The Miracles, Ain’t Nobody Straight in L.A. | Throwback Vibez 🕶️🎶

In the 115th edition of Throwback Vibez (2025), we recollect and reflect on “Ain’t Nobody Straight in L.A.” by The Miracles.  

The vibes, the vibes, those Throwback Vibez 🕶️🎶! Throwback Vibez 🕶️🎶 is a column that celebrates awesome songs from the past.  The records that grace this column are older, but that doesn’t necessarily mean they’re ancient – no fossils 🦴! All genres of music are welcome. In the 115^th edition of Throwback Vibez 🕶️🎶 (2025), we recollect and reflect on “Ain’t Nobody Straight in L.A.” performed by The Miracles.

“Ain’t nobody straight in L.A. (No hay nadie en L.A. cuerdo) / It seems that everybody is gay (No hay nadie cuerdo).” That is a bold statement, The Miracles.  Even more bold is the fact that “Ain’t Nobody Straight in L.A.” appeared on a mid-1970s album 😮!  Yes, this LGBTQ+-referencing record is the fourth track from City of Angels, released in 1975 album. For more context, this is the “Love Machine” album. By this time, Smokey Robinson was pursuing a solo career, meaning this was the Billy Griffin (1950 – ) era of the iconic Motown collective. Griffin and Warren “Pete” Moore wrote the progressive record while Freddie Perren produced it.

With 1970s records that address the LGBTQ+ community and themes, context is important. This was a different, far less gay era. If “Ain’t Nobody Straight in L.A.” had been recorded in the 21^st century, specifically the 2020s, we would cry foul, at least to some extent. There are more nuanced approaches to singing about same-sex relationships, etc. But, examining it in an era where there were far fewer songs about being gay, this is progressive – ahead of its time. Early on, Billy Griffin gives us facts and observations, singing with that celestial, buttery smooth tenor. “Homosexuality is a part of society,” he sings in the refrain, “I guess that they need some more variety / Freedom of expression is really the thing.” The verse is in Spanglish. It corresponds with the Latin vibes of the instrumental – that percussive groove is everything.  In the second half, The Miracles assert, “Most everyone is AC/DC (Man with man, woman with woman is the trend) / Bisexuals on a loving spree (Holding hands, they’re no longer discreet).” No, not the heavy-hitting rock band, but gay, bisexual, etc. By the end of the song, in the outro, The Miracles show support for the community:

“‘Hey, but wait a minute, man, that’s a gay bar’

‘Hey, man, ain’t nothing but gay bars in Los Angeles’

‘Yeah, Bill, that might be true though, but, uh … you know some of the finest women are in the gay bar’

‘Hey, but dig, Bob, how do you know they women?’

‘… Gay people are nice people too, man.’

‘Yeah, let’s go, man. Let’s go, man.’”

It isn’t the most nuanced conversation, but the band arrives at the right place, you might say. Beyond superb vocals, tuneful melodies, and the intriguing theme and lyrics, the music itself is delightful.  The orchestral arrangement is lush, gorgeous. Perren’s production is superb. If you somehow missed out on “Ain’t Nobody Straight in L.A.” in The Miracles’ illustrious catalog, you must check it out!