(ThyBlackMan.com) When most people think of Michael Jackson, they picture the moonwalk, sparkling gloves, and the iconic hits that defined pop music for generations. But what often gets overlooked is just how brilliant he was as a songwriter—not just for himself, but for others, too. Behind the scenes, MJ was crafting songs that gave other artists a unique spark, helping them evolve or stand out in new ways. As a music critic and lifelong admirer of his work, I’ve always found it fascinating to trace those lesser-known threads—moments where Jackson gave away a piece of his genius.
This list dives into six songs Michael Jackson wrote for other artists—tracks that still sound fresh, daring, and rich in personality. From Diana Ross to Rebbie Jackson, these songs carry his unmistakable magic, and each one gives us a deeper look into his mind as a creative force beyond his own spotlight. Let’s take a closer listen to these timeless gems, and appreciate how even when he wasn’t center stage, Michael Jackson was still shaping the sound of an era.
1. “Muscles” – Diana Ross (1982)
“Muscles” was an unexpected curveball from the usually elegant and refined Diana Ross. Written and produced by Michael Jackson, this funk-laced track took listeners by surprise with its sensual tone and infectious rhythm. Michael crafted it specifically for Ross—whom he deeply admired—and the chemistry between writer and performer is undeniable. The production features his signature use of layered vocals, a groove-heavy bassline, and that quirky sound experimentation Jackson would later embrace even more fully in “Thriller.”
Thematically, “Muscles” is playful and flirtatious. The lyrics cheekily express Ross’s desire for a physically attractive man—a bold move for an artist often associated with poise and class. Jackson’s creative input infused the track with youthful energy, making it feel simultaneously provocative and fun. His knack for melody and arranging backgrounds also allowed Ross to explore a more modern sound without compromising her iconic voice. This was Ross daring to be campy, funky, and perhaps a bit tongue-in-cheek, and it worked because of the irreverent style Michael brought to the table.
What makes “Muscles” particularly fascinating in today’s music landscape is how forward-thinking it was. The blend of R&B and synth-pop was already pointing toward the sonic trends that would dominate the rest of the decade. Jackson wasn’t just giving Diana Ross a hit—he was helping her evolve. The vocal interplay between Ross and the subtle background coos of Jackson himself added a personal intimacy to the track, making it both catchy and charismatic. Decades later, “Muscles” continues to be a favorite among die-hard fans who appreciate the rare combination of soul diva glamor and quirky Jackson funk. It remains a glittery standout in Ross’s post-Motown catalog and a testament to MJ’s uncanny ability to reinvent sounds even when writing for others.
2. “Centipede” – Rebbie Jackson (1984)
Rebbie Jackson’s “Centipede” was her debut single, and it arrived with a bang—thanks in large part to her younger brother Michael, who wrote and produced the track. With its haunting synths, aggressive groove, and unexpected arrangement, “Centipede” is one of the most underrated tracks in the Jackson family tree. Michael even lent background vocals and his unmistakable breathy ad-libs, further elevating the track’s intensity. It marked a compelling start to Rebbie’s career, proving that musical talent ran deep in the Jackson bloodline.
Musically, the song blends pop and R&B with an eerie, almost sci-fi ambiance, reflecting Jackson’s love for thematic risk-taking. You can hear echoes of “Thriller” in the chilling synth runs and sharp drum programming. It’s theatrical, mysterious, and adventurous—a bold move for a debut single. Lyrically, the song is ambiguous and surreal, leaving many to wonder what a “centipede” really represents. Rebbie’s vocals are surprisingly rich and confident, contrasting with the bizarre lyrical metaphors and unusual melodic phrasing.
Listening to “Centipede” today, one appreciates its audacity and originality even more. It’s not a safe pop single—it’s experimental yet catchy, strange yet compelling. It also served as a launchpad for Rebbie’s career and reminded the world that Michael’s songwriting prowess extended well beyond the charts. There’s also a fascinating familial synergy in the song’s DNA: Michael’s production pushed Rebbie to the front of the stage with a fully realized sound that was as much his as it was hers. The track still thrives in retro playlists, YouTube comment sections, and vinyl crates—where fans marvel at how such a weirdly titled song can be so addictive. It’s the kind of song that rewards repeat listens and reveals new textures every time.
3. “Eaten Alive” – Diana Ross (1985)
Jackson teamed up with the Bee Gees’ Barry Gibb for Diana Ross’s “Eaten Alive,” a track that sounds like a musical jungle—wild, rhythmic, and pulsing with primal energy. Jackson’s co-writing credit and backing vocals bring the unmistakable drama that only he could deliver. The song was the title track of Ross’s 1985 album and featured an adventurous mix of pop, funk, and dance elements. It wasn’t just another song—it was an experiment in sonic theatrics, something Jackson was becoming known for.
The track’s production is intense—thudding drum machines, growling synths, and dramatic vocal layering create an atmosphere that feels cinematic. It channels a heightened sense of urgency, like being chased in a dream. Ross delivers a fierce vocal performance, but Jackson’s fingerprints are all over the arrangement and tone. His high-pitched ad-libs toward the song’s climax add a ghostly texture that elevates the whole experience. There’s also a sense of narrative urgency in the lyrics, something Jackson always excelled at injecting into his work. You’re not just listening to a song; you’re being pulled into a high-stakes emotional drama.
Revisiting “Eaten Alive” today is like rediscovering a hidden action film soundtrack that never made it to theaters. It’s bold, theatrical, and pulsing with mid-’80s energy. Although not a major hit upon release, it’s found new life among collectors and fans who appreciate Jackson’s creative risks. More importantly, it shows how fearless both he and Ross were during this era—willing to push boundaries, try new styles, and embrace high-concept artistry. Jackson’s vision was cinematic and daring, and “Eaten Alive” is the perfect encapsulation of his ability to bring out the wild side in even the most polished performers. As part of Ross’s extensive discography, this track now stands out for its artistic ambition and its strange, mesmerizing mood—a deep cut that deserves to be heard loudly and often.
4. “Someone Put Your Hand Out” – Pepsi Promo Song (1992)
Originally intended for Jackson’s Bad album, “Someone Put Your Hand Out” never made the final cut and instead resurfaced in 1992 as part of a limited-edition Pepsi campaign across Europe. Although it was technically performed by Michael himself, its release on a promotional cassette rather than a commercial album gave it a mystique—many believed it was written for other artists because of its introspective tone and traditional ballad structure. This track often flies under the radar, but it showcases a side of Jackson that fans and casual listeners alike should revisit: the master balladeer with a poet’s soul.
Lyrically, the song is a plea for empathy, connection, and salvation. “I’m so lonely, won’t you help me?” Jackson sings with heartbreaking vulnerability, his voice gliding over a soft, melancholic instrumental that blends light synth textures with orchestral undertones. It’s spiritual without being religious, reflective without becoming overly sentimental—a sonic diary of a man yearning for unity and understanding in a fractured world.
What’s remarkable is the emotional restraint in Jackson’s performance. There’s no vocal acrobatics or power notes here. Instead, he leans into breathy vulnerability, a choice that adds depth and authenticity. This isn’t just a ballad—it’s a lament, a cry, and ultimately, a prayer. Listening to it today, the song’s themes of emotional distance and longing feel more relevant than ever in our hyperconnected yet isolated world.
Its rarity as a promotional release also gives it an almost sacred feel among collectors and superfans. Yet this shouldn’t just be a hidden gem for the few—it deserves to sit alongside classics like “Stranger in Moscow” and “Will You Be There” as one of Jackson’s most emotionally raw pieces. It could have easily been a chart-topping hit had it been given a proper global release. More than just a Pepsi tie-in, “Someone Put Your Hand Out” is a soul-stirring example of Jackson’s songwriting depth.
5. “Tell Me I’m Not Dreamin’ (Too Good to Be True)” – Jermaine Jackson feat. Michael Jackson (1984)
This magnetic duet between Jermaine and Michael Jackson stands as one of the most compelling musical moments in the Jackson family canon. While it’s often remembered for its groove and infectious chorus, what deserves equal attention is the emotional layering and synergy between the brothers. Released on Jermaine’s Dynamite album, this synth-heavy R&B track captures the era’s sonic landscape while delivering a timeless narrative about the surreal nature of true love.
Michael co-wrote the song and injects it with his signature melodic brilliance. The lyrics explore that moment when falling in love feels so extraordinary, it teeters on the edge of disbelief. “Tell me I’m not dreaming,” the chorus cries out—a universal sentiment sung with such conviction it feels deeply personal. Michael’s falsetto reaches celestial levels in the hook, while Jermaine’s steadier, more grounded delivery provides the perfect emotional contrast.
Despite being a standout track, the song’s potential was stunted by unfortunate label conflicts between Epic (Michael’s label) and Arista (Jermaine’s label), preventing a full single release in the U.S. Still, it climbed the dance charts and earned a Grammy nomination for Best R&B Performance by a Duo or Group with Vocals. In hindsight, it feels like a missed opportunity—a potential Top 10 hit derailed by industry politics.
Even so, the song has aged like fine wine. Its blend of dreamy synths, punchy basslines, and heartfelt lyrics make it ideal for today’s retro revivalists. Fans of synth-pop and ’80s R&B will find plenty to love here. It’s more than a duet—it’s a musical conversation between two brothers, each bringing a different flavor of Jackson magic to the table. For fans of Michael’s vocal nuance and Jermaine’s soulful warmth, this track is an unforgettable listen.
6. “Whatzupwitu” – Eddie Murphy feat. Michael Jackson (1993)
At first glance, “Whatzupwitu” might seem like an odd entry in Michael Jackson’s catalog. Teaming up with actor-turned-musician Eddie Murphy? In a whimsical, nearly psychedelic music video with floating clouds and childlike graphics? It’s understandable why many dismissed it in the early ‘90s. But beyond the oddball visuals and novelty pairing lies a surprisingly sincere track that radiates positivity, unity, and unfiltered optimism.
Co-written by Jackson and Murphy, the song dives into spiritual and social questions with disarming simplicity: “Why do the birds sing so gay?” “Why does my heart feel this way?” It’s curious, childlike, and ultimately hopeful. Murphy’s vocals—while clearly not polished like Jackson’s—carry a raw, unaffected charm. But it’s Jackson’s involvement that truly elevates the track. His layered harmonies, floating background ad-libs, and unmistakable warmth transform the song into something more than a celebrity collaboration. It becomes a sonic embrace.
Musically, “Whatzupwitu” sits comfortably in the early ‘90s pop gospel realm. Think of it as the cousin of “Heal the World” or “Will You Be There,” only more playful. The production incorporates cheerful horns, choral backing, and light-footed percussion, creating a soundscape that’s both uplifting and accessible. And while the music video may have aged poorly due to its early CGI, the song’s message still shines.
In a world often jaded by irony and sarcasm, “Whatzupwitu” feels daring in its innocence. It’s not trying to be cool or edgy—it’s aiming for your heart. And in that sense, it shares the DNA of Jackson’s more iconic humanitarian tracks. Though it never became a commercial hit, and critics may have scoffed, it remains a testament to Jackson’s belief in using music as a tool for connection, even if the delivery method was a bit unconventional.
Today, “Whatzupwitu” might even be overdue for a reappraisal. In the age of positivity-driven anthems and throwback trends, its message and earnest tone feel more in line with modern sensibilities than one might expect. It’s quirky, sure—but it’s also heartfelt, memorable, and undeniably Jackson.
There’s something uniquely powerful about hearing Michael Jackson’s influence in songs he didn’t perform himself. These tracks may not always make it onto “Best Of” playlists or headline retrospectives, but they’re part of the broader mosaic that made Jackson more than just a performer—he was a true architect of pop and soul. Whether it was lending his voice in the background or building a groove from scratch for someone else, his fingerprints are everywhere.
As a listener and critic, revisiting these songs reminds me how rare it is to see that level of generosity and vision in an artist. Jackson wasn’t just interested in being the star—he wanted others to shine, too. And even decades later, these songs still shine bright. If you’ve never heard them before, consider this your invitation to dig deeper into the catalog of a man whose musical legacy continues to inspire artists—and listeners—around the world.
Staff Writer; Jamar Jackson
