13 Mo’ Compelling Come Songs | Playlist

13 Mo’ Compelling Come Songs features songs by Al Calderon, Anderson .Paak, Céline Dion, Ivan Cornejo, Lana Del Rey, and The Kid LAROI.

“Darte un ratito, COME get it,” el increíblemente caliente Al Calderon sings. According to Céline Dion, “It was dead long ago / But it’s all COMING back to me.” And then, there’s Anderson .Paak, who confidently asserts, “I might never COME down / You might not ever COME down.” The common thread between these three musicians’ compelling songs is the word COME! Each song on 13 Mo’ Compelling Come Songs features some form of the word come, plain and simple.  Also, versions of the word in other languages are perfectly acceptable, too! Looking at you, Ivan Cornejo via “Vuelve”! 13 Mo’ Compelling Come Songs features songs by Al Calderon, Anderson .Paak, Céline Dion, Ivan Cornejo, Lana Del Rey, and The Kid LAROI.  So, without further ado, let’s jump into 13 Mo’ Compelling Come Songs, shall we?!

---

~ Table of Contents ~

1. Al Calderon, “Come Get It”	2. Céline Dion, “It’s All Coming Back to Me Now”	3. The Kid LAROI, “COME DOWN”
4. Morgan Wallen, “I Ain’t Comin’ Back” (Ft. Post Malone)	5. Lana Del Rey, “Henry, come on”	6. Kongos, “Come With Me Now”
7. Aretha Franklin, “Until You Come Back to Me (That’s What I’m Gonna Do)”	8.Ivan Cornejo, “Vuelve”	9. Anderson .Paak, “Come Down”
10. Betty Everett, “There’ll Come A Time”	11. Player, “Baby Come Back”	12. Teddy Pendergrass, “Come Go with Me”
13. Sara Jordan Powell, “When Jesus Comes to Stay”

 

---

1. Al Calderon, “Come Get It”

“Come Get It” » Al Calderon / Create Music Group Inc. » 2025

Al Calderon exemplifies male beauty. Honestly, él es jodidamente caliente 🥵. No cap! Beyond being the physical specimen he is, he is talented.  The man sings beautifully, delivering performances that catch the ear because of his smooth vocal tone and his ability to convey sexy performances on the track. “Come Get It” marks another triumph from Calderon that shows off his radiant, sensual pipes.  Notably, it is accompanied by a music video, which sort of justifies the male objectification… At the beginning of the video, Calderon leaves a voicemail to whom we presume is an ex-boyfriend (in Spanish, exclusively). He expressed how much he misses him and wants him to come back.  He concludes with the English titular phrase, “Come get it.” Also, revisiting my thirstiness, post-voicemail to ex-bf, in the video, you can’t help but swoon over Calderon… He knows he’s doing it, with his shirt unbuttoned (or completely off), showering, wrapped in a towel, or wearing nothing but his underwear (CK briefs at one point 🤤) … He’s hot, and he knows he’s hot, and this Latino hottie is willing to share it with us – HALLELUJAH 🙌!

View this post on Instagram

 

Al Calderon is backed by a smooth, contemporary pop/R&B/urbano latino backdrop. It’s giving cool, sensual vibes, which fits the tenor of the lyrics.  Calderon embraces Spanglish.  As the video suggested with his voicemail, his relationship has been on the rocks… if it is still a thing: “Hace un tiempo / que no hemos hablado / que no hemos hablado.” The lack of communication is NOT GOOD…  Slipping into English, Calderon sings, “Tried to make you love me / Make you trust me / Gave you space / When you didn’t even want me / Find it funny when you’re trying to avoid me / Finding problems just / So you can blame it on me.” Damn… that’s a lot…  Calderon also states he wishes to talk, but there’s nothing to say. Still, like the video, Calderon is willing to wait for him to return and come get it.  Will he? I don’t know, but I’ll tell you what, a lot of men would die to come get Al! “Come Get It” marks another winner from this handsome and talented man. If you haven’t checked Al Calderon out yet, I’m looking at you with a side eye, asking what the hell-helly-hellyante is wrong with you?!

Appears in:

Al Calderon, Come Get It: Beaming with Pride No. 47 (2025) 13 Songs That Explore It, Vol. 6 (2026)

~ Table of Contents ~

---

​​2. Céline Dion, “It’s All Coming Back to Me Now”

Falling Into You » Sony Music Entertainment Canada Inc. » 1996

Céline Dion (b. 1968) is one of the best to ever do it.  Her voice is utterly sublime.  Among her best vocal performances appears in on her 1996 tour de force, “It’s All Coming Back to Me Now”. “It’s All Coming Back to Me Now” was originally released by Pandora’s Box in 1989 and written by Jim Steinman (1947 – 2021). The definitive version of the song belongs to Dion, who outperformed Pandora’s Box, as well as a later cover by Meat Loaf (1947 – 2022). “It’s All Coming Back to Me Now” was a huge hit, peaking at number two on the Billboard Hot 100. In 2021, the Recording Industry Association of America certified the single as double platinum.  Her parent album, Falling Into You, is a rare diamond album (12-times platinum and counting), and earned Dion Grammys for Album of the Year and Best Pop Album at the 39^th Annual Grammy Awards. Listening to “It’s All Coming Back to Me Now,” it is hard to imagine anybody else singing it.

What makes “It’s All Coming Back to Me Now” the sugar, honey, iced tea in Céline Dion’s hands? It’s the voice, PERIOD.  Céline is the queen of power ballads, and this power ballad has her name written on it! Dion exhibits the versatility of her instrument. She knows when to pull back (occurs more often in the verses) and when to up the ante (the chorus). “And I just knew my eyes were drying up forever / I finished crying in the instant that you left,” she sings, sincerely, in the first verse, and continues, “And I can’t remember where or when or how / And I banished every memory you and I had ever made.” Ah, those matters of the heart! In the second verse, Dion memorably asserts, “There were nights of endless pleasure / It was more than any laws allow / Baby, Baby.” In the chorus, excerpted earlier, she ‘lets it rip,’ signaled in the second and fourth verses by the repeated, “Baby(s).” The chorus features variations, all of which deal with L-O-V-E.

“If you want me like this

And if you need me like that

It was dead long ago

But it’s all coming back to me

It’s so hard to resist

And it’s all coming back to me…”

Beyond her celestial, powerhouse vocals, the tuneful melodies, and compelling lyrics she brings to life, the musical accompaniment is striking. Instruments that stand out are the bright, percussive piano, the ripe rock guitar, and the strings. This pop record has some oomph and punch about it.  It has enough rock that it fits into the pop/rock realm.  Also, compositionally, “It’s All Coming Back to Me Now” is distinct and unique.  It is more progressive compared to many pop records, which are less complicated (no shade).  Approaching eight minutes in duration in its album version, “It’s All Coming Back to Me Now” is ambitious.  But, given the once-in-a-lifetime singer at the helm, mixed with elite songwriting, there was NO way that this song wouldn’t be a hit.  Three decades after its release, my takeaway is, they don’t make pop songs like this anymore!

Appears in:

Céline Dion, It’s All Coming Back to Me Now: Covers No. 42 (2025)

~ Table of Contents ~

---

3. The Kid LAROI, “COME DOWN”

BEFORE I FORGET » Columbia » 2026

The Kid LAROI (Charlton Howard) is flying high on “COME DOWN,” the fourth track from the Grammy-nominated pop singer/songwriter’s 2026 sophomore album, BEFORE I FORGET. The Kid LAROI penned this come down with Andrew Aged, Antonio Zito, FNZ (Zac and Finatik), and Zack Sekoff. Aged, FNZ, and Dopamine produced it. “COME DOWN” benefits from ultra-smooth R&B vibes within the musical accompaniment. There is a killer, rhythmic beat that provides a substantial anchor. The Kid LAROI matches the smooth vibes of the backdrop with his sensual vocal performance.  He brings the heat during the verses. “No matter what I say when I’m wasted,” he sings in the first verse, and adds, “I just need to know you won’t fade on me.” In the second verse, he keeps the same energy: “Baby, you’re the only one that I need now / I just wanna be with you / Now the sun’s up, you / Can we come down?” That said, the tuneful, sexy chorus is one of the biggest draws:

“I’ve been gettin’ high and a little too drunk

Baby, I’ve been in this party too long

I just wanna be with you

When I come down, you

When I come down, you

When I come down, you, you, you.”

Woo! Interestingly, there is an unexpected key change during the second.  Perhaps it wasn’t necessary, but the modulation keeps the brief but potent “COME DOWN” quite engaging. This is another winner from The Kid LAROI!

~ Table of Contents ~

---

4. Morgan Wallen, “I Ain’t Comin’ Back” (Ft. Post Malone)

I’m The Problem » Big Loud / Mercury / Republic » 2025

Grammy-nominated country musician, Morgan Wallen collaborates with a familiar face on “I Ain’t Comin’ Back”: Post Malone (Austin Post). “I Ain’t Comin’ Back” is the 27^th track (!) from Wallen’s 37-track (!) fourth studio album, I’m The Problem. The writers are familiar: Wallen, Malone, Louis Bell, HARDY, ERNEST, and Charlie Handsome.  Joey Moi produced it. Wallen establishes who he is in the first verse, excerpted above. He concludes the verse with a bang: “And I’m the gambler / I’ll take the over on the underdog, huh.” He goes on to sing the pre-chorus (“Girl, half of this town has got a name for me…”), as well as the chorus.  It is in the chorus where Morgan asserts, “There’s a lot of reasons I ain’t Jesus, but the main one is that I ain’t comin’ back.” His vocals are robust and filled with southern twang. Post Malone contrasts in the second verse with his signature vibrato.  Playing into the unwanted theme, Post sings, “Go throw your pebbles / I’ll be somewhere gettin’ stoned.” Gettin’ stoned has a double meaning, of course! Post sings most of the chorus that follows, with Wallen handling the bridge (like the pre-chorus), and both musicians performing the final chorus. Ultimately, “I Ain’t Comin’ Back” is an enjoyable and respectable song, though not as catchy as their previous collaboration, “I Had Some Help”.

Appears in:

Eye 👁 This List of Must-Hear “I” Songs, Vol. 4 (2025) 13 Bangin’ Back Songs (2026)

~ Table of Contents ~

---

5. Lana Del Rey, “Henry, come on”

“Henry, come on” » Lana Del Rey / Universal Music Operations Limited » 2025

 Grammy-nominated singer/songwriter Lana Del Rey remains ‘true to herself’ (alt-pop) while simultaneously entering into her country music era. “Henry, come on” sounds familiar and ‘different.’ She co-writes with Grammy winner Luke Laird, who is known for country music.  Laird and Drew Erickson produced it. Positively, “Henry, come on” is another gorgeous song Del Rey. The music backdrop begins spare, led by guitar accompaniment, but grows more lush as the song expands.  The sound palette includes piano, organ, bass, drums, and strings.  The vibe is alt-pop, country, and folk. Del Rey shines vocally, delivering her signature indulgent, moody performance.  Her tone is sublime.  Even as ‘moody’ as she might sound at times, Lana blesses our ears with her upper register, which is always a treat. Another pro regarding “Henry, come on” is the songwriting.  As always, Lana has a story to tell, and she adds some country sensibilities (“It’s last call, ‘Hey, y’all’ / Hang his hat up on the wall / Tell him that his cowgirl is gone”). Tried and true, “Henry, come on” is beautiful, though not the most exciting song.  While peasant and respectable, this five-minute-plus record does not necessarily move the needle.

Appears in:

13 Songs That Feature Names, Vol. 6 (2025) A Heaping Dose of H Songs (2025)

~ Table of Contents ~

---

6. Kongos, “Come With Me Now”

Kongos » Lunatic » Epic » 2012

Woo! South African, Texas-based rock band Kongos, made up of brothers Dylan, Johnny, Jesse, and Daniel Kongos, earned a surefire hit with their single, “Come With Me Now”. “Come With Me Now” appears on the band’s sophomore album, Lunatic, released in 2012. It peaked at number 31 on the Billboard Hot 100.  It marks their sole entry on the pop charts, making Kongos a one-hit wonder.  “Come” was certified double platinum by the Recording Industry Association of America in 2015.

“Come With Me Now” lacks no energy.  That shit is turned up! Instrumentally, the sounds are colorful, including accordion, claps, guitar, prominent bass, and, of course, the drum groove that anchors.  Dylan Kongos commands with his vocals, most notably in the exuberant, come-with-me-seeking chorus. Still, he drops memorable lyrics in the verses, too.  “I was born without this fear / Now only this seems clear,” he sings in the first verse, and continues, “I need to move, I need to fight / I need to lose myself tonight.” Noted, brother! By the end of the second verse, Dylan informs us, “I tried to sell my soul last night (🫢) / Funny, he wouldn’t even take a bite.” The devil didn’t want him? Does that mean Dylan is too bad for hell 😈, or is he far too good 😇?  The bridge, a treat, follows the second verse, differentiating itself from everything else on “Come With Me Now.” The kinder, gentler sound is sweet, and certainly NOT devilish (“Far away, I heard him [😈] say (Come with me now) / Don’t delay, I heard him say (Come with me now)”). There is a raucous guitar solo, which follows the infectious chorus post-bridge.  The accordion also gets some time to shine before the return of the first verse.  A fun, unforgettable earworm, Kongos struck gold (technically, double platinum) with “Come With Me Now”.  Replicating such a successful song is an arduous task, which, sadly, the band of brothers was unable to do.

Appears in:

Kongos, Come With Me Now: 1 Hit WONDERful No. 33 (2025)

~ Table of Contents ~

---

7. Aretha Franklin, “Until You Come Back to Me (That’s What I’m Gonna Do)”

Let Me In Your Life » Atlantic » 1974

Aretha Franklin (1942 – 2018) sings in the first verse of her soul classic, “Until You Come Back to Me (That’s What I’m Gonna Do)”. She continues, persistently, “I guess I’ll rap on your door (Your door) / Tap on your window pane (Tap on your window pane).” In other words, man, she’s going to make you come back to her, PERIOD! This love song is the fifth track on her 1974 LP, Let Me In Your Life. The songwriting is sublime, thanks to the pen of Clarence Paul, Morris Broadnax, and – wait for it – the one-and-only Stevie Wonder (b. 1950)! “Until You Come Back to Me” IS a Stevie Wonder cover.  It reached number three on the Billboard Hot 100 in 1974 after debuting on the charts in 1973. Franklin, Arif Mardin, and Jerry Wexler produced this 1970s pop-soul gem.

All aspects of “Until You Come Back to Me (That’s What I’m Gonna Do)” make it a showstopper.  The relatable songwriting goes a long way.  The relationship has expired, yet, the love hasn’t – at least from one person’s perspective.  “I’m going to swallow my pride (My pride) / I’m going to beg you to please, baby please see me (Baby won’t you see me?)” Franklin and her awesome background vocalists proclaim in the second verse.  Her dynamic lead vocals are the biggest draw of “Until You Come Back to Me” – no surprise.  She’s commanding, expressive, nuanced, and playful with her vocal performance. Call it what it is, a masterclass.  But, also, the instrumental – the musical accompaniment – is the cat’s meow too! The palette is smooth and soulful, idiomatic of the 70s.  The bass line is robust and the groove cooks. One of the finest features is the flute soloing by Joe Farrell.  All told, “Until You Come Back to Me (That’s What I’m Gonna Do)” is EVERYTHING.  This is one of the best songs in the Aretha Franklin catalog. 

Appears in:

Until: 5ive Songs No. 53 (2021) Aretha Franklin, Until You Come Back to Me (That’s What I’m Gonna Do): Throwback Vibez No. 75 (2024) 13 Fantastic UNTIL Songs (2024)

~ Table of Contents ~

---

8. Ivan Cornejo, “Vuelve”

MIRADA » Zaragoza Records, LLC / Interscope » 2024

!Ah, esos problemáticos asuntos del corazón¡! Translated into English, it reads something like this: “Come back / Because without you, the depression always returns / Tell me you’ll never fall in love with anyone else / I get excited like a dog when I see you arrive.” Ah, those pesky [troublesome] matters of the heart. Mexican American, Música Mexicana singer-songwriter Ivan Cornejo (b. 2004) delivered a musical gem with “Vuelve” (“Come back”). “Vuelve” is the fifth track from his third studio album, MIRADA, released in 2024.  He penned “Vuelve” with Frank Rio, Édgar Barrera, and Juan Carlos Corral Félix. Cornejo and Rio produced it.

“Vuelve” features great rhythmic guitar accompaniment. I like the edgy sounds of the strummed strings. Beyond the guitar, the hard-plucked bass adds bite. Ivan Cornejo delivers an expressive vocal performance.  He sings authentically, with incredible sincerity. His tone is beautiful and rich with nuance.  He has truly gorgeous melodies to work with. Even if you don’t understand the Spanish lyrics sans translation, it’s hard to deny how radiant a song that “Vuelve” is.  The songwriting is emotional.  “Tú muy mal / Eso de cortar conmigo fue fatal / Me dejaste como un traste sin lavar,” he sings in the intro, which translates as, “You were so wrong / Breaking up with me was terrible / You left me like [an unwashed] a dirty dish.” Ooh-wee, Ivan! Later, he asserts, “Todo es artificial hasta mi felicidad / Si esto es una matrix, ¿dónde encuentro mi alma?” which translates as “Everything is artificial, even my happiness / If this is a matrix, where do I find my soul?” All told, “Vuelve” is an emotional, superbly penned, produced, and performed Música Mexicana ballad by Ivan Cornejo. Ivan, you did your big one on this one!

Appears in:

Ivan Cornejo, Vuelve: Bangerz N Bopz No. 5 (2026)

~ Table of Contents ~

---

9. Anderson .Paak, “Come Down”

Malibu » OBE / Apeshit, Inc / EMPIRE » 2016

Amen! Those lyrics hail from “When You See Jerusalem”, courtesy of The Funky Funny Four. But, “When You See Jerusalem” is not the focus here. The focus is the Anderson .Paak (b. 1986) bop “Come Down”.  “Come Down,” the 13^th track from Paak’s 2016 album, Malibu, samples multiple elements from The Funky Funny Four’s song, as well as the drums from “Soul & Sunshine” by Harvey & The Phenomenals. Hi-Tek produced this high-flying hip-hop/R&B joint, co-writing alongside Paak.  “Y’all niggas got me hot!” Indeed, Anderson, indeed!  Beyond the kick-ass drum groove, the most striking feature of “Come Down” is the bass line. This is one of the funkiest bass lines you’ll ever hear. Brian Cockerham kills it on the low end, no cap! Check out the CoverSolutions cover of the epic bass line

With the accompaniment on fire (shout out the excellent guitaring by Cameron Brown as well), Anderson .Paak brings ample swagger to his performance.  He oozes with soulfulness, which leans more on the neo-soul side. Simultaneously, he brings plenty of attitude and fire, with edgy, rhythmic lines that lean more hip-hop/rap.  “Hey! Well, that’s exactly what a nigga came for,” he boldly asserts in the first verse, and adds, “Huh, you throwin’ shots from afar / I’ma meet you at your front door.” Oh, shit! The confidence continues in the second verse, with the drippy “Can’t see her with these pitch black Gucci frames on /Let me take these bitches off.” Also, not only is Anderson on his high horse, he’s experiencing a different sort of high: “That’s a whole lot of reefer / Let me help you with the pre-roll.” The chorus is the crème de la crème:

“Hey, now you drank up all my liquor, come on

What I’m ‘posed to dow now?

And you talkin’ all that shit, now come on

You gon’ have to back it up, hey

If I get too high now, sugar, come on

I might never come down

You might not ever come down

Naw, let me get down.”

Anderson .Paak outdoes himself on “Come Down”.  Cocky and confident to the nth degree, he drops a banger that we’ll be talking about for years and years to come.  Truly, we’ll never come down from this one!

Appears in:

Anderson .Paak, Come Down: Bangerz N Bopz No. 6 (2026)

~ Table of Contents ~

---

10. Betty Everett, “There’ll Come A Time”

There’ll Come A Time » Geffen » 1969

Sad but true, Betty Everett (1939 – 2001). Everett earned her third-highest charting hit with “There’ll Come A Time”, which peaked at number 26 on the Billboard Hot 100 and reached number two on the R&B charts. “Time” is the ninth track from her 1969 album, There’ll Come A Time. Floyd Smith (1917 – 1982) and Eugene Record (1940 – 2004) wrote “There’ll Come A Time.” Hillery Johnson, Leo Austell, and Archie Russell produced it. “There’ll come a time when the heart won’t take no more / She’ll have to cry, cry, cry, cry, baby,” she continues singing in the first verse.

Matters of the heart drive the narrative of “There’ll Come A Time.” The lament continues in the second verse with Everett asking, “Why you want to go away and leave me,” and pleading, “But oh baby, if you’d please / …Please come back to me.” The chorus is the centerpiece, filled with tears:

“You see the rich has to cry

The poor has to cry

You’ll have to cry

And I gotta cry sometimes.”

Everett delivers dynamic lead vocals over a stunning musical backdrop. The ear-catching excellence commences with a dramatic, tone-setting intro.  The intro showcases an elite orchestration featuring lush strings, articulated horns, a tight rhythm section, and vibe-laden vibraphone. Specifically, the horn and drum riffs are epic. Besides the underrated Everett’s top-rate vocals, she gets awesome support from background vocals, upping the ante. Ultimately, “There’ll Come A Time” is another memorable moment from her fabulous music catalog.

Appears in:

Betty Everett, There’ll Come A Time: Throwback Vibez No. 60 (2025) 15 Unforgettable W-I-L-L Will Songs (2025)

~ Table of Contents ~

---

11. Player, “Baby Come Back”

Player » Universal Music Operations Limited » 1977

Soft rock band Player is best known for “Baby Come Back”. “Baby Come Back” appears as the second track on the band’s 1977 self-titled album. The unforgettable chorus continues, “Baby come back, you can blame it all on me / I was wrong, and I just can’t live without you.” Word. “Baby” reached no. 1 on the Billboard Hot 100. It was penned by J.C. Crowley (keys, backing vocals) and Peter Beckett (lead vocals, electric guitar).  Dennis Lambert and Brian Potter produced it.

The instrumental is one of many selling points. The record features an electrifying drum groove (John Friesen), robust bass line (Ronn Moss), and smooth keys (Crowley).  The guitar sounds marvelous too, with the best moments occurring during the chorus where the volume is turned up, as well as a lit solo that concludes the song. Over the silky smooth, lush instrumental, Becket delivers compelling, nuanced lead vocals. Throughout the verses, he maintains his composure, never over-singing. Matters of the heart dominate. “But when the morning comes, I’m right back where I started again / And tryin’ to forget you is just a waste of time,” he sings in the first, echoing the sentiment in the second, “But as the sun goes down, I get that empty feeling again / How I wish to God that you were here.” In the chorus, which is tuneful to the nth degree, he’s assisted by epic, harmonized backing vocals (Crowley and Moss). With such elite verses and a chorus for all ages, fittingly, there’s a change of pace during the bridge section. With a diverse harmonic progression and separating itself from everything that precedes it, the bridge makes the song even better. “Baby Come Back” is one of those timeless rock classics where the music speaks for itself. 

Appears in:

Player, Baby Come Back: Throwback Vibez No. 61 (2024) 11 Babe or Baby Songs Poised to Tickle Your Fancy (2024)

~ Table of Contents ~

---

12. Teddy Pendergrass, “Come Go with Me”

Teddy » Sony Music Entertainment » 1979

Ooh-la-la 🤭! “Come Go With Me” commences Teddy, the third studio album by the late, great Teddy Pendergrass (1950 – 2010).  Teddy earned the gifted Philly soul singer (and sex symbol) his third consecutive platinum album.  While “Come Go With Me” failed to chart on the Billboard Hot 100, it peaked at number 14 on the R&B charts in October 1979. It is the second-biggest song from Teddy; “Turn off the Lights” takes top honors.  Even as a ‘bridesmaid’ and not the bride on Teddy, “Come Go With Me” is thrilling. The opener was written and produced by the dynamic, iconic tandem of Kenneth Gamble and Leon Huff.  Pendergrass excelled with their songs, PERIOD.

As always, Teddy Pendergrass sounds epic singing “Come Go with Me.” His baritone was one of a kind – among the greatest and most soulful voices ever.  The musical accompaniment is equally alluring.  The lush, sophisticated sounds of 70s soul, specifically Philly soul, are perfectly captured here. As always, Gamble and Huff ‘put their foot’ into it. Besides sensational vocals, tuneful melodies, and an elite backdrop, it is the theme and lyrics that make “Come Go with Me” a classic. “I don’t feel like bein’ lonely tonight / You see, I want, I want some company,” Pendergrass sings in the first verse, adding “And you won’t be under any kind of pressure / You see, we’ll just let, we’ll just let the evenin’ flow.” Call it what it is – NSA, no strings attached!  In the second verse, it’s suggestive without screaming ‘it’s going down’ per se (“Let’s sit by a cozy fire / And we can be in each other’s company”). No worries, though, the third verse encourages the rendezvous:

“My car’s right outside

We can leave right now

That’s if you’re ready to go

I know you’re just meeting me

You see, I’d understand it

I’d understand it if you said no

But don’t you do it, baby.”

We all know what Gamble, Huff, and Teddy had in mind.  A one-night stand is never explicitly mentioned, but, going over to a stranger’s house where ‘romance’ is on the mind… We’ll leave it there. “Come Go With Me” deserves as much praise as any other Teddy Pendergrass song. It’s marvelous!

 

Appears in:

Teddy Pendergrass, Come Go with Me: Throwback Vibez No. 119 (2024) 15 Spicy Songs One-Night Stand Songs (2024) 15 Engaging W-I-T-H With Songs (2025)

~ Table of Contents ~

---

13. Sara Jordan Powell, “When Jesus Comes to Stay”

When Jesus Comes » Savoy » 1977

Those are the first words we hear in the beloved, Sara Jordan Powell (1938 – 2025) gospel classic, “When Jesus Comes To Stay”. As memorable as those lyrics, and the narrative that follows is, perhaps the most famous lyrics and portion of the song is when Powell repeatedly asserts, “He takes the gloom,” eventually completing the line, “And fills your life with glory.” Not only is it famous because of significance of the line – Jesus’ wonderworking power –  but also because Powell shows off her dynamic soprano 💪 🙌.  She famously hits and sustains a high D-flat (on “fills”) that many who perform this song have attempted to nail as effortlessly (of course, renditions are in various keys, often C). Notably, Powell is filled with the spirit during this moment, and the parishioners likewise feel that spirit.

 “When Jesus Comes To Stay” appears on her 1977 live album, When Jesus Comes, which recorded in Los Angeles in the West Angeles Church of God in Christ (more about the COGIC church here).  Notably, an abbreviated rendition also appears on the greatest hits compilation, The Best Of Sara Jordan Powell: When Jesus Comes, released in 1981. The big takeaway: let Jesus come to stay. Believe, serve, and trust Him, and he will take care of you.

Appears in:

Sara Jordan Powell, When Jesus Comes: Music Lifts No. 6 (2022)

 

~ Table of Contents ~ » ~ intro ~

---

13 Mo’ Compelling Come Songs (2026) [📷: Brent Faulkner / The Musical Hype; Al Calderon, Apeshit, Inc, Atlantic, Big Loud, Columbia, Create Music Group Inc., EMPIRE, Epic, Geffen, Interscope, Lana Del Rey, Mercury, OBE, Republic, Savoy, Sony Music Entertainment, Sony Music Entertainment Canada Inc., Universal Music Operations Limited, Zaragoza Records, LLC; Gordon Johnson from Pixabay]

---