June 27, 2014 4:00PM ET

The 10 Best Covers of Michael Jackson’s Songs

Hail to the King: hear the greatest versions of MJ’s tracks by the artists he inspired

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Michael Jackson's classic songs have inspired cover versions in every genere — from R&B to rock to reggae to jazz. Here are 10 of the very best. By Keith Harris

Carey connects to the childlike purity of the Jackson 5's classic chart-topping ballad. But she also makes the song her own. Her reprise of this performance would be one of the most poignant musical moments of Jackson's funeral, in 2009.

The gruff-voiced Temptation's version of the J5's breakthrough hit replaces Jackson's youthful energy with a stark desperation. After Ruffin died of a cocaine overdose in 1991, Jackson contributed significantly to his funeral expenses.

The J5 original is a bittersweet expression of puppy love and a showcase for the infinite shades of longing Jackson can coax from the syllable "ooh." Gaynor's disco makeover is all about full-on carnal desire, and it can still own any dance floor.

The most theatrical ballad of Jackson's solo career has been covered by big-voiced singers like Josh Groban. But "She's Out of My Life" is also intimately fragile, and Nelson's gentle, thoughtful delivery is a perfect match for it.

Iconic Brazilian musical rebel Veloso reinvents "Billie Jean" as a gentle samba ballad. He also ties it to global pop history, adding bits of the Beatles' "Eleanor Rigby" and the Brazilian tune "Nega Maluca."

These Kansas indie rockers covered Jackson's disco hit with grinding propulsion and ramshackle funkiness. They break it down for six minutes, like Lou Reed body-rocking a college party.

Jazz musicians are big fans of this lovely Thriller ballad – from smooth saxman George Howard to experimental pianist Vijay Iyer. Davis' straightforward rendition tops them all, keeping Jackson's breathy intimacy intact.

"We've Got a Good Thing Going" is a slight B side that eventually found its way onto Jackson's second solo album in 1972. Minott, a reggae-crooner-turned-dancehall-pioneer, gives it a whole new rough edge.

Jackson's first solo single was a harpsichord-swathed statement of sweet devotion. Khan turns up the volume with a jazzy, husky rendition, leading to a set of climactic high notes that are a lot more suggestive than the original.

A nu-metal version of Bad's most menacing track, translating Eighties synths into Aughts guitar bombast. These California bros nailed every "Annie, are you OK" and landed their only hit. MJ's genius lifted all boats.