25 iconic songs created by Quincy Jones

In the ‘80s, Michael Jackson was at a point in his career in which he continued to elevate his sound with each new album. After the success of his Off the Wall album, it’s no wonder he called on Quincy Jones again to produce his follow-up album Thriller. The eponymous single includes production that evokes horror film sounds, and the song has continued to be added to Halloween playlists every year. 

“You Put a Move on My Heart” was originally recorded by Mica Paris and it was written by Rod Temperton. Two years later, Quincy Jones recruited rising R&B singer Tamia to record her version, and it appeared on the producer’s album Q’s Jook Joint. Tamia’s version became a top 20 hit on Billboard’s Hot R&B/Hip-Hop Songs chart. 

In 1977, soulful duo The Brothers Johnson released their sophomore album Right on Time. Quincy Jones produced the single “Strawberry Letter 23,” which was a cover of Shuggie Otis’ track. The Brothers Johnson’s version became a top-five hit on the Billboard Hot 100 and hit No. 1 on the Soul Singles chart. 

Quincy Jones was a musician, composer, producer, and arranger, but fans never heard him sing. So whenever he would release his own albums, the songs either featured other artists or were simply instruments. His track “Soul Bossa Nova” was one of those instrumental tracks that beamed with jazz, big band, and soul elements. It’s no wonder the track was used as a theme in the Austin Powers films. 

Quincy Jones worked as the producer of Rufus and Chaka Khan’s eighth album Masterjam. In their No. 1 single “Do You Love What You Feel,” the song tells the perspective of a person who hopes that the person they’re in love with also feels the same about them. 

Quincy Jones was very instrumental in pushing Michael Jackson into superstar status thanks to his sixth album Thriller. Jones worked as a producer for the entire album including the second single “Billie Jean,” a track that tells the story of a man denying the claims that he fathered a woman’s child. "Billie Jean" became one of Jackson’s biggest-selling hits.

Although the disco era was starting to fade in the early ‘80s, some artists still applied the genre’s elements to their music. Such is the case for George Benson’s single “Give Me the Night,” which was produced by Quincy Jones. With its smooth groove, “Give Me the Night” makes for a perfect song for listeners to get their boogie on. 

Lesley Gore’s 1963 single “It’s My Party” has become a staple to play at birthday celebrations. On the track, Gore details how she saw her partner leave with some other woman, and if she wants to cry about it, then she has every right to because it’s her party. 

Actor Harry Belafonte called on Jones, Michael Jackson, and Lionel Richie to create the song "We Are The World" that supported his charity to raise money for famine in Ethiopia. The song featured a star-studded list of some of the biggest names in music including Stevie Wonder, Kenny Rogers, Tina Turner, Diana Ross, Bruce Springsteen, Cyndi Lauper, Sheila E., and so many more. 

“How Do You Keep The Music Playing?” is the type of track that has been covered by several artists over the years. One of the most popular versions came from Frank Sinatra, and in his purest form, the crooner knows how to masterfully add his smooth tone, making it for any easy listen. 

Five years after releasing his magnum opus, Michael Jackson returned with his seventh album Bad. On the single “Smooth Criminal,” Jones helped mix Jackson’s R&B and pop sound with more of a rock edge. About 13 years later, pop rock band Alien Ant Farm released their cover of the track, and the music video had several references in paying homage to the King of Pop. 

Jones worked with Patti Austin and James Ingram quite a few times throughout their careers. One of their biggest collaborations came in 1982 with their single “Baby, Come to Me.” On the track, Austin and Ingram detail how much they want to spend time with a loved one. As they sang on the hook, “Baby, come to me / Let me put my arms around you / This was meant to be / And I'm, oh so glad I found you / Need you every day / Gotta have your love around me.”

“Tomorrow (A Better You, Better Me)” was first released as an instrumental by The Brothers Johnson. However, Jones took it to another level in 1989 when he called on rising singer Tevin Campbell to add a few verses to it. The song was featured on Jones’ album Back on the Block. 

In 1963, Jones produced Lesley Gore’s sophomore album Lesley Gore Sings of Mixed-Up Hearts. One of the standout tracks is “You Don’t Own Me,” a song in which Gore sings about not being controlled by a man. As she sings in the first verse, “You don't own me / I'm not just one of your many toys / You don't own me / Don't say I can't go with other boys.”

In 1979, Michael Jackson released his fifth album Off the Wall, which was entirely produced by Quincy Jones. On the second single “Rock With You,” Jackson details how enamored he is with his partner on the dance floor. As he sings in the second verse, “Out on the floor / There ain’t nobody there but us / Girl, when you dance / There's a magic that must be love.”

Sanford and Son was a television sitcom that ran for six seasons which starred Redd Foxx and Demond Wilson. Jones was brought on as the composer of the show’s theme song, which is one of the most recognizable instrumentals in TV history. 

In 1964, Frank Sinatra released his cover of Kaye Ballard’s song “Fly Me To The Moon.” Jones worked on the production and Sinatra’s version was actually played on the moon by astronaut Buzz Aldrin during the Apollo 11 landing. 

“Ease on Down the Road” has been covered by several artists, but the most recognizable version came in 1978. It was featured in the film adaptation of The Wiz and was performed by Diana Ross and Michael Jackson, who also starred in the film. The song reached No. 17 on the Billboard Hot Soul Singles chart and earned Jackson his first Grammy Award nomination. 

In 1980, Chaz Jankel released the single “Ai No Corrida,” while Jones released his version a year later. On Jones’ cover, he handled the production and vocal arrangement, while he recruited Dune and Patti Austin to handle the vocals. “Ai No Corrida” won a Grammy Award for Best Instrumental Arrangement Accompanying Vocalists. 

"Misty" is one of those jazz songs that's been covered by several artists, but one of the most memorable versions came from Sarah Vaughan. Vaughan's cover had an orchestra conducted and arranged by Jones, and the music was perfect for the singer's smooth vocals. 

On Jones’ 1974 track “Body Heat,” he recruits vocalists Bruce Fisher and Leon Ware to highlight how a person’s temperature can rise when they’re attracted to someone. As they sing in the first verse, “My temperature's risin' / And it's not surprisin' / But when you're close to me, girl / It's so tantalizin' / I can't help myself / I get so excited.”

Michael Jackson continued his string of hits on his sixth album Thriller, which included the single “Human Nature.” Jackson doesn’t typically release ballads, but when he does, fans are shown how gifted he is vocally. “Human Nature” became a top-ten hit and it was most famously sampled by SWV for the remix to their song “Right Here.” 

Ray Charles’ 1961 track “One Mint Julep” is an instrumental track that features very subtle adlibs from the singer. Arranged by Jones, the song features a big band sound that was popular during that era. "One Mint Julep" became a smash hit, peaking at No. 1 on the R&B charts. 

In 1990, Jones recruited some of R&B’s biggest names in music with Barry White, Al B. Sure!, James Ingram, and El DeBarge on his sensual track “The Secret Garden (Sweet Seduction Suite).” The track finds the crooners detailing how much they want to have a bedroom rendezvous and explore their body, or as the track says, their “secret garden.” The song became a top 40 hit on the Billboard Hot 100. 

Michael Jackson continued to work with Jones on his seventh album Bad. In the single “The Way You Make Me Feel,” Jackson describes how he’s so enamored by a woman’s presence. As he sings in the first verse, “Hey, pretty baby with the high heels on / You give me fever like I've never ever known / You're just a product of loveliness / I like the groove of your walk, your talk, your dress.”