With a career that spans more than 60 years, Quincy Jones has one of music’s most formidable résumés: sideman, Dizzy Gillespie musical director, bandleader, label executive, arranger, soundtrack composer, TV mogul, and winner of 28 Grammys (so far). His biggest legacy, however, is as a producer—a job he described as “part babysitter, part shrink.” Though his long footprint has been known to careen into jazz, bossa nova, and hip-hop, it’s the R&B, pop, soul, and soundtrack music he made in the ’70s and ’80s that define entire worlds, thanks to Q’s lush arrangements, perky percussion, and airy sounds—not to mention his work on Michael Jackson’s 1983 album, Thriller, the biggest-selling album of all time.His early-’70s soundtrack work and TV themes mixed large orchestral vision with indelible jazz-funk rhythms. His mid-’70s solo albums—and concurrent work with Aretha Franklin and the Brothers Johnson—simmered with soft-focus groove, bravado, slickness, and warmth. It was a perfect fit for the era when disco and funk met pop, when he eased on down the road into the 1978 soundtrack to The Wiz and Michael Jackson’s glossy 1979 breakthrough Off the Wall. The records he produced on his record label, Qwest—George Benson, Patti Austin, James Ingram, and a late-career album for Frank Sinatra—provided sophisticated songs for Quiet Storm radio and beyond.By the end of the ’80s, Jones had produced the record-breaking charity single “We Are the World,” garnered three Academy Award nominations for his work on The Color Purple, produced Jackson’s Bad, and taken his own victory lap with 1989’s star-studded solo album Back on the Block, winner of that year’s Grammy for Album of the Year. On the title track, featuring rappers Ice-T, Grandmaster Melle Mel, Kool Moe Dee, and Big Daddy Kane, you can hear the whining horn from Ironside that he had introduced nearly 20 years earlier. In honor of Off the Wall’s 40th birthday, here’s a celebration of Jones—the producer—in his most iconic period.

It may be that 2019 was the best year for ’90s metal since, well, 1999. Bands from the decade of Judgment Night re-emerged with new creative twists and tweaks: Tool stretched out into polyrhythmic madness, Korn bludgeoned with more extreme and raw despair, Slipknot added a new drummer (Max Weinberg’s kid!) who gave them a new groove, and Rammstein wrote an anti-fascism anthem that caused controversy in Germany (and hit No. 1 there too). Elsewhere, icons of the era returned in unique ways: Nine Inch Nails’ Trent Reznor scored a superhero TV series, Primus’ Les Claypool teamed up with Sean Lennon for some quirky psych rock, and Faith No More’s Mike Patton made an avant-decadent LP with ’70s soundtrack king Jean-Claude Vannier. Finally, the soaring voice of Linkin Park’s Chester Bennington returned for a moment thanks to Lamb of God guitarist Mark Morton, who released a song they recorded together in 2017.

At a minute and 53 seconds, “Old Town Road” made headlines for being the shortest song to hit No. 1 since 1965. Still, that’s a spiraling prog symphony compared to these songs: 50 of them, all 7 seconds or less.

The idea of tiny microsongs gestated for about 25 years before reaching full flower. The “event scores” of the ’60s Fluxus movement turned quixotic, whimsical actions into bursts of music and art. From the ’70s into the ’80s, punk rock got speedier and speedier. In 1981, D.C. hardcore band Youth Brigade released “No Song II,” a second-or-so-long blurt whose sole lyric was “No.” Humorous, punk-adjacent thrash-metal bands like Stormtroopers of Death (S.O.D.) and Wehrmacht jumped into the fray in 1985.

The big bang, as it were, for tiny songs was Napalm Death’s notorious “You Suffer,” the U.K. grindcore band closing the arms race of speedy songs in 1987 with a 1.316-second micro-rant (full lyrics: “You suffer, but why?”) that made the Guinness Book of World Records. Teeny songs quickly became a staple of grindcore bands and their scruffier counterparts in American “powerviolence” bands. Powerviolence label Slap-a-Ham even crammed 84 songs onto a 7-inch in 1998. Here are 50 tunes in less than five minutes, spanning hardcore, grindcore, powerviolence, cybergrind, experimental electronic music, alternative pop and more.

There was nothing like Hot Buttered Soul, the luxuriant, expansive, exploratory soul album by Isaac Hayes, when it was released in 1969. Given complete creative control, the Stax producer and songwriter stretched out figuratively and literally, two of its four tracks stretching past the 10-minute mark, exploding with strings and horns. It turned Hayes from songwriter to sensation to icon. His style—soulful, cinematic, assured, lush, deeply arranged—would win him an Academy Award for his theme song to 1971’s Shaft and earn him a headlining spot soon after at the historic Wattstax concert.

In the ’80s and ’90s, Hayes found most of his success as a film and TV star, but hip-hop musicians were keeping his music alive. Some of rap’s most defining songs between 1988 and 1992—Public Enemy’s “Black Steel in the Hour of Chaos,” The Geto Boys’ “Mind Playing Tricks on Me,” DJ Quik’s “Born and Raised in Compton”—were built off the baroque samples of Hayes tunes. New York producers like RZA, Pete Rock, MF Doom, and Evil Dee used his palettes to make boom bap. And drawn to the cinematic, ’90s British trip-hop artists like Portishead and Massive Attack used Hayes to cull their nocturnal moods. To celebrate 50 years of Hot Buttered Soul, here’s Hayes refracted through hip-hop’s prism.

Progressive metal first emerged in the late ’80s, a whirlwind of ambitious themes, sprawling concepts, aggressive precision, ambitious arrangements, off-kilter time signatures and wild displays of chops. Bands like Queensrÿche and Fates Warning would have varying intensity of the spotlight, but nothing matched the commercial and critical success of Tool, the uncompromising band that released the biggest rock record of 2019, the 86-minute Fear Inoculum.

However, the seeds of lofty, lateral-minded metal churn go back to the ’60s and ’70s. Pioneering prog artists (and Tool influences) King Crimson and Pink Floyd would often venture into the heavy and strange. Lesser-known bands such as Britain’s Atomic Rooster, Germany’s Lucifer’s Friend, and Los Angeles’ Captain Beyond sunk deep into proto-metal moods. Jazz artists like Tony Williams, Mahavishnu Orchestra, and ’70s-era Miles Davis mixed bonkers playing with abrasive rock energy. French “zeuhl” bands like Magma and Belgian “rock in opposition” band Univers Zero played with time signatures in disorienting ways. Here are some bands that paved the way for prog-metal’s lofty ideas.

‍Photo Credit: Travis Shinn