15 More Songs Focused Only on Me

Reading Time: 20 min read

15 More Songs Focused Only on Me features songs by Artemas, Harold Melvin & The Blue Notes, Muni Long, Omar Apollo, Rina Sawayama & Tina Campbell.

Prepare for ANOTHER epic, self-centered playlist! That’s right, the focus is on… ME. Every song on 15 More Songs Focused Only on Me features the pronoun in their respective song titles. Other than requiring me, there are no other notable criteria for this musical compendium. 15 More Songs Focused Only on Me is the follow-up to 15 Songs Focused Only on ME (2024). 15 More Songs Focused Only on Me features songs by Artemas, Harold Melvin & The Blue Notes, Muni Long, Omar Apollo, Rina Sawayama, and Tina Campbell. So, without further ado, before things become too selfless, let’s return to being totally selfish – IT’S ALL ABOUT ME AND ME ONLY, AFTER ALL!

~ Table of Contents ~

1. Artemas, “ride me darling”

2. Muni Long, “Ruined Me”

3. Micah McLaurin, “Call Me”

4. Tina Campbell, “Pray For Me”

5. Patti Austin, “Baby, Come To Me” (with James Ingram)

6. 21 Savage, “all of me”

7. Gregory Dillon, “Heaven Hates Me”

8. Kevin Atwater, “why did you invite me to your wedding”

9. Rina Sawayama, “Holy (Til You Let Me Go)“

10. NLE Choppa, “SLUT ME OUT 2”

11. Omar Apollo, “Dispose of Me”

12. Nick Lachey, “What’s Left of Me”

13. Latimore, “Let Me Go”

14. Ambrosia, “Biggest Part of Me”

15. Harold Melvin & The Blue Notes, “If You Don’t Know Me By Now”

1. Artemas, “ride me darling”

yustyna // Artemas // 2024

“Ride me, darling / Ride me, sweetheart, I can feel you.” Of course, you can, Artemas (Artemas Diamandis). It doesn’t take rocket science to figure out what the English Cypriot singer, songwriter, and producer is encouraging her to DO . “Fixing these scars / Fuck away the pain in your heart,” he continues singing in the intro and eventual chorus. “Ride me darling”, the eighth track from the mixtape, yustyna, keeps things brief, running about a minute and a half in duration. Diamandis penned and produced “ride” with Kevin White. “Ride me darling” is a surefire vibe. Why? The sound of the record is a prime reason. It is groovy. Also, the instrumental backdrop is colorful – the beat, synths, and the bass synth. Diamandis’ vocals stand out. They are playful and filled with effects. Of course, what Artemas sings is enticing because it’s often sexually charged. “You know, you got me tweaking every single night,” he sings in the verse, adding, “You got this sickness in my mind last night.” He admits to “getting nervous in myself,” asking her to “Just put your arms around it.” It, huh? Hmm . In the outro, the theme is similar – fucking the pain away:

“Look me in the face

I’m losin’ control, mm, put your legs, ooh

Fuck away the pain in your heart.”

Albeit brief, “ride me darling” marks another fabulous moment from yustyna. Artemas conveys his emotions and his horniness .

Appears in :

Artemas, ride me darling: Midnight Heat 61 (2024)

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2. Muni Long, “Ruined Me”

Revenge // Supergiant / Def Jam // 2024

“Every night, I’ve been crying / I can’t fall asleep / Laying in the bed in my diamonds / I still wear my ring.” Uh-oh! It’s given a heaping dose of heartbreak. Muni Long (Priscilla Renae) is ruined regarding L-O-V-E on her marvelous single, “Ruined Me”. “Ruined Me” appears on the Grammy winner’s sophomore album, Revenge (arrives August 30, 2024). Renae penned “Ruined Me” with producers Jeff “Gitty” Gitelman and Kevin Theodore. The backdrop sounds classic, dramatic, and modern. The soulful vibes are amplified. Throughout “Ruined Me,” Long shows off her big, commanding, and powerful voice. She sings expressively and pours her all into the song. “I won’t pretend I was perfect / Like I don’t deserve / Some of this hurt,” she asserts in the second verse, adding, “Whoever might try to love me next / Is gon’ have a time.” Oh, snap!

She makes you feel her pain and the ruin! The section to beat, unsurprisingly, is the chorus.

“After you (You), I’ll probably never love again (Never love)

This kind of heartbreak don’t ever end (Baby)

Baby, you ruined me.”

“Ruined Me” is top-notch. Strong, heartfelt vocals, honest, relatable songwriting, and sleek, characteristic R&B production make this a surefire bop.

Appears in :

Bops That Pop: August 2024

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3. Micah McLaurin, “Call Me”

“Call Me” // Micah McLaurin // 2024

“You know what / I came for / So give it to me now / Give me more.” Oh, snap! Something tells me, the ‘it’ is S meets E, and then they X, Micah McLaurin. The gifted, Charleston, South Carolina musician (a virtuoso pianist) follows up, inviting us – rather, ‘him’ – to call him names. What?! “Call me slut / Call me whore / there’s no shame in a name,” he sings, asserting, “I’m all about the fame / I would like you better if you call me…” Honor the man’s wishes, I suppose! McLaurin penned the brief “Call Me” alongside Daniel Padilla, Fernando Garibay, Ramiro Padilla, and Simon Wilcox. Garibay, Padilla, and Padilla produced this sleek, sexy gem.

In an interview for Paper Mag by Erica Campbell, McLaurin asserts, “‘Call Me’ is more than just the lyrics on the surface. It’s symbolic of me taking my power back and reclaiming my identity after I felt it was stolen from me in childhood.” He also states he’s allowed to show a different side of himself. He sings wonderfully, bringing ample personality and sexiness to his performance. His vocals are breathy, playful, and – wait for it – sexy . He’s a beautiful, naughty boy: “Look at the way I’m moving I’m serpentine / Sliding up against your skin / I know I make you want what you shouldn’t but / Go ahead and let me in.” Beyond the engaging vocal performance, the instrumental accompaniment is sickening. Set in a minor key, the dark, enigmatic pop and dance cues are firmly planted. The groove, which appears during the slutty, whorish chorus, is everything. Running just over two minutes, McLaurin brings the heat – the midnight heat – on “Call Me”.

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4. Tina Campbell, “Pray For Me”

“Pray For Me” // Gee Tree Creative / Red Alliance Media // 2024

“When saints start praying / Things start changing!” Amen! Tina Campbell (Trecina “Tina” Atkins-Campbell), one half of the beloved contemporary gospel sister duo, Mary Mary thanks those who took the time to pray for her on her encouraging, spirited single, “Pray For Me”. “Pray For Me” interpolates the gospel classic, “Somebody Prayed For Me” (“I’m so glad they prayed for me”) putting a fresh, contemporary R&B/hip-hop spin. The production is sleek and soulful.

“Went to the Lord on my behalf / Cause they knew what I needed / Even when I walked in the church / They knew I was depleted,” Tina sings in the first verse, continuing, “Made up their mind, gave up the time / To ask the Lord to help me.” The melody is tuneful, while the vocals are high-flying. Tina has always been able to not only ‘sing,’ but ‘sang.’ In the second verse, the theme is similar: “Called on Jesus all night long / Cause they knew about my struggle / Didn’t even matter / I was the reason I was in trouble…” Tina had some prayer warriors on her side, which was a blessing. In the chorus, with the help of awesome background vocals, Tina asserts, “(Pray for me) / Didn’t leave me there by myself / (Pray for me) / Asked Almighty to send some help.” Amen! Tina Campbell delivers an electrifying, uplifting performance on the must-hear, prayerful “Pray For Me”.

Appears in :

Tina Campbell, Pray For Me: Music Lifts 43 (2024)

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5. Patti Austin, “Baby, Come To Me” (with James Ingram)

Every Home Should Have One // Craft Recordings. / Concord // 1981

“Baby, come to me / Let me put my arms around you / This was meant to be / And I’m, oh, so glad I found you.” Patti Austin (1950 – ) duetted with the late, great James Ingram (1952 – 2019) on “Baby, Come To Me”. “Baby, Come To Me” appeared as the fifth track from Austin’s album, Every Home Should Have One, released in December 1981. “Baby…” initially debuted on the pop charts in 1982, but didn’t reach its peak position, no. 1 on the Billboard Hot 100, until February 1983. What propelled it? Playing as the soundtrack to a legendary soap opera: General Hospital. The Rod Temperton-penned / Quincy Jones-produced gem is Austin’s only top 40 hit. She charted four other songs on the pop charts. Her second-highest entry was a second duet with Ingram, “How Do You Keep The Music Playing” which peaked at no. 45. Although Austin would eventually win a Grammy, “Baby, Come To Me” wasn’t nominated – “How Do You Keep The Music Playing” was nominated instead, and lost.

The instrumental introduction of “Baby, Come To Me” sets the tone for the song. “Baby” benefits from classy, smooth, adult contemporary R&B production. The accompaniment comprises warm electric keys, a prominent, robust bass line, a sickening groove, picturesque synths, and strings. Celestial! The first voice heard is Patti Austin. She serves up smooth and sultry vocals. Her tone is exquisite. She never breaks a sweat. James Ingram sings alongside Austin during the chorus. He takes the reins in the second verse. His tone, like Austin’s, is warm, but also, grittier and more dynamic. In the second chorus, the vocal chemistry is sweet. His falsetto and ad-libs catch the ears. The commanding bridge is performed by both artists, starting with Ingram followed by Austin. Patti lets loose more in the third iteration of the chorus with a freer vocal. Besides elite performances by Austin and Ingram, the songwriting is elite too. The harmonic progression stands out throughout. The change of key scheme during the chorus keeps the listener engaged. Lyrically, matters of the heart never grow old, with the chorus yielding the most memorable lyrics. Excerpted earlier, the chorus continues:

“Need you every day
Gotta have your love around me
Baby, always stay
‘Cause I can’t go back to livin’ without you.”

Patti Austin, assisted by James Ingram, delivered a tour de force with “Baby, Come To Me”. This song never grows old.

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6. 21 Savage, “all of me”

American dream // Slaughter Gang, LLC / Epic // 2024

“See, my shooter pescatarian, but he eat up all the beef (21).” Oh, snap, 21 Savage! Make it make sense! The Grammy-winning rapper makes the confused line ‘slap’ regardless. On “All of me”, the second track from his 2024 album, american dream, the British-born rapper does what he does best: a deadpan delivery with rhymes that cut much deeper than they should. “All of me” was produced by Spiff Sinatra. Notably, it features a soulful 1970s sample: “Wishing On a Star” by L.A. R&B/soul collective Rose Royce. Spiff Sinatra adds light, rhythmic drum programming initially, eventually upping the ante with a hard-knocking beat. “All of me” also benefits from a fat bass line, adding fullness. 21 Savage is the star, however. In the chorus, post-beef-eating pescatarian, he asserts, “You gave me your ass to kiss, but want the all of me (Goddamn) / I stand on business, dot my Is and cross my Ts.” Woo! In the verses, we get even more of 21. In the first verse, he mentions choppers, cars, “Trench hoes,” and his come-up (“All the Glocks came with extensions like a sew-in (straight up) / And all these cars came with BBLs and body kits”). The second verse offers more memorable lines like “Kill you for some clout, and they’ll do anything for motion / We can’t let no bitch say that she the one who broke us (Facts).” Does 21 Savage say anything extraordinary in “All of me”? No, but there’s something about that cadence and flow that is “simply irresistible.” Certified banger!

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7. Gregory Dillon, “Heaven Hates Me”

Heaven Hates Me // 444 Sounds // 2024

“Cruising lately / I know that / Heaven hates me.” Cruising, huh? His voice does something to me… just being honest . Gregory Dillon is one talented dude. The deepness of his pipes – sexy. AAlso, he’s easy on the eyes, too The opening track from his album, Heaven Hates Me, also titled “Heaven Hates Me”, isn’t explicitly hellish, but still, with “Reckless driving / Dashboards through the flames / I’m always playing like the boys inside the game,” isn’t innocent! Dillon and French Original penned and produced this un-heavenly bop.

“Maybe you could stay now / We are the night / In every shadow is a way out / From my mind, mind.” The lyrics are dark throughout “Heaven Hates Me,” which is part of the charm. In its darkness, the chorus continues, “Driving through the dark is a virtue / Blinded by the light when I’m with you / Baby, can you stay now?” So, this boy is a bad boy, or so it seems. Heaven can’t like him if he’s with him! The dramatic Dillon delivers some more compelling lyrical moments. “Could I just open a window and feel the rain?” he asks. Also, there’s the assertion that “The thunder echoing after / I can’t explain (Baby I can’t explain).” My, my, my! “Heaven Hates Me” closes fittingly: “I need you / To set me free / I’m a fallen angel / Banished without wings.” Word. Gregory Dillon ‘puts his foot into’ this song.

Appears in :

Gregory Dillon, Heaven Hates Me: Beaming with Pride ️‍ 74 (2024)

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8. Kevin Atwater, “why did you invite me to your wedding”

“why did you invite me to your wedding” // Kevin Atwater // 2023

“I got your message last night around 1:00 / You’re getting married, and you want me to come.” Kevin Atwater continues, “You miss me a lot and the wedding’s next month / I think you were drunk, you spelled ‘wedding’ wrong / I used to break wishbones and pray that you liked me.” Misspelling wedding is questionable. Still, the more telling lyric is the latter. In “why did you invite me to your wedding”, there is a bond between Kevin (or his character) and this man who is now getting married. The bond seemed to transcend friendship, at least from Kevin’s perspective. Still, a 1:00 am text from a soon-to-be groom whom we presume is marrying a woman (he paints his crush as a jock)? Sounds gay, or at least, there was something there…

The point is that this reconnection has Kevin in his feelings. He penned a relatable song that captures the plight of gay romance. Did he crush on a ‘straight’ guy, hoping there was a chance? That is the question. Atwater has feelings for someone who may or may not reciprocate those feelings in the way he’d hoped – boyfriend and boyfriend. The second verse recalls an incident that speaks to the fact that maybe, the groom-to-be wasn’t so straight…???

“…Caught in the moment

I kissed you and then you got quiet

You could’ve hurt me, it would’ve been easy

… But you took my hand and asked me to dance

To nothing and never brought it up again.”

His friend is one of the nice boys – marriage material. He also could be… you know… In the final chorus, things are confused. Kevin has questions, notes how things have changed, and knows he’d mess things up for his friend/crush and bride-to-be. As much as “I wanna call you with a hand in my pants,” rightfully, Atwater closes the chapter without closing it: “I’ll never know why / Cause I’ll never reply / So you can just stay nice / In the back of my mind.” Atwater drops an honest, thought-provoking gem with “why did you invite me to your wedding”. Atwater sounds radiant, backed by warm, dreamy-sounding production (Hazey Eyes).

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9. Rina Sawayama, “Holy (Til You Let Me Go)”

Hold the Girl // Dirty Hit // 2022

“Heavenly, that was me / A vision at seventeen / Loves to read, loves to dream / The college of Magdalene.” The talented Rina Sawayama had tremendous ambition. The singer, songwriter, and actress has accomplished a lot regarding her education and career. However, in “Holy (Til You Let Me Go)”, she’s been wronged – judged, bullied, and made to feel less. There aren’t specifics about how she was wronged given on the sixth track from her marvelous 2022 LP, Hold My Girl, but, she’s experienced pain. In the second verse, she asserts, “Tried to pray the pain away / Just like you taught me (But something had changed).” The spiritual references are part of the charm of this gem penned by Sawayama, Nate Campany, Chris Lyon, and Stuart Price (“I was the martyr who paid for your life”).

The chorus is dynamic – the most memorable section of “Holy (Til You Let Me Go)”:

“I was innocent when you said I was evil

I took your stones and build a cathedral

Found my peace when I lost my religion

All these years I wished I was different

But, oh, no, now I know

I’m holy till you let me go.”

That’s deep, Rina. Notably, Sawayama is pansexual which goes against the grain of the heteronormative world. Also, per Variety, she shares that trauma inspired Hold the Girl. She was groomed at 17. “Holy (Til You Let Me Go)” conveys trauma and overcoming it. Beyond the theme, lyrics, lovely melodies, and sickening vocals by Sawayama, the music is sweet. The instrumental intro is warm, fueled by piano and synths. The production by Sawayama, Price, and For Those I Love is shimmering and sleek. “Holy (Til You Let Me Go)” is epic.

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10. NLE Choppa, “SLUT ME OUT 2”

“SLUT ME OUT 2” // NLE Choppa Entertainment Inc. / Warner // 2024

“I need all the bad bitches to the floor.” After he requested her to “SLUT ME OUT” in 2022, rapper NLE Choppa (Bryson Potts) desires more sluttiness in his two-minute-and-change single, “SLUT ME OUT 2”. “SLUT ME OUT 2” was written by Potts and producers EMRLD and Synthetic. The result – utter sluttiness, of course! The instrumental bangs. Following the intro, NLE Choppa drops the slutty chorus. “If I was a bad bitch, I’d wanna fuck me too, hmm,” he spits, continuing, “I’d wanna suck me too, hmm / I’d wanna slut me too, hmm.” Point made. While Potts is cocky, is he wrong? He’s a handsome, young, rich, and famous rapper. Beyond the chorus, there’s a verse and it’s purely sex. Some of the highlights include the carnal, “Ayy, let me nut on your butt / Ayy, put my face in your thighs, bitch,” “Suck on my Glock ‘til I bust / Suck on my balls, a must,” and “I’m tryna eat that ass and the pussy / I’m tryna take her to pound, pound, pound town (Baow, baow).” Holy she-it! NLE Choppa is horny AF on “SLUT ME OUT 2”. The single lacks depth – it’s pure pornographic rap – but his passion for lust and sex is, entertaining and titillating.

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11. Omar Apollo, “Dispose of Me”

God Said No // Warner // 2024

“And I don’t see you anymore, but the words you left me are always in my ears / Always in my tears.” Those pesky matters of the heart have affected our dear, gifted, Grammy-nominated singer/songwriter, Omar Apollo. “Dispose of Me” is the second single from his deeply personal, sophomore album, God Said No. It was written by Apollo, Billy Walsh, Oscar Santander, and Blake Slatkin. It was produced by Santander, Slatkin, and Teo Halm. Like most Omar Apollo songs, “Dispose of Me” is giving sheer musical excellence. The production of “Dispose of Me” is subtle and tastefully executed. Furthermore, the accompanying instrumental is smooth and soulful. The guitars stand out, sounding awesome without being overt or forcing things. The backdrop is the perfect fuel for Omar who shines with his gorgeous, nuanced vocals from the beginning. He’s authentic and honest in his performance. Thematically, he recalls a past love: “You’re a gentleness my body just won’t forget / You’re a handprint on my heart I just can’t possess.” Aww. He doesn’t want to let it go, commandingly singing in the second verse, “Can we try again? / You know we had potential.” The section to beat is the chorus which features a tuneful melody and memorable lyrics:

“It doesn’t matter if it’s twenty-five years, twenty-five months

It doesn’t matter if it’s twenty-five days, it was real love

We got too much history

So, don’t just dispose of me…”

Notably, Apollo’s falsetto during the chorus only ups the ante of this fabulous song. “Dispose of Me” marks “another one,” aka, another hit, from the handsome, talented singer/songwriter.

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12. Nick Lachey, “What’s Left of Me”

What’s Left of Me // Zomba Recording LLC // 2006

“‘Cause I want you, and I feel you / Crawling underneath my skin / Like a hunger, like a burning / To find a place I’ve never been.” “What’s Left of Me” by Nick Lachey was an aughts bop. “What’s Left of Me” peaked at no. 6 on the Billboard Hot 100, his sole top 40 hit. What’s Left of Me” was penned by Lachey, Lindy Robbins, Jess Cates, and producer Emanuel Kiriakou. “I don’t wanna waste another day / Stuck in the shadow of my mistakes.” The aftermath of divorce and heartbreak (Jessica Simpson is his ex-wife) is written all over “What’s Left of Me,” evidenced by the excerpt from the first verse. There’s more in the second: “I’ve been dying inside / Little by little.” At the end of the verse, he asserts, “Running from myself until / You gave me a reason for standing still.” Deep. Insightful. Introspective. Besides dramatic, reflective lyrics, Lachey brings tuneful melodies to life in the verses and chorus. His voice is beautiful and expressive. Rather than record bubblegum pop or ‘white-boy’ R&B , Nick chooses more mature, adult contemporary pop. The backdrop includes piano, strings, and light, tasteful synths. Adding to the sophisticated nature of this ballad are the key changes. The verse is F major, while the chorus is G major. While modulating up a step isn’t far-fetched, “What’s Left of Me” doesn’t modulate traditionally, making a common key change sound less common. As a solo artist, Lachey cemented his musical legacy with “What’s Left of Me”. Even some heartthrobs only get one hit, sometimes.

Appears in :

Nick Lachey, What’s Left of Me: 1 Hit WONDERful 30 (2024)

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13. Latimore, “Let Me Go”

It Ain’t Where You Been // Henry Stone Music // 1976

“Let me go, babe / I’ve already stayed too long.” Hmm, she can’t let you go, Latimore (Benjamin Latimore)! Wonder why, hmm . Even though he doesn’t want to go either on “Let Me Go”, the sixth track on his 1976 LP, It Ain’t Where You Been, he sings, “But I’ve got to be gettin’ on home.” Continue listening and she’s his side piece… Songs about infidelity from the 1970s hit different, don’t they? The southern blues/R&B musician deserves far more recognition, specifically for this rousing gem. “I’ve overstayed my time, babe / I’ll be back tomorrow night,” Latimore asserts, telling her, “But until then / Let me go.” And that’s the premise of “Let Me Go.” He sounds commanding, bluesy, and gritty. When he ascends into his upper register, he’s equally if not more impressive. Besides his high-flying vocals, the music is epic. The production perfectly captures the soul aesthetic. The piano is piano-ing, with the tinkling being a surefire vibe. The bass is active yet fat (who wouldn’t have it any other way). The drums anchor, keeping things groovy and steady. Besides the core rhythm section instrumentation, there is epic saxophone soloing and lush strings. From a music theory standpoint, the harmonic progression stands out with some more distinct moments. Popular music can opt for simpler harmonic underpinnings, but it’s even cooler when rarer chords spice things up. Shame on Latimore for his infidelity but “Let Me Go” is an incredible song.

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14. Ambrosia, “Biggest Part of Me”

One Eighty // Warner // 1980

“(Sunrise) There’s a new sun a-risin’ / (In your eyes) I can see a new horizon / (Realize) That will keep me realizin’ / You’re the biggest part of me.” When mentioning Ambrosia, the first song that comes to mind, and the biggest hit of their career is “Biggest Part of Me”, from the band’s 1980 gold-certified album, One Eighty. It was written by David Pack who also sings lead vocals. Ambrosia and Freddie Piro produced this love-oriented, blue-eyed soul/pop/R&B/soft-rock song. It was a success on the pop charts, peaking at no. 3 on the Billboard Hot 100 and earning gold certification. The band also received a Grammy nomination at the 23^rd Annual GRAMMY Awards for Best Pop Performance By A Duo Or Group With Vocals.

“(Forever) Got a feeling that forever / (Together) We are gonna stay together / (Forever) From now until forever / You’re the biggest part of me.” “Biggest Part of Me” benefits from its lush production work, especially the warmth of the keys (electric with reverb). The bass line is robust, the rhythm guitar is buttery smooth, and the groove from the drums is groovy. Other instruments also make “Biggest Part of Me” the sugar honey iced tea. The organ amplifies the soul vibes once it enters the mix. The synths are idiomatic of the 1980s sound/aesthetic. Do you know what else is quintessential of the decade? A saxophone solo! Harmonically, the progression is another selling point, with its chromatic moments and chords that extend beyond I, IV, and V. Besides the terrific music, Pack brings the heat vocally. His pipes are gorgeous and soulful – perfectly tailored to the blue-eyed soul, pop, and soft-rock vibes. Pack leads the charge with tuneful melodies throughout. The lyrics capture L-O-V-E without a hitch:

“Hey, make a wish, baby (Wish and it will come true)

Well, and I will make it come true

Make a list, baby (Make a list of the things for you)

Of the things I’ll do for you

Ain’t no risk, now (Let it rain on you)

In lettin’ my love rain down on you

So, we could wash away the past (Wash)

So that we may start anew.”

Upping the ante are background vocals, in all their harmonious warmth! “Biggest Part of Me” speaks for itself in its celestial glory.

Appears in :

Ambrosia, Biggest Part of Me: Throwback Vibez 149 (2024)

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15. Harold Melvin & The Blue Notes, “If You Don’t Know Me By Now”

***Harold Melvin & The Blue Notes (Ft. Teddy Pendergrass*) // Epic // 1972**

“All the things / That we’ve been through / You should understand me / Like I understand you.” Sing it, Teddy Pendergrass (1950 – 2010)! The late soul singer brings his dynamic and expressive baritone to the high-flying Harold Melvin & The Blue Notes classic, “If You Don’t Know Me By Now”. “If You Don’t Know Me By Now” is the fourth track from Harold Melvin & The Blue Notes (Ft. Teddy Pendergrass), released in 1972. It marks the soul collective’s best-charting song on the pop charts. It peaked at no. 3 on the Billboard Hot 100. Expectedly, on the R&B charts, “If You Don’t Know Me By Now” reached no. 1. Penned and produced by the iconic duo Gamble & Huff (Kenneth Gamble and Leon Huff), “Know” is one of the all-time classics in the soul catalog.

Pendergrass’ ‘once-in-a-lifetime’ vocals play a huge role in the success of “If You Don’t Know Me By Now.” He masterfully brings lyrics and melody to life. The verses are terrific. So is the varying pre-chorus, where first, Teddy sings, “Oh, don’t get so excited / When I come home a little late at night / ‘Cause we only act like children / When we argue fuss and fight.” Oh, snap! In the second pre-chorus, he makes a valid point: “What good is a love affair / When we can’t see eye to eye?” The centerpiece is the chorus, which features sublime background vocals by The Blue Notes and top-notch ad-libs and vocal riffs from Pendergrass:

“(If you don’t know me by now)

If you don’t know me by now

(You will never, never, never know me)

You will never, never, never know me

(If you don’t know me by now)

If you don’t know me, baby

(You will never, never, never know me)

No, you won’t.”

Beyond songwriting and vocal performance, the musical accompaniment is stunning. This comes as no surprise with Gamble & Huff at the helm. This is Philly soul at its finest. The rhythm section! The dramatic, lush strings! The ambiance! “If You Don’t Know Me By Now” is a masterpiece.

Appears in :

Harold Melvin & The Blue Notes vs. Simply Red: Head 2 Head No. 46 (2024)

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15 More Songs Focused Only on Me (2024) [: Brent Faulkner / The Musical Hype; 444 Sounds, Artemas, Concord, Craft Recordings., Def Jam, Dirty Hit, Epic, Gee Tree Creative, Henry Stone Music, Kevin Atwater, Micah McLaurin, NLE Choppa Entertainment Inc., Red Alliance Media, Slaughter Gang, LLC, Supergiant, Warner, Zomba Recording LLC; Amr Afr from Pexels; Elisa, Pete Linforth, Stephan from Pixabay]

15 More Songs Focused Only on Me | Playlist

Published by the musical hype on December 23, 2024December 23, 2024