15 Beastly Songs Driven by the Power of BE

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15 Beastly Songs Driven by the Power of BE features songs by Artemas, Djo, GIVĒON, Jaheim, Mitty Collier, and The Beatles.

As stated twice previously, BE is a powerful verb. It fuels the fire of the musical compendium, 15 Beastly Songs Driven by the Power of BE. 15 Beastly Songs Driven by the Power of BE follows the previous be-centric lists, 13 Songs Driven by the Power of BE (2024), and 13 More Songs Driven by the Power of BE. The criterion is simple for the third and lengthiest be-driven list to date: the song title must feature the word, be. No further explanation is necessary. 15 Beastly Songs Driven by the Power of BE features songs by Artemas, Djo, GIVĒON, Jaheim, Mitty Collier, and The Beatles. So, copying and pasting for a third time (self-plagiarism is acceptable, darn it), don’t BE lame, aim to BE awesome like these 15 Beastly Songs Driven by the Power of BE!

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1. GIVĒON, “RATHER BE”	2. Artemas, “you and i could never be friends”	3. FLETCHER, “Two Things Can Be True”
4. Gallipony, “Rather Be Lonely” (Ft. Brandon Flynn & DJ Failure)	5. Djo, “Basic Being Basic”	6. Super Cassette, “Be Gay, Do Drugs, Hail Satan”
7. Jaheim, “Could It Be”	8. Roger, “I Want to Be Your Man”	9. James Ingram & Michael McDonald, “Yah Mo B There”
10. Smokey Robinson, “Being With You”	11. Harold Melvin & The Blue Notes, “Hope That We Can Be Together Soon” (Ft. Sharon Paige)	12. The Rance Allen Group, “That Will Be Good Enough For Me”
13. The Beatles, “Let It Be”	14. Dyke & The Blazers, “Let A Woman Be A Woman – Let A Man Be A Man”	15. Mitty Collier, “That’ll Be Good Enough For Me”
The Power of BE Series on The Musical Hype

1. GIVĒON, “RATHER BE”

BELOVED » Epic / Not So Fast LLC » 2025

“Rather be a fool / Than to start with somethin’ new.”

Eyebrow-raising lyrics, GIVĒON (Giveon Evans). The titular lyrics aren’t easy to figure out on this one, as the Grammy-nominated R&B artist sings them a lot. “RATHER BE” is the second single from Evans’s 2025 album, BELOVED. “RATHER BE” hearkens back to the soul of old. The neo-soul sound suits GIVĒON perfectly. There is a rhythm section, including organ, woodwinds, brass, and strings. “RATHER BE” features nine songwriting credits, including the artist as well as the five producers, Matthew Burnett, Sevn Thomas, Jahaan Sweet, Maneesh Bidaye, and Jeff Gitty Gitelman.

With beautiful sounds accompanying him, it is unsurprising that GIVĒON delivers a gorgeous vocal performance. His voice is distinct, given its depth, and he impresses with his expressiveness and tone. Although he sings with ease, he still packs a mean punch. Evans also gets a lift from radiant background vocals. Throughout “RATHER BE,” GIVĒON reiterates his reluctance to move on. He is emotionally attached and won’t let go. His vulnerability shines brightly in the second verse, where he sings, “Now I’m in this room / Wishin’ you would settle down or come around / I’ve been dancin’ to all the songs that you love all alone / Lost in the dark /… When I see your face in my phone, I can’t erase the memory.” My, my, my. Ultimately, “RATHER BE” has a hypnotic quality – it sucks you in. That is sort of what has happened to GIVĒON regarding his ex, right? This ‘old-school’ approach suits his voice well.

Appears in:

A Riveting Collection of R Songs (2025)

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2. Artemas, “you and i could never be friends”

“you and i could never be friends” » Artemas » 2025

“I know that we only just met.”

Facts, Artemas. So, where, exactly, are you going with this? “But you and I ain’t gonna be friends.” Oh. Hmm, so what is happening between them? What we do know is the bedroom is involved… who’s shocked? Once again, Artemas engages us with another sexual bop, “you and i could never be friends”. Interestingly, this Artemas/Henry Morris/Kevin White-penned track (produced by Artemas and White) arrives weeks after his mixtape, LOVERCORE, was released. Artemas picks up where he left off, PERIOD.

“You and i could never be friends,”

begins with Artemas singing abruptly. Our boy is standing on business! Our utterly naughty English pop singer-songwriter gets right to the point. “You” features an adventurous, noisy backdrop. There are boisterous, sharp synths and distorted, stuttering drums. At times, there are holes within the accompaniment, allowing more nuanced musical touches, including some inviting guitar lines and striking keys and sound effects. The backdrop aside, the star of the show is Artemas, who is unapologetic as… wait for it… fuck. He admits he’s in a dark place in life, horny, and gives no fucks. “You keep looking at me crazy, it’s a face I recognize / And you’re talking to me sweet while you fuck me with your eyes.” Oh, the eye-fucking! He continues singing in the verse, “You’re lucky that you met me at this dark time of my life / ‘Cause I couldn’t give a fuck if I don’t make it through tonight.” So, is this a hookup or love at first sight? With some drinks and drugs in them and a trip to the bedroom, friendship is unimportant. Sex, on the other hand, is the modus operandi. Is it casual, or, can non-friends become lovers? Debatable. What’s not debatable is the fact that Artemas satisfies our thirst once more with another sexed-up bop in “you and i could never be friends”.

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3. FLETCHER, “Two Things Can Be True”

In Search of the Antidote » Snapback Entertainment LLC / UMG Recordings, Inc. » 2024

“Did I want more than friends? Maybe / Should I have gotten involved? No / But did I like it every time we touched? Yeah.”

In “Two Things Can Be True”, the fifth track from In Search of the Antidote (2024), pop singer/songwriter FLETCHER (Cari Fletcher) messed around with a ‘straight’ (possibly bi) girl. “Was I delusional in thinkin’ I could be in your life after all of this? Yup.” In the pre-chorus, she sings, “Now you found someone else to hold you / In all the ways I couldn’t / It hurts, he makes you happier.” Interesting, at least for the listener, not so much for Cari. FLETCHER, Jennifer Decliveo, and Julia Michaels penned “Two Things Can Be True.” Decliveo produced it.

Throughout “Two Things Can Be True,” FLETCHER serves up sickening vocals. The lyrics come directly from the heart. Their ‘relationship’ (or hook ups) are history. FLETCHER’S ex-girlfriend is now with him. Bummer! The chorus perfectly sums up the sentiment – truly, two things can be true!

“Two things can be true

He can love you, baby, and, baby, I can too

Things, they can be true

You can have his body and still think of mine too

You can still call mе up at night

He can still be the lovе of your life

You can ignore me in every room and still miss me

And me too, things can be true

He can love you, baby, and, baby, I can too.”

Ultimately, FLETCHER still has feelings for her on “Two Things Can Be True” – she still wants some sort of relationship. If you are LGBTQ, particularly the ‘L’ or ‘G,’ you have likely fallen for a straight girl or guy. The situation can also be flipped – a straight guy falling for a lesbian, or a heterosexual girl falling for a gay guy. This bop from Cari Fletcher is R-E-L-A-T-A-B-L-E!

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4. Gallipony, “Rather Be Lonely” (Ft. Brandon Flynn & DJ Failure)

“Rather Be Lonely” » Gallipony » 2025

“Now I really don’t wanna see you anymore,”

Gallipony (Matt Gallipoli) asserts in his minor-key pop single, “Rather Be Lonely”. As the title suggests, the incredibly handsome musician would rather be lonely than be with ‘him’ anymore. Gallipoli gets a lift from gorgeous actor Brandon Flynn and DJ Failure. Gallipony penned and produced “Rather Be Lonely” with Flynn and DJ Failure. The results are positive despite Gallipoli’s willingness to be lonely. The sound of “Rather Be Lonely” is one of many selling points. The synths are warm, anchored by a sickening, dance-pop groove. Gallipony serves up beautiful vocals, flaunting his lovely tone. Reiterating his handsomeness, the accompanying music video shows us the muscular, hairy specimen in all his glory. Hot! Note: the single cover art is hot too! Adding to the eye candy is Flynn, who graces the video as Gallipoli’s lover (or ex…). Notably, he delivers a dramatic, spoken-word interlude: “And all these faggots just kept dancing / Where’s your fucking decency / What’s wrong? / You suck my dick, that’s what’s wrong.” Oh, snap! The tension between these two hotties is, well, hot! Ultimately, “Rather Be Lonely” is a fabulous, gay 🌈 dance-pop bop. Gallipony, Brandon Flynn, and DJ Failure ‘bring the heat!’

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5. Djo, “Basic Being Basic”

The Crux » Djo Music / AWAL Recordings America, Inc. » 2025

“I think you’re scared of being basic / That’s ironic ‘cause it’s reading like you’re even more basic.”

Ultimately, according to Djo (Joe Keery), it’s a case of “Basic Being Basic”. “Basic Being Basic” is the second track from actor-musician Keery’s album, The Crux. Keery penned and produced the track alongside Adam Thein. “Basic” is ear-catching from the onset. It’s groovy with distinct drums and some colorful synths. Keery gives us monotone chanted vocals during the verses. “Get food, barely eat / Every bite just kept me glued to my seat,” he asserts in the first, adding, “I worried, even cried / How’d it feel to take the light from my life?” Oh, snap! In the second verse, he sings, “I guess I’ll thank you and spite your name again / The past’s the past, and I’ll outlast the hate to find real love that’s not pretend.” Ooh, wee! Despite lacking pitch, the verses are intriguing, and Keery still conveys his emotions. The chorus is sung and is incredibly melodious. It is varied each time but highlights basic-ness consistently!

“‘Cause you’re basic

Just looking hot and keeping monotone and understated

Nothingness won’t change it

(Good luck with that, good luck with what?)

It’s not funny, but it’s so funny.”

Do you know what’s NOT basic? “Basic Being Basic”, of course! Djo delivers a fun, well-rounded alternative single.

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6. Super Cassette, “Be Gay, Do Drugs, Hail Satan”

“Be Gay, Do Drugs, Hail Satan” » Dad Shirt » 2020

“I showed up to school with my soul in my pocket / The teacher was wearing a cross and a locket / And a grimace that told me I’d never be welcome / That Dungeons and Dragons would send me to hell.”

Oh, snap! Feeling out of place, particularly when you know you are different, can feel like hell. Furthermore, those who sniff out those differences are ready to damn you to hell, particularly if you also identify as queer. But, Oakland indie-rock/power-pop act Super Cassette, fronted by Max Gerlach, has found the recipe for happiness in “Be Gay, Do Drugs, Hail Satan”. The chorus of this sub-three-minute, 2020 bop says it best:

“Be gay

Do drugs

Hail Satan

Be gay

Do drugs

Hail Satan.”

Some variations of the catchy and infectious chorus add that “Beelzebub is full of love.” Now that’s a reverse if I ever heard one!

Musically, “Be Gay, Do Drugs, Hail Satan” is a surefire vibe. The guitars sound sweet, while the keys provide colorful touches. Particularly, the detuned synth that appears at the end is genius. “Be Gay” also features a fabulous harmonic progression with enough contrast to keep things engaging. The vocal performance is rock solid. They’re chill and easygoing but potent to the nth degree. The melodies are tuneful from the get-go, while the songwriting is sensational. In the epic second verse, when asked by the principal how he turned things around academically, Gerlach’s response is:

“I told him that I found God in my own way

In tablets, and horns, and the boys in the hallway

The head of the class, and I’m writing a speech

It’ll be the best one that you ever did read and it’s

Six simple words.”

You already know what those words are (“Be Gay, Do Drugs, Hail Satan”). The bridge is a welcome contrast. Speaking from his future self, as a 95-year-old grandfather advising his grandson, he gives the same advice he received from some kid in the bathroom and relayed in his speech. Sure, co-signing drug use and embracing Satan are questionable 😬, but being gay 🌈– being true to who you are – is spot on. “Be Gay, Do Drugs, Hail Satan” kicks ass and takes names, PERIOD!

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7. Jaheim, “Could It Be”

Ghetto Love » Warner » 2001

“‘Bout to put it to ‘em / With some ghetto slick shit, ha / Check it out, one time for your motherfucking mind.”

Oh, snap, and that’s only the intro! “Could It Be” marked the breakout hit for Grammy-nominated R&B artist Jaheim (Jaheim Hoagland). His debut single appears as the sixth track on his platinum-certified debut album, Ghetto Love. “Could It Be” reached the top 40 on the pop charts, peaking at number 26 on the Billboard Hot 100. It performed even stronger on the R&B charts, reaching number two. Balewa Muhammad and Clifton Lighty penned “Could It Be” with producers Wesley Hogges, Eric Williams, and Kent Lawrence. Notably, “Could It Be” samples the 1976 Marilyn McCoo and Billy Davis, Jr. classic, “Nothing Can Stop Me”.

“Could It Be” oozes with soul, PERIOD. The musical accompaniment, fueled by the sample and contemporary R&B sounds, helps solidify the soulfulness. Of course, the biggest contributor to the soul is Jaheim himself, who brings the Teddy Pendergrass (1950 – 2010) and Luther Vandross (1951 – 2005) vibes with a more hard-nosed, street-savvy edge. His tone is to die for – distinct and gritty. He masterfully brings the rough-and-tumble lyrics and tuneful melodies to life. “On the cross town with the top down, sounds banging out the backseats (Alright) /Me and this shorty too deep,” he sings in the first verse, and adds, “She’s flashing me thighs, wind blowing through her hair / Baby, we can take it there (Take it there).” Woo! Keeping things spicy in the second verse, he asserts, “Oh, girl, I wanna hit it in the worst way / After that, you’ll be coming back like every day (Oh yeah) / Send you back to your girls with something else to say / How I hit it, split it, had you with it ‘til the break of day.” D-d-damn! The chorus is the crème de la crème:

“Could it be my chromed-out whip? (Shorty)

Break your neck when you see a nigga dip (Oh)

Or could it be the ice you see?

But you tell me that you’re really feeling me (I’ve gotta know right now)…”

The bridge is intriguing, too. Ja’ asks if it’s the material things he brings to the table that have all these ladies wanting to get with him? He concludes, “You tell me you love me, baby, but what’s that all about?” More than two decades after its bow, “Could It Be” remains a surefire, undeniable contemporary R&B gem. Jaheim and his team put their feet into this one, NO CAP!

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8. Roger, “I Want to Be Your Man”

Unlimited! » Reprise » 1987

“Hey lady, let me tell you why / I can’t live my life without you (Aw baby).”

Roger (Roger Troutman, 1951 – 1999) was a talented and influential musician. He was renowned for his use of the talk box, creating intriguing, unique vocal effects. Sadly, Troutman was the victim of an infamous murder-suicide by his older brother, Larry Troutman, in 1999 😢. Roger is best known for his hit, “I Want to Be Your Man”, which is the opening track from his 1987 album, Unlimited!. Interestingly, Roger and Larry penned the hit, which peaked at number three on the Billboard Hot 100. This marked his highest charting hit as a solo artist or otherwise. Even with his contributions to the influential, successful funk band Zapp, the impact was modest on the pop charts. Roger is a one-hit wonder, but it just doesn’t feel right. Pop chart success or lack thereof aside, Troutman ate and left no crumbs on “I Want to Be Your Man.”

“Better not pass me by, ‘cause if you do, you’ll / Lose a good thing (Oh baby),”

Roger sings in the second verse, and continues, “‘Cause what I got to say is sealed with a kiss / And a wedding ring (Wedding ring).” Oh, snap! It’s giving matrimony! “I Want To Be Your Man” sounds bright, enthusiastic, and warm. Happy to the nth degree, fittingly, it is set in a major key. The sounds are electric, rather, electronic! Sweet synths, smooth, rhythmic guitars, pronounced bass, and a groove that sits right in the pocket make the musical backdrop a surefire vibe. Roger has ample fuel for his talk box-driven fire. His vocals are gorgeous, amplified by the striking effects created by the talk box. It is the lushness of his instrument that stands out. He also gets superb support from backing vocals. With tuneful melodies throughout the song, and dedicated lyrics, the simple but memorable chorus is the crowning achievement: “I want to be your man (I wanna be your man) / I want to be your man (Yes I do, yeah-yeah).” Ultimately, “I Want to Be Your Man” is awesome. Sure, it’s ‘80s to the core in its sound, but this classic still shines well into the 21^st century.

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9. James Ingram & Michael McDonald, “Yah Mo B There”

It’s Your Night » Qwest » 1983

“Heavenly Father watchin’ us fall / We take from each other and give nothing at all.”

James Ingram (1952 – 2019) and Michael McDonald (b. 1952) conjured up some soulful, spiritual magic in their duet, “Yah Mo B There”, which appears on Ingram’s 1983 album, It’s Your Night. During his lifetime, James was nominated for 14 Grammys, winning two. His second Grammy win, at the 27^th Annual GRAMMY Awards, was for Best R&B Performance By A Duo Or Group With Vocal for “Yah Mo B There.” As for McDonald, he has won five Grammys, earning his fifth win alongside Ingram. Ingram and McDonald composed this award-winning classic alongside the late, great Rod Temperton (1949 – 2016) and the late, great producer extraordinaire, Quincy Jones (1933 – 2024). A pop hit, “Yah Mo Be There” peaked at number 19 on the Billboard Hot 100.

So, why such an odd title like “Yah Mo Be There?” With spiritual matters in mind, Yah Mo Be There is a play on Yahweh or God. James Ingram mentions ‘Heavenly Father’ in the excerpted lyrics from the first verse. He adds, “So if your luck runs low, just reach out and call His name.” ‘His name,’ of course, is Yahweh. In the chorus, Ingram and McDonald sing, “Yah Mo B there / Whenever you call,” asserting God will be there with you when you call/petition upon him. McDonald’s second verse is composed similarly: “‘Cause it’s a long road that leads to a brighter day, hey / Don’t let your heart grow cold, just reach out and call His name.” Both musicians put their foot into this classic, showing off the sheer beauty of their instruments. Speaking of instruments, the musical accompaniment by the instrumentation is top-notch, too, led by an infectious groove and keyboards. Harmonically, the progression stands out, as does the key scheme (verses and chorus are in differing keys). The bridge (“No matter how many dreams slip away / Yah will be there”) also contrasts verses and chorus. Ultimately, Ingram and McDonald deliver a spiritually driven, timeless, and tuneful masterpiece with “Yah Mo B There”.

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10. Smokey Robinson, “Being With You”

Being With You » Motown » 1981

“I don’t care if they start to avoid me / I don’t care what they do / I don’t care about anything else / But being with you, being with you.”

Noted! Grammy-winning musician Smokey Robinson (William Robinson Jr., b. 1940) had already solidified his status as a musical icon long before starting his solo career. The Miracles marked an iconic collective in its own right. But Robinson did go solo, and he struck gold with “Being With You”. “Being With You” is the opener from his 1981 gold-certified album, also titled Being With You. Robinson composed “Being With You,” while George Tobin produced it. “You” marked the highest charting hit of his illustrious career. One of his four top 10 hits on the pop charts, it peaked at number two on the Billboard Hot 100. The song was certified gold by the Recording Industry Association of America. Robinson wrote the song for Kim Carnes. Tobin convinced him to record it himself. It boded extremely well in his favor!

“Being With You” begins with a dramatic intro set in a minor key. Here, Smokey Robinson first wows us with his warm, soulful vocals, singing “ooh.” Also, the listener hears that iconic saxophone solo (Joel Peskin) for the first time, a fantastic musical touch. The musical accompaniment overall is lush, refined, and sophisticated. It comprises a rhythm section, including keyboards, strings, and of course, that sax! Following its C minor stint, “Being With You” settles into E-flat major. Robinson eats, singing incredibly smoothly – smooth like butter, baby! His falsetto is on point. He brings the tuneful melodies and memorable lyrics to life from the get-go. It begins with the chorus, excerpted above, in all of its glory. The verses shine, too, focusing on their relationship despite what others say or might think. “Don’t let them say, ‘we told you so’ / They tell me you’ll love me and then let me go,” he sings in the first verse, and adds in the second, “People can change; they always do / Haven’t they noticed the changes in you?” Word. “Being With You” is a surefire, undeniable masterpiece by Smokey Robinson. Even though it was recorded in the early 1980s, it remains a timeless, unforgettable classic – one of the best songs released from that era without question!

Appears in:

Smokey Robinson, Being With You: Throwback Vibez No. 188 (2025)

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11. Harold Melvin & The Blue Notes, “Hope That We Can Be Together Soon” (Ft. Sharon Paige)

To Be True » Sony Music Entertainment » 1974

“I hope that we can be together soon / Real soon, can you make it real soon?”

Matters of the heart, L-O-V-E are central to the Harold Melvin & The Blue Notes classic, “Hope That We Can Be Together Soon”. The collective, which often features the late great Teddy Pendergrass (1950 – 2010) on lead vocals, tapped Sharon Paige (1952 – 2020) for the assist. While Pendergrass appears at the end of “Hope That We Can Be Together,” wowing with his gritty, soulful outro, Harold Melvin (1939 – 1997) handles the male lead vocals. Kenneth Gamble and Leon Huff penned and produced “Hope That We Can Be Together Soon,” the fourth track from the Harold Melvin & The Blue Notes’ 1974 album, To Be True. Although the ballad didn’t set the pop charts on fire, it peaked at number 42 on the Billboard Hot 100. It reached number one on the R&B charts.

Paige is the star early on. Her vocals are smooth, soulful, and filled with desire. “When I’m away from you, boy / All I seem to do is cry,” she sings, adding, “And then when I see you, boy / My, how the time does fly.” The dedication is lit. Harold Melvin brings the male perspective in the second verse, with his robust pipes. “When I think about you, girl / Chills run up and down my spine,” he sings, continuing, “And if my wish would come true, girl / I’d be with you all the time.” The centerpiece is the chorus, excerpted earlier: it’s all about togetherness… real soon. As for Teddy, he caps things off: “Every day my love grows stronger / Ooh, baby, and I, I’d like to make it real soon.” Beyond brilliant vocal performances by Paige, Melvin, and Pendergrass, the musical backdrop is elite. The orchestration, with the strings and brass, is brilliant. This is Philly soul at its finest. Unsurprisingly, “Hope That We Can Be Together Soon” has been sampled by others – looking at you, Jaheim (“Life Of A Thug”).

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12. The Rance Allen Group, “That Will Be Good Enough For Me”

Truth Is Where It’s At » Craft Recordings. / Concord » 1972

“If I can only make it to Heaven / That will be good enough for me,”

Bishop Rance Allen (1948 – 2020) sings on “That Will Be Good Enough For Me”. He continues, “Because Heaven is a place / Where I want to be.” Amen 🙏! The late COGIC bishop and gospel singer was the leader of the influential The Rance Allen Group. “That Will Be Good Enough For Me,” a James Cleveland (1931 – 1991) cover, is the second track from the collective’s album, Truth Is Where It’s At, released in 1972.

In the song, Rance Allen names all of the places he hasn’t been and the things he hasn’t seen. “I’ve never been to Switzerland, no, no / See the winter games played,” he sings, and adds, “But, ooh, I’ve never been to New Orleans on / Carnival or Mardi Gras day, yeah.” Regardless, his goal is to reach Heaven when his time is up. With his clear, high-flying, and prodigious vocals, showing off a soaring falsetto and impressive grit, he paints Heaven gloriously:

“Heaven, where the streets are made of gold

Heaven, where a saint can soothe his weary soul

Heaven, I sit down in the crystal seat.”

Rance also makes the experience of reaching heaven a personal experience. “‘Rance, I’ve seen you struggle a long, long time / But I see here by your record, you’ve been doing just fine’,” he sings, speaking from the Lord’s perspective. He adds, “‘I see where you fought the devil on the ivory hill’ / Said, ‘Listen here, man, you’re what I call a good Christian man’.” Listening to “That Will Be Good Enough For Me” after Rance’s passing, it hits differently for sure. Allen sings dynamically and expressively with ample sincerity. You buy what he’s selling. Beyond the thoughtful songwriting and epic vocals, the record features a great arrangement with piano, organ, bass, and drums. I love some of the jazzier moments, specifically towards the end. In the hands of The Rance Allen Group, “That Will Be Good Enough For Me” is a special, truly anointed listening experience.

Appears in:

The Rance Allen Group, That Will Be Good Enough For Me: Music Lifts No. 34 (2025)

Mitty Collier vs. The Rance Allen Group: Head 2 Head No. 37 (2025)

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13. The Beatles, “Let It Be”

Let It Be » Apple Corps Ltd » 1970

“When I find myself in times of trouble / Mother Mary comes to me / Speaking words of wisdom / Let it be.”

Those are some of the most iconic lyrics to ever be written or sung. “Let It Be” is the crème de la crème of The Beatles’ catalog. Notably, John Lennon (1940 – 1980) wasn’t a fan of the sixth track from Let It Be (1970). He also didn’t like the album and was skeptical of this Paul McCartney (1942 – ) led song, which was personal. Credited to both McCartney and Lennon, McCartney is the sole songwriter. Extraordinary but controversial music producer Phil Spector (1939 – 2021) produced it. Fun fact: Let It Be, recorded before Abbey Road, was the final album released by The Beatles, who were in the process of disbanding.

John Lennon may have had a bone to pick with “Let It Be,” but this uplifting song is a surefire classic. The first time you hear “Let It Be,” it feels meaningful and special. It is an encouraging song, but it is NOT a Christian/gospel song despite radiating peace. Yes, Mother Mary is an important part of Catholicism, but McCartney is referencing his deceased mother, Mary, not Mother Mary. McCartney was inspired to write this song after having a dream about her. The inspirational sentiment was intentional, something that irked Lennon. “And when the broken-hearted people / Living in the world agree,” McCartney sings in the third verse, continuing, “There will be an answer / Let it be.” The takeaway: it will be okay. Is there a timeline to ‘letting it be’? No. Is there a timeline for things that we can’t control in life? No. The chorus is simple, yet reflective and thoughtful: “Let it be, let it be, let it be, let it be / There will be an answer / Let it be.” Ultimately, “Let It Be” is epic to the nth degree. McCartney sounds fantastic, the background vocals are marvelous, the musical accompaniment is stellar, and the songwriting is pitch perfect. Beginning as a piano ballad, it becomes grander, with the addition of the full rhythm section, including ‘the fifth Beatle,’ Billy Preston (1946 – 2006), on the organ and a sweet guitar solo by George Harrison (1943 – 2001). This double-platinum, number-one hit is a song that many songwriters wished they could have written.

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14. Dyke & The Blazers, “Let A Woman Be A Woman – Let A Man Be A Man”

I Got A Message: Hollywood (1968 – 1970) » Craft Recordings / Concord » 2021

“Some people say now / Living in a joke, ha / People said, yes, they did / Country’s going up in smoke.”

Oh, snap, Dyke & The Blazers. Memorably, Arlester Christian (1943 – 1971), leader of the American funk band, asserts, “I got a message / They need to know / Gotta let a woman be a woman / And let a man be a man.” Those unforgettable lyrics hail from the song, fittingly named “Let A Woman Be A Woman – Let A Man Be A Man”. “Let A Woman Be A Woman – Let A Man Be A Man,” which was released in 1969, is one of the collective’s most successful songs. It peaked at number 36 on the Billboard Hot 100. Christian penned the classic while Art Barrett and Art Laboe produced it. Tragically, Christian was shot and killed at age 27 in 1971, which marked the untimely end of the talented band.

“But listen, dig it now / Some people don’t like / The way Sally walks.”

I have no doubt, Arlester. The lyrics are one of many reasons why “Let A Woman Be A Woman – Let A Man Be A Man” stands out. The melodies are also tuneful, brought to life by the gritty, powerful vocals of Arlester. He is assertive and confident, and infuses plenty of personality throughout his performance, whether singing, speaking, or talk-singing. Beyond the singing and lyrics, the music is epic. The instrumental is funky from the get-go. Each element is special, particularly the drum groove, which ranks among the best in history. Who doesn’t love a badass breakbeat? Beyond the drums, the record thrives on an active bass line, sickening rhythm guitar, and ill, biting, articulated horns. Unsurprisingly, “Let A Woman Be A Woman – Let A Man Be A Man” has been sampled hundreds of times – it’s a big, big funky deal! It is a shame that Dyke & The Blazers didn’t last longer, but at least they delivered an irresistible, timeless gem.

Appears in:

Dyke & The Blazers, Let A Woman Be A Woman – Let A Man Be A Man: Throwback Vibez No. 135 (2025)

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15. Mitty Collier, “That’ll Be Good Enough For Me”

Talking With Her Man: The Chess Singles 1961-1968 » Geffen » 2008

“I’ve never been to Paris / In the spring or the fall,”

Mitty Collier (b. 1941) sings in the first verse of the 1960s soul classic, “That’ll Be Good Enough For Me”. Mitty, now Pastor Mitty, adds in the first verse, “I’ve never been to India / To see the Taj Mahal.” Those lyrics sound familiar, hmm 🤔. Notably, this highlight from her compilation, Talking With Her Man: The Chess Singles 1961-1968, was written by James Cleveland, specifically, Rev. James Cleveland (“That Will Be Good Enough For Me”). In the case of “That’ll Be Good Enough For Me,” Collier transformed a gospel gem into a secular song. Many of the lyrics remain the same, but the subject of the song is changed. Cleveland was referencing God. Collier, a man.

“But if I can make you love me / That will be good enough for me,”

Collier sings, and continues, “Because in your arms, daddy / Is where I long to be.” “That’ll Be Good Enough For Me” is set in compound-duple meter with the drums marking the six-eight time. From the beginning, the accompanying instrumental is dramatic. What makes the instrumental striking is its bluesy, gospel-tinged piano, intact with right-hand runs, an organ straight from the church, a robust bass, and souped-up, rich horns. Though it is secularized, “That’ll Be Good Enough For Me” sounds like a traditional, black gospel record, with horns added. Also linking this record to the church are the husky lead vocals by Collier. She sings authentically, expressively, and sincerely. She brings the tuneful melodies and memorable lyrics to life with flair. Amplifying her sickening lead vocals are electrifying background vocals, which are vibrato-heavy and reminiscent of descant lines. Mitty Collier proves that desire and love can get you as fired up about The Most High… at least given the background of what this song originally was.

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Published by the musical hype on January 26, 2026January 26, 2026