Looking back on Michael Jackson's best (and worst) albums

Already an industry veteran at the tender age of 13, Michael made this first official solo foray — a canny move by Motown head Berry Gordy to further capitalize on the Jackson 5’s immense popularity. Highlights include a jaunty cover of ”Rockin’ Robin,” the wistful title track, and the soaring ”I Wanna Be Where You Are.” B+

Jackson’s second solo effort — released just seven months after his first — will always be defined by its title track, the theme song to the rodent-centric film of the same name. Michael’s delicate rendering of the shamelessly soggy boy-meets-telepathic-rat ode (which scored a Golden Globe win and an Oscar nomination) is a testament to his talent, as is his inspired handling of the rest of the covers-heavy album. B

On the cusp of a deepening, more adult voice, Jackson begins transitioning into grown-up material, including the contemplative title song, a grab bag of subdued show tunes (”Morning Glow” from Pippin, and Lady Sings the Blues‘ ”Happy”), and a devastatingly fragile cover of Stevie Wonder’s ”With a Child’s Heart.” B

The LP cover of Jackson’s Motown swan song reveals an Afroed 16-year-old clearly on the brink of manhood, and its comparatively adult soul sound confirms he was ready to move on from his days as Gordy’s bubblegum boy wonder. Still, the fairly standard midtempo grooves do little to foreshadow the sonic revelations that were soon to come. B-

Together with producer Quincy Jones, Jackson created the first real record of his adulthood: a featherweight rapture of disco-flecked R&B, replete with instant dance-floor dazzlers (”Don’t Stop ‘Til You Get Enough,” ”Rock With You,” ”Workin’ Day and Night”), a few midtempo charmers (”It’s the Falling in Love,” ”Girlfriend”), and, well, one pretty maudlin ballad (”She’s Out of My Life”). For all its spangled glitter-ball flair, the album easily transcends its polyester era. A-

A quarter century of cultural ubiquity tends to obscure the sheer ingenuity and creative genius behind the record, which was certified 28 times platinum this year. From the urgent funk of opener ”Wanna Be Startin’ Somethin”’ and sweet synth stutter of ”P.Y.T. (Pretty Young Thing)” to the iconic rock stomp of ”Beat It,” Thriller offers pure, transporting euphoria in pop form. A

How to follow an untoppable blockbuster? Jackson took his time. But ultimately, he delivered — offering immediate radio jams (”Bad,” ”The Way You Make Me Feel”), stirring ballads (”Man in the Mirror,” ”I Just Can’t Stop Loving You”), and outr?ock experiments (”Smooth Criminal,” ”Dirty Diana”) amid a few lesser but still worthwhile album cuts. B+

Forsaking Quincy Jones for, among others, new jack swing king Teddy Riley, Jackson’s first ’90s album reveals a grittier, funkier outlook, marked by flashes of lyrical darkness and paranoia. Still, four top 10 singles, including ”Black or White” and ”Remember the Time,” proved his continued ability to craft a hit. B+

A double-disc greatest-hits collection, the epic HIStory also served as a conduit for Jackson to explore his increasingly troubled relationship with fame on 14 new tracks (most notably, ”They Don’t Really Care About Us” and ”Scream”). Additionally, he covers a Beatles classic, ”Come Together” (by then, he owned the rights to their catalog), and finds his sentimental-ballad sweet spot with the No. 1 hit ”You Are Not Alone.” B

Primarily an album of HIStory remixes, this hard-edged collection also contains five new songs, none of which further Jackson’s artistry much. But some, like ”Ghosts” and the syncopated, slow-building title track, still managed to intrigue, and the involvement of more contemporary artists like the Fugees, as well as his sister Janet’s longtime collaborators Jimmy Jam and Terry Lewis, added further allure. B-

His final solo studio album before his death is, even in light of its eventual multiplatinum status, the least artistically successful of Jackson’s discs, especially in the context of his unmatchable earlier work. Released just weeks after 9/11, the nearly 80-minute work feels oddly airless and disconnected, its bland R&B sketches and tremulous ballads largely lacking the singer’s previous dynamism, despite minor hits like ”You Rock My World.” C+