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Soul - Released November 30, 1982 | Epic

Hi-Res Distinctions The Qobuz Ideal Discography - Exceptional Sound Recording
Off the Wall was a massive success, spawning four Top Ten hits (two of them number ones), but nothing could have prepared Michael Jackson for Thriller. Nobody could have prepared anybody for the success of Thriller, since the magnitude of its success was simply unimaginable -- an album that sold 40 million copies in its initial chart run, with seven of its nine tracks reaching the Top Ten (for the record, the terrific "Baby Be Mine" and the pretty good ballad "The Lady in My Life" are not like the others). This was a record that had something for everybody, building on the basic blueprint of Off the Wall by adding harder funk, hard rock, softer ballads, and smoother soul -- expanding the approach to have something for every audience. That alone would have given the album a good shot at a huge audience, but it also arrived precisely when MTV was reaching its ascendancy, and Jackson helped the network by being not just its first superstar, but first black star as much as the network helped him. This all would have made it a success (and its success, in turn, served as a new standard for success), but it stayed on the charts, turning out singles, for nearly two years because it was really, really good. True, it wasn't as tight as Off the Wall -- and the ridiculous, late-night house-of-horrors title track is the prime culprit, arriving in the middle of the record and sucking out its momentum -- but those one or two cuts don't detract from a phenomenal set of music. It's calculated, to be sure, but the chutzpah of those calculations (before this, nobody would even have thought to bring in metal virtuoso Eddie Van Halen to play on a disco cut) is outdone by their success. This is where a song as gentle and lovely as "Human Nature" coexists comfortably with the tough, scared "Beat It," the sweet schmaltz of the Paul McCartney duet "The Girl Is Mine," and the frizzy funk of "P.Y.T. (Pretty Young Thing)." And, although this is an undeniably fun record, the paranoia is already creeping in, manifesting itself in the record's two best songs: "Billie Jean," where a woman claims Michael is the father of her child, and the delirious "Wanna Be Startin' Something," the freshest funk on the album, but the most claustrophobic, scariest track Jackson ever recorded. These give the record its anchor and are part of the reason why the record is more than just a phenomenon. The other reason, of course, is that much of this is just simply great music. © Stephen Thomas Erlewine /TiVo
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Soul - Released July 4, 1983 | Epic

Hi-Res Distinctions The Qobuz Ideal Discography
Michael Jackson had recorded solo prior to the release of Off the Wall in 1979, but this was his breakthrough, the album that established him as an artist of astonishing talent and a bright star in his own right. This was a visionary album, a record that found a way to break disco wide open into a new world where the beat was undeniable, but not the primary focus -- it was part of a colorful tapestry of lush ballads and strings, smooth soul and pop, soft rock, and alluring funk. Its roots hearken back to the Jacksons' huge mid-'70s hit "Dancing Machine," but this is an enormously fresh record, one that remains vibrant and giddily exciting years after its release. This is certainly due to Jackson's emergence as a blindingly gifted vocalist, equally skilled with overwrought ballads as "She's Out of My Life" as driving dancefloor shakers as "Working Day and Night" and "Get on the Floor," where his asides are as gripping as his delivery on the verses. It's also due to the brilliant songwriting, an intoxicating blend of strong melodies, rhythmic hooks, and indelible construction. Most of all, its success is due to the sound constructed by Jackson and producer Quincy Jones, a dazzling array of disco beats, funk guitars, clean mainstream pop, and unashamed (and therefore affecting) schmaltz that is utterly thrilling in its utter joy. This is highly professional, highly crafted music, and its details are evident, but the overall effect is nothing but pure pleasure. Jackson and Jones expanded this approach on the blockbuster Thriller, often with equally stunning results, but they never bettered it. © Stephen Thomas Erlewine /TiVo
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Soul - Released September 14, 2012 | Epic - Legacy

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Soul - Released October 16, 2001 | Epic - Legacy

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Soul - Released March 21, 2018 | Epic - Legacy

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Bad

Soul - Released September 14, 2012 | Epic - Legacy

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Soul - Released February 8, 2008 | Epic - Legacy

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Soul - Released November 13, 2007 | Epic

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Soul - Released July 18, 2005 | Epic - Legacy

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There are several Michael Jackson greatest-hits compilations out there, each one its own take on what should be the definitive portrait of the gloved one's career. The Ultimate Collection, The Essential Collection (different from the one here), and Number Ones have all surfaced in 2003 and 2004, and HIStory a few years prior. Each one of these collections, while commendable in its attempt to thoroughly document Jackson's accomplishments, has fallen woefully short in one aspect or another. This has finally been rectified with this installment of Sony's outstanding Essential collection. Starting with his campaign with his brothers in the Jackson 5, this two-disc set tours through every important single and every important fan favorite short of including his duet with Paul McCartney on "Say Say Say" (the Beatle does, however, make an appearance here on "The Girl Is Mine"). From Off the Wall to Dangerous, it's all here in one concise package, making it the ideal reference point from which exploration into his deeper catalog can begin. While die-hard fans will already have every single song contained herein and may be weary to purchase another greatest-hits compilation short of a greatest-hits compilation including his backing vocals on Rockwell's "Somebody's Watching Me," this may be the only one fans and casual listeners will ever have to purchase to get their fill of the King of Pop's magic. © Rob Theakston /TiVo
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Soul - Released November 17, 2003 | Epic

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Soul/Funk/R&B - Released January 24, 1972 | Motown

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Soul - Released October 26, 2009 | Epic

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Soul - Released May 9, 2014 | Epic - MJJ

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Soul - Released October 29, 2001 | Epic

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Let's get the clichéd bad joke out of the way to begin with: at the time Michael Jackson released Invincible in the fall of 2001, he hardly seemed "invincible" -- it was more wishful thinking than anything else, since he hadn't really had a genuine hit in ten years, and even that paled in comparison to his total domination of the '80s. That lack of commercial success, combined with a fading reputation as a trailblazer, a truly ugly public scandal, and swirling rumors about his diminishing finances, along with a huge wait between albums (by teaming his Dangerous follow-up with a hits collection, it wound up being overlooked, despite a gaudy publicity push), resulted in Jackson being deep down in the hole, needing to surge back out with a record that not only proved his talents, but his staying power. So, faced with a make-or-break record, what did Jackson do to save his career? What he had done since Dangerous, take a turn toward the street and craft a hard-driving, hard-polished urban soul album, heavy on the dance numbers and sweetened by lugubrious ballads. That's a proven formula for commercial success, but it didn't push his music forward, particularly when compared to the wildly rich, all-encompassing musical vision of Thriller and Bad. Here, he is reined in by a desire to prove himself, so he keeps his focus sharp and narrow, essentially creating a sparkly, post-hip-hop update of Off the Wall. However, the infectious joy and layered craft of that masterpiece have been replaced with a desire to craft something hip enough for the clubs and melodic enough for mainstream radio, thereby confirming his self-proclaimed status as the King of Pop. Since he is exceptionally talented and smart enough to surround himself with first-rate collaborators, this does pay off on occasion, even when it feels a little too calculated or when it feels a little padded. Ultimately, the record runs too long, losing steam halfway through, as it turns to a series of rants about "Privacy" or a deadly stretch of uncomfortably treacly, sub-"Man in the Mirror" songs about "The Lost Children," or when he says that he can't change the world by himself on "Cry." Fortunately, Jackson was clever enough to front-load this record, loading the first seven songs with really good, edgy dance numbers -- even the opening "Unbreakable" isn't sunk by the creepy resurrection of Biggie Smalls -- and lovely ballads, highlighted by "Break of Dawn" and "Butterflies" with its Bacharach-styled horns. Even if these are too self-conscious and a little mechanical, they still have a spark and sound better than anything Jackson did since Dangerous. That's not enough to make Invincible the comeback Jackson needed -- he really would have needed an album that sounded free instead of constrained for that to work -- but it did offer a reminder that he could really craft good pop. © Stephen Thomas Erlewine /TiVo
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Soul - Released September 27, 2017 | Epic - Legacy

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Thirteen of Michael Jackson's most danceable and exciting "spooky" hits, including Ghosts, Torture, Thriller and Dirty Diana, are brought together for the first time on one album. A unprecedented title Blood on the Dance Floor X Dangerous, completes this anthological selection with a brand new energetic mash-up by internationally acclaimed DJ duo The White Panda, based on the titles Blood on the Dancefloor, Dangerous and Leave Me Alone.
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Ben

Soul/Funk/R&B - Released August 4, 1972 | Motown

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Soul - Released January 1, 2009 | UNI - MOTOWN

Released roughly three days after Michael Jackson's passing, The Definitive Collection is a 19-track collection of highlights from his Motown recordings, including the hits he had with his brothers in the Jackson 5. This emphasizes Michael's solo hits over the Jackson 5's -- there are ten cuts of him alone, nine with his brothers (and one of those is an alternate "minus mix" of "I'll Be There") -- which skews this a little bit toward puppy love over bubblegum, something that may be a little too syrupy for some listeners, but there's no denying that for fans lacking a collection of Michael's earliest hits, this is a useful compilation, gathering "I Want You Back," "ABC," "The Love You Save," "Who's Lovin' You," "Never Can Say Goodbye," "Got to Be There," "Rockin' Robin," "Ben," and "Dancing Machine" in one place. © Stephen Thomas Erlewine /TiVo
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Soul - Released May 19, 1997 | Epic

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Despite its heavy promotion, HIStory was a considerable sales disappointment, largely because it buried an album of new material with a greatest-hits collection, causing the former to be overlooked. Although the new album was unfocused, it had its moments, which may be why Michael Jackson refused to let HIStory die. He remixed eight of its songs for Blood on the Dance Floor: History in the Mix, and then saddled that record with five new songs, which means that he repeated the same mistake by burying the new songs yet again. This time, however, it wasn't such a loss, since all the songs on Blood on the Dance Floor are embarrassingly weak, sounding tired, predictable and, well, bloodless. The title track, a bleak reworking of "Jam" and "Scream," is indicative of the weakness of the album, but it only touches on how sad the whole affair is. It would be one thing if Jackson wasn't relevant to the late '90s and ignored all contemporary innovations, since he could then make good music on his own terms. However, he flaunts his ignorance aggressively, as if sheer willpower will return him to the charts, making it all the more apparent that he can no longer craft a good melody or beat. And for one of the greatest musicians of the late '70s and early '80s, that's quite a depressing state of affairs. © Stephen Thomas Erlewine /TiVo
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Soul - Released December 14, 2010 | Epic

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Soul - Released January 1, 1975 | Motown

Promotion Chandos June 2021

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Michael Jackson in the magazine