This week In Soul 01/52

1 . Gladys Knight & The Pips . Nobody But You

Released as part of Gladys Knight & The Pips’ 1965 album “Gladys Knight and the Pips” under the Vee-Jay label, “Nobody But You” cemented the group’s early contributions to the soul and R&B genres during the mid-1960s.

The song showcases the group’s signature harmonies, with Gladys Knight’s distinct lead vocals complemented by the backing vocals of her brother Merald “Bubba” Knight and cousins Edward Patten and William Guest.

Although it did not chart as prominently as some of their later collaborations with Motown, “Nobody But You” represented an important phase in their transition from local fame in Atlanta to a broader national audience prior to their Motown signing in 1966.

During this period, the group regularly toured and performed live on notable venues and television shows, affirming their presence within the burgeoning soul music scene.

Vee-Jay Records, recognized as a significant label for diverse talent in the era, had also worked with artists like The Beatles and The Four Seasons, providing a unique platform for the group at this stage of their career.

While “Nobody But You” may not have achieved individual awards or distinctions, it is remembered as an integral song from the group’s early catalog that reflects their traditional R&B roots.

Lifted from : On Dutch TV today , Gladys Knight . The Pips (1976)

2 . Aretha Franklin & Lou Rawls . Tobacco Road

Aretha Franklin and Lou Rawls’ rendition of “At Last” is a collaboration that brought together two legendary voices in the world of soul and R&B.

Originally written by Mack Gordon and Harry Warren in 1941, the song has been covered numerous times, with Franklin and Rawls recording their version in the late 1980s.

Their duet appeared on Franklin’s “Through the Storm” album, which was released by Arista Records on April 27, 1989.

This album featured multiple high-profile collaborations, including tracks with Whitney Houston, Elton John, and James Brown.

Franklin and Rawls performed “At Last” during special appearances around the album’s release, adding a unique duality to the classic song’s romantic themes.

Although their rendition did not chart as a single, “Through the Storm” reached No.55 on the Billboard 200 and No.7 on the Top R&B Albums chart, showcasing Franklin’s ability to adapt and collaborate with other artists from the R&B genre.

Rawls, a Grammy Award-winning artist himself, brought an earthy baritone to the duet, complementing Franklin’s powerhouse vocals.

While the song itself has been historically associated with Etta James’ iconic 1960 recording, Franklin and Rawls’ version holds significance as a meeting of two influential voices in modern music.

Lifted from : We remember Lou Rawls >>HIS BEST OF

3 . Bobby “Blue” Bland . I’ll Take Care Of You

Bobby “Blue” Bland’s “I’ll Take Care of You” was released in 1959 as a single under the Duke Records label and later featured on his 1961 album “Two Steps from the Blues.” Written by Brook Benton, the song became one of Bland’s signature tracks, blending soulful blues with emotive vocal delivery.

The song reached No.89 on the Billboard Hot 100 chart and was a Top 10 hit on the Billboard R&B chart, peaking at No.2, establishing significant commercial success during the late 1950s and early 1960s.

Notably produced by Joe Scott, who was key in shaping Bland’s distinctive sound, the arrangement is characterized by lush instrumentation and expressive horns.

“I’ll Take Care of You” has been widely covered by several notable artists, including Van Morrison and Etta James, demonstrating its enduring legacy in blues and soul music.

The track received significant airplay and has been incorporated into film and television soundtracks like “The Sopranos” and the 1992 movie “The Player.” Despite not winning major awards upon release, it remains a cornerstone of Bland’s illustrious career and was often performed during his concert tours.

The song’s soulful depth has influenced subsequent generations of musicians and music enthusiasts globally.

Lifted from : “Two Steps from the Blues” Bobby Bland’s debut album

4 . Booker T. & The MG’S . Melting Pot

“Melting Pot,” released in 1971, is an instrumental track by Booker T.

& The MG’s, appearing as the title track on their album “Melting Pot,” which was the group’s final studio album for Stax Records.

The song is notable for its extended jam format, running over eight minutes, which was an uncommon characteristic for singles at the time.

The track was recorded at Stax Studios in Memphis, Tennessee, and featured Booker T.

Jones on organ, Steve Cropper on guitar, Duck Dunn on bass, and Al Jackson Jr.

on drums.

The album peaked at #17 on the Billboard R&B Albums chart and #149 on the Billboard 200.

“Melting Pot” is frequently cited as a defining piece showcasing the band’s blend of soul, funk, and groove-oriented styles.

While not released as a single, the song has been sampled in various hip-hop tracks, including works by artists such as Big Daddy Kane and Run-D.M.C., evidencing its lasting influence.

Booker T.

& The MG’s were previously inducted into the Rock and Roll Hall of Fame in 1992, highlighting the legacy of their contributions to music.

“Melting Pot” remains part of their live show repertoire, and the band’s collaboration with Stax Records also included work as the house band for other legendary artists such as Otis Redding and Sam & Dave.

Lifted from : “Melting Pot” Booker T. . the MGs album

5 . Edwin Starr . War

“War,” performed by Edwin Starr, was released in 1970 as a single from the Motown album “War & Peace.” The song, written by Norman Whitfield and Barrett Strong, was originally recorded by The Temptations but was re-recorded by Starr after Motown’s decision to release it as a single to avoid alienating The Temptations’ less politically inclined audience.

The track became Starr’s most successful release, reaching number one on the Billboard Hot 100 chart on August 29, 1970, and holding the position for three weeks.

It also earned a Grammy nomination for Best R&B Male Vocal Performance.

Known for its iconic refrain, “War, what is it good for? Absolutely nothing,” the song became a prominent protest anthem during the Vietnam War era.

In addition to being featured in Starr’s live performances, “War” was prominently used in various films, television series, and commercials, including the 1991 sitcom “Seinfeld” episode titled “The Trip.” The song remains a culturally significant protest track, with its music video and clips widely included in retrospectives on the 1970s.

Lifted from : “War . Peace” Edwin Starr’s album

6 . James Brown . I Got You (I Feel Good)

James Brown’s “I Got You (I Feel Good)” was recorded in May 1965 at Criteria Studios in Miami and released as a single later that year on the Smash Records label.

The song is one of his most commercially successful tracks, peaking at No.3 on the Billboard Hot 100 and No.1 on the R&B chart in December 1965, marking his highest charting on the Hot 100.

It was originally intended for Brown’s 1964 live album “Pure Dynamite! Live at the Royal” but was re-recorded after a dispute with King Records, leading Brown to release it through Smash Records.

“I Got You (I Feel Good)” is recognized for its iconic horn riff, played by the J.B.’s, including saxophonist Maceo Parker, whose collaboration was instrumental in shaping Brown’s sound.

The track has been featured extensively in popular culture, with appearances in movies such as “Good Morning, Vietnam” (1987) and “The Nutty Professor” (1996), and it was also performed live on “The Ed Sullivan Show” in 1966.

While the song itself did not win awards, Brown’s influence in funk and soul, epitomized in tracks like this, led to his induction into the Rock and Roll Hall of Fame in 1986.

A quintessential example of his early funk style, the saxophone riff is frequently sampled in various genres, solidifying its presence in music history.

Lifted from : “I Got You (I Feel Good)” James Brown’s album

7 . The Drifters — You’re More than A Number in My Little Red Book

Released in 1976, “You’re More Than a Number in My Little Red Book” by The Drifters was featured on their album “Every Nite’s a Saturday Night” and became one of their late-era hits.

Written by songwriters Roger Greenaway and Tony Macaulay, the track showcases the group’s continued evolution in the 1970s.

It reached #5 on the UK Singles Chart, where the band maintained significant popularity during a period when they found less success in their native U.S. markets.

The single was performed during appearances on television shows like “Top of the Pops,” and its release marked one of their final entries into the UK Top 10.

By this time, the group had undergone several lineup changes, with this version of The Drifters including vocalists Johnny Moore and Clyde Brown contributing to the track.

The Drifters were managed during this period by Faye Treadwell, one of the first female African-American managers in the industry, who played a critical role in their UK presence.

The song highlights the band’s partnership with producer Tony Macaulay, a key collaborator who worked on several of their tracks during the 1970s.

Though no official music video exists, clips of the group performing the song on stage are periodically featured in retrospective footage of 1970s soul and R&B broadcasts.

Lifted from : On TV today , The Drifters at ‘TOTP’ (1979)

8 . Sister Sledge . He’s the Greatest Dancer

Released in 1979, “He’s the Greatest Dancer” by Sister Sledge is a disco track from their third studio album “We Are Family,” produced by Nile Rodgers and Bernard Edwards of the band Chic.

The song peaked at No.9 on the Billboard Hot 100 and reached No.1 on the Billboard Hot Soul Singles chart, making it one of the group’s most commercially successful singles.

Written by Nile Rodgers and Bernard Edwards, it includes strikingly distinctive Chic-style string and guitar arrangements.

The song gained further visibility when it was sampled by Will Smith in his 1997 hit “Gettin’ Jiggy wit It,” bringing renewed attention to the original.

The track became a club hit worldwide and has been featured in numerous compilations and retrospectives on disco music.

Sister Sledge performed the song during their appearance on music television shows such as “Soul Train,” further enhancing its popularity.

No major awards are directly tied to the single, but its parent album “We Are Family” was certified Platinum by the RIAA in 1980.

Lifted from : “We Are Family” Sister Sledge’s album

9 . The Supremes . You Are The Heart Of Me

The song “You Are The Heart Of Me” by The Supremes appears on their 1975 album “The Supremes,” which is also frequently referred to as “The Return of the Magnificent Seven.” This track was part of their collaboration period with the prolific songwriting and production duo Holland-Dozier-Holland, who were pivotal creators behind many Motown hits.

The album marked one of the last studio efforts of the group during the 1970s before their disbandment in 1977.

Although this specific track did not achieve chart success as a single, the album itself was released during a transitional time for The Supremes, following the departure of key founding members, including Diana Ross in 1970.

The Supremes, with members Mary Wilson, Scherrie Payne, and Cindy Birdsong at the time of this recording, performed songs from this era on various syndicated music television shows, although no specific noted performance of “You Are The Heart Of Me” occurred.

The song did not receive any awards, but it stands as a representation of the group’s evolving sound in the mid-’70s Motown era.

It remains a lesser-known track within their extensive catalog but showcases their collaboration with significant Motown figures.

No officially released live music clips of this song exist.

Lifted from : On TV today , The Supremes at ‘Soul Train’ (1977)

10 . Tina Turner . Proud Mary

Tina Turner’s rendition of “Proud Mary,” originally written by John Fogerty and first performed by Creedence Clearwater Revival in 1969, became one of her signature songs after she recorded it with Ike Turner for their 1971 album “Workin’ Together.” Their version, characterized by its slow, soulful buildup and explosive fast-paced finish, reached No.4 on the Billboard Hot 100 chart and earned them a Grammy Award for Best R&B Vocal Performance by a Group in 1972.

Turner’s live performances of the song, particularly her fiery rendition during her “Private Dancer Tour” in 1985, earned widespread acclaim and featured on several live albums, such as “Tina Live in Europe” (1988).

Notably, her 1971 televised performance of “Proud Mary” on “The Ed Sullivan Show” spotlighted her dynamic stage presence.

In 1988, she famously performed “Proud Mary” in front of approximately 180,000 people at the Maracanã Stadium in Rio de Janeiro—a record-attendance concert at that time.

The track, deeply associated with Turner’s energetic style, was included in the 1991 Rock and Roll Hall of Fame induction performance honoring Ike & Tina Turner.

A live rendition of the song also featured in the 1993 biographical film “What’s Love Got to Do with It,” further securing its place as one of Turner’s iconic hits.

Lifted from : Tina Turner launches her tour in Buenos Aires (1988)

11 . Smokey Robinson & The Miracles . I Second That Emotion

“I Second That Emotion” by Smokey Robinson & The Miracles was released as a single on October 31, 1967, by Motown’s Tamla label, later included in their 1968 album “Special Occasion.” Co-written by Smokey Robinson and Motown producer Al Cleveland, the song was inspired by a shopping trip where Cleveland jokingly altered the phrase “I second that motion,” leading to its eventual lyrical theme.

The track peaked at #4 on the Billboard Hot 100 and #1 on the Hot Rhythm & Blues Singles chart, marking one of the group’s most successful records.

It also reached #27 on the UK Singles Chart.

Notably, the song was performed on popular TV shows of the era, including “American Bandstand.” Cover versions were recorded by artists such as Jerry Garcia and de facto supergroup Japan in the late 20th century, attesting to its widespread influence.

The tune’s catchy hook, sophisticated vocals, and lush Motown production exemplify the signature sound developed under Smokey Robinson’s leadership as both a lead vocalist and songwriter for The Miracles.

It remains a highlight in the group’s repertoire, celebrated in numerous Motown compilations and retrospectives.

Lifted from : “Smokey Robinson . The Miracles LIVE!” The Miracles second live album

12 . George Benson . Nothing’s Gonna Change

“Nothing’s Gonna Change My Love for You,” originally written by Michael Masser and Gerry Goffin, was popularized by George Benson when it was featured on his 1985 album “20/20.” Benson’s version, notable for its smooth jazz and R&B elements, did not chart as highly as other renditions but remains significant for its inclusion on his album, which peaked at #45 on the Billboard 200 and #9 on the Top R&B/Hip-Hop Albums chart.

The song’s broader fame came two years later in 1987, when Hawaiian singer Glenn Medeiros released it as a single, which topped the charts in multiple countries, though Benson’s earlier recording laid the groundwork.

Benson’s performance of the track aligns with his reputation as a Grammy-winning artist, though this specific song did not win awards.

The “20/20” album also includes other notable tracks, such as “Beyond the Sea (La Mer).” While Benson himself did not release “Nothing’s Gonna Change My Love for You” as a single, his interpretation showcases his hallmark guitar artistry and vocal stylings that contributed to his long-standing career.

Clips of this song continue to circulate on platforms like YouTube, often tied to retrospectives of his music from the mid-1980s era.

Lifted from : “Breezin””George Benson’s album