1987's Bad.
34. Workin Day & Night (Off The Wall, 1979)
Michael may be the greatest at making songs about his undoings at the hand of women. If 'Dirty Diana' is a warning of the throes of rock-n-roll groupies, this piano-led slider is a much more grounded approach to unrealistic relationship expectations. Where Michael and Quincy got the idea for the perfect intro to this track is beyond me.
33. I Just Can't Stop Loving You (Bad, 1987)
We will use this description to acknowledge the unsung hero Siedah Garrett. Along with being Michael's first female duet since Diana Ross, she co-wrote 'Man in the Mirror' and is also on the classic "Don't Look Any Further" with Dennis Edwards in 1984. Her chemistry with Michael on this beautiful love song is breathtaking.
32. Heaven Can Wait (Invincible, 2001)
It doesn't get more 'early 2000's R&B' in MJ's bag than this. I don't know how much clout this song gets in the estimation of the general public, but 'Heaven Can Wait', along with a couple of other Invincible tracks that will be included later, get heavy rotation with me and mine. The second chorus is one of my favorite verses Michael has ever done.
31. I Can't Help It (Off The Wall, 1979)
I received Off The Wall, Bad, and Invincible for Christmas when I was in eighth grade. That was the first time I heard a lot of songs on those albums that don't get a lot of popular play. This was a hidden gem. Not much to it, just twenty-year-old Michael Jackson's voice electrifying an otherwise soft, gently curated B-side. Lyrics sound familiar? The incomparable Stevie Wonder co-wrote this one
30. Butterflies (Invincible, 2001)
One of the best songs from his last studio release, 'Butterflies' wedged Michael squared into the neo-soul craze of the 90s and 2000s. Written by Andre Harris and Marsha Ambrosius of the group Floetry, this enchanting track is one of the best R&B songs of 2001.
29. Black or White (Dangerous, 1991)
The guitar riff that supplies this song with its foundation is one of my favorites of all-time and performed by the producer, Bill Bottrell. I am today years old finding out that the artist who raps in the last verse of 'Black or White' is also Bill Bottrell. Thank you to that man.
28. I'll Be There (Third Album, 1970)
Michael and Jermaine's calling card makes for the most appropriate cry for Michael's untimely death in 2009. I remember hearing this one more than any other song for the better part of the year that followed. It's still tough to listen to.
27. Never Can Say Goodbye (Maybe Tomorrow, 1971)
What I believe to be The Jackson Five's most underrated song may have the best lyrics of any of the group's early hits. The flute and guitar really set this tugboat of a record in motion and I will link to you my two favorite renditions of it for your viewing and listening pleasure:
26. Leave Me Alone (Bad, 1987)
Because I wasn't there and because of Michael's non-confrontational personality, I think we often forget how much of the BS surrounding his name he confronted in his music. No time more notable than this. An emphatic middle-finger to the tabloids, 'Leave Me Alone' is an attitude most likely shared by all of the celebrities on or near MJ's level of popularity and media scrutiny.
25. Remember The Time (Dangerous, 1991)
The shining star from 1991's Dangerous, 'Remember The Time' is best remembered for the soulful, tongue-twisting runs and adlibs in the final minute (Migos, pay your respects). But, I like to believe that, in conjunction with the legendary video, this song is a call back to 1982's 'Thriller'; Michael convincing Ola Ray's character (in this case played by Iman) that he's not a bloodthirsty zombie-werecat.
24. Bad (Bad, 1987)
Another song often overshadowed by its brilliant video or "short film", as Michael called them, Bad''s title track is everything its name implies (in the best way, obviously). The noticeably edgy delivery from Mike along with the funky/sinister melody is also similar to 'Thriller'. I need a version with the breakdown outro from the short film.
https://youtu.be/Sd4SJVsTulc - skip to 14:00
23. Smooth Criminal (Bad, 1987)
I was running late for work one-day last year. As I hopped in my car and raced for the freeway, my Bad disc in the CD player played 'Smooth Criminal'. If my sense of urgency wasn't already off the charts, this song made it that way. This cry for reassurance from Annie is anything but what its title would have you believe. However, the rest of the aspects of this record are pretty uniform in that there is a criminal loose, there's a child in trouble and the stakes of the situation are life and death. You can imagine my determination to make good on my reputation of workplace punctuality!
22. Blame It on the Boogie (Destiny, 1978)
Originally written and released by English artist Mick Jackson, this classic dance tune is driven by Michael's strength of voice and depth of sound. The Jacksons have about a dozen of these masterpieces where they exploit music to the fullest extent. Voice, instrument, suspension, and tempo. Destiny's got it all.
21. Beat It (Thriller, 1982)
One of the most insightful songs in Michael's discography is most remembered for its hard rock feeling and electric guitar. The iconic solo is Van Halen's, Eddie Van Halen. Not exactly a favorite of mine, but the influence and obvious fervor expressed by Michael here is undeniable.
20. She's Out Of My Life (Off The Wall, 1979)
Simple, yet heavy. Serene, yet gut-wrenching. Nothing special about the composition, the lyrics, or the implications. Just an all-too-real revelation to an 11-year-old Billy Listyl that love's not possession. And love won't wait.
19. ABC (ABC, 1970)
I realized a few months back how refined this song was for the era it was in. Granted, the lyrics aren't the most mature, but the manipulation of the voices of the other four brothers along with the fuzz-box guitar to make the song feel even younger adds to the all-age application of this classic.
18. Can You Feel It (Triumph, 1980)
Juxtapose 'ABC' to where The Jacksons would be ten years later, and the playability of the song doesn't change that much. 'Can You Feel It' is a euphoric, triumphant (no pun intended) success that (sorry Randy) doesn't truly start until Michael explodes onto the record backed by Tito's glorious guitar.
What is even more triumphant is the reunion the brothers staged twenty years later.
17. Thriller (Thriller, 1982)
I abhorred this song, the video, and its artist for all of my years preceding his death, I am ashamed to say. But even after I began to appreciate, and soon revere, MJ's music and the legacy of this song, in particular, it was only a few years ago that I sat down and truly listened to 'Thriller' apart from the greatest music video of all time. I advise you to do the same.
16. The Love You Save (ABC, 1970)
The first Jackson Five song I fell in love with, 'The Love You Save' boasts a sensationally jocular and jubilant chorus that, I believe, separates itself from the majority of the Jackson Five's classics. I think this was the group's first big hit.
15. PYT (Pretty Young Thing) (Thriller, 1982)
Often imitated and referred to, this smooth-as-silk precursor to a similar track on the succeeding album (#6 on our list) is a display of what Quincy's production could do propelled by the versatility of Michael Jackson's voice. From the underrated guitar riff at the midpoint to the 'Alvin & The Chipmunks' Esque outro, 'PYT' is chock-full of small innuendos you'll miss if you spend the whole song not being able to control your feet.
14. The Lady In My Life (Thriller, 1982)
The single best "Let me sweep this woman off her feet with my voice" song Michael has. The greatness of Rod Temperton is shown in the illustrious, colorful lyrics but the song is made by Michael doing Michael in the last two minutes and ten seconds. A love song if there's ever been one.
13. Shake Your Body (Down to the Ground) (Destiny, 1978)
My goodness. You're talking about a dance track? Essential stuff right here. Let's use this description to acknowledge the great Greg Phillinganes. Greg is a frequent collaborator and keyboardist for Michael's tours is a brilliant instrumentalist in his own right. He arranged the rhythm and did the keys for this dance classic.
12. Billie Jean (Thriller, 1982)
I'm not sure how most will feel about this one landing only at 12. Maybe Michael's most iconic song (?), 'Billie Jean' is perfect in its simplicity and effortless in its greatness. Like 'PYT' there are a lot of small compositional details about this classic that you may miss trying to moonwalk. As far as its deserving to be this low, I think it's a bit overhyped because of Motown 25.
11. Off The Wall (Off The Wall, 1979)
'Off The Wall' may be the most underrated MJ song ever. In a world full of Dangerouses, Invincibles, and Bads, this title track is both edgy and free as it lives up to being the song that dons the parent name of so many heavyweights. Michael is the lead and background vocals of a song that strongly utilizes the three-part harmony. Another HUGE up to Rod Temperton.
10. You Rock My World (Invincible, 2001)
I don't care, I don't care. Not only is this the song that made me fall in love with Michael Jackson's music, but it's also his best song this side of the 'Bad' album. From Michael's final "Watch." remark to Chris Tucker to wrap up the intro dialogue, the four-beat start is followed by the elegant piano riff that is just so inserted into this hip-hop influenced head bobber. As great as this video is, the music is just as entertaining as Michael caters to all of those that cherish the unintelligible sounds he has made a career of. If I could use one word to describe this favorite of mine, it would be smooth. However, I think one of our next entries could qualify for a similar denotation.
9. Another Part of Me (Bad, 1987)
Nevermind what I said in #11, 'Another Part of Me' is the most underrated song on this list. I realized how awesome this song was when I watched Michael's concert at London's Wembley Stadium in July of 1988 on the internet a couple of years ago. His performance of this one was particularly otherworldly, probably because of its futuristic aesthetic as it was appropriately included in 'Captain EO' a 3D film shown at Disney Parks where Michael saves aliens from an extra-terrestrial villainess. The song is incredibly remixable and eighties as hell made in large part by synthesized keyboards. The word I will use for this record is electric.
8. I Want You Back (Diana Ross Presents, 1969)
Listen to this song without any vocals. It will go a long way in your full appreciation for this undisputed classic. The guitar (THE GUITAR), the violin, the piano. One of the greatest records ever produced, 'I Want You Back' has been covered, sampled, and performed more times than anyone can count. The first time most heard the voice of Michael Jackson was accompanied by all the glitters that made Motown Hitsville, USA. Because you've probably already heard this song plenty, I will include my favorite remix, which I think emphasizes the timeless composition behind the blameless voice. Special.
7. Man In The Mirror (Bad, 1987)
To me, the essential MJ song if you were going to listen to one to summarize his legacy. Consciousness wasn't a new subject to popular music or even Michael's music by the late eighties, but there was something about this Siedah Garrett and Glen Ballard co-written wake up call. The most passionate I have ever seen Michael perform was when he did this one on the Grammys in 1988. The 'call and response' performance traditionalized in Southern Black churches and many songs before is perfected when the Andrae Crouch choir ('Will You Be There') carries this song home. I also read that The Winans had something to do with this? Just powerful, powerful stuff.
6. The Way You Make Me Feel (Bad, 1987)
In the same performance that I linked in the previous entry, Michael opened the set with this song. Unfortunately, the version performed, with the slowed intro made of only parted finger snaps and the singing of three notes of the sound 'do', is not the official studio cut. Nevertheless, much like #9, Quincy's production gave way to a sound that is both true to its mid to late eighties origin but has aged like water. I think my favorite part of this song, apart from the slowed alternate intro, is the stripped middle breakdown meant for the music video's dance break and includes Michael's background vocals. Of course, Greg Phillinganes mans the synthesizers on this one too. Legendary.
5. Wanna Be Startin' Somethin' (Thriller, 1982)
I listened to this song in its entirety while driving last week. I could only think about two things: (1) I wish I was there to see Michael record this song, and (2) I also wish I was out of this car in the second lane of the freeway because I am absolutely juiced. This song is a shot of pure adrenaline. Especially in the second half. Let's start with the obvious MVP here, the guitar. The main riff is addicting and the solo coming after the third chorus is perfectly light and funky for this heavy-hitting pop parade. Next, the horns. Though most focus on the "mama-say-mama-sa" lyrics at the end of the song, I am absolutely mesmerized by the short in and outs the trumpets do. How about the 'who-who' and 'he-he' usage on this bad boy.
4. This Place Hotel (Triumph, 1980)
The best song Michael ever made with his brothers is a cinematic freakshow made complete with horrifying shrieks and an authored exposition, climax, and resolution. The beginning and end are solely done by a single or pair of violins or cellos (I can't tell) and a modest piano. In between, is some of the most graphic, tangible, and unmistakable music ever made. The story is clear; homie got cheated on at a hotel and now he's back. But in so many ways, the story is obsolete with music this expressive. This sounds like it should be apart of the score of a high-budget remake of 'The Shining' directed by Jordan Poole. Michael is inexplicable in his nuclear showmanship, that goes without saying. I asked my mother a year ago if she believed that music has the ability to express feelings words can't convey. Here is your answer.
3. Rock With You (Off The Wall, 1979)
The skating rink go-to, 'Rock With You' is the steady pulse that regulates the speed of light wherever it is being played. The ultimate mood-setter. Written by Rod Temperton and included on the time-bending 'Off The Wall', this one is the most accessible MJ song. You don't have to have MJ-level dance skills to get down to 'Rock With You'. Whether you're with your grandmother or your child, this will never fail to make you fall in love with life all over again.
2. Human Nature (Thriller, 1982)
The most beautiful song I've ever heard. One of the best choruses and basslines to a pop track ever released. Written by Steve Porcaro of the legendary band Toto, and rewritten by Jon Bettis, 'Human Nature' answers an umbrella question of why (,why?) people do what they do. In what I see as Michael's foremost vocal performance, every inch, ounce, decibel, and vibration is felt in this master class of delivery. If the heavenly guitar sounds familiar, that's fellow Toto great, Steve Lukather. There isn't a song like it on this list and 'Human Nature' has a gentle touch and radioactive embrace that sets it apart from the majority of music ever made. One of my favorite renditions is linked.
1. Don't Stop 'Til You Get Enough (Off The Wall, 1979)
I mean, it doesn't get better than this. Meek. Boisterous. Refined. Explosive. The song that sky-rocketed Michael's solo career is also the sure-fire record to skyrocket any party. The spoken intro is often imitated but never duplicated. The bassline is, simply put, genius. And immediately after the second chorus? Madness. I am just learning that this bridge, possibly the most utterly euphoric fifteen seconds in music (rivaled only by the bridge in Stevie Wonder's Sir Duke), was suggested by none other than Greg Phillinganes. I rarely give anything (a song, movie, book) a 10/10 rating. Along with the aforementioned 'Sir Duke', 'Don't Stop Till You Get Enough' is a song that I will resoundingly, matter-of-factly give such acclaim every single time.
Enjoy Odell Beckham Jr. playing football to it.
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