I Want You Back …eleven-year-old Michael’s voice on this tune is a wonder: aching and expressive like the best of his years-older soul peers, dicing up syllables on the verses and clinging on to long sustains in the chorus.

Rock With You ….a silky string section and barely-there twitch of guitar — Michael doesn’t even hit the word “Rock” all that hard — he just glides over it, preferring to charm with a wink and a smile rather than with aggression or ferocity.

Billie Jean …that sudden, diving string section, the stray doodles of organ, Michael’s sampled gasp turning up between measures like he’s coming up for air. It’s been said before, but it’s worth repeating: “Billie Jean” is a masterpiece…

Give In to Me …this strange, sinister number about obsessive love from Dangerous is all ice and shadows. Jackson sounds agonized on the chorus, and Slash’s eerie descending arpeggios envelop the song like spiderwebs…

Thriller …Jackson and Quincy Jones surround those lyrics with such spectacular robo-funk — that simple six-note synth riff rolling over and over, unmistakable and unforgettable…

Human Nature …Simple, stark, quiet and beautiful and boasting a windswept synth-string part that Nas would later sample for “It Ain’t Hard to Tell,” “Human Nature” is one of Jackson’s most subtle and affecting ballads. The way his voice tumbles down..

Wanna Be Startin’ Somethin’ ” 
…The refrain sounds like confrontation, but in between the title’s repeated jabs come genuine sympathy: “You’re stuck in the middle, and the pain is thunder.” The song is Motown revisited, its roaming synth-bass a stand-in for..

The Way You Make Me Feel …cruises slowly on a rubberband bass line elevated by Jackson’s ecstatic whoops and yelps. Every piece of this song is in perfect place, the big brass punctuating each of Jackson’s heartfelt demonstrations of affection.

Smooth Criminal …Tense and agitated, Jackson turns his voice into a machine gun, reducing the verses to a hail of tiny sounds. He pulls off a mean feat in this one, seeming to sympathize with both the aggressor and the aggressee, his hoarse …

Black or White Jackson’s soulful vocal framed by a bright, ringing guitar phrase. Jackson had the tendency to skew obvious when being topical, but “Black or White” keenly smuggles social commentary into a love song…

In the Closet …On this 1991 song, he seems to be imagining the whole of post-’00s pop music. The beats are Timbaland-tiny, and Jackson’s voice is barely more than a stutter until the chorus, where he stretches out long and lean and limber.

Scream …the Jacksons bitterly lashing out against doubters and naysayers over a fierce electro backdrop — one periodically pierced by Jackson’s pained yelps.

I Can’t Help It …
Michael does Stevie: a light, elegant Wonder-ful ballad finds Jackson scaling back his vocal assault, floating just above a lush bed of organ and bass. He takes his time on this one, making its pleasures simple but irresistible.

Leave Me Alone ..sounds like vintage Michael: a batch of thick chords for Jackson to vamp over, a kind of darker inversion of “The Way You Make Me Feel.” This time, though, that way was worked-up and angry…

P.Y.T. … cruises cleanly up the center of the burbling backdrop; like most early hits, “P.Y.T.” finds Jackson at his most controlled, saving his big yearning yelps for the chorus, and making them all the more indelible by their infrequency.

Beat It …marvelous simplicity: that simple, toothy guitar attack and one of Jackson’s fiercer vocal attacks. This is edgy Michael at his best, and Eddie Van Halen’s searing central solo only serves as a mirror of Jackson’s own urgency…

I Want You Back …eleven-year-old Michael’s voice on this tune is a wonder: aching and expressive like the best of his years-older soul peers, dicing up syllables on the verses and clinging on to long sustains in the chorus.

Rock With You …a silky string section and barely-there twitch of guitar — Michael doesn’t even hit the word “Rock” all that hard — he just glides over it, preferring to charm with a wink and a smile rather than with aggression or ferocity.

Billie Jean …that sudden, diving string section, the stray doodles of organ, Michael’s sampled gasp turning up between measures like he’s coming up for air. It’s been said before, but it’s worth repeating: “Billie Jean” is a masterpiece…

Give In to Me …this strange, sinister number about obsessive love from Dangerous is all ice and shadows. Jackson sounds agonized on the chorus, and Slash’s eerie descending arpeggios envelop the song like spiderwebs…

Thriller …Jackson and Quincy Jones surround those lyrics with such spectacular robo-funk — that simple six-note synth riff rolling over and over, unmistakable and unforgettable…

Human Nature Simple, stark, quiet and beautiful and boasting a windswept synth-string part that Nas would later sample for “It Ain’t Hard to Tell,” “Human Nature” is one of Jackson’s most subtle and affecting ballads. The way his voice tumbles down..

Wanna Be Startin’ Somethin’ …The refrain sounds like confrontation, but in between the title’s repeated jabs come genuine sympathy: “You’re stuck in the middle, and the pain is thunder.” The song is Motown revisited, its roaming synth-bass a stand-in for..

The Way You Make Me Feel …cruises slowly on a rubberband bass line elevated by Jackson’s ecstatic whoops and yelps. Every piece of this song is in perfect place, the big brass punctuating each of Jackson’s heartfelt demonstrations of affection.

Smooth Criminal …Tense and agitated, Jackson turns his voice into a machine gun, reducing the verses to a hail of tiny sounds. He pulls off a mean feat in this one, seeming to sympathize with both the aggressor and the aggressee, his hoarse …

Black or White …Jackson’s soulful vocal framed by a bright, ringing guitar phrase. Jackson had the tendency to skew obvious when being topical, but “Black or White” keenly smuggles social commentary into a love song…

In the Closet …On this 1991 song, he seems to be imagining the whole of post-’00s pop music. The beats are Timbaland-tiny, and Jackson’s voice is barely more than a stutter until the chorus, where he stretches out long and lean and limber.

Scream …the Jacksons bitterly lashing out against doubters and naysayers over a fierce electro backdrop — one periodically pierced by Jackson’s pained yelps.

I Can’t Help It …Michael does Stevie: a light, elegant Wonder-ful ballad finds Jackson scaling back his vocal assault, floating just above a lush bed of organ and bass. He takes his time on this one, making its pleasures simple but irresistible.

Leave Me Alone ..sounds like vintage Michael: a batch of thick chords for Jackson to vamp over, a kind of darker inversion of “The Way You Make Me Feel.” This time, though, that way was worked-up and angry…

P.Y.T. … cruises cleanly up the center of the burbling backdrop; like most early hits, “P.Y.T.” finds Jackson at his most controlled, saving his big yearning yelps for the chorus, and making them all the more indelible by their infrequency.

Beat It …marvelous simplicity: that simple, toothy guitar attack and one of Jackson’s fiercer vocal attacks. This is edgy Michael at his best, and Eddie Van Halen’s searing central solo only serves as a mirror of Jackson’s own urgency…
More here; SR, http://www.marketingmagazine.co.uk/news/916101/Michael-Jackson-advertising-icon/#mce_temp_url#

Per Rosenström of Sweden shares his playlist composed for the upcoming Midsummer fest; Midsommar

Best of Jazz and Barney Kessell jazz guitar.