This week In Soul Artists 02/52

1 . Lizz Wright – Speak Your Heart

“Speak Your Heart” by Lizz Wright carries the weight of introspection with a delivery that manages to feel both tender and powerful at once.

The 2005 album *Dreaming Wide Awake*, where this track resides, climbed to the top of Billboard’s Top Contemporary Jazz Albums, a win for nuanced, heartfelt music in an industry seduced by bombast.

This Craig Street-produced project does what so much post-2000 jazz struggles with – it finds a way to feel lived-in, less an exercise for virtuosity and more an invitation to reminisce with a friend who trusts their voice not to overpower their storytelling.

Wright’s style, inflected with jazz, gospel, and folk influences, resists easy categorization, but isn’t that the genre’s secret contradiction?

She can float an R&B-tinged phrase one moment, then bend a note with the vulnerability of a church soloist the next, creating a tension—not about gloss, but about meaning.

Performed live at NPR in 2009, this track retained its emotional bluntness, no costumes, no extra polish, just Wright and her ability to make the listener lean forward, a bit uncomfortable but entirely entranced.

Starting her journey in gospel choirs and later cutting her teeth on jazz in New York, Wright knows all too well the weight of honesty in music, and here, that honesty leaves few places to hide.

If the album’s theme is about connection and courage, “Speak Your Heart” is its manifesto, carried more by Wright’s phrasing than any grand hook or clever lyric.

Lifted from : Lizz Wright visits Panama (2014)

2 . Shirley Bassey – I (Who Have Nothing)

Shirley Bassey’s rendition of *I (Who Have Nothing)* is a torch song that drips with unparalleled melodrama and a pinch of tasteful desperation, perfectly befitting its quasi-operatic origins as an Italian ballad.

Released in 1963 under Columbia and skillfully produced by George Martin (yes, *that* George Martin), the track cemented itself as a hallmark of 1960s pop angst, driven by Bassey’s fiery vocal delivery and unwavering intensity.

What sets this version apart from the likes of Ben E. King’s is its unapologetic theatricality, giving it a texture that’s less lounge crooner and more West End drama queen.

It soared to #6 on UK charts, making it the highest-charting version of the song, a fact that underscores Bassey’s knack for turning melancholia into chart success.

The lyrics, penned in English by the iconic duo Leiber and Stoller, contrast the singer’s heartbreaking poverty with her rival’s wealth—a juxtaposition scored with swelling strings and percussion that borders on cinematic.

While the theme of unrequited love is as old as time, Bassey takes it up a notch, making sure every note she belts is dripping with a kind of yearning that’s almost uncomfortably raw.

The song reemerged in her live arsenal for decades, proving its staying power and her commitment to wringing every ounce of pathos from it, whether on *The Shirley Bassey Show* or countless compilation albums.

Lifted from : Happy Birthday Shirley Bassey. ‘Dame Shirley, You Are Forever’

3 . Donny Hathaway – Put Your Hand in the Hand

Donny Hathaway’s rendition of “Put Your Hand in the Hand” is less a mere cover and more a soulful reclamation of a gospel classic originally penned by Gene MacLellan.

Released in 1971 under the Atco label, Hathaway folds this track into his self-titled album, a project that balances faith-driven optimism with the rich textures of his vocal genius.

Unlike its more commercially successful versions by Ocean or Anne Murray, Hathaway’s take didn’t scale the charts, but who cares when he’s reworking gospel into something that feels like a sermon you didn’t know you needed?

The production is backed by Jerry Wexler, Arif Mardin, and Hathaway himself, a troika that ensures the arrangement is simultaneously grounded in church roots and polished for broader appeal.

The song’s theme hinges on themes of faith and redemption, a message Hathaway delivers with a voice that hovers between soulful ache and enlightened restraint.

This cover also found its way onto the soundtrack of the Blaxploitation film *Come Back Charleston Blue*, a fittingly eclectic home for Hathaway’s version of this hymn-turned-groove that emanates sincerity amid cinematic grit.

As always with Hathaway, the focus is on the vocal: raw, unfiltered, and honest in a way that bypasses spectacle and drills right into the marrow of belief.

Lifted from : We remember Donny Hathaway. ‘Donny, A Song For You’

4 . Teddy Pendergrass – Close the Door

“Close the Door” is the type of song that doesn’t just play in the background—it sets the stage, dims the lights, and pours the wine for you.

Released in 1978, this Teddy Pendergrass classic sits snugly on the album *Life Is a Song Worth Singing*, wrapped in velvety production by Kenny Gamble and Leon Huff.

It spent two weeks at the top of the R&B charts, climbed as high as #25 on the Billboard Hot 100, and even made a modest landing at #41 in the UK when paired with “Only You.”

The track is a lush, slow-burning ode to intimacy, dripping with the kind of smooth confidence that only Pendergrass could summon without veering into parody.

Musically, it’s all about restraint: a steady, unhurried groove driven by shimmering keys, understated strings, and the kind of bassline that would make candles flicker even in the absence of wind.

The lyrics are straightforward, perhaps bordering on cliché, but Pendergrass sells them with such conviction that they feel less like words and more like a promise.

Its seductive pull wasn’t lost on the hip-hop and R&B worlds, which have sampled it over 40 times, with artists like Mary J. Blige and 3LW mining its romance-drenched mood.

Recorded at Sigma Sound in Philadelphia, the track carries the weight of its era’s iconic Philly Soul movement, a sound that knew how to blend glamorous polish with raw emotional depth.

As for performance, Pendergrass famously leaned into the atmosphere of the song’s themes with his “ladies-only” concerts, a phenomenon less about inclusivity and more about a calculated, theatrical flirtation that seemed to thrill his fanbase.

True, tracks like this do risk crossing that fine line from earnest sensuality to kitschy indulgence, but Pendergrass manages to keep his balance, exuding just the right amount of simmering tension without tipping over.

Lifted from : We remember Teddy Pendergrass. ‘For Every Lady, Teddy’

5 . Gil Scott-Heron – Winter In America

Released in 1974, “Winter in America” by Gil Scott-Heron feels like a dark mirror held up to the soul of a crumbling society.

The song unfolds a narrative steeped in the disillusionment of the 1970s, featuring themes of inner-city decay and systemic social injustices that still sting with relevance today.

Over a haunting blend of jazz, blues, and proto-rap, Scott-Heron’s incisive spoken words cut with precision, while Brian Jackson’s co-credited arrangements thread an eerie warmth throughout the cold imagery.

This track doesn’t aim for subtlety; it’s a raw confrontation with the broken promises of a so-called American Dream, haunted by Vietnam, Watergate scandals, and fractured communities buckling under addiction and institutional neglect.

The recording’s sparse production, laid down in Maryland’s D&B Sound Studio, mirrors the bleakness of the lyrics yet lets every note and every word resonate unfiltered.

For an album largely overlooked by mainstream pop and R&B charts, “Winter in America” stands as one of Scott-Heron’s most powerful indictments of the time, refusing to hide behind comforting platitudes or polished edges.

Even without a flashy video or notable TV renditions, the track remains unforgettable—a solemn dirge for societal collapse, equal parts art and biting political commentary.

Lifted from : Arista Records publish ‘The First Minute of a New Day,’ a collaboration album by Gil Scott-Heron and Brian Jackson (1975)

6 . Mary J. Blige – Thick Of It

Mary J. Blige’s 2016 track “Thick of It” pulls no punches as it plunges straight into the raw terrain of love deteriorating under pressure.

Produced by Darhyl “DJ” Camper Jr. and released under Capitol Records, the single balances a stripped-back yet striking blend of contemporary R&B with nods to Blige’s soul-infused roots.

The song’s lyrics weave a tale of heartbreak and resilience, an unfiltered reflection of her publicized marital struggles during that period.

Blige’s delivery teeters between vulnerability and defiance, showcasing why she has long been regarded as a voice for emotional authenticity.

Musically, it features an understated yet potent instrumental that gives her vocal performance room to take center stage.

It made history on the US Adult R&B Songs chart, notching a 16-week run at number one and proving its resonance with audiences.

Interestingly, the song contains a sample of “Give a Little Love” by the Bay City Rollers, a playful nod to past eras while rooting itself firmly in modern storytelling.

Accompanied by a minimalist music video directed by Dennis Leupold, the visuals amplify the song’s themes through stark, evocative imagery.

Performed live on shows like *Good Morning America*, the track demonstrated its merit not just on the charts but in its emotional grip on listeners across platforms.

Lifted from : Happy Birthday Mary J Blige. ‘Much Obliged’

7 . Eternal – Save Our Love

Released in 1993 and featured on the debut album “Always & Forever,” Eternal’s “Save Our Love” is an R&B offering firmly planted in the early ‘90s pop landscape.

It charted at No. 8 on the UK Singles Chart, proving that even a second single can make an impression without the trappings of flashy gimmicks or overwrought production.

The track follows a tried-and-true formula of emotional harmonies and glossy arrangements, backed by the era’s signature polished production, courtesy of veteran producer Nigel Lowis.

The chord progression—D to Bm, then G to A—sets up a predictable but undeniably comforting mood, carried along by a moderate 94 bpm tempo that fits squarely into the “mid-tempo crowd-pleaser” category.

Lyrically, the song stays close to its central theme—a plea for love and unity, underpinned by optimistic undertones about relationships and trust.

The Marcus Nispel-directed music video takes the viewer to a historic theater and scenic backdrops, which adds an air of grandeur but risks overshadowing the track’s sincerity with its cinematic ambitions.

By 1994, the group had become a staple on UK television promotions, with live performances that showcased their vocal talents while staying firmly within familiar, safe boundaries.

Lifted from : On English TV today, Eternal at ‘TOTP’ (1994)

8 . Sharon Jones & The Dap-Kings – Stranger to My Happiness

“Stranger to My Happiness” showcases Sharon Jones & The Dap-Kings’ mastery of retro-inspired grooves, neatly packaged within their signature soul and funk aesthetic.

Penned and produced by Bosco Mann, the track plays out like a defiant proclamation, resisting moments of despair with an upbeat rhythm that refuses to compromise.

Released in 2014 under Daptone Records, this song is part of the Grammy-nominated album *Give the People What They Want*, a project that Jones completed while battling cancer.

The video’s striking imagery, featuring Jones in a wig post-chemotherapy, highlights the resilience pulsating through both the lyrics and the performance itself.

Musically, the horns punch with authority, the bass line drives forward with focus, and Jones’ voice is as commanding as ever, blending grit with elegance in equal measure.

Performed live on shows like *The Tonight Show Starring Jimmy Fallon*, the energy felt raw, a testament to the band’s cohesion amidst personal adversity.

Thematically, the song leans on the dualities of vulnerability and strength, offering an air of triumphant resistance that propels the album forward.

Lifted from : Daptone publish Sharon Jones & the Dap-Kings fifth album : ‘Give the People What They Want’ (2014)

9 . Bootsy Collins – Ahh…The Name Is Bootsy, Baby

Bootsy Collins’ “Ahh… The Name Is Bootsy, Baby” struts onto the scene with all the swagger of a flamboyant funk superhero, daring anyone listening not to groove.

As an opening track to his 1977 album of the same name, it functions as both a mission statement and an identity check, firmly planting Bootsy’s psychedelic flag in the fertile soil of funkdom.

The bassline? Pure Bootsy—playful, hypnotic, and bold, with each pluck and slap practically winking at you.

His alter ego, Casper the Funky Ghost, haunts the track with a sly grin, embodying the genre’s joyous self-indulgence and character-driven theatrics.

George Clinton’s fingerprints are all over the production, adding just enough cosmic weirdness to make it an obvious descendant of P-Funk family values.

The ensemble cast, including key P-Funk alumni like Catfish Collins and Garry Shider, weave an elaborate quilt of funk, each layering their own textures without overshadowing Bootsy’s infectious charisma.

And then, there’s that line, a gloriously cheeky introduction: “Ahh, the name is Bootsy, baby, and the better to funk you, my dear!”—a deliciously over-the-top manifesto that paints Bootsy less as a man and more as an intergalactic groove ambassador.

The song’s cultural staying power is undeniable; it’s a linchpin for Bootsy’s live shows and a cornerstone of his Casper persona, marrying humor, showmanship, and serious musical chops in one funk-tastic package.

Recorded in Detroit and Hollywood in 1976, the track’s polished spontaneity mirrors the cities’ mix of grit and glam, building a bridge between the Midwest’s industrial swagger and the West Coast’s cinematic luster.

To call it a funky romp barely scratches the surface; it’s more of a neon-lit orbit around Bootsy’s larger-than-life persona.

While no dedicated video clip exists, the song transcends the need for visual accompaniment, as listeners can practically see Bootsy’s star-shaped glasses and mile-wide grin in every note.

Lifted from : Warner Bros. publish Bootsy’s Rubber Band’s album : ‘Ahh…The Name Is Bootsy, Baby!’ produced by George Clinton (1977)

10 . LL Cool J – Hey Lover (w/ Boyz II Men)

Released in 1995 as part of LL Cool J’s *Mr. Smith* album, “Hey Lover” embodies mid-90s romantic longing dressed up in a polished R&B-hip hop hybrid.

The song features none other than Boyz II Men on its buttery, harmony-laden chorus, adding a velvety sheen to LL Cool J’s wistful verses about unspoken admiration.

A sample from Michael Jackson’s “The Lady in My Life” provides the track’s nostalgic core, grounding it firmly in a lineage of swooning slow jams while subtly nodding to pop royalty.

Produced by the hitmaking duo Trackmasters and released under Def Jam Recordings, the song straddles commercial appeal and artistic intent with ease, peaking at #3 on both the US Billboard Hot 100 and the Hot R&B Singles charts.

Visually, the Hype Williams-directed music video paints a vivid narrative of unreachable desire, all sleek camera angles and 90s aesthetics, perfectly complementing the song’s somber tone.

“Hey Lover” managed to snag LL a Grammy in 1997, a high point in a career that had already blurred genre lines and made rap romance an art form.

Lifted from : Happy Birthday LL Cool J

11 . The Jimmy Castor Bunch – Troglodyte (Cave Man)

Released in 1972, “Troglodyte (Cave Man)” by The Jimmy Castor Bunch doesn’t just knock politely on the doors of funk—it kicks them wide open with prehistoric flair.

This track, nestled within the album *It’s Just Begun*, takes listeners on an unapologetically absurd journey into the life of a caveman, complete with guttural grunts, spoken-word antics, and a bassline that refuses to sit still.

Chart performance aside—peaking at #6 on the US Billboard Hot 100 and snagging a #1 spot in Canada—the song’s real legacy lies in its sheer audacity and adaptability, having been sampled endlessly in hip-hop and dance music alike.

Thematically, it’s as though Castor dropped a Stone Age sitcom into a pot of molten funk and called it a hit, introducing the character Bertha Butt, a literal heavyweight in funk comedy folklore.

Lifted from : On TV today, Jimmy Castor Bunch at ‘SOUL!’ (1973)

12 . Bobby Womack – Point Of No Return

1974’s “Point of No Return” sits on Bobby Womack’s *Lookin’ For Love Again,* a period when the artist grappled with personal upheaval and reinvention. The song leans into Womack’s signature fusion of aching R&B and smooth soul, channeling his unique ability to articulate heartbreak without ever overstating it. It’s emblematic of an era when quieter, introspective tracks were battling for attention against the flashier hits of the time, yet there’s a timeless quality here that resists aging.

By 1978, Womack brought us “Point of No Return” once again, but this time under the banner of the *Pieces* album—a familiarly introspective statement but with a funkier spin. The track straddles the divide between R&B’s soul-searching earnestness and the glitzy, syncopated rhythms of the late ’70s funk production style. With no significant chart impact and a lack of promotional video fodder, it’s easy to overlook this rendition. Yet, Womack’s vocal delivery ensures you feel every inch of the emotional exhaustion in this lyrical unraveling of relational discord. The production is fuller here, almost cinematic, a testament to Womack’s evolution both as a musician and as a producer pulling his own strings.

There’s a curious duality in having two near-identical songs reflect different career vantage points. The 1974 version feels raw, a cry from a bruised psyche barely holding itself together. Meanwhile, the 1978 take appears more deliberate, layering funk aesthesia over sorrow without letting either element overshadow the other.

Lifted from : United Artists Records publish Bobby Womack’s ‘Lookin’ For A Love Again’ featuring ‘Lookin’ for a Love’ (1974)