15 Surefire Classics from the 1970s

Reading Time: 21 min read

15 Surefire Classics from the 1970s features songs by Andy Gibb, Bee Gees, Donna Summer, Joe Simon, Ramones, and William Bell.

It’s been a while – too long, folks! Once again, I explore one of the greatest decades and eras in music history: the 1970s. While the ‘70s predate my birth (I’m a mid-80s baby with whose teenage and collegiate years occurred in the 2000s), my parents often played music of various styles from the ‘70s, particularly disco, funk, and soul. My love and passion for this particular music were established early on. Always an old soul, I’ve found myself drawn to the brilliance of the musicians, how the grooves cook, and the complexity of the arrangements and epic productions. Restarting my decades compilations, 15 Surefire Classics from the 1970s is self-explanatory. All songs on this list were recorded, released, or, at a minimum, popularized between 1970 and 1979.15 Surefire Classics from the 1970s features songs by Andy Gibb, Bee Gees, Donna Summer, Joe Simon, Ramones, and William Bell. So, grab your dancing shoes, and let’s get into these 15 Surefire Classics from the 1970s! Disco fingers up 🕺!

~ Table of Contents ~

1. Joe Simon, “Get Down, Get Down”	2. Donna Summer, “I Feel Love”	3. Bee Gees, “You Should Be Dancing”	4. Melba Montgomery, “No Charge”
5. Curtis Mayfield, “Freddie’s Dead”	6. Chaka Khan, “I’m Every Woman”	7. Andy Gibb, “Shadow Dancing”	8. The Staple Singers, “Respect Yourself”
9. Ramones, “Blitzkrieg Bop”	10. Natalie Cole, “I’ve Got Love On My Mind”	11. Ohio Players, “Let’s Do It”	12. Gwen McCrae, “Rockin’ Chair”
13. William Bell, “Tryin’ To Love Two”	14. Harold Melvin & The Blue Notes, “Hope That We Can Be Together Soon” (Ft. Sharon Paige)	15. Donny Hathaway, “I Love You More Than You’ll Ever Know”

1. Joe Simon, “Get Down, Get Down”

Get Down » Ace » 1975

“Everybody, won’t you get on the floor (Get on the floor and let the good time roll).” Late, great soul singer Joe Simon (1936 – 2021) brought the house down with “Get Down, Get Down” aka “Get Down, Get Down (Get on the Floor).” “Get Down, Get Down” is the super groovy opener from his 1975 album, Get Down. The song is the perfect catalyst to ‘get your groove on.’ Interestingly, “Get Down, Get Down” earned Simon the sole top 10 hit of his career 🤯. “Get Down, Get Down” peaked at number 8 on the Billboard Hot 100. Simon and Raeford Gerald wrote and produced it. Simon serves up incredible singing. His voice oozes with that hearty, southern soul! “Everybody, won’t you clap your hands and dance / (Get on the floor and let the good time roll) come on,” he sings, aided by backing vocals. They continue singing, “All you gotta do is move your body, and shake what you can / Oh, baby (Get on the floor and let the good time roll).” Beyond conveying the memorable melodies superbly, his ad-libs and riffs are top-notch, too. Beyond fun, dance-inciting lyrics, “Get on the Floor” features a marvelous musical accompaniment with a locked-in rhythm section and biting, articulated horns. The piano parts are particularly bluesy and funky to the nth degree. One of the most interesting sounds is synths, which only elevate the colorful sound palette. In the epic “Get Down, Get Down”, the influence of gospel music is clear, specifically during the extended vamp at the end. One of the greatest to do it, Joe Simon easily made us “get on the floor” with this certified bop!

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2. Donna Summer, “I Feel Love”

I Remember Yesterday » The Island Def Jam Music Group » 1977

“Ooh, it’s so good, it’s so good / It’s so good, it’s so good, it’s so good.” Agreed, Donna Summer! “I Feel Love”, the closing track on I Remember Yesterday, is SO GOOD. The late Queen of Disco was an icon, and “I Feel Love” is a prime example of why. Even so, before Summer sings one “ooh,” the instrumental is iconic too. Summer penned this top 10 hit alongside producers Giorgio Moroder and Pete Bellotte. Moroder and Bellotte outdo themselves. “I Feel Love” begins enigmatically and softly. It crescendos into an ultra-groovy, electronic-driven disco cut. The rhythmic synths are insane. Reflecting on the music, it sounds ‘ahead of its time.’ Would “I Feel Love” sound anachronistic in the 2020s? I don’t believe so.

Backed by such a scintillating instrumental, Donna Summer shines. The lyrics are few. She keeps it simple, but the execution – the way she sings – is brilliant. Continuing to “feel love” in the second verse, she sings, “Ooh, fallin’ free, fallin’ free /… Ooh, you and me, you and me…” The third verse is similar, all experiencing love. To reiterate, “I Feel Love” was a top 10 hit – one of 14 top-10 hits by Summer. It peaked at number 6 on the Billboard Hot 100 and was certified gold by the Recording Industry Association of America. The word ‘vibe’ is used to characterize modern songs, many of which use less of a conventional form and fewer lyrics. “I Feel Love” is a prime example of a ‘vibe’ from the 1970s that remains fresh approaching 50 years later.

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3. Bee Gees, “You Should Be Dancing”

Children of the World » Barry Gibb, The Estate of Robin Gibb and Yvonne Gibb » 1976

“What you doin’ on your back? Hey / What you doin’ on your back? Hey / You should be dancing, yeah / Dancing, yeah.” Indeed! Bee Gees – Barry Gibb (1946 – ), Robin Gibb (1949 – 2012), and Maurice Gibb (1949 – 2003) – were a once-in-a-lifetime pop collective. Throughout an illustrious career, the British brother trio earned 15 top 10 hits. Nine of those top-10s were no. 1 hits, including the jubilant, “You Should Be Dancing”. “You Should Be Dancing” spent one week atop the Billboard Hot 100 in September 1976. It serves as the opener from the trio’s album, also released in 1976, Children of the World. “You Should Be Dancing” was composed by – you guessed it – Bee Gees! It was produced by the trio alongside Karl Richardson and Albhy Galuten 💪. The instant you hear this song, there is no way your body won’t start moving and grooving🕺🪩!

The backdrop is electric on “You Should Be Dancing.” The rhythm section is on fire. The drums (Dennis Byron) and additional percussion groove hard. The bass (Maurice) is fat and rhythmic. The guitar (Barry) riffs are sick. Also, there’s a stellar guitar solo by Alan Kendall, who rocks out in this pop/disco/funk joint. The keys, courtesy of Blue Weaver, add warmth. Besides the core instrumentation, the listener is blessed with bright, biting horns characteristic of an era that thrived in orchestration. Of course, where the bread is buttered for the Bee Gees is the vocals and memorable lyrics. Barry Gibb wows with his ripe, top-notch falsetto – truly innovative. Even with the head voice dominating, Barry is commanding and sounds potent to the nth degree. Lyrically, the focus is on something that many men think about – their woman. “My woman, take me higher / My woman, keep me warm,” Barry sings in the first verse, adding in the second, “She’s juicy and she’s trouble / She gets it to me good / My woman, give me power / Go right down to my blood.” Woo! More can be said of “You Should Be Dancing”, but does it need to be? No, because this Bee Gees gem deserves to be listened to on repeat. It never grows old.

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4. Melba Montgomery, “No Charge”

No Charge » Elektra » 1974

“My little boy came into the kitchen this evening / While I was fixing supper / And he handed me a piece of paper he’d been writing on.” What did it say, Melba Montgomery (1938 – 2025)? “For mowing the yard: five dollars / And for making my own bed this week: one dollar,” the country singer narrates. On “No Charge”, her little boy gave her a list of chores and good deeds, amounting to a “Total owed: fourteen seventy-five.” “No Charge” is the song that Montgomery is best known for. Besides topping the country charts, it peaked at no. 39 on the Billboard Hot 100. She originally recorded this classic in 1974, written by the late Harlan Howard. Pete Drake produced. Fittingly, it appeared on her album named No Charge.

Montgomery sings from a maternal perspective. Narrating and singing beautifully with personality and a heavy country twang, she teaches her son a valuable lesson about how love is priceless. “For the time and the tears / And the cost through the years, there’s no charge,” she sings, continuing, “When you add it all up / The full cost of my love is no charge.” The final verse is the most touching:

“Well, when he finished readin’

He had great big old tears in his eyes

And he looked up at me and he said

‘Mama, I sure do love you.’

Then he took the pen

And in great big letters

He wrote: ‘Paid in full.’”

Besides sublime singing and songwriting, the production is sweet too. Supporting Melba’s musical cause are strings, rhythm acoustic guitar, and pedal steel. The acoustic guitar superbly carries the rhythm alongside the drums. “No Charge” is one of country music’s best.

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5. Curtis Mayfield, “Freddie’s Dead”

Superfly » Warner Strategic Marketing » 1972

“Freddie’s dead / That’s what I said.” Word. Without a doubt, Curtis Mayfield is one of the greatest soul musicians of all time. Not only did he shine as a member of The Impressions, but he was a dynamic solo artist. Mayfield charted nine songs on the pop charts, including his ace-in-the-hole, “Freddie’s Dead”. “Freddie’s Dead,” the theme from the blaxploitation film Superfly, was one of two top-10 hits, peaking at number four on the Billboard Hot 100. His self-penned and self-produced “Freddie’s Dead” earned him a gold single. His Superfly soundtrack was also certified gold.

Why is “Freddie’s Dead” the sugar honey iced tea? Many reasons! The instrumental accompaniment is sublime, perfectly capturing the 1970s soul/funk sound. The rhythm section is tight – guitar, bass, keys, and drums. The riffs are on point. Upping the ante and expanding the timbre is the orchestra, marvelously arranged. Ear candy includes lush, soaring strings, gorgeous harp runs, warm woodwinds, and resonant brass. The backdrop is perfect for Mayfield’s instantly recognizable tenor. His voice is gentle and sweet yet packs a mean punch. He masterfully brings the melodies to life, wowing with his songwriting prowess. The theme is far less sweet than Curtis’ voice, however. “Everybody’s misused him / Ripped him off and abused him,” Mayfield sings, characterizing Fat Freddie as a drug dealer and junkie. “Another junkie plan / Pushin’ dope for the man / A terrible blow / But that’s how it goes / A Freddie’s on the corner now.” As we know, Freddie is dead, primarily because of the choices he made. Mayfield warns us, “Don’t wanna be like Freddie, now / ‘Cause Freddie’s dead,” adding, “If you don’t try [to get clean] / You’re gonna die.” Facts 💯. Gems like “Freddie’s Dead” are a testament to the enduring legacy of the Rock and Roll Hall of Fame inductee.

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6. Chaka Khan, “I’m Every Woman”

Chaka » Warner » 1978

“I’m every woman, it’s all in me / Anything you want done, baby, I’ll do it naturally.” Ah, the empowerment, and you don’t have to be a woman to appreciate and embrace it! “I’m Every Woman” commences Chaka, the 1978 gold-certified debut album by the one-and-only Chaka Khan (1953 – ). Nikolas Ashford (1942 – 2011) and Valerie Simpson (1946 – ) penned a dynamic debut solo single for Khan, one of the greatest singers EVER. Arif Mardin produced it. Unsurprisingly, the song was nominated for the Grammy for Best R&B Vocal Performance, Female. A success on the pop charts, “I’m Every Woman” peaked at number 21 on the Billboard Hot 100. As of October 7, 2024, “Woman” was certified gold.

So, what makes “I’m Every Woman” a masterpiece? It begins with Chaka Khan. Her voice is high-flying – dynamic, expressive, nuanced, and sublime. Those biting high notes give you chills. The songwriting is fantastic, the expectation from a dynamic duo like Ashford & Simpson. Chaka lists all the great things women can do. “I can cast a spell / With secrets you can’t tell,” she sings in the first verse, continuing, “Mix a special brew / Put fire inside of you.” Oh, snap! In the second verse, she can “sense your needs,” but she’s got plenty of good old-fashioned love. Say that, Chaka! The bridge distinguishes itself in sound but maintains the empowered sensibilities: “And don’t bother to compare / ‘Cause I’ve got it.” Indeed! Beyond the singing and songwriting, the musical accompaniment and production are terrific. The dance/disco/funk aesthetic is masterfully established from the get-go. The backdrop is colorful with a rich palette of sounds. The rhythm section is locked in, anchored by a mean groove, sweet keys, a big, athletic bass line, and a sick rhythmic guitar. The orchestra is lit, with elegant, rhythmic strings. Beyond Khan’s lead vocals, the backing vocals deserve shout-outs, amplifying her sickening lead. “I’m Every Woman” is Chaka Khan at her best. The late, great Whitney Houston famously covered it!

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7. Andy Gibb, “Shadow Dancing”

Shadow Dancing » Capitol / Peta Gibb » 1978

“You got me looking at that heaven in your eyes / I was chasing your direction, I was telling you no lies.” Ooh-wee, Andy! Grammy-nominated, English pop artist Andy Gibb (1958 – 1988), the younger brother of the iconic music group, the Bee Gees, carved out success in the late 1970s. The song at hand, “Shadow Dancing”, is the opening track from his 1978, platinum-certified, sophomore album, Shadow Dancing. He continues singing in the first verse of his platinum-certified, third number one hit on the Billboard Hot 100, “And I was loving you / When the words are said, baby, I lose my head.” Gibb penned this classic with his oldest brother, Barry Gibb (1946 – ), and his twin brothers, Robin Gibb (1949 – 2012), and Maurice Gibb (1949 – 2003). Barry Gibb, Albhy Galuten, and Karl Richardson produced it.

The bright instrumental intro sets the tone for “Shadow Dancing.” The orchestration and production are big-time selling points. “Shadow Dancing” fits the disco and soul-pop aesthetic of the 1970s. The first time you hear it, the song is a surefire vibe. Although set in a minor key, it still has ample exuberance. A great harmonic progression adds to the musicianship. Speaking of musicianship, Andy Gibb thrives on his playful, youthful vocals. He never sounds as if he breaks a sweat when he sings; there is a cool energy. Gibb does a fine job of bringing the melodies to life. Ultimately, they’re quite tuneful. The lyrics stand out as well. “You are the question, and the answer am I / Only you can see me through,” he sings the pre-chorus, concluding, “I leave it up to you.” The chorus is a section to beat:

“Do it light, taking me through the night
Shadow dancing, baby, you do it right
Give me more, drag me across the floor
Shadow dancing, all this and nothing more.”

Other notes regarding “Shadow Dancing”. It features great vocal harmonies and background vocals. Also, the extended chorus only adds to the glory of this epic disco cut. Gibb ‘shines bright like a diamond’ on this joint without a question!

Appears in:

Andy Gibb, Shadow Dancing: Throwback Vibez 🕶️🎶 No. 83 (2025)

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8. The Staple Singers, “Respect Yourself”

Be Altitude: Respect Yourself » Concord Music Group Inc. » 1972

“If you disrespect anybody / That you run into / How in the world do you think / Anybody’s supposed to respect you?” It’s a legitimate question posed by Pop Staples (1914 – 2000) and The Staple Singers. On “Respect Yourself”, the iconic, Rock and Roll / Gospel Music Hall of Famers speak to the importance of how to treat others with respect – the way you’d want to be treated. Of course, this lack of respect highlighted in this funk/soul classic penned by Mack Rice and Luther Ingram has ties to inequality and racism (“Take the sheet off your face, boy / It’s a brand-new day”). The Be Altitude: Respect Yourself highlight was a big hit, peaking at no. 12 on the Billboard Hot 100.

Al Bell produced “Respect Yourself,” which is set in a minor key. Some of the instrumental highlights include bluesy electric piano riffs, a dynamic horn arrangement with epic riffs, and a fabulous groove anchored by the drums. With Pops taking the lead early, he is supported by the background vocals of Cleotha Staples (1934 – 2013) and Yvonne Staples (1936 – 2018). The vocal harmonies are sweet. Also sweet are the tuneful melodies that accompany the thought-provoking, wise lyrics. The chorus is the section to beat:

“Respect yourself, respect yourself

If you don’t respect yourself

Ain’t nobody gonna give a good cahoot, na, na, na

Respect yourself, respect yourself.”

Pops cedes the lead to Mavis Staples (1939 – ). She delivers incredibly powerful pipes in the second half of the song. Mavis gets political (“Keep talkin’ ‘bout the president / Won’t stop air pollution”) and criticizes ‘ugly’ men with the help of the rest of the Staples (“Oh, you cuss around women folk / And you don’t even know their names / And you’re dumb enough to think / That’ll make you a big ol’ man”). Throughout “Respect Yourself”, The Staple Singers perform with incredible authenticity. Mavis’ ad-libs to close out the song are stellar. It is one of the ‘best of the best’ when it comes to soul classics.

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9. Ramones, “Blitzkrieg Bop”

Ramones » Rhino Entertainment » 1976

“Hey, ho, let’s go!” Woo! That chant hails from one of the most memorable songs from an iconic punk rock band, the Ramones. “They’re formin’ in a straight line / They’re goin’ through a tight wind,” Joey Ramone (Jeffrey Hyman, vocals and guitar, 1951 – 2001) sings in “Blitzkrieg Bop”, continuing, “The kids are losin’ their minds / The Blitzkrieg Bop.” “Bop” is the opener from their gold-certified album, Ramones, released in 1976. Despite never touching the pop charts, the song was certified gold by the RIAA in 2018. Tommy Ramone (Tamás Erdélyi, 1949 – 2014, drums) and Dee Dee Ramone (Douglas Colvin, 1951 – 2002, bass and background vocals) penned the classic with the latter doing the heavy lifting. Craig Leon produced it.

So, what does “Blitzkrieg Bop” mean? ‘Blitzkrieg is a German word meaning lightning war,’ according to the United States Holocaust Memorial Museum. They expound that blitzkrieg was ‘Germany’s strategy […] to defeat its opponents in a series of short campaigns.” As for bop, it is a dance (noun) or to dance. The kids were dancing quickly! Still, with blitzkrieg featured in the title, there are Nazi references. The section to beat is the chorus, which is ear-catching:

“Hey, ho, let’s go

Shoot ‘em in the back now

What they want, I don’t know

They’re all revved up and ready to go.”

There is only one verse that is repeated thrice, excerpted earlier. The second half is composed similarly to the first, where they’re “Pulsatin’ to the backbeat / The Blitzkrieg Bop.” Although it is uncomplicated musically, as with punk, the Ramones kept the chords simple and the energy high-flying, aggressive rhythmic guitar, driving bass, and pummeling drums, on the unforgettable “Blitzkrieg Bop”.

Appears in:

Ramones, Blitzkrieg Bop: Throwback Vibez 🕶️🎶 No. 12 (2025)

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10. Natalie Cole, “I’ve Got Love On My Mind”

Unpredictable » Capitol » 1977

“I’ve got love on my mind.” Say no more, Natalie Cole! Cole won nine Grammys during her career. Notably “I’ve Got Lov e On My Mind” was nominated for a Grammy. “Love” is the fourth track from her 1977 album, Unpredictable. Charles Jackson and Marvin Yancy, Cole’s husband at the time, composed and produced the song. It was one of Cole’s biggest hits, peaking at no. 5 on the Billboard Hot 100.

The theme of the song is simple: L-O-V-E. You can never go wrong when love is fueling the fire. Furthermore, you can’t go wrong when Natalie Cole sings expressively about the universal topic. With tuneful melodies and a sophisticated accompaniment supporting her (the jazzy piano and strings are key sounds), Cole is on autopilot. Regarding love, she sings in the first verse, “And there’s nothing particularly wrong / It’s a feeling I feel inside / When I woke up early this morning / It was staring me straight in my eyes.” Word! In the second verse, she expands, singing of his irresistible touch, his kisses, and waiting for him to return home… Ooh-la-la! Cole does a sublime job of conveying how good and passionate love feels.

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11. Ohio Players, “Let’s Do It”

Honey » UMG Recordings Inc. » 1975

“It takes a L and a O and a V, and a E / It takes you, it takes me, together / Oh, let’s love, we only got one day / Oh, let’s love, to pass the time away.” Grammy-nominated funk band Ohio Players were among the greatest bands ever to do it. Their seventh studio album, Honey, released in 1975, is among their most highly regarded. “Let’s Do It”, the third track, is a stunning ballad focused on matters of the heart. The chorus, excerpted above, is the section to beat. That said, there’s not a dull moment on “Let’s Do It.”

Perhaps it’s not a ‘go-to’ comment, but the harmonic progression is sick. The ascending chromatic portion is epic, sounding ‘churchy.’ Beyond the musical underpinnings, the orchestration and production work are top-notch. The instruments that stand out are the piano, bass, and horns. The drums also ‘hold down’ this love-oriented ballad. Leroy “Sugarfoot” Bonner (1943 – 2013) wows, delivering stellar vocals that ooze with soul. “I’ve only known you for a moment / Oh, but I love you desperately, girl,” he asserts in the first verse. Oh, snap! In the second, he sings, “They say that I’m mean and I’m evil, oh girl / Oh, but how else can a starving man be?” Word. He adds, “If you wouldn’t listen to what they say behind my back, child / You would be making love to me, alright.” The high-flying, high-pitched vocals/ falsetto are everything during the bridge, bringing contrast and amplifying the celestial, romantic listening different (“Let’s do it, please do it / Even you and me can do it…”). “Let’s Do It” is a prime example of an album track that is so good it deserved to be a single. Ohio Players ‘put their foot’ into this one.

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12. Gwen McCrae, “Rockin’ Chair”

Henry Stone’s Best Of Gwen McCrae » Henry Stone Music » 2014

“Sexy baby, good lovin’ daddy / Oh, let me be your rockin’ chair / Just a rock me way from here.” Ooh-la-la, that is, dare I say, sexy. Those memorable lyrics hail from the “Rockin’ Chair” (the chorus), the sole pop hit by the late disco, funk, R&B/soul singer Gwen McCrae (1943 – 2025). McCrae peaked at number nine on the Billboard Hot 100, cementing her status as a one-hit wonder. “Rockin’ Chair” originally appeared on her 1975 album, Rockin’ Chair. Willie Clarke and Clarence Reid penned it, while Clarke, Reid, and Steve Alaimo produced it. Reid released the song in 1974, a year before the McCrae hit arrived.

“Rockin’ Chair” features a funky musical backdrop comprised of a locked-in rhythm section, sweet, tender flute, and mean-sounding, articulated horns. McCrae delivers a powerful vocal performance that’s gritty and oozing with soul. The melody is incredibly tuneful, shaped by McCrae’s authentic, expressive approach. Gwen shows off her attitude and personality beginning with the introduction, with its “mmm(s)” and “ah(s).” Following the centerpiece, the chorus, she drops a pleasant first verse. She asks him to “Let your arms / Shelter me from all hurt and pain, mm / Light my heart / With your everlasting flame.” Aww 🥰! In the second verse, penned similarly, she requests him to “Rock me gently / Make me feel like a cloud in the sky / Whisper softly / Let my heart take wing and fly.” No deep analysis is necessary regarding “Rockin’ Chair”. It is a timeless disco, funk, and soul classic that earned Gwen McCrae her most notable recognition. Still, as talented as McCrae was, she deserved more than one pop hit.

Appears in:

Gwen McCrae, Rockin’ Chair: 1 Hit WONDERful No. 9 (2025)

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13. William Bell, “Tryin’ To Love Two”

‘70s Soul Number 1’s » UMG Recordings, Inc. » 2007

“When you’re trying to love two / It sure ain’t easy to do,” William Bell (1939 – ) sings soulfully on his biggest hit, “Tryin’ To Love Two”. His assertion is correct, considering Bell is trying to manage his main squeeze and a side piece. The song appeared on Bell’s comeback album, Comin’ Back for More, released in 1977 via Mercury. “Tryin’ To Love Two” was Bell’s only top 40 hit. It peaked at number 10 on the Billboard Hot 100. It reached the top spot on the R&B songs chart. Bell wrote and produced this ‘70s gem with Paul Mitchell.

William Bell has a gorgeous musical backdrop supporting him. It is lushly orchestrated with cool woodwinds, sophisticated strings, and articulated, exuberant brass. Also, the rhythm section is locked in with an epic bass line, organ, and guitar. The groove cooks while the instrumental riffs are sickening. Meanwhile, Bell delivers buttery smooth vocals, specifically in the verses. “I got a soman at home / That’s sweet as can be / A woman on the outside / Crazy about me,” he sings, adding, “I’m caught in the middle / Of a three-way love affair / Caught up in this triangle / Can’t go nowhere.” Oh, snap! Adding insult to injury, Bell asserts, “I need to be three men in one.” The section to beat is the chorus, excerpted earlier in all its two-loving glory. Bell’s ad-libs are gritty ad-libs, steeped in southern soul. Beyond his vocals, he is assisted by gorgeous backing vocals. William Bell knows he’s dead wrong, but being dead wrong by “Tryin’ To Love Two” never sounded better than this unforgettable soul gem that screams unfaithfulness.

Appears in:

William Bell, Tryin’ To Love Two: Throwback Vibez 🕶️🎶 No. 77 (2025)

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14. 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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15. Donny Hathaway, “I Love You More Than You’ll Ever Know”

Extension of a Man » Atlantic » 1973

“If I ever leave you, baby, you can say I told you so / And if I ever hurt you, you know I hurt myself as well.” Grammy-winning, highly influential musician Donny Hathaway possessed one of the most expressive and soulful voices, which he shows off in “I Love You More Than You’ll Ever Know”. Shockingly not a Hathaway original, it was written by Al Kooper. Blood, Sweat & Tears originally recorded it. Hathaway covered it on his 1973 album, Extension of a Man. “I Love You More Than You’ll Ever Know” modestly impacted the pop charts, peaking at no. 60 on the Billboard Hot 100. Hathaway is a selfless, trustworthy man in the song. In the second verse, he reminds her, “You know I brought it home [my paycheck] to you baby / And I never spent a red cent.” In the third, he’s willing to be whatever she wants him to be: “I can be king of everything / Or just a tiny grain of sand.” The centerpiece is the chorus:

“Is that any way for a man to carry on?

Do you think I want my loved one gone?

Said I love you

More than you’ll ever know.”

The bridge, which differentiates itself from the rest of the song, has a strong argument as the section to beat (“I’m not trying to be / Just any kind of man…”). Part of the reason is the music. Beyond his dramatic, expressive, and soulful vocals, the instrumental accompaniment is divine. It is marvelously orchestrated, embracing the symphonic nature of soul music in the 1970s (winds and strings in addition to the rhythm section). Hathaway was a skilled arranger. During the bridge, the instrumental is at its best with orchestral touches. Notably, David “Fathead” Newman plays a mean tenor saxophone. Hathaway also plays (piano and organ) alongside his arranging and singing chops. Hathaway scored two top 10 hits, neither of which is “I Love You More Than You’ll Ever Know”. Regardless, this is one of his best songs, showcasing top-notch musicianship.

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Check out my past 1970s-themed playlists

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15 Surefire Classics from the 1970s (2025) [📷: Brent Faulkner / The Musical Hype; Ace, Atlantic, Barry Gibb, Capitol, Concord Music Group Inc., Elektra, Henry Stone Music, Peta Gibb, Rhino, The Estate of Robin Gibb and Yvonne Gibb, The Island Def Jam Music Group, UMG Recordings Inc., Warner, Warner Strategic Marketing; AcatXIo, OpenClipart-Vectors from Pixabay]

15 Surefire Classics from the 1970s | Playlist 🎧

Published by the musical hype on July 9, 2025July 9, 2025