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Triumph, 1980The future King of Pop took on the legacy of the King of Rock & Roll on the Jacksons' 1980 take on 'Heartbreak Hotel.' Written by Michael, it has little in common with Elvis Presley's 1956 classic; it's a lithe disco-pop tune that takes the original's theme in a darker direction with lyrics about a hotel where relationships break up. 'Heartbreak Hotel' became a Number Two R&B hit; then somebody at the Jacksons' label, perhaps sensing legal complications, changed it to the nonsensical 'This Place Hotel.'
Diana Ross Presents the Jackson 5, 1969'I Want You Back' was a glimpse of Motown's future; its B side gazed at the label's past. A cover of a Smokey Robinson torch song (it first appeared as the B side of the Miracles' 'Shop Around' in 1960), it was the sweetest fruit of the Jackson 5's collaboration with R&B singer Bobby Taylor, who brought them to Motown and produced some of their early songs. Backed by Motown house band the Funk Brothers, Michael pushes himself to the top of his range, ripping into every word of Robinson's heartbroken lyrics. Blood on the Dance Floor: HIStory in the Mix, 1997A 'Dangerous'-era outtake, this was revived as the title track of Jackson's 1997 remix album. The ominously slinking song has a fittingly creepy origin story. Teddy Riley had blown off a party to work on it – and someone had been shot on the party's dance floor.
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He hadn't mentioned the tragedy to Jackson and was shocked when the singer suggested 'Blood on the Dance Floor' as a title. Jackson sings about a stalker with a seven-inch knife – another in his line of femmes fatales for whom sex and murder are one and the same. Victory, 1984The biggest victory of the Jacksons' lackluster Victory era was 'State of Shock,' a Number Three-charting duet between Jackson and Mick Jagger, fluidly working a middle ground between guitar rock and pop. The song was originally intended to be a collaboration with Queen's Freddie Mercury but fell into Jagger's hands due to scheduling difficulties. 'Michael had Mick doing scales for over an hour to warm up before he would even start,' said sound engineer Bruce Swedien.
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'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.' HIStory: Past, Present and Future, 1995Jackson had reached a breaking point after being accused of sexual molestation. The result was 'Scream,' one of his most confrontational songs, and his first ever to use the word 'fuck.'
Written with his sister Janet, it reached Number Five on the Hot 100, thanks to an extravagant video that has often been credited as the most expensive music clip ever made. But while it was a hard period for Jackson, it wasn't all bad times. 'I have had so much fun working with my sister,' he said in 1995. 'It's like a reunion. I'm closest to Janet of all the family members. We were very emotional on the set.' Dancing Machine, 1974The Jackson 5's star had dimmed a bit by 1974: It had been three years since their last Top 10 hit.
So producer/co-writer Hal Davis took the risk of pulling them away from kid-centered pop and giving them a full-on disco song with a burbling synthesizer. With the help of the spectacular 'robot' dance Michael performed when the song debuted on Soul Train, 'Dancing Machine' became a mammoth crossover hit and pointed in the direction the group would follow from then on. 'I loved 'Dancing Machine,' loved the groove and the feel of that song,' Michael recalled in Moonwalk. Dangerous, 1991As danceable pleas for universal understanding go, the opening track on Dangerous is shockingly tense and fragmented. The groove bears the signature sound of producer Teddy Riley, but Jackson came up with most of it.
'He brought it to me as a DAT, and he told me there were things he wanted done, and I did them,' Riley recalled. Jackson's voice takes its time creeping into the mix, and he stutters the chorus like his voice is being sliced to shreds; the most accessible moment of 'Jam' is arguably the verse by Heavy D, Jackson's favorite rapper at the time. Unsurprisingly, the song stalled on the Pop charts but was a Top Five R&B hit. Farewell My Summer Love, 1984In 1984, a recording of Michael Jackson reading the tax code would probably have charted. Keenly aware of this, Motown released an album of unused MJ material. The Farewell My Summer Love album was nine songs from 1973, overdubbed with new, Eighties-sounding instrumentation. 'It's not fair,' Jackson said.
'I had no control over that music.' The album's innocent title track became a Top 10 hit in the U.K. Fittingly for a song about adolescent sadness, Michael's performance is a snapshot of his voice just as it was changing; there are even some hints of his mature power. Triumph, 1990'I got a call at three in the morning, it's Michael Jackson,' says vocal coordinator Stephanie Spruill, who had assembled the 30-voice choir for the Jacksons' 'Can You Feel It.'
'He says, 'I know I asked you to get the choir of voices. but now I need a choir of children. And I want them to be every race, creed and color.' Mind you, the session was in two days.' Spruill – who also sings the song's high notes – pulled it off. The choir was triple-tracked, creating a triumphal disco entreaty that, according to Tito, defines the Jacksons. 'It speaks about what we're about,' he told Larry King.
'Love and peace and harmony for the world.' Destiny, 1978After the Jacksons' 1977 Goin' Places tanked commercially, it took Michael Jackson to help rescue the band – but not the one you think. 'Blame It' was co-written and performed by Michael 'Mick' Jackson, a bearded Yorkshire singer-songwriter, who released his own version almost simultaneously. Of course he didn't stand a chance against the Jackson disco inferno, but harbors no hard feelings. 'The fact that the song made it, made it a lot easier for me,' said Mick Jackson. 'And of course the Jacksons went on to huge success.' Bad, 1987Did Michael sleep in a hyperbaric chamber?
('I don't think I allowed Michael to have that thing in the house,' said his mother, Katherine.) Did he pay a million dollars to buy the Elephant Man's bones? ('And why would I want some bones?'
He asked Oprah.) Did he have weird pets? (Queen's Freddie Mercury once called his manager saying, 'You've got to get me out of here, I'm recording with a llama.' ) This funky shuffle was Jackson's shot back at the tabloids, powered by dueling keyboard lines, not to mention Michael's own emphatic Stevie Wonder-esque synthesizer-vocal solo. Third Album, 1970'You can go back to bed, but I know where I'm going,' Jackson proclaimed on the 1971 TV special Goin' Back to Indiana, just before singing its rousing title song. The funky, horn-infused pop number was composed by the Corporation and, in addition to Michael's soaring verses, it features a chanted soul-rap from his brothers about their hometown of Gary, capped off by a helium-voiced ' yeeaah' from Michael. 'Goin' Back to Indiana' tapped a real sense of nostalgia that sounds strange coming from someone so young. Years later, he wrote in Moonwalk, 'Our records had become hits all over the world since we'd seen our hometown last.'