Michael Jackson’s Thriller is often defined by its chart-topping smashes like “Billie Jean,” “Beat It,” and “Thriller.” But tucked between those larger-than-life hits lie quieter, more mid-tempo gems that reveal just as much about Jackson’s artistry and emotional depth. Tracks like Human Nature, P.Y.T. (Pretty Young Thing), and Baby Be Mine might not have defined the album’s visual legacy, but their origins and craftsmanship offer fascinating insight into what made Thriller a masterpiece.

By the time Quincy Jones had completed most of the album, something still felt incomplete. He wanted a song that captured the energy of “My Sharona,” something punchy but with a Black rock edge. “Beat It” fulfilled that brief—drawing influence from the gritty energy of the 1961 musical West Side Story—but balance was needed. As Jones said, “To penetrate, you have to go for the throat in four, five, six different areas.” So after three high-impact tracks in a row, it was time to slow the pace and show versatility.

Human Nature – The Accidental Classic
Toto’s keyboardist Steve Porcaro was already contributing to Thriller when Quincy asked if he had any additional demos. Running low on blank tapes, Porcaro submitted a cassette containing a soft, introspective demo titled Human Nature—recorded over the B-side of other material intended for Jones. When the intended side ended, the tape rolled into Human Nature by accident.

“As soon as I heard it, goosebumps,” Quincy recalled. “There was this silence and then, ‘Why, why…’ That was the flavor we needed.” The song’s gentle, synth-laden melody struck an emotional chord.

The inspiration? A schoolyard incident. Porcaro’s daughter had been hit by a boy, and when she asked why, he explained, “He probably likes you. It’s just human nature.” That moment birthed the title and sentiment.

Initially, Toto passed on the track, saying it wasn’t rock enough. But Quincy saw potential. Dissatisfied with the original lyrics, he recruited John Bettis—known for his work with The Carpenters—to rewrite them. “He turned my record into a song with a beginning, middle, and end,” said Porcaro.

Jackson’s vocal approach turned the song into something timeless. Breathless and ethereal, his voice floats effortlessly across Porcaro’s chords, giving life to a narrative of longing and isolation. “Why, why…” he pleads—not just about a girl, but seemingly about life itself. Jackson didn’t write the lyrics, but his voice betrays an aching truth.

In his autobiography, Jackson revealed how lonely he often felt. “I wanted to meet people who didn’t know who I was,” he wrote. Human Nature seems to capture that yearning—watching a thrilling world from a distance, longing to be part of it.

P.Y.T. (Pretty Young Thing) – The Fun Side of Funk
On the opposite end of the emotional spectrum is P.Y.T., a vibrant, frizzy funk party jam. Its origins are as playful as the song itself. Quincy got the idea from a T-shirt worn by his wife, Peggy Lipton, and challenged several writers to develop a song around the phrase “Pretty Young Thing.”

Jackson originally co-wrote a slower version of the song with Greg Phillinganes, but it didn’t meet Quincy’s upbeat vision. Enter James Ingram, who offered a bouncier demo that Quincy immediately approved. Jones then added his own touch, suggesting the chant section that gives the song its signature flair—earning him his only co-writing credit on the album.

Vocally, Jackson doesn’t stretch into falsetto acrobatics here, but there’s a playful sweetness that makes P.Y.T. irresistible. “Tenderoni” and other made-up slang give the track a youthful bounce. Jackson’s sisters Janet and LaToya even lend their voices for the bubbly “Na-na-na” backing vocals—effectively becoming the “Pretty Young Things” of the track.

Released in September 1983, the track exploded on Black radio and kept dance floors busy. In the post-disco world, P.Y.T. was a groove-heavy remedy for anyone craving a good time.

Baby Be Mine – The Jazz-Pop Hybrid
Then there’s Baby Be Mine, written by Heatwave’s Rod Temperton. Often overshadowed by the flashier hits, it’s a slick slice of funk-pop with jazz undertones. Jackson sounds relaxed and playful, navigating the track’s shifting chords with ease.

Quincy Jones compared the musical construction to John Coltrane. “Take a close look at Baby Be Mine,” he said. “That’s Coltrane done in a pop song.” The bebop-style chord progressions, the scat-like vocal flourishes, and the tight production make it more sophisticated than it first appears.

Temperton, a trusted Quincy collaborator who had penned hits like “Rock With You” and “Off the Wall,” gave Thriller a solid emotional core with his contributions. Though Baby Be Mine never became a single, it’s the type of track that deepens over time—growing richer with each listen.

These songs may not have had groundbreaking music videos or moonwalks, but they’re the hidden gems that give Thriller its emotional texture. Whether it’s the urban yearning of Human Nature, the party vibe of P.Y.T., or the jazzy smoothness of Baby Be Mine, each track tells us something different about Michael Jackson.