15 More Soul Oldies That Tickle My Fancy (Vol. 3) | Playlist

1. Michael Jackson, “Billie Jean”

Thriller • MJJ Productions • 1982

“She was more like a beauty queen from a movie scene / I said, ‘Don’t mind, but what do you mean, I am the one / Who will dance on the floor in the round.” One of the greatest songs of all time is none other than “Billie Jean” by the late, great, King of Pop, Michael Jackson.  “Billie Jean” is just one of many hits from one of the greatest albums of all time, Thriller, released in 1982. Yes, Jackson has been a leading candidate to be cancelled for a fair share of controversies, but the genius of his music and artistry has never been disputable. “Billie Jean” is the perfect, timeless name song.

“She told me her name was Billie Jean / And she caused a scene…” The lyrics are catchy as albeit, while the music (produced by Jackson and the legendary Quincy Jones) successfully fuses pop, funk, and R&B.  Jackson blesses us numerous times with his signature ad-libs – “Hee-hee” and “Hoo!” – adding to the decadent listening experience. I’ll leave you with the most famous, memorable lyrics from the chorus:

“Billie Jean is not my lover
She’s just a girl who claims that I am the one
But the kid is not my son!”

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2. Roberta Flack, “Killing Me Softly With His Song”

Killing Me Softly • Atlantic • 1973

“Strumming my pain with his fingers / Singing my life with his words / Killing me softly with his song… / Telling my whole life, with his words…” Back in the day – the late 60s and 70s – Roberta Flack had a fabulous run.  She had solo hits in addition to striking gold in the duets department.  One of her crowning achievements is “Killing Me Softly with His Song,” which, amazingly, wasn’t originally recorded by her.  Even so, “Killing Me Softly…” in her hands became the ‘IT’ version – the definitive recording.

Why is the Roberta Flack version so good? First and foremost, her voice is angelic, radiant, and incredibly soothing.  Flack has a way of ‘packing a punch’ without having to over-sing. She doesn’t need gospel histrionics to sell the pain that she sings about, even considering this isn’t an original by herself.  It also helps that the songwriting by ( Charles Fox and Norman Gimbel) is impeccable.  “I felt all flushed with fever / Embarrassed by the crowd,” she sings expressively, on the second verse, adding, “I felt he found my letters / And read each one out loud.”  Throw in colorful production work ( Joel Dorn) that plays well to both pop and soul crowds, and you have a Grammy-winning, no. 1 hit.  Hard to imagine anyone topping this ultra-successful version, right? Well, Fugees remade this gem with their own epic rendition.

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3. Prince & The New Power Generation, “My Name is Prince”

The Love Symbol Album • NPG / Warner • 1992

“I got two sides and they both friends / Don’t try to clock ‘em, they’re much too fast / If you try to stop ‘em they kick that ass…” Before Prince lost his name (he was ‘The Artist Formerly Known as Prince’ at one point), he made it clear that EVERYONE knew his name.  While you can take the subtle approach, obviously, we know that when it came to performances and writing songs, The Purple One wasn’t subtle in the least.  That’s why it’s not surprising that on The Love Symbol Album from 1992 he wrote a gem called “My Name is Prince.” I should note, that the album is credited to Prince & The New Power Generation.  I should also note, “My Name is Prince” falls under the New Jack Swing style that became a popular R&B substyle in the 1990s.

“My name is Prince and I am funky
My name is Prince, the one and only
I did not come to funk around
‘Til I get your daughter I won’t leave this town.”

Hmm, “I did not come to funk around” – that’s a musical euphemism right there! Prince is a metaphorical ‘chest puffer’ throughout “My Name is Prince” – understatement! “In the beginning God made the sea / But on the seventh day he made me,” he asserts on the first verse, continuing, “He was tryin’ to rest y’all when he heard the sound / Sound like a guitar cold getting’ down…” While some may consider The Purple One is being a bit, um, blasphemous, he addresses spiritual matters on the third verse.  You could say he’s woke to the wages of sin and the utterly mad world. Also, worth noting, we get a rap verse by Tony M.

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4. The Spinners, “It’s a Shame”

2^nd Time Around • UMG Recordings, Inc. • 1970 

What better way to close this utterly shameful playlist with one of the biggest shames of them all! “It’s a Shame” marks one of the best songs in the The Spinners’ catalogue, period.  It serves as the opener on their 1970 LP, 2^nd Time Around.  Honestly, the music speaks for itself, but as always, we’ll drop a little blurb.

“It’s a Shame” is incredibly funky and infectious from the jump.  The Spinners provide us with stellar vocals harmonies, accentuating the lead ( G.C. Cameron), of course.  Listening to the record, it reminds us of the golden days of soul, a truly irreplaceable sound.  “It’s a Shame” features brilliant production.  The vintage sound is constructed by the horns, rhythm guitar, and a prominent bass line.  What’s better than a fat bass line? Nothing! Of course, the cherry on top are those sweet, colorful lead vocals by Cameron. Nothing shameful about this joint!

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5. Shirley Murdock, “As We Lay”

Shirley Murdock • Elektra / Asylum • 1986

Sometimes it just takes one song to solidify your legacy.  For big-voiced R&B singer Shirley Murdock, that one gem is “As We Lay.”  A truly breathtaking mid-80s R&B record, Murdock ‘gives her all’ as she performs.  Her performance is characterized by incredible authenticity, expression, and nuance.  Perhaps it’s not fair when some folks assert ‘they don’t make music like this anymore.’ That said, are they totally wrong or wrong in the least?

Kelly Price would go on to remake this beloved classic on her superb sophomore album, Mirror Mirror from 2002.  Also, “As We Lay” has become a popular sample and for good reason – the harmonic progression, the arrangement, and overall sound are totally on-point. Of course, it all goes back to Shirley Murdock, who masterfully imparts the tale of two people in a separate relationship having a one-night stand. Damn.  The chorus, the centerpiece, perfectly captures the repercussions:

“As we lay
We forgot about tomorrow
As we lay
As we lay
We didn’t think about the price we’d have to pay.”

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6. Teddy Pendergrass, “The Whole Town’s Laughing at Me”

Teddy Pendergrass • Sony Music Entertainment • 1977

“The whole town’s laughing at me / Silly fool, how’d you lose, such a good friend?” Teddy Pendergrass was one of the greatest soul musicians of all time.  Honestly, his soulful, masculine baritone screamed orgasm, chocked full of sexiness.  While his voice never reached the peak of his heyday prior to a paralyzing accident, he still possessed a fire so many R&B musicians envied. A prime example of TP at his prime is his 1977 debut album, Teddy Pendergrass, which features the ‘whole’ gem, “The Whole Town’s Laughing at Me.”

“The Whole Town’s Laughing at Me” appears as the sixth track on this landmark soul LP that also features the likes of “I Don’t Love You Anymore” and “The More I Get, The More I Want.”  A four-and-a-half-minute ballad penned by Sherman Marshall and Ted Wortham, Pendergrass laments losing a love because he was foolish.  “Yeah, I had your love right here in the palm of my hands / And I lost it,” he sings on the first verse.  On the second, he asserts, “Had my dream so near, I could reach out and touch it / And I lost it, and I lost it.” You get the picture.  On the pre-chorus/bridge, he reflects on what he could’ve done to keep this good thing he had, while the chorus finds him feeling utterly stupid.  Besides the elite, once-and-a-lifetime vocals by TP, Sherman Marshall does a beautiful job crafting that 70s, lush, Philly soul backdrop . If you’re too young to have experienced Pendergrass during his heyday, well, there’s no better time to explore his iconic music now!

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7. Smokey Robinson & The Miracles, “The Tracks of My Tears”

Best of • Motown / UMG Recordings Inc. • 2010

“Although I might be laughing loud and hearty / Deep inside I’m blue.”  On the 1965 classic “The Tracks of My Tears” ( Going to a Go-Go), Smokey Robinson is talking about showing face – a façade.  He may pretend with jovialness, but he’s really feeling down because she’s not there.  Oh, the plight of love Mr. Robinson!

“So, take a good look at my face / You’ll see my smile looks out of place,” he sings on the iconic chorus, continuing, “If you look closer, it’s easy to trace / The tracks of my tears / I need you, I need you.”  The best line must be, “My smile is my makeup / I wear since my breakup with you.” “The Tracks of My Tears” NEVER grows old – that vintage, old-school R&B by Smokey Robinson & The Miracles.

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8. Wilson Pickett, “Land of 1000 Dances”

The Exciting Wilson Pickett • Atlantic • 1966

“1-2-3 / 1-2-3 / Ow! Uh! Alright! Uh!” Ah, The Exciting Wilson Pickett – what a great way to characterize legendary soul singer Wilson Pickett.  He was, indeed, quite exciting, infusing ample energy into his music.  The 60s marked the ascent of Pickett, with “Land of 1000 Dances” ranking among his best and most important songs of his career.  “Land of 1000 Dances” was written by and originally performed by Chris Kenner in 1962.  Pickett, of course, would record the definitive version in 1965.

What makes “Land of 1000 Dances” so awesome? It’s fun, infectious, and TONGUE-N-CHEEK period.  You can’t listen to this Wilson Pickett classic without smiling, singing along, or moving and grooving.  The “na-na’s” rank among the most memorable parts.  That said, there are plenty of fun lyrics, including those that reference other songs such as “Got to know how to pony / Like ‘Bony Maronie’.”  Music doesn’t sound like “Land of 1000 Dances” anymore, but honestly, that’s part of the charm of hearing this six-decade-old gem in the 2020s.

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9. The Brothers Johnson, “Strawberry Letter 23”

Right on Time • A&M • 1977

“Strawberry Letter 23” was written and originally performed by a 17-year-old named Shuggie Otis.  However, often, this R&B classic is attributed to the funk/soul group, The Brothers Johnson.  Why? Sometimes, when it comes to covers, they just arrive at the right place at the right time.  Honestly, it’s much like the title of their 1977 album – Right On Time.  The biggest hit from that album, as well as The Brother Johnson’s career is *drum roll please* “STRAWBERRY LETTER 23”!

Shuggie Otis ‘put in work’ on the original in 1971, but you could say it took an iconic producer ( Quincy Jones) and another soul act to make the record a hit. Naturally, there are differences between both versions; they’re distinct despite being the same song, which is cool.  In the case of The Brothers Johnson take, it runs longer, by one minute. Furthermore, it features more robust bass, and generally, more polished, sleeker sounds.  Compared to the original, you can hear the advancements in production, even in six short years.  Then again, keep in mind WHO is behind the boards – a L-E-G-E-N-D.  As for the vocals, they are buttery smooth, idiomatic of the late 70s soul sound.  Smoother than Shuggie? Yes, but that doesn’t necessarily dictate a better-rounded performance – just an observation.

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10. Commodores, “Easy”

Commodores • Motown • 1977

“That’s why I’m easy / I’m easy like Sunday morning.” The greatest EASY song of all time arrives courtesy of Grammy winning group Commodores and it’s simply undisputed!  The collective marks one of the truly legendary R&B groups of the 70s and 80s, incorporating numerous styles into their music.  Of course, the key piece, early on, was none other than Grammy winner Lionel Richie, who’d eventually have a monster career as a solo artist.  But long before he spread his wings, he’d pen the iconic “Easy,” which ranks among the most beloved Commodores songs.

“Easy” appears on the 1977 album, simply titled Commodores, alongside “Brick House,” another iconic cut.  While it would be easy to associate easy as slang with openness to making love, that’s simply NOT the context here. Instead, Richie and company seem to be referring to being easy and simple to love – down to earth and most comfortable being true to self.  Even so, “Everybody wants me to be what they want me to be,” and simply, “I’m not happy when I try to fake it.” Understandable.  Beyond the incredibly memorable chorus, as well as those standout lines from the second verse, the bridge marks a key moment:

“I wanna be high, so high
I wanna be free to know the things I do are right
Just wanna be free
Just me, oh babe
Ooh.”

Follow that up with a sweet guitar solo, plus more of that sweet, late 70s soul production, and “Easy” remains as beloved and fresh as it was back in the day.  This is the perfect way to cap off this EASY driven playlist.

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11. Luther Vandross, “Superstar”

Busy Body • Sony Music Entertainment • 1983

There are few singers who could sing as smooth as Luther Vandross.  Vandross was the exemplification of cool energy and finesse.  His vocal performances can be characterized by being refined.  One of Vandross’ best, most iconic performances was his cover of “Superstar,” popularized by The Carpenters, who covered the songs themselves.  Appearing as the seventh track on his 1983 album, Busy Body, the original nine-minute-long song is fused with the soul gem, “Until You Come Back to Me (That’s What I’m Gonna Do)”.  On various greatest hits compilations, it’s released as a standalone, five-and-a-half-minute-long number.

Listening to Luther sing “Superstar” is a heavenly experience – it’s almost spiritual! His tone is silky smooth, riding lush production work with incredible ease.  He sings with utmost expression yet never forces things.  Furthermore, that backdrop, intact with keys, strings, and backing vocals, never crowds or inhibits Vandross – he’s always in command. Speaking of background vocals, I love it when we get those sweet ‘Lutheran’ (not religious) harmonies.  The Carpenters performed this Bonnie Bramlett / Leon Russell classic sensationally, but Vandross makes it his own, gorgeous adult contemporary R&B masterpiece.

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12. The Main Ingredient, “Everybody Plays the Fool”

Bitter Sweet • RCA • 1972

In case you needed to know, “Everybody plays the fool, sometime / There’s no exception to the rule.” Facts, courtesy of classic soul collective, The Main Ingredient.  Those iconic lyrics, of course, hail from the group’s biggest hit, the Grammy-nominated gem, “Everybody Plays the Fool.”  There’s nothing ‘foolish’ about this hit, which appears on their 1972 album, Bitter Sweet. Also, worth noting, another soul icon, Aaron Neville, would cover this classic and achieve his own success.  Still, the OG’s of “Everybody Plays the Fool” is none other than The Main Ingredient.

So, what makes “Everybody Plays the Fool” so epic? The production is colorful and incredibly soulful – certainly idiomatic of the smooth, sleek 70s sound (piano, robust bass, winds, strings, etc.).  The vocals are elite – shout out Cuba Gooding, Sr..  The lyrics are relatable, capturing that foolishness we all experience at some time with love. “Oh, heaven on earth is all you see,” goes the second verse, continuing, “You’re out of touch with reality / And now you cry, but when you do / Next time around, someone cries for you.” Of course, the chorus nails it, continuing from earlier, “Listen baby / “It may be factual, may be cruel / I wanna tell you that / Everybody plays the fool.”  FACTS!

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13. Marvin Gaye, “The World is Rated X – Alternate Mix”

You’re the Man • Motown • 2019

“The World is Rated X” keeps You’re the Man, the ‘lost’ album by the late, great soul icon, Marvin Gaye, going strong early on. A superb, socially charged standout, the production is masterful, led by the agile, robust bass lines, and the lush, dramatic strings. Gaye is locked-in, showing incredibly authenticity as he laments the corrupt state of the world.

At the end of “The World is Rated X”, Gaye’s totally disturbed and totally riled up:

“Where’s the love? Where’s the peace?
Where’s the joy? Where’s the hope for us all?
God is watching, He knows where you’re at
Yes, he’s watching the situation, that’s a fact.”

“The World is Rated X” has appeared as a bonus track on various Marvin Gaye reissues, as well as You’re the Man for good reason.  It’s a damn good song that epitomizes 70s soul through and though.

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14. Smokey Robinson & The Miracles, “The Tears of a Clown”

Best of • Motown / UMG Recordings Inc. • 2010

“Now if there’s a smile on my face / It’s only there tryin’ to fool the public.” Smokey Robinson ranks among the greatest songwriters of all time. His 1967 record, “The Tears of a Clown” ( Make it Happen) is among the best of his illustrious catalog.  Like on another tearful gem, “The Tracks of My Tears,” Smokey Robinson & The Miracles put on a façade:

“But don’t let my glad expression
Give you the wrong impression.”

Ultimately, he has “The tears of a clown, when there’s no one around / OH YEAH BABY.” The funny thing is that “Tears of a Clown” is an up-tempo soul record that makes you want to dance.  Despite this, that façade is real.  

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15. Aretha Franklin, “The Long and Winding Road”

Young, Gifted and Black • Atlantic • 1972

Aretha Franklin is one of the greatest musicians of all-time – DUH! Her voice is nothing short of amazing, angelic, and heaven-sent. ‘The Queen of Soul’ possesses a rich catalog of music, interestingly, with some of her best songs being covers.  “Respect”, of course, tops the list of covers, written and originally recorded by another icon, Otis Redding.  Anyways, Franklin could sing any- and everything, so, it’s not surprising her knack for reinterpretation considering her vocal gifts. Franklin made The Beatles’ classic, “The Long and Winding Road”, truly her own.

When it comes to The Beatles, pretty much anything they recorded could be considered the definitive version – THEY ARE THE EFFING BEATLES!  Did “The Long and Winding Road” require a cover? Absolutely not – the iconic British group nailed it! That said, the transformation that Aretha Franklin bestows upon us is nothing short of anointed – prodigious to the nth degree! Franklin adds a deep, southern soul sensibility to her 1972 interpretation, which hails straight out the church, and precedes her landmark Amazing Grace album.  One part of “The Long and Winding Road” that is starkly different from the original is the chorus.  The original lacks a true chorus, though this rousing rendition takes the bridge and transforms it into the role of a chorus:

“Many times, I’ve been alone
And many times, I’ve cried
Anyhow, you’ll never know
All the things I’ve tried
Still, they lead me back to the long and winding road.”

This soul-a-fied version of “The Long and Winding Road” marks one of many gems on the cover-laden Young, Gifted and Black (1972). Something about this cover right here – it hits different!

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