Quincy Jones stands as a monumental figure in music history, effortlessly transitioning between roles as a producer, songwriter, composer, and arranger across seven remarkable decades. His influence on the Billboard charts is undeniable, both through his own impressive discography and his pivotal collaborations with music icons like Frank Sinatra and Michael Jackson. Jones’s journey began in the 1950s, showcasing his talents as an arranger, musician, and bandleader. However, his breakthrough onto the Billboard Hot 100 came in 1963 when he produced Lesley Gore’s chart-topping hit, “It’s My Party.” This early success was a precursor to an even greater triumph in 1979, producing Michael Jackson’s “Don’t Stop ‘Til You Get Enough,” which marked the beginning of one of music’s most fruitful partnerships. Their collaborations on Off the Wall, Thriller, and Bad were nothing short of transformative, solidifying Jackson’s status as the King of Pop and yielding an astounding nine Hot 100 No. 1 hits. Thriller itself remains one of the best-selling albums of all time, a testament to their combined genius.
While his work with Michael Jackson is perhaps most widely celebrated, Quincy Jones’s impact extends far beyond. He has consistently delivered hits across genres, including the monumental “We Are The World” in 1985 and hits for artists such as George Benson (“Give Me the Night”), Aretha Franklin (“Angel”), and Donna Summer (“Love Is in Control (Finger on the Trigger)” and “State of Independence”). As the music world reflects on the legacy of this titan and his fundamental role in shaping the landscape of pop music, we delve into 20 of his biggest hits as a producer on the Hot 100.
This list of Quincy Jones’ biggest Billboard Hot 100 hits as a producer is based on weekly performance on the Billboard Hot 100 chart through November 2, 2024. Songs are ranked using an inverse point system, where weeks at No. 1 earn the highest value, and weeks at lower positions earn progressively less. Chart methodology changes over the years are accounted for by weighting different eras to reflect varying chart turnover rates.
The Early Hits: Charting Success in the 60s and 70s
Quincy Jones’s initial forays into production showcased his keen ear for talent and his ability to craft hits. In the 1960s, he played a crucial role in launching Lesley Gore’s career, producing a string of successful singles that resonated with a generation. These early collaborations established Jones as a producer with a knack for capturing the zeitgeist. Moving into the 70s, Jones broadened his horizons, working with artists like The Brothers Johnson, demonstrating his versatility across different musical styles.
Lesley Gore, “She’s A Fool”
Hot 100 Peak: No. 5
Peak Date: December 7, 1963
“She’s A Fool” was an early indicator of Jones’s production prowess. This track highlighted Lesley Gore’s youthful voice and established her as a prominent figure in the girl-group era of the 60s. Jones’s production brought a sophisticated pop sensibility to the song, making it a standout hit.
Lesley Gore, “You Don’t Own Me”
Hot 100 Peak: No. 2
Peak Date: June 1, 1964
“You Don’t Own Me” is more than just a hit song; it’s an anthem of independence. Produced by Quincy Jones, this Lesley Gore track resonated deeply with audiences and continues to be celebrated for its empowering message and Gore’s strong vocal performance, expertly guided by Jones’s production.
Lesley Gore, “It’s My Party”
Hot 100 Peak: No. 1 for two weeks
Peak Date: June 1, 1963
“It’s My Party” marked Quincy Jones’s first No. 1 hit as a producer on the Hot 100. This Lesley Gore classic perfectly captured teenage angst and drama, becoming a defining song of the early 60s. Jones’s production ensured the song was both catchy and emotionally resonant, cementing his place as a hitmaker.
The Brothers Johnson, “I’ll Be Good To You”
Hot 100 Peak: No. 3
Peak Date: July 10, 1976
In the 70s, Quincy Jones showcased his ability to adapt to evolving musical landscapes. “I’ll Be Good To You” by The Brothers Johnson is a prime example. This funk-infused track, produced by Jones, highlighted the band’s instrumental talents and their smooth vocal harmonies, resulting in a Top 3 hit.
The Brothers Johnson, “Strawberry Letter 23”
Hot 100 Peak: No. 5
Peak Date: September 24, 1977
“Strawberry Letter 23” is another gem from The Brothers Johnson, again under the production guidance of Quincy Jones. This song is known for its dreamy atmosphere, intricate instrumentation, and George Johnson’s captivating vocals. Jones’s production brought out the song’s unique qualities, making it a timeless classic.
The Michael Jackson Era: Defining Pop Music in the 80s
The 1980s witnessed the peak of Quincy Jones’s production career, largely due to his groundbreaking collaborations with Michael Jackson. Together, they created a series of albums that redefined pop music, pushing boundaries and achieving unprecedented commercial success. These “Quincy Jones Songs” from the Michael Jackson albums became cultural touchstones, influencing music production and popular culture for decades to come.
Michael Jackson, “Don’t Stop ‘Til You Get Enough”
Hot 100 Peak: No. 1
Peak Date: October 13, 1979
“Don’t Stop ‘Til You Get Enough” marked the beginning of the legendary partnership between Quincy Jones and Michael Jackson. As the lead single from Off the Wall, this disco-funk anthem showcased Jackson’s emerging solo artistry and Jones’s masterful production, resulting in a No. 1 hit that set the stage for their future dominance.
Michael Jackson, “Rock With You”
Hot 100 Peak: No. 1 for four weeks
Peak Date: January 19, 1980
“Rock With You,” also from Off the Wall, further solidified Jackson and Jones’s hit-making formula. This smooth, sophisticated ballad demonstrated their range and ability to create songs that were both commercially successful and artistically rich. Jones’s production gave “Rock With You” a polished, timeless quality.
George Benson, “Give Me the Night”
Hot 100 Peak: No. 4
Peak Date: September 27, 1980
Amidst his work with Jackson, Quincy Jones also produced hits for other artists, including George Benson’s “Give Me the Night.” This smooth jazz-funk track highlighted Benson’s signature guitar playing and soulful vocals, with Jones’s production emphasizing the song’s sophisticated and groovy vibe, leading to a Top 5 hit.
Patti Austin with James Ingram, “Baby Come To Me”
Hot 100 Peak: No. 1 for two weeks
Peak Date: February 19, 1983
“Baby Come To Me,” a duet by Patti Austin and James Ingram, showcased Quincy Jones’s ability to create romantic and memorable ballads. Originally released in 1982, the song gained immense popularity after being featured on the soap opera General Hospital, eventually reaching No. 1 in 1983, further demonstrating Jones’s diverse production skills.
Michael Jackson & Paul McCartney, “The Girl Is Mine”
Hot 100 Peak: No. 2
Peak Date: January 8, 1983
“The Girl Is Mine,” a collaboration between Michael Jackson and Paul McCartney, was a highly anticipated track from Thriller. Produced by Quincy Jones, this gentle, melodic duet showcased the vocal harmonies of two pop music giants, reaching No. 2 on the Hot 100 and highlighting Jones’s ability to manage and blend superstar talents.
Michael Jackson, “Billie Jean”
Hot 100 Peak: No. 1 for seven weeks
Peak Date: March 5, 1983
“Billie Jean” is arguably one of the most iconic “quincy jones songs” and a defining track of the 1980s. From Thriller, this song, produced by Jones, is instantly recognizable for its distinctive bassline and Jackson’s compelling vocal performance. It topped the Hot 100 for seven weeks and solidified Thriller‘s status as a cultural phenomenon.
Michael Jackson, “Beat It”
Hot 100 Peak: No. 1 for three weeks
Peak Date: April 30, 1983
“Beat It,” another Thriller masterpiece produced by Quincy Jones, blended rock and pop elements, famously featuring Eddie Van Halen’s guitar solo. This groundbreaking combination, coupled with Jackson’s energetic vocals and Jones’s innovative production, resulted in a No. 1 hit that crossed genre boundaries and appealed to a wide audience.
Michael Jackson, “Wanna Be Startin’ Somethin’”
Hot 100 Peak: No. 5
Peak Date: July 16, 1983
“Wanna Be Startin’ Somethin’,” the opening track of Thriller, is a high-energy, infectious song that showcases Quincy Jones’s ability to create complex and dynamic arrangements. This track, with its global rhythms and catchy chorus, reached the Top 5 and demonstrated the depth and breadth of the Thriller album.
Michael Jackson, “Thriller”
Hot 100 Peak: No. 4
Peak Date: March 3, 1984
The title track from the album, “Thriller,” is a cinematic and theatrical song that pushed the boundaries of pop music. Produced by Quincy Jones, it’s famous for its horror-themed music video and Vincent Price’s iconic narration. While it peaked at No. 4, its cultural impact is immeasurable, further cementing the legacy of Thriller and the Jackson-Jones partnership.
USA for Africa, “We Are the World”
Hot 100 Peak: No. 1 for four weeks
Peak Date: April 13, 1985
“We Are the World,” a charity single for African famine relief, brought together an unprecedented lineup of music superstars. Produced by Quincy Jones, this song became a global phenomenon, topping charts worldwide and raising millions for a vital cause. Jones’s role in orchestrating this massive project underscored his influence and his commitment to using music for good.
Michael Jackson, “I Just Can’t Stop Loving You” (with Siedah Garrett)
Hot 100 Peak: No. 1
Peak Date: September 19, 1987
From the Bad album, “I Just Can’t Stop Loving You,” a duet with Siedah Garrett, showcased Quincy Jones’s ability to create powerful and emotionally resonant ballads. This song was the first single from Bad and quickly reached No. 1, proving that the Jackson-Jones magic was still potent.
Michael Jackson, “Bad”
Hot 100 Peak: No. 1 for two weeks
Peak Date: October 24, 1987
“Bad,” the title track from the album, was another No. 1 hit from the Jackson-Jones collaboration. This song showcased a tougher, edgier sound for Jackson, with Jones’s production adapting to this new direction while maintaining the high-quality and polish that had become their trademark.
Michael Jackson, “The Way You Make Me Feel”
Hot 100 Peak: No. 1
Peak Date: January 23, 1988
“The Way You Make Me Feel,” the third single from Bad, continued the album’s streak of hits. This upbeat and joyful song, produced by Quincy Jones, highlighted Jackson’s charismatic vocals and danceable rhythms, becoming another chart-topper and a fan favorite.
Michael Jackson, “Dirty Diana”
Hot 100 Peak: No. 1
Peak Date: July 2, 1988
“Dirty Diana,” the final No. 1 hit from Bad, demonstrated Quincy Jones and Michael Jackson’s versatility. This rock-infused track, featuring a guitar solo by Steve Stevens, explored a more mature and sensual theme, showcasing their ability to evolve and experiment while still delivering chart-topping hits.
Michael Jackson, “Man In the Mirror”
Hot 100 Peak: No. 1 for two weeks
Peak Date: March 26, 1988
“Man In the Mirror” is a powerful and inspirational anthem that closed out the Bad era of No. 1 hits. Produced by Quincy Jones, this song is known for its uplifting message and Jackson’s passionate vocals, becoming a signature song and a testament to the enduring impact of their collaboration.
Quincy Jones’s Enduring Legacy
Quincy Jones’s career is a testament to his exceptional talent and versatility. His “quincy jones songs” as a producer span decades and genres, leaving an indelible mark on music history. From his early hits with Lesley Gore to his groundbreaking work with Michael Jackson and beyond, Jones has consistently demonstrated an unparalleled ability to identify talent, craft hits, and shape the sound of popular music. His 20 biggest Billboard Hot 100 hits as a producer are just a glimpse into his vast and influential discography, celebrating a true icon whose contributions continue to resonate with music lovers worldwide.
