Remembering Quincy Jones: 10 Essential Songs Beyond “Thriller”

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Quincy Jones, the legendary composer, arranger and producer, was a transformative figure in the music industry. Known for his extraordinary versatility, he seamlessly shifted between genres including jazz, pop, R&B, and even film scoring. Although he is widely associated with producing Michael Jackson‘s Thriller—the best-selling album of all time—Jones’ illustrious career boasts countless other musical landmarks that have left a lasting imprint on the music world.

Jones’ career began in the 1950’s working as a jazz arranger and trumpeter. However, it was when he met Ray Charles in his teenage years that his musical career truly began to flourish. After working with Charles on many of his early works, Jones later went on to produce for a range of musicians and compose scores for film and TV. Jones’ indelible impact was not confined to one genre or type of project, his work spanned from pop hits like “Thriller” to unforgettable movie soundtracks like In the Heat of The Night. He even co-founded the legendary VIBE magazine.

The visionary producer and composer‘s legacy is one that elevated music to another art from. He touched countless lives with his talent and vision, while also inspiring new generations of musicians, producers and composers. As his recent passing on Sunday (Nov. 3) has shaken the music industry and lovers of his art, the 91-year-old leaves behind the blueprint for what it takes to create a musical masterpiece.

As the magic of Quincy Jones will resonate for years to come, VIBE has dived into some of his most essential songs that go beyond his work on Thriller.

“Give Me the Night” – George Benson (1980)

Quincy Jones produced a danceable classic with “Give Me the Night” performed by George Benson in 1980. The R&B and jazz-funk infused hit saw much commercial success, as it was Benson’s first single to hit No. 1 on the US Billboard Soul Singles chart. The latter song also peaked No. 4 on the Billboard Hot 100 chart, making it his most successful pop entry.

Speaking of creating the tune with Jones, Benson told The Guardian in 2019: “We did the song in a day. Quincy heard my guitar part in the middle and said he wanted it all over the record, including the intro. That became the hook. I was too tired to put a proper vocal on it and went into this crazy, affected voice. He promised me he wouldn’t use it on the record, but when he sent me a test pressing, sure enough, he’d used the crazy vocal!”

He added, “My kids never used to ask me about my music but when I played it at home, my little boy said, ‘Dad, can you play that song that goes, Give me the night?’ So I knew it was special.”
“It’s My Party” – Lesley Gore (1963)

Lesley Gore performed the 1963 classic, “It’s My Party,” which Quincy Jones produced. The song, which tells the story of a teenage girl experiencing heartbreak at her own birthday party, resonated with the youthful pop audience of the time. The song went on to be a cult classic, appearing in a ton of films including 1990’s Problem Child. It also became an anthem for birthday-zillas that would remain relevant decades later. The song’s commercial success marked an important milestone in Jones’ career, as the classic tune coined the phrase: “It’s my party and I’ll cry if I want to.”
“Soul Bossa Nova” (1962)

Soul Bossa Nova is one of Jones most iconic classics, as the instrumental piece gained widespread recognition through its use in pop culture — notably in Austin Powers. The production included a genre-blend of jazz and Latin that went on to be Grammy nominated for Best Performance by an Orchestra for Dancing in 1963.

In a 2007 interview with Billboard, Jones said he composed the track in just 20 minutes.

“’Soul Bossa Nova’ was a song I wrote in 20 minutes in 1962. Never in a million years could I have imagined that 41 years later, it would be the theme song in all the ‘Austin Powers’ movies and would be winning a VMA with Ludacris,” he said. “When you write stuff like this, you really never know what’s going to happen to it, but I’ve seen the way ‘Soul Bossa Nova’ makes people groove and smile. And it all boils down to exactly that.”

He added, “We all know how important the sonic accompaniment to film and TV is, and I just love to see these brand new ways of getting music out to people. And it won’t go away. Mike Myers used it for the themes of the [all] Austin Powers films.”

The track was also included in The Judy Garland Show, The Pawnbroker, Take the Money and Run, as well as a theme for the 1998 FIFA World Cup. Additionally, Ludacris sampled the track for his Austin Powers-themed single, “Number One Spot,” as well as “Soul Bossa Nostra,” amongst other places.
“The Secret Garden ” – Quincy Jones ft. Barry White, Al B. Sure!, James Ingram and El DeBarge (1989)

“The Secret Garden (Sweet Seduction Suite)” is a sultry, smooth R&B track from Quincy Jones‘ 1989 album Back on the Block. Featuring a powerhouse lineup of Barry White, Al B. Sure!, James Ingram, and El DeBarge, the song showcased Jones’ expertise in assembling diverse voices to create a sonic masterpiece. Each artist’s distinct vocal style blended seamlessly, while delivering romantic lyrics over his rich production — which went on to peaked at No. 1 on the Billboard Black Singles chart in 1990.
“P.Y.T. (Pretty Young Thing)” – Michael Jackson (1982)

“P.Y.T. (Pretty Young Thing)” is one of Michael Jackson‘s most vibrant and infectious tracks from the legendary Thriller album, produced by Quincy Jones in 1982. Although “P.Y.T.” wasn’t as major of a single compared to the other Thriller songs, the danceable tune became a standout track that added energy to the album. However, the song is a fan favorite and remains an essential part of Jackson’s and Jones’ collaborative legacy.
‘In The Heat of The Night’ Soundtrack (1967)

The 1967 soundtrack for the film In the Heat of the Night is a significant work by Quincy Jones that showcased his ability to blend different musical styles with storytelling in mind. The score masterfully incorporated elements of jazz and blues, that mirrored the tension and drama of the mystery film.

Directed by Norman Jewison and produced by Walter Mirisch, the film starred Sidney Poitier and Rod Steiger, telling the story of Virgil Tibbs (Poitier), a Black police detective from Philadelphia who becomes wrapped up in a murder investigation in Mississippi.

Jones’ work added depth to the movie’s portrayal of racial and social issues in the American South, adding to its emotional impact. Jones pushed the boundaries of how music could be used to support narrative in cinema.
“Just Once” – James Ingram (1981)

“Just Once,” released in 1981, was performed by James Ingram and produced by Quincy Jones. The heartfelt ballad, co-written by Ingram and Barry Mann, is a staple in Jones’ discography, as the sonic masterpiece expresses love and connection. The orchestration and lyrics made the song a timeless classic, achieving commercial success while reaching the top of the charts and earning a Grammy nomination for Best Male Pop Vocal Performance.
“Fly Me To The Moon” – Frank Sinatra (1964)

“Fly Me to the Moon,” is a recognizable classic performed by Frank Sinatra in 1964, which became one of the most iconic renditions of the classic song, originally written by Bart Howard. Sinatra’s version was arranged by Quincy Jones, which featured the Count Basie Orchestra, adding a sophisticated, swing-infused jazz style that elevated the song. Jones’ arrangement added a vibrant, lively energy to the piece, perfectly soundtracking Sinatra’s smooth vocals. This version of “Fly Me to the Moon” even gained historical significance as it was played during the Apollo 10 and Apollo 11 missions to the moon.

Speaking on the timeless song, Jones wrote on Facebook in 2017: “My arrangement of “Fly Me to the Moon” with Frank Sinatra & Count Basie was the very first song played on the moon, & my song “Walking in Space” was chosen by astronaut, Leland D. Melvin, as wake-up music in the space shuttle Atlantis. And John Glenn was my teacher of Astrology for many, many years…these events were such huge honors for me, & there’s no doubt that I’m grateful to everyone who played a role in making space travel possible.”

Speaking of the 2016 film Hidden Figures, which was based on Glenn, he added: “But most importantly, I’m truly happy to see ‘Hidden Figures’ tell the stories of the three brave African American women who were responsible for the mathematical data needed to launch NASA’s first successful space mission…it’s about time we hear these stories!! Proud of you Janelle Monáe, Taraji P. Henson, Octavia Spencer, Pharrell Williams, Peter Chernin, & everyone else involved in this film for showin’ up!”
“Streetbeater” – ‘Sanford and Son’ Theme Song (1972)

“Streetbeater,” the theme song for the TV show Sanford and Son (1972), is one of Quincy Jones‘ most recognizable compositions. The instrumental track was created with funk and jazz sounds, featuring groovy bass lines, and a catchy rhythm that perfectly encapsulated the essence of the show. The classic sitcom’s theme song highlighted Jones’ ability to transcend composure beyond recorded tracks, and to the screen.
“We Are the World” – USA for Africa (1985)

1985’s “We Are the World” is probably Quincy Jones‘ most iconic song, as the charity single was co-written by his frequent collaborators Michael Jackson and Lionel Richie. The song was created in response to the famine crisis in Africa with iconic soloists: Stevie Wonder, Ray Charles, Diana Ross, Bruce Springsteen, Jackson, Richie, Paul Simon, Kenny Rogers, James Ingram, Tina Turner, Billy Joel, Diana Ross, Dionne Warwick, Willie Nelson, Al Jarreau, Bruce Springsteen, Kenny Loggins, Steve Perry, Daryl Hall, Huey Lewis, Cyndi Lauper, Kim Carnes, Bob Dylan and Ray Charles.

The chorus also included: Harry Belefonte, Sheila E., Jackie Jackson, La Toya Jackson, Marlon Jackson, Randy Jackson, Tito Jackson, Bette Midler, Pointer Sisters, Smokey Robinson and others — all under the collective name USA for Africa. Jones’ arrangement expertise unified the diverse voices into a powerful anthem of hope. The single achieved massive commercial success and raised millions for humanitarian aid, showcasing the power of music as a force for global change.

The timeless song has been used countless times for various occations. “We Are The World” hit No. 1 on the R&B singles chart, the Hot Adult Contemporary Tracks chart and the Billboard Hot 100. It also reached No. 1 in Australia, France, Ireland, New Zealand, The Netherlands, Norway, Sweden, Switzerland and the UK. The track became the fastest-selling American pop single in history, selling over 800,000 copies in just three days.