♫ It Takes Two ♫

After the events of the evening (the aforementioned cat fight), I was pretty sure there could be no music post tonight, but then … dear David mentioned this song by the wonderful Marvin Gaye, and I knew I had my song for the night!  Thank you, David!

It Takes Two is a hit single recorded in late 1965 by Marvin Gaye and Kim Weston for Motown’s Tamla label.

Produced by Weston’s then-husband, longtime Gaye collaborator William “Mickey” Stevenson, and co-written by Stevenson and Sylvia Moy, It Takes Two centered on a romantic lyric that depicted many things in life (dreams, love, wishes, etc.) being better with two people instead of one. The single became Gaye’s most successful duet single to date, later outperformed by Gaye’s duets with Tammi Terrell.

According to Kim Weston …

“Marvin and I went into the studio together to record the album Take Two. We didn’t pick the tracks, they were picked by Mickey Stevenson, my then-husband, and our producer, but ‘It Takes Two’ had been written by him and Sylvia Moy especially for us and it really worked. Being in the studio with Marvin, I saw a new side to him. I’d traveled and shared bills with him so we knew how each other worked. In the studio he was really encouraging. He added little ad libs, intonations here and there and suggested things for the arrangements. I saw the genius shine out of him but also the frustration. You could hear it in his voice. He wanted more control.  It was a shock when they released the song as a single. I’d already left Motown and gone to MGM. I don’t think Motown knew I was going to leave and I was upset that this came out after I’d gone. I regret never having the chance to sing it live with Marvin. I felt my duets with Marvin really paved the way for what he did with Tammi Terrell next. Our songs influenced theirs, and if I’d stayed at the label I think I’d have been singing those songs with him instead.”

Though Gaye had already racked up a number of hits in the US, this was his first Top 40 hit in the UK. The song reached #14 in the U.S. and #16 in the UK … the Canadians apparently didn’t like it, for it didn’t chart there.  

In 1990, the song was covered by Rod Steward and Tina Turner, where it was a Top Ten throughout Europe.

It Takes Two
Kim Weston and Marvin Gaye

One can have a dream, baby
Two can make a dream so real
One can talk about being in love
Two can see how it really feels

One can wish upon a star
Two can make a wish come true, yeah
One can stand alone in the dark
Two can make a light shine through

It takes two, baby
It takes two, baby,
Me and you
You know it takes two

It takes two, baby
It takes two, baby
Make a dream come true
It just takes two

One can have a broken heart
Living in misery
Two can really ease the pain
Like a perfect remedy
One can be alone in a bar,
Like an island he’s all alone
Two can make just any place
Seem just like bein’ at home

It takes two, baby
It takes two, baby
Me and you
It just takes two
It takes two, baby
It takes two, baby,
To make a dream come true
It just take two

Just takes two
Just takes two

One can go out to a movie
Looking for a special treat
Two can make that single movie
Something really kind of sweet
And one can take a walk in the moonlight
Thinking that’s it’s really nice
But two lovers walking hand in hand
Is like adding just a pinch of spice

It takes two, baby
It takes two, baby
Me and you
Just takes two
It takes two, baby
It takes two, baby
To make a dream come true

Source: LyricFind
Songwriters: Sylvia Moy / William Stevenson
It Takes Two lyrics © Sony/ATV Music Publishing LLC

♫ I’m In A Different World ♫ (Redux)

Tonight’s song by the Four Tops is a redux, but a special one to celebrate the birthday of our dear friend, David.  Now, I won’t tell how old David is today, but suffice it to say that he is 139 days older than I am, and I take great delight in reminding him of that fact!  David loves this song, and when I played it last year, I declared it would be the song of the day on January 18th from then on!

This song, written and produced by the legendary team of Brian Holland, Lamont Dozier, and Edward Holland Jr., is the final recording they did for the Four Tops before leaving the label due to royalty disputes with Motown.

Feliz cumpleaños … Penblwydd hapus … and Happy Birthday, David!  Here’s to many more! 🥂 Cwtch Mawr

I’m in a Different World
Four Tops

In this world of ups and downs my dreams all fall through
Things just don’t work out, no matter what I do
Disappointment haunts me, through each lonely day
The world around I see, in only shades of gray

But when the love light shines upon my face
I’m in a different world
A world I never knew, I’m in a different world
A world so sweet and true, I’m in a different world

I’m no longer just another face in a crowd
Hey, look into my eyes, you’ll see I’m strong and I’m proud
You are all the sweetness of my life, you see
You have brought heaven right here on earth to me
No man of wealth, I know I’ll ever be
But I’ll be satisfied just knowing you love me

On the stage of life I’ve played a loser’s part
It seems like I’ve been down right from the very start
Every time I lift myself up off the ground
Something always happens to bring the curtain down

But when your love light shines upon my face
I’m in a different world
A world so warm and sweet, I’m in a different world
Now that you’ve been loving me, I’m in a different world

Each time you speak my name or put your hand in mine
The empty life I knew, I leave it far behind
‘Cause you gave me the love that I truly felt
Most of all you made me believe in myself
You’re more than a love to me, you’re my way of life
I’ll forever cherish you, more each day and night

Oh,
I’m in a different world

A world that’s warm, a world that’s sweet
A world that’s every bit complete
A world that’s real, you’ve made me see
All the beauty surrounding me
Oh, look what you’ve done for me
Oh, look what you’ve done for me
I’m in a different world, now that you’ve been loving me
I’m in a different world, and that’s where I want to be
I’m in a different world, now that you’ve been loving me…

Songwriters: Brian Holland / Edward Holland / Edward / Jr. Holland / Lamont Dozier / Lamont Herbert Dozier
I’m in a Different World lyrics © Sony/ATV Music Publishing LLC

♫ Neither One Of Us ♫

Now, typically I get a song in my head, check to see if I have played it here before and if so, when.  If it has been played in the past 12 months, I won’t re-play it, but will move on and find another.  Every now and then, though, I make an exception to that rule (I can do that, ’cause it’s my blog so I can break my own rules, just not too often).  The reason for this one tonight is that last night I played another by Gladys Knight, “Best Thing That Ever Happened To Me”, and in the comments, my dear friend David mentioned that if I had played this one, he would “still be relaxed all over the floor”.  Well, since I thought that would be a fun thing to see, I decided to play this one, but then discovered I played it back in May of this year.  Oh well … rules are meant to be broken, so sit back and enjoy!  ( I did make one change from May’s version, and changed to a different video)


I hope you’re in the mood for a bit of soul music tonight, ’cause I bookmarked this one a week or so ago to play, and never got around to it.  Y’know … I’m amazed by how short my memory has become just in the past year, maybe less.  I came up with a song I wanted to play, thought I had never played it, only to find that I played it about two weeks ago!  Wouldn’t you think I could remember that far back?  Sigh.

Released on December 26, 1972 on Motown’s Soul Records, it became one of the biggest hit singles to date for Gladys Knight and the Pips, and was also the last single the group released prior to them leaving Motown for Buddah Records in February 1973.  They had been with Motown for six-and-a-half years, but according to Ms. Knight, she and the group were regarded as a second-string act and that “Diana (Ross) & The Supremes, The Temptations and Marvin Gaye were given all the hits, while we took the leftovers”.

On March 2, 1974, at the Grammy Awards ceremony, Gladys Knight & The Pips won the Grammy Award for Best Pop Vocal Performance by a Duo or Group for Neither One of Us. Previously that same night, they had won their first Grammy for Best R&B Vocal Performance by a Duo or Group for Midnight Train to Georgia.  In 1996, the group was inducted into the Rock and Roll Hall of Fame.

I did not know that Gladys Knight made her singing debut at the age of 4, and three years later, she won a $2000 first prize singing Nat “King” Cole’s Too Young on Ted Mack’s Original Amateur Hour.  Pretty impressive, eh?

Neither One Of Us (Wants To Be The First To Say Goodbye)
Gladys Knight

It’s sad to think
We’re not gonna make it
And it’s gotten to the point
Where we just can’t fake it

For some ungodly reason
Just won’t let it die
I guess neither one of us
Wants to be the first to say goodbye

I keep wondering
What I’m gonna do without you?
And I guess you must be
Wondering the same thing too

So we go on
Go on together living a lie
Because neither one of us
Wants to be the first to say goodbye

Every time I find the nerve
Every time I find the nerve to say, I’m leaving
Memories, those old memories
Get in my way

Lord knows it’s only me
Only know it’s only me that I’m deceiving
When it comes to saying goodbye
That a simple word that I just cannot say

There can be no way, there can be no way
This can have a happy ending, no, no
So we just go on hurting and pretending
And convincing ourselves to give it just one more try

Because neither one of us
Wants to be the first to say
Neither one of us
Wants to be the first to say
Neither one of us
Wants to be the first to say

Farewell my love
Goodbye

Source: LyricFind
Songwriters: James D. Weatherly
Neither One Of Us (Wants To Be The First To Say Goodbye) lyrics © Universal Music Publishing Group

♫ How Sweet It Is (To Be Loved By You) ♫

I read a mention of Marvin Gaye this evening, and that’s about all it takes to get one or another of Marvin’s fantastic tunes rattling around in my head.  This isn’t actually the one that was rattling around in my head … that was I Heard it Through the Grapevine, but since I’ve already played that one twice here, and once already this year, I searched my brain, such as it is, for another and came up with this one.

As is the case with so many great Motown tunes, this one was written by the songwriting team of Holland-Dozier-Holland.  It was inspired by the trademark line of Jackie Gleason, “How sweet it is!” as it was said on The Jackie Gleason Show. Gleason was one of the biggest TV stars of the time.

Lamont Dozier said the lyric was “wishful thinking.” He was …

“… sitting at the piano, fantasizing about how good it would be if the woman I had eyes for was madly in love with me. But the truth is she never gave me a second look. So I created this fantasy world where I was the object of all her affections, a bit of fiction that eventually came true due to my persistence and showering her with affection.”

This was the second of Gaye’s 13 Top-10 hits. His first was 1963’s Pride and Joy, which peaked at #10.  How Sweet It Is reached #6 in the U.S., but only #49 in the UK, and did not chart in Canada.

Eddie Holland came up with the title and hook for this song. The rest of it took a while to put together, and by the time Gaye recorded it, he had to read from lyric sheets because he had not had time to memorize them.  In 2001, ESPN took some heat in the press when they used this song as background music in a Father’s Day tribute featuring athletes and their fathers or kids. Gaye had been shot by his father in 1984.

James Taylor released his version of How Sweet It Is (To Be Loved by You) as the lead single from his album Gorilla (1975). Taylor’s 1975 single has been the most successful remake of the song to date, hitting number one on the Easy Listening chart and number five on the US Billboard Hot 100 chart.  Now, while I am a huge fan of James Taylor, sorry but this song belongs to Marvin Gaye in my book.

How Sweet It Is
Marvin Gaye

How sweet it is to be loved by you
How sweet it is to be loved by you

I needed the shelter of someone’s arms
There you were
I needed someone to understand my ups and downs
There you were
With sweet love and devotion
Deeply touching my emotion
I want to stop and thank you, baby
I wanna stop and thank you, baby
Yes, I do

How sweet it is to be loved by you
Feels so fine
How sweet it is to be loved by you

I close my eyes at night
Wondering where would I be without you in my life
Everything I did was just a bore
Everywhere I went, seems I’d been there before
But you brighten up for me all of my days
With a love so sweet, so many ways
I wanna stop, thank you, baby
I just wanna stop and thank you, baby
Whoa, yes

How sweet it is to be loved by you
It’s just like sugar sometimes
How sweet it is to be loved by you
Whoa, yeah

You were better to me than I was to myself
For me, there’s you and there ain’t nobody else
I wanna stop and thank you, baby
I just wanna stop and thank you, baby
Oh yes

How sweet it is to be loved by you
How sweet it is to be loved by you
Oh now, how sweet it is to be loved by you
It’s like jelly baby
Oh, yeah
How sweet it is to be loved by you
Just like honey to the bees, baby
Yeah, now

How sweet it is to be loved by you
How sweet it is to be loved by you

Source: Musixmatch
Songwriters: Joey Cooper / Harry Tobias

♫ Baby Love ♫

I’m taking you back more than half a century tonight, to 1964 when The Supremes recorded Baby Love and hit #1 on both the U.S. and UK charts.  The Motown songwriting team of Holland-Dozier-Holland wrote this, and according to Lamont Dozier …

“I would collaborate with Eddie on lyrics and with Brian on melodies. Then Brian and I would go into the studio and produce the actual record although Eddie should have been put down as one of the producers because he helped teach the artists the tune when the lyric was finished.”

This was the follow-up to Where Did Our Love Go, The Supremes breakout hit and first #1 in America. That song mentions the word “baby” 68 times, so its fitting that their next single had that word in the title.  Baby Love was released on September 17, 1964, while “Where Did Our Love Go” was still on the charts.

The Supremes became the first Motown act to have more than one American number-one single, and by the end of the decade, would have more number-one singles than any other Motown act (or American pop music group) with 12, a record they continue to hold.

Motown gave this song a big push in the UK, where The Supremes were sent to tour starting on October 7, 1964. On October 15, they performed the song on the popular program Top Of The Pops, and near the end of the tour made an appearance with Paul McCartney and Ringo Starr. On November 25, the song hit #1 on the UK chart, making The Supremes the first Motown group and the first girl group to reach #1 in that territory. It was their only UK #1, as the rest of their career was focused on America. Then second Motown act to hit #1 in the UK was The Four Tops with Reach Out I’ll Be There in 1966.

Baby Love
The Supremes

Baby love, my baby love
I need you, oh how I need you!
But all you do is treat me bad
Break my heart and leave me sad
Tell me, what did I do wrong?
To make you stay away so long

‘Cause baby love, my baby love
Been missing ya, miss kissing ya
Instead of breaking up
Let’s do some kissing and making up
Don’t throw our love away
In my arms why don’t you stay?
Need ya, need ya, baby love, baby love

Baby love, my baby love
Why must we separate, my love?
All of my whole life through
I never loved no one but you
Why you do me like you do?
I get this need

Need to hold you, once again, my love
Feel your warm embrace, my love
Don’t throw our love away
Please don’t do me this way
Not happy like I used to be
Loneliness has got the best of me

My love, my baby love
I need you, oh how I need you!
Why you do me like you do?
After I’ve been true to you
So deep in love with you

Baby, baby, ’til it’s hurtin’ me
‘Til it’s hurtin’ me, baby love
Don’t throw our love away
Don’t throw our love away

Source: Musixmatch
Songwriters: Lamont Dozier / Brian Holland / Eddie Holland

♫ What Becomes of the Brokenhearted ♫ (Redux)

It’s funny how sometimes a train of thought takes one down a track different than the one it started out on, isn’t it?  Tonight, having just finished my ‘good people’ post, I was feeling almost mellow and had a Supremes’ song stuck in my head … right now I cannot remember which one, nor do I have a clue how I got from the Supremees to Jimmy Ruffin.  But, here I am, and while I did play this before, it’s been two years, so most of you have forgotten anyway!  This is a song that somehow stirs emotions within me … good ones, mostly.  When I played this in 2018, most people agreed that both Ruffin’s and Paul Young’s versions were good, but still overwhelmingly chose Ruffin’s as their favourite.  For the record, I agree.


This song was written by Motown writers Jimmy Dean, Paul Riser, and William Witherspoon. They wrote it for The Detroit Spinners, but Jimmy Ruffin convinced the Motown writers to let him try it, and they liked what they heard. Ruffin is the brother of The Temptations’ David Ruffin, by the way.  Smokey Robinson produced the track.

Now, while many artists recorded this song, including The Supremes, I have two favourites and I am torn between the two, so I’m interested in your opinions.  The first is the original by Jimmy Ruffin, released in 1966.  This version hit #6 in the US and #10 in the UK.

In 1992, Paul Young recorded the song and, while it didn’t do as well as the Ruffin version, I still like it.  What do you guys think?  The Jimmy Ruffin version …

Or the Paul Young …

What Becomes Of The Brokenhearted
Jimmy Ruffin/Paul Young

As I walk this land with broken dreams
I have visions of many things
But happiness is just an illusion
Filled with sadness and confusion
What becomes of the broken-hearted
Who had love that’s now departed?
I know I’ve got to find
Some kind of peace of mind
Maybe

The roots of love grow all around
But for me they come a-tumblin’ down
Every day heartaches grow a little stronger
I can’t stand this pain much longer
I walk in shadowsm searching for light
Cold and alone, no comfort in sight
Hoping and praying for someone to care
Always moving and goin’ nowhere
What becomes of the broken-hearted
Who had love that’s now departed?
I know I’ve got to find
Some kind of peace of mind
Help me

I’m searching, though I don’t succeed
But someone look, there’s a growing need
Oh, he is lost, there’s no place for beginning
All that’s left is an unhappy ending
Now, becomes of the broken-hearted
Who had love that’s now departed?
I know I’ve got to find
Some kind of peace of mind

I’ll be searching everywhere
Just to find someone to care
I’ll be looking everyday, I know I’m gonna find a way
Nothing’s gonna stop me now
I’ll find a way somehow
And I’ll be searching everywhere
I know I gotta find a way
I’ll be looking

Songwriters: James Anthony Dean / Paul Riser / William Henry Witherspoonn
What Becomes Of The Brokenhearted lyrics © Sony/ATV Music Publishing LLC

♫ Dancing In The Street ♫

All evening I have had this song in my head.  I was sure I hadn’t played it here, and made a note of it so that I wouldn’t forget this brilliant idea (me?  forget?  surely I jest!)  Only to discover that yes, I played this one in July 2019.  Well, guess what?  You’re getting a redux, for I am exhausted and when I asked my brain to choose another song, it gave me the finger, grumbled, and went back to sleep.  So, Martha and the Vandellas it is, even if I did already play it!


I hope you’re in the mood for a bit of something upbeat tonight, for I am greatly in need of what I think of as ‘happy music’, which often leads me to Motown, and tonight is no exception.

This song was written by Motown songwriters Marvin Gaye, Ivy Jo Hunter, and William “Mickey” Stevenson. It became the biggest hit and trademark song for Martha & the Vandellas.  According to the song’s co-writer Mickey Stevenson, the idea for dancing came to him while riding with Marvin Gaye through Detroit. During the summer, the city would open up fire hydrants and let the water out in the streets so they could play in the water to cool off. They appeared to be dancing in the water.  I actually remember one city I lived in as a child doing that … opening the fire hydrants on hot summer days!

Martha Reeves was the leader of the group.  Back in the early days, she was trying to get her foot in the door at Motown, but they wouldn’t even give her an audition, so she applied for and got a job as secretary.  Part of her secretarial duties was singing lyrics to new songs onto tapes so backup singers could learn the words. This led to fill-in work as a backup singer, where she impressed Motown executives with her voice.  She convinced them to hire her friends, Annette Sterling and Rosalind Ashford, and thus was born Martha and the Vandellas!  After backing up Marvin Gaye on some of his songs, Motown gave them songs to sing on their own, including the hit Heat Wave.

Martha Reeves told the story behind this song …

“Marvin Gaye had recorded ‘Dancing in the Street” when I first heard it, and he had put a real smooth vocal on there, sort of like (jazzy singing) ‘Calling all around the world, are you ready for a brand new beat baby?’ and for some reason, Marvin said, “let’s try this song on Martha.” I was in the office and they let me hear the song, but I couldn’t quite feel it that way. I had been to Rio De Janeiro, I had travelled to New Orleans during Carnival time, so I just knew it had to be somewhere about dancing in the street. I said, ‘Can I sing it the way that I feel it?’ And they said, ‘Go ahead.’

So, I sang it (singing on the beat) ‘calling all around the world are you ready for a brand-new beat,’ and, they loved it. There was all kinds of congratulatory hand slaps and ‘hey man, we got a hit in that window up there,’ and the engineer, Lawrence Horn, looked and said, ‘I didn’t turn the machine on.’

I had to sing it again. So, the second time I sang it, there’s a little bit of anger there because I had to repeat it. It was a straight performance and that’s why it sounds live. I think that’s the secret of the success of the hit – the fact that I had to do it again, and I did it without a mistake or without any interruption, and the feeling was just right on that song.”

The song took on a different meaning when riots in inner-city America led to many young black demonstrators citing the song as a civil rights anthem to social change which also led to some radio stations taking the song off its play list because certain black advocates such as H. Rap Brown began playing the song while organizing demonstrations.

The British press aggravated Reeves one time when someone put a microphone in her face and asked her if she was a militant leader. The British journalist wanted to know if Reeves agreed, as many people had claimed, that Dancing in the Street was a call to riot. To Reeves, the query was patently absurd. ‘My Lord, it was a party song,’ she remarked.

Like many a Motown hit, this song has been covered by many, including The Mamas and The Papas, Val Halen, Grateful Dead, David Bowie & Mick Jagger as a duet, and many more.  But to me, Martha and the Vandellas own this one.

Dancing in the Street
Martha and the Vandellas

Calling out around the world,
Are you ready for a brand new beat?
Summer’s here and the time is right
For dancing in the street.
They’re dancing in Chicago,
Down in New Orleans,
In New York City.

All we need is music, sweet music.
There’ll be music everywhere.
There’ll be swinging and swaying and records playing,
Dancing in the street.
Oh, it doesn’t matter what you wear,
Just as long as you are there.
So come on, every guy, grab a girl.
Everywhere around the world
They’ll be dancing.
They’re dancing in the street.

It’s an invitation across the nation,
A chance for folks to meet.
There’ll be laughing, singing, and music swinging,
Dancing in the street.
Philadelphia, P.A.
Baltimore and D.C. now.
Can’t forget the Motor City.

All we need is music, sweet music.
There’ll be music everywhere.
There’ll be swinging and swaying and records playing,
Dancing in the street.
Oh, it doesn’t matter what you wear,
Just as long as you are there.
So come on, every guy, grab a girl.
Everywhere around the world
They’re dancing.
They’re dancing in the street.

Way down in L.A. ev’ry day,
They’re dancing in the street.
(Dancing in the street.)
Let’s form a big, strong line, get in time,
We’re dancing in the street.
(Dancing in the street.)
Across the ocean blue, me and you,
We’re dancing in the street.

Songwriters: Marvin Gaye / William Stevenson / Ivy Hunter
Dancing in the Street lyrics © Sony/ATV Music Publishing LLC, Carlin America Inc

♫ True ♫

Yesterday a friend mentioned the band Spandau Ballet — a group who I haven’t thought of in probably 30 years, but immediately when I saw the name mentioned, this song, True, came pouring into my head.  Until tonight, I didn’t know the lyrics or the backstory, but I always loved the song.

True was composed by group leader Gary Kemp, who wrote the song at his parents’ house while living there. It is a song that in part pays tribute to the Motown artist Marvin Gaye, who is mentioned in the lyrics, and the sound he helped to establish. According to Kemp …

“I think I wanted to write a song that was a bit like a Marvin Gaye, Al Green song, a blue-eyed soul song. It was at a time when it was me concentrating on melody first rather than the sort of riff and the groove. ‘True’ became a song about writing a love song. Why ‘Why do I find it hard to write the next line? I want the truth to be said?’ Because I didn’t want to write it down—because there’s nothing more embarrassing.”

The song was partly about Kemp’s platonic relationship (and unrequited love) with Altered Images singer Clare Grogan …

“I was infatuated with Clare Grogan. I met her on Top of the Pops and, at one point, travelled up to Scotland to have tea with her and her mum and dad. Although my feelings were unrequited and the relationship was platonic, it was enough to trigger a song.”

Some phrases in the lyrics were adapted from the novel Lolita, a copy of which Clare Grogan had given Gary Kemp.

“The lyrics are full of coded messages to Clare.  I’m still berated for the line ‘Take your seaside arms’ but it’s straight out of Lolita by Vladimir Nabokov, which she had given me as a present – although in the book, it’s ‘seaside limbs.’ The line ‘With a thrill in my head and a pill on my tongue’ is also a bastardisation of Nabokov.”

Kemp did an interview with The Guardian back in 2014 that you might find interesting:  Spandau Ballet: We wanted to design the next decade’s pop culture

Released in 1983, this is the only song by the British group to make the top ten in the U.S.  It hit #1 in Canada, Ireland and the UK, and #4 in the U.S.

True
Spandau Ballet

So true, funny how it seems
Always in time, but never in line for dreams
Head over heels when toe to toe
This is the sound of my soul
This is the sound

I bought a ticket to the world
But now I’ve come back again
Why do I find it hard to write the next line?
I want the truth to be said

I, I-I-I, I
I know this much is true
I, I-I-I, I
I know this much is true

With a thrill in my head and a pill on my tongue
Dissolve the nerves that have just begun
Listening to Marvin (all night long)
This is the sound of my soul
This is the sound

Always slipping from my hands
Sand’s a time of its own
Take your seaside arms and write the next line
I want the truth to be known

I, I-I-I, I
I know this much is true
I, I-I-I, I
Ooh, I know this much is true, I know this much is true

I bought a ticket to the world
But now I’ve come back again
Why do I find it hard to write the next line?
I want the truth to be, I want the truth to be said

I, I-I-I, I
I know this much is true
I, I-I-I, I
Ooh, I know this much is true, I know this much is true

This much is true

This much is true
This much is true
This much is true
This much is true
This much is true
This much is true

I, I-I-I, I, I
Know this much is true
I, I-I-I, I, I
Know this much is true
This much is true
This much is true
I know, I know, I know this much is true

This much is true
This much is true
This much is true (I, I-I-I, I, I)
This much is true
I know this much is true

This much is true (I, I-I-I, I, I)
This much is true
Know this much is true
This much is true (I, I-I-I, I, I)
This much is true
Know this much is true
I know, I know, I know this much is true

This much is true (I, I-I-I, I, I)
This much is true
I know this much is true
This much is true

Source: Musixmatch
Songwriters: Gary Kemp
True lyrics © Reformation Publishing Co Ltd

♫ Lonely Teardrops ♫

Last night I played Nightshift, a tribute to Marvin Gaye and Jackie Wilson, both of whom died in 1984.  I’ve played most of Marvin Gaye’s songs at least once in the nearly 3 years I’ve been doing these music posts, but have only played one by Jackie Wilson, (Your Love Keeps Lifting Me) Higher and Higher.  So tonight, I’d like to remedy that by playing Jackie’s second most popular song, Lonely Teardrops.

Released in 1959, this was written by the Detroit songwriting team who wrote Wilson’s first several hits – the duo of Tyran Carlo (the pen name of Wilson’s cousin Roquel Davis) and a pre-Motown Berry Gordy Jr., along with Gwen Gordy Fuqua, one of Berry Gordy’s four sisters.  They co-wrote eight other songs for Wilson. At the time, Gordy was a struggling songwriter, but this song – his first Top-10 hit as a songwriter – gave him the confidence to rent a building in Detroit and start the Tamla label, which would become Motown.

Many artists have covered this, including Jose Feliciano, teen idol pop singer Brian Hyland and Michael Jackson.  I didn’t listen to any of the other versions, for I’m quite satisfied with the original in this case (plus I’m tired and longing for my bed).

In September 1975, while performing at the Latin Casino in New Jersey, Wilson collapsed from a heart attack and a stroke right in the middle of this song. He never recovered and remained in a coma for eight more years; he was hospitalized until his death on January 21, 1984 (age 49). In tragic irony, the last words he sung before collapsing were “My heart is crying.” The audience at first thought that his fall was part of the act and they started applauding and cheering. It became evident that something was wrong when about half a minute later, he hadn’t moved. The excitement instantly turned into confusion and shock as attempts to revive Jackie on the stage were to no avail.

As far as I can tell, the song only charted in the U.S. (#7), and I’m not sure why, unless Jackie Wilson was just still too much an unknown.

Lonely Teardrops
Jackie Wilson

My heart is crying, crying
Lonely teardrops
My pillow’s never dry of lonely teardrops
Come home, come home
Just say you will, say you will
(Say you will) say you will (say you will)
Hey, hey (say you will)
My heart is crying, crying

Lonely teardrops
My pillow’s never dry of lonely teardrops
Come home, come home
Just say you will, say you will
(Say you will) say you will, (say you will)
Hey, hey (say you will)

Just give me another chance for our romance
Come on and tell me that one day you’ll return
‘Cause, every day that you’ve been gone away
You know my heart does nothing but burn, crying

Lonely teardrops
My pillow’s never dry of lonely teardrops
Come home, come home
Just say you will, say you will
(Say you will) say you will, (say you will)
Hey, hey (say you will)
Say it right now, baby
(Say you will) come on, come on
(Say you will) say that you
Say it right now, baby
(Say you will) come on, come on
(Say you will) hey come on

Source: LyricFind
Songwriters: Berry Jr Gordy / Gwendolyn Gordy Fuqua / Tyran Carlo
Lonely Teardrops lyrics © Sony/ATV Music Publishing LLC

♫ Nightshift ♫ (Redux)

Yes, yes … I played this one just over a year ago … September 2019.  But, I had a request of sorts for it, and as I listened to it again, I really wanted to play it again!  I do love this one, so please bear with me …


This song, released in 1985, is a tribute to singers Marvin Gaye and Jackie Wilson, who both died in 1984. Gaye was a Motown star known for love songs like Let’s Get It On and Sexual Healing. Wilson was an R&B singer known for his stirring performances and hits like Lonely Teardrops. Wilson was 49 when he died; Gaye was 44. Both are in the Rock and Roll Hall of Fame.

The songwriter Franne Golde was brought in to help with the lyrics. She had recently seen the 1982 movie Night Shift (starring Henry Winkler and Michael Keaton; directed by Ron Howard), which gave her the idea for the title.  This is the Commodores’ only hit since Lionel Richie left the band in 1982. J.D. Nicholas, a former backup singer for Diana Ross, was brought in to replace Richie.  When this song was performed on Motown Returns to the Apollo in the early ’80s, more verses were added to honor other Motown legends who had passed on.

Nightshift
Commodores

Marvin, he was a friend of mine
And he could sing a song
His heart in every line
Marvin sang of the joy and pain
He opened up our minds
And I still can hear him say
Aw talk to me so you can see
What’s going on
Say you will sing your songs
Forevermore (evermore)

Gonna be some sweet sounds
Coming down on the nightshift
I bet you’re singing proud
Oh I bet you’ll pull a crowd
Gonna be a long night
It’s gonna be all right
On the nightshift
Oh you found another home
I know you’re not alone
On the nightshift

You found another home
I know you’re not alone
On the nightshift

Jackie (Jackie), hey what’you doing now
It seems like yesterday
When we were working out
Jackie (Jackie, oh) you set
The world on fire
You came and gifted us
Your love it lifted us
Higher and higher
Keep it up and
We’ll be there
At your side
Oh say you will sing
Your songs forevermore (evermore)

Gonna be some sweet sounds
Coming down on the nightshift
I bet you’re singing proud
Oh I bet you’ll pull a crowd
Gonna be a long night
It’s gonna be all right
On the nightshift
Oh you found another home
I know you’re not alone
On the nightshift

Gonna be some sweet sounds
Coming down on the nightshift
I bet you’re singing proud
Oh I bet you’ll pull a crowd
Gonna be a long night
It’s gonna be all right
On the nightshift
Oh you found another home
I know you’re not alone
On the nightshift

Gonna miss your sweet voice
That soulful voice
On the nightshift
We all remember you
Ooh the songs are coming through
At the end of a long day
It’s gonna be okay
On the nightshift
You found another home
I know you’re not alone
On the nightshift

Songwriters: Franne Golde / Dennis Lambert / Walter Orange
Nightshift – Single Version lyrics © Warner Chappell Music, Inc, Universal Music Publishing Group, Reservoir Media Management Inc, BMG Rights Management