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The album was also promoted with the singles "Blood on the Dance Floor" and "HIStory/Ghosts" as well as three corresponding music videos. The video for "Blood on the Dance Floor" premiered on Top of the Pops.[18] It centered on Susie seducing Jackson in a courtship dance, before opening a switchblade. The lead single peaked at number one in several countries, including the United Kingdom.[14][19] The double A-side "HIStory/Ghosts" was promoted with a video for each song. "HIStory" was set in a nightclub, in a futuristic era, and recalled Jackson's filmography. "Ghosts" was a five-minute clip taken from the much longer film Ghosts. The double A-side would become a top five hit in the United Kingdom, but did not chart as highly elsewhere.[14][20]

Neil Strauss of The New York Times gave the album a positive review, saying the record, "put Mr. Jackson halfway on the road to a very interesting concept album. There is real pain and pathos in these new songs...[he] frets about painkillers, sexual promiscuity and public image. In many of them, Mr. Jackson seems like The Elephant Man, screaming that he is a human being...With beats crashing like metal sheets and synthesizer sounds hissing like pressurized gas, this is industrial funk." He favorably compared Jackson's performance of "Is It Scary" to rock singer Marilyn Manson and noted the lyrics, "If you want to see eccentric oddities, I'll be grotesque before your eyes". Strauss suggested that the predatory woman, "Susie", from the title track, was a metaphor for AIDS. Finally, he described "Morphine" as "chilling... Mr. Jackson sings seductively from the point of view of the drug itself...he intones sweetly".[35] Roger Catlin of The Hartford Courant stated, "The most intriguing pairing is 'Ghosts' and 'Is It Scary' in which he asks those who've only read about him in tabloids if he seems monstrous."[36] The Cincinnati Post described the lead single as a "lackluster first release...dated, played-out dance track", but gave the album an overall favorable analysis. The review described "Ghosts" and "Is It Scary" as "classic Jackson paranoia".

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Anthony Violenti of The Buffalo News said of the lead single, "[it is] laced with Teddy Riley's new jack swing sound and a pounding techno beat". Violenti added, "'Superfly Sister', 'Ghosts' and 'Is It Scary' are programmed plastic soul that makes you wonder how someone as talented as Jackson can churn out such tracks". He said of "Morphine", "[it] has more synthesized beats and quickly fades into Jackson's current indistinguishable style".[2] Music critic, Adam Gilham was particularly impressed with the musical sequence of the track, noting that Michael Jackson created a "moment of absolute genius".[37] William Ruhlman of AllMusic said of the lead track, "'Blood on the Dance Floor' is an uptempo Jackson song in the increasingly hysterical tradition of 'Billie Jean' and 'Smooth Criminal' with Jackson huffing, puffing, and yelping through some nonsense about a stabbing...over a fairly generic electronic dance track.[38] Stephen Thomas Erlewine, also of AllMusic, had a negative reaction to the record. He said that all five new tracks were, "embarrassingly weak, sounding tired, predictable and, well, bloodless". He described "Blood on the Dance Floor" as a "bleak reworking of 'Jam' and 'Scream'".[39]

Chris Dickinson of St. Louis Post-Dispatch, noted, "'Superfly Sister' comes on like a classic Michael dance track, with Michael and Bryan Loren playing all the instruments...Blood On the Dance Floor [album] is definitely a dance record. It's not Thriller or Bad or even Off the Wall and it's not trying to be."[40] Jae-Ha Kim of Chicago Sun-Times, noted "'Is It Scary' shows a darker side of Jackson than even the tabloids would have you believe...With the hypnotic 'Morphine', he sounds like a seductive cousin of Trent Reznor's."[41] Sonia Murray of The Atlanta Journal and The Atlanta Constitution gave the album a D grade. She claimed that "'Ghosts' pounds with funk until Jackson's weak vocals come in." She described "Morphine" as an "overblown rock hiss".[27] The Virginian-Pilot gave the album a positive review, also expressing the opinion that "Morphine" sounded "eerily like 'State of Shock'", and continued, "'Scream Louder' a remix of his hit duet with sister Janet, is better than the original only because it takes away the overpowering guitar twangs."[42] The Washington Post described "Superfly Sister" as "sex funk", adding, "'Morphine' apparently told from the drug's point of view and featuring both the Andrae Crouch Singers and an orchestra, alternates between a hard-edged rock and operatic pop."[43]

A Jackson biographer, J. Randy Taraborrelli, gave a retrospective analysis of the album in the biography, The Magic & the Madness. He felt the album "contained...kick-ass dance remixes...Several of the other songs on Blood are also memorable...The collection was not a success in America; it was dismissed by critics and much of his audience, who seemed confused as to whether it was a new release or some kind of hybrid combination of songs". He felt that "Blood on the Dance Floor" was one of Jackson's best songs, but that the US public was more interested in the controversial tabloid stories about his personal life.[15]

William Ruhlman of AllMusic, agreed that part of the blame for a perceived commercial disappointment in the United States could be attributed to the ongoing public interest in the singer's private life. Nonetheless, Ruhlman still felt the album was artistically disappointing.[38] In 2005, J T Griffith, of AllMusic, believed that in hindsight, "Blood on the Dance Floor" was actually a good song. He explained, "[it is] a second-rate mixture of 'Beat It' and 'Thriller' but Jackson's missteps are better than most pop music out there. This track showcases all the artist's trademarks: the ooohing, the grunts, and funky basslines. It is hard to hear 'Blood on the Dance Floor' and not want to moonwalk or dance like a ghoul".[44]

The single peaked at number 42 on the US Billboard Hot 100 and reached number one in Denmark, New Zealand, Spain and the United Kingdom. It also reached the top 10 several other countries, including Australia, Finland, Germany, Netherlands, Norway and Sweden. Commentators compared "Blood on the Dance Floor" to music from Dangerous. Others commented on the song's perceived aggressive tone and the vocal style, the broad genres heard and possible lyrical interpretations of the song. Reviews at the time of release were largely mixed, but contemporary reviews have been favorable. The song was promoted with a music video that premiered on Top of the Pops. It centered on Susie seducing Jackson in a courtship "dance", before opening a switchblade. "Blood on the Dance Floor" was the only track from the remix album performed on the HIStory World Tour.

Larry Flick from Billboard wrote, "Produced by the artist with Teddy Riley this track chugs with a pleasant jeep-styled groove that provides a firm foundation for a lip-smacking vocal and a harmony-laden hook that is downright unshakable." He added that it is a "winning jam".[11] The Dallas Morning News described "Blood on the Dance Floor" as an angry tale of a back-stabbing woman and Michael Saunders of The Boston Globe described it as "a middling dance-funk cut".[3][12] Anthony Violenti of The Buffalo News said of the single, "[it is] laced with Teddy Riley's new jack swing sound and a pounding techno beat", whereas The Cincinnati Post characterized the song as a "lackluster first release ... dated, played-out dance track", but gave the album an overall favorable review.[4][13] Jim Farber of New York Daily News, noted of the vocals and musical style, "[Jackson] coughs up a series of strangulated mutters and munchkin hiccups in lieu of a vocal, while its chilly, faux-industrial music proves as appealing as a migraine".[7] David Sinclair from The Times constated, "With his voice little more than a whisper, and the groove screwed to a very high torque, this is as lean and urgent a piece as Jackson has ever produced."[14]

William Ruhlman of AllMusic observed, "'Blood on the Dance Floor' is an uptempo Jackson song in the increasingly hysterical tradition of 'Billie Jean' and 'Smooth Criminal' with Jackson huffing, puffing, and yelping through some nonsense about a stabbing ... over a fairly generic electronic dance track". He was not complimentary of the B-sides that accompanied it.[6] Stephen Thomas Erlewine, also of AllMusic, had a negative reaction to the record. He described "Blood on the Dance Floor" as a "bleak reworking of 'Jam' and 'Scream'".[15]

Music commentator Nelson George, compared the song to material from Dangerous, such as the critically acclaimed tracks "Jam" and "Dangerous". He described it as a "pile driving" song that "explodes from radio speakers".[16] A longtime commentator on Jackson's public life, J. Randy Taraborrelli, gave a retrospective analysis of the album in the biography, The Magic & the Madness. Taraborrelli thought that "Blood on the Dance Floor" was one of Jackson's best songs, a song that US fans "don't even know exists".[17] In 2005, J T Griffith, of AllMusic, believed that in hindsight, "Blood on the Dance Floor" was actually a good song. He explained, "[it is] a second-rate mixture of 'Beat It' and 'Thriller' but Jackson's missteps are better than most pop music out there. This track showcases all the artist's trademarks: the ooohing, the grunts, and funky basslines. It is hard to hear 'Blood on the Dance Floor' and not want to moonwalk or dance like a ghoul".[18]

"Blood on the Dance Floor" was the only track from Blood on the Dance Floor: History in the Mix to appear on the set list of the HIStory World Tour.[19] The music video for "Blood on the Dance Floor" was directed by Jackson and Vincent Paterson. Filming occurred in February 1997, when Jackson's first child Prince was born.[20] It premiered on Top of the Pops in the UK on March 28, 1997, several weeks ahead of its release as a single.[1] The video opens with a thrown switchblade impaling a spray painted image. The impaled image is that of a blood dripping love heart with "SUSIE + ME" scrawled across it. Jackson and a group of dancers then enter a salsa dance hall and he begins to dance with a woman, "Susie", while shaking a piece of percussion. Jackson then appears seated while the woman dances seductively above him on a table top.[21] 2351a5e196