meta-scriptOne-Hit Wonderful | GRAMMY.com

news

One-Hit Wonderful

The One-Hit Wonder Day GRAMMY playlist

GRAMMYs/Dec 3, 2014 - 05:06 am

There is very little information available on National One-Hit Wonder Day, other than that it falls on Sept. 25. Even Wikipedia, God's own source of un-fact-checked information, doesn't touch the subject. That said, we think it's worth celebrating anyway.

One-hit wonders have a rich tradition in pop music. Some great, even trend-setting, songs have been one-hit wonders — songs that made an impact that overshadowed the artists' other work.

What is a one-hit wonder? Well, there's no textbook definition. Some say one Top 40 hit is the qualifier. But over the years, we've seen that many songs that hit the 30s often don't become a universal part of our musical lexicon, while some songs that barely make the Top 40 become unforgettable.

So, for our purposes, the songs listed below are, in our opinion, the songs so associated with the artist, defining who they are, that we consider them, in effect, one-hit wonders. And don't be fooled into thinking a one-hit wonder makes the song or the artist somehow second rate. Sometimes it's just fate at work.

 

Domenico Modugno (iTunes>)
"Nel Blu Dipinto Di Blu (Volare)," Record Of The Year, Song Of The Year, 1958

The only foreign-language Record Of The Year winner came the first year GRAMMYs were awarded. The Italian Modugno wrote what became a modern-day standard and then was all but never heard from again on the U.S. charts, save for "Piove (Ciao, Ciao Bambina)," which scratched the Billboard Hot 100 at No. 97 in 1959.

 

Stan Getz & Astrud Gilberto (iTunes>)
"The Girl From Ipanema," Record Of The Year, 1964; GRAMMY Hall Of Fame, 2000

Another song that has become a standard, this one the signature of the bossa nova movement. Gilberto never made the charts again. Sax great Getz did hit No. 15 with the similarly themed "Desafinado" two years prior to "Ipanema," but that success was clearly trumped.

 

Gale Garnett (iTunes>)
"We'll Sing In The Sunshine," Best Folk Recording, 1964

The New Zealand-native had her only hit with this catchy, folkish testament to enjoying the moment. Such wanderlust sentiment as "I will never love you/The cost of love's too dear/But though I'll never love you/I'll stay with you one year" must have been a bit surprising coming from a woman in 1964, but Garnett proved her mettle in becoming a successful actress, journalist and essayist after her singing career.

 

Mason Williams (iTunes>)
"Classical Gas," Best Contemporary Pop Performance, Instrumental, 1968

This guitar-based instrumental hit was huge in 1968, an era that was the heyday for instrumentals. But if you're thinking Williams himself was a one-hit wonder, think again. Before "Classical Gas" ever climbed the charts, he was an Emmy-winning writer for "The Smothers Brothers Comedy Hour."

 

Sammi Smith (iTunes>)
"Help Me Make It Through The Night," Best Country Vocal Performance, Female, 1971

Smith's reading of this Kris Kristofferson classic, in which she views sex rather than love as the cure for her loneliness, made her a bit of a female country outlaw in the early '70s. Whether that explains her only pop hit is hard to say, but she did subsequently enjoy a string of country charters.

 

Les Crane (iTunes>)
"Desiderata," Best Spoken Word Recording, 1971

This spoken-word novelty hit No. 3 on the Adult Contemporary chart, and it became a momentary cultural reference point, even resulting in a National Lampoon parody, "Deteriorata." Crane (real name Leslie Stein), was a talk radio host in San Francisco who ultimately hosted some short-lived TV shows, most notably "The Les Crane Show."

 

Billy Paul (iTunes>)
"Me And Mrs. Jones," Best R&B Vocal Performance, Male, 1972

This sophisticated and jazzy bit of soul from Kenny Gamble and Leon Huff's Philadelphia International machine went all the way to No. 1. Maybe that's what a song about an illicit affair will do for you. Or maybe it was because it was four-plus minutes of smooth R&B perfection.

 

Van McCoy (iTunes>)
"The Hustle," Best Instrumental Performance, 1975

Some say — or bemoan — that this was the first disco record. Not really true, as a number of Gamble and Huff records were developing the beat and lush arrangements of disco in the early '70s, as were R&B hits such as the Hues Corporation's "Rock The Boat." Still, this No. 1 single, named for a dance, really launched the genre. Two things may have contributed to McCoy's one-hit wonder status: He was really a producer/songwriter, and he died at the age of 35 in 1979.

 

Starland Vocal Band (iTunes>)
"Afternoon Delight," Best New Artist Of The Year, 1976

A massive No. 1 record in 1976, the band won the Best New Artist Of The Year award on the strength of this song alone. The group had ties to John Denver, which in 1976 was enough on its own to get you attention. But there was no denying the intoxicating catchiness of the song, or the fact that its omnipresence may have killed their career.

 

Debby Boone (iTunes>)
"You Light Up My Life," Best New Artist Of The Year, 1977

This song was inescapable in 1977, lasting 10 weeks at No. 1 on the Billboard Hot 100. Though it lost out for Record Of The Year to the Eagles' "Hotel California," Boone won the Best New Artist Of The Year trophy. Like so many songs that radio puts in endless rotation, this one ultimately suffered some backlash, which may have impacted Boone's trouble in returning to the Top 40.

 

Bobby McFerrin (iTunes>)
"Don't Worry Be Happy," Record Of The Year, Song Of The Year, 1988

The extremely talented McFerrin has won 10 GRAMMY Awards, but this unusual hit truly stands out. Like "Afternoon Delight" and "You Light Up My Life," this tune suffered from being on repeat for the better part of a year, but it's no doubt one of the few (maybe only) a cappella No. 1 hits.

 

Alannah Myles (iTunes>)
"Black Velvet," Best Rock Vocal Performance, Female, 1990

This Canadian singer hit No. 1 from out of the blue, which may have been appropriate given the bluesy nature of this song and the fact that it sounded like little else on the radio at the time. Of course, it probably never hurts when your song is about the king of rock and roll. Myles broke the Top 40 the following year with the less-bluesy "Love Is."

 

Sir Mix-A-Lot (iTunes>)
"Baby Got Back," Best Rap Solo Performance, 1992

Certainly not the only hit that's an homage to the female form, but one graphic and humorous enough to capture mainstream attention in a big way. This track defined Sir Mix-A-Lot's career, even though he had a number of hit albums and was a self-made hip-hop success.

 

Shawn Colvin (iTunes>)
"Sunny Came Home," Record Of The Year, Song Of The Year, 1997

Neo-folkie Colvin scored a left-field hit in 1997 with this song, off A Few Small Repairs, about either a scorned wife's revenge or a pyromaniac's confession. Either way, it caught fire with fans and critics alike, becoming her only Top 10 hit, earning two major GRAMMY wins. Her follow-up album, Holiday Songs And Lullabies, may help explain why she didn't sustain this level of commercial success, and reveal that she may never have been aiming for it in the first place.

 

Bob Carlisle (iTunes>)
"Butterfly Kisses," Best Country Song, 1997

If there are "chick song" equivalents to "chick flicks," this is one of them. A touching song about a father watching his daughter grow up, it tugged heartstrings all the way up to No. 1 on the Adult Contemporary chart. It was the only charted single for this primarily contemporary Christian artist.

 

Baha Men (iTunes>)
"Who Let The Dogs Out," Best Dance Recording, 2000

Perhaps best known for becoming a football anthem, the pervasiveness of the song belied the fact that it only reached No. 40 on the Billboard Hot 100. It became the novelty song to either love or hate that year, spawned covers by the likes of the Chipmunks and added a phrase to the pop culture lexicon.

 

Norah Jones (iTunes>)
"Don't Know Why," Record Of The Year, 2002

When it comes to artists in the 2000s, it's hard to say whether one-hit wonder status will be lasting, or if they'll make another grand statement. For the moment anyway, Jones' Come Away With Me remains by far her biggest hit, a true debut phenomenon that has sold 10 million copies in the United States alone. "Don't Know Why" only hit No. 30, but Jones had become a mainstream star, though she's deliberately remained a respected musical iconoclast since.

 

Gnarls Barkley (iTunes>)
"Crazy," Best Urban/Alternative Performance, 2006

Singer Cee Lo Green and producer Danger Mouse made not only one of the greatest singles of the year, but one of the greatest singles of the decade. But this was a pair of individual artists coming together, not a true duo. The result? One transcendent hit, a quick follow-up album, and on to other projects, like Cee Lo's recent unmentionable hit.


What's your favorite one-hit wonder? Drop us a comment and let us know.
 

5 Inspirations Behind Norah Jones' New Album 'Visions': Nightly Dreams, Collabs, Harmony Stacks & More
Norah Jones

Photo: Joelle Grace Taylor

list

5 Inspirations Behind Norah Jones' New Album 'Visions': Nightly Dreams, Collabs, Harmony Stacks & More

On her iridescent new album 'Visions,' out March 8, Jones embraces a newer collaborator in Leon Michels, and brings the stuff of phantasmagoria into immediate, organic relief.

GRAMMYs/Mar 8, 2024 - 03:06 pm

Not all Norah Jones fans know this, but her debut 2002 album Come Away With Me was recorded in its entirety a whopping three times. Her latest, Visions, is no less detailed or exacting. But in true Blue Note fashion — it's out March 8, via said label — it sprang from an improvisatory, immediate space.

"I didn't really have a lot of preconceived ideas," Jones tells GRAMMY.com over Zoom, as a typically oppressive winter in New York blurs into spring. ("I like winter," she says. "Sometimes I feel like I'm the only one.") Despite this dearth of advance material, "We just wrote and played," Jones continues. "And, honestly, he's one of the most fun people I get to play music with."

"He" is none other than producer, multi-instrumentalist and two-time GRAMMY nominee Leon Michels; Jones, a nine-time GRAMMY winner and 19-time nominee herself, previously worked with him on her first-ever holiday album, 2021's I Dream of Christmas.

Highlights like "Staring at the Wall," "Running" and "I'm Awake" show Jones is clearly the same artist who made classics like Come Away With Me and 2004's Feels Like Home — but in the ensuing decades, her work has assumed layers of adventurousness and dynamism.

"I love playing music with people and collaborating and trying new things, and I feel very at ease with myself and as myself in all those situations," Jones says. "Which is why it works, I think. I'm not trying to be somebody else when I do this. I'm comfortable, but I love to just try new clothes on musically."

Read on for a breakdown of people, concepts and things that inspired the making of Visions.

Her Podcast "Norah Jones Is Playing Along"

Over 32 episodes and counting, Jones has sat down with everyone from Jeff Tweedy to Seth MacFarlane to Laufey for extemporaneous collaborations and conversations. Jones notes that they're gearing up to release more episodes.

While she doesn't expressly note the podcast as a direct influence, its one-on-one format harmonizes with the dynamic between herself and Michel on Visions.

"I think anything you do influences you in some ways, even if you don't realize how," Jones says. "I've always been a pretty open musician, but I just feel like I get more and more open."

Her Creative Synergy With Leon Michels

When Jones had a shred of an idea — a few lyrics, a sketch of a melody — she would sit at a piano or guitar, Michels would get behind the kit, and they'd jam it out, garage band-style.

From there, the collaborators would add "a ton of harmonies" — more on that later — as well as bass, guitar, horns, organ, or whatever else would elevate the songs.

"The live energy you feel on those recordings is from me and him playing drums and piano or guitar," Jones says, "and just having fun."

Subconscious, Subterranean Zones

As Jones noted in the press materials, Visions came from a space beyond wakefulness.

"The reason I called the album Visions is because a lot of the ideas came in the middle of the night or in that moment right before sleep," she said. She then evoked the lead single: "'Running' was one of them where you're half asleep and kind of jolted awake."

"I think it just all flowed really fast," Jones says in retrospect. "There were some songs that I had to tweak the lyrics more because they were slower to come, but most of them were pretty fast."

Stacking Harmonies — Christmas Style

Two years and change ago, I Dream of Christmas displayed a newer facet of Jones' sound: dense, layered harmonies. It worked so well on those yuletide tunes that Jones and Michels expanded on that concept for Visions.

"I'm always hearing harmonies, and I'm pretty quick at adding them," Jones recalls, and he's always, "Add a harmony, add a harmony, add a harmony." It's really part of the sound of the record."

Jones says this comes straight from her record collection. "It does come pretty naturally. It comes from years of loving music," she says. "I mean, I used to imitate Aretha's background singers. I think it was Cissy Houston. I love that kind of harmony." (Plus, she sang in jazz groups and high school and college, with 10 vocalists as a united throng.)

For Jones' upcoming tour dates on the East Coast, which span May and June, Michels won't be present. But those shimmering, layered vocals will.

Bringing Two More Singers To The Party

Along with four-time GRAMMY-winning drummer extraordinaire Brian Blade and the great, indie-oriented bassist Josh Lattanzi, Jones will perform alongside singers Sasha Dobson and Sami Stevens, who will also chip in on guitar and keys.

"We had our first rehearsal yesterday, and it sounds incredible," Jones says, aglow. She then considers the nuances of bringing studio creations to life onstage.

"Sometimes, you want to hit all the parts and sometimes you can and sometimes you can't," she says. "And you have to strip a song back and it sounds just as great, because it's a good song, and that's always a good feeling."

Onstage, though, Jones says they'll have all the resources to pull it off. Call it Visions come to life, and made material.

Norah Jones On Her Two-Decade Evolution, Channeling Chris Cornell & Her First-Ever Live Album, 'Til We Meet Again

Ain't No Stopping Us Now: The Sound Of Philadelphia Explained In 10 Songs
The O'Jays perform on Soul Train.

Photo: Michael Ochs Archives/Getty Images

list

Ain't No Stopping Us Now: The Sound Of Philadelphia Explained In 10 Songs

2024 marks the 50th anniversary of "T.S.O.P. (The Sounds of Philadelphia)," an anthem that defined Philly soul alongside artists including Kenneth Gamble, Leon Huff and Thom Bell who bridged Motown and disco sounds with classical influences.

GRAMMYs/Feb 9, 2024 - 04:17 pm

2024 marks the 50th anniversary of the song that gave a name to an influential musical phenomena; a song that became an anthem for Philadelphia and for an entire era of Black art and culture. 

Written and produced by Kenneth Gamble and Leon Huff, "T.S.O.P. (The Sound of Philadelphia)" represented the pinnacle of what is known as Philadelphia soul — also called orchestral soul, symphonic soul, or in the words of James Brown trombonist Fred Wesley "putting the bow tie on funk." It’s largely associated with Philadelphia International Records, a label founded and owned by Gamble and Huff in 1971. 

Outside of Gamble and Huff, Philadelphia soul was also engineered by a suite of songwriters and producers like Thom Bell, Dexter Wansel, Gene McFadden, John Whitehead, and Bunny Sigler. Though Philadelphia has long been a musical city — famed 1950s music variety show "American Bandstand" started as a local Philadelphia broadcast program — the sound of Philadelphia gave it a definitive face. 

Philadelphia soul was a transitional, experimental genre that reflected the similarly transitional and experimental culture of the ‘70s. For better or worse, Motown is culturally associated with the fizzy optimism and respectability politics of the integrationist '60s. Disco is pegged as the defining sound of the hedonist, glamorous, sexually liberated late '70s. Philadelphia soul bridged the gap, with an emphasis on self-love, self-determination, and community as the Black struggle raged on.. Philadelphia soul was the sound of a community in motion. 

At the musical foundation of the sound of Philadelphia was the blend of traditional soul and classical influences, as its architects used the cinematic drama of both to express the turbulent emotions of the times through music. Philadelphia soul dominated commercially and culturally for about 10 years before fizzling out of the mainstream, and its disregard for strict genre conventions and emphasis on experimentation paved the way for a sonically diverse R&B landscape. Read on for 10 songs that defined the innovative Sound of Philadelphia.

The Delfonics - "La-La Means I Love You" (1968)

Songwriter and producer Thom Bell — who went on to win the very first GRAMMY Award for Producer Of The Year — helped to put the Philadelphia soul movement in motion with his work with the Delfonics. Bell’s penchant for imbuing soul with the larger-than-life opulence of full orchestral arrangements stemmed from his childhood, as he grew up strictly listening to classical music while he trained to be a concert pianist. 

Bell’s writing and producing partnership with the Delfonics’ lead singer co-songwriter William Hart was one of the first bridges between traditional soul and what would become Philly sound, with songs like the GRAMMY-winning "Didn’t I (Blow Your Mind This Time)" featuring an eclectic blend of instruments like bells, an electric sitar, and a prominent Alpine horn. "Ready or Not (You Can’t Hide from Love)" boasted one of the most bombastic string and horn intros music has ever heard, making it extremely popular song for sampling as it provided the basis for songs like the Fugees’ "Ready or Not," Missy Elliott’s "Sock it 2 Me," and Bridgit Mendler’s "Ready or Not." 

But the Delfonics’ finest moment was their breezy breakout hit "La-La Means I Love You," a homage to ‘50s love songs and doo-wop inflected Motown. Bell’s grandiose string arrangement gives the song a fairytale feel to match the dreamy "la-las." Rounded out by Hart’s buoyant lyrical emphasis ("many guys have come to you / with a line that isn’t true"), "La-La Means I Love You" kicked off Bell’s illustrious writing, producing, and arranging career.

Billy Paul - "Me and Mrs. Jones" (1972)

Billy Paul’s GRAMMY-winning "Me and Mrs. Jones" is peak Philadelphia soul. Released just one year after Philadelphia International Records was established, the perfect storm of Paul’s jazz-trained vocals, a mesmerizing story, and a full Thom Bell orchestral arrangement made for one of the greatest soul songs of all time. It subverts the usual franticness of "cheating anthems" by moving at a luxuriously slow tempo, relishing in Paul’s vocal vamping and the instruments that glide along with him. It’s a song that epitomizes drama, with a jazzy clarinet, crescendoing horns, and syncopated hi-hats creating an intensity that makes the utter silence when Paul belts into the chorus ever more piercing.

The rest of the songs on the album 360 Degrees of Billy Paul are all covers or socially conscious songs; Paul’s stellar bluesy second single "Am I Black Enough For You?" and album tracks "Brown Baby" and "I’m Just a Prisoner" are among the best to come out of Philadelphia soul. "I’m Just a Prisoner" is a stunning reflection on mass incarceration and injustice, with lyrics by Gamble, Bunny Sigler and Phil Hurtt: "Got no trial in sight / This justice they all talk about just ain't right / Has everybody forgotten about me? / Will I ever, ever, ever be free?" 

In his documentary Am I Black Enough For You?, Paul discusses how his decision to lean into songs about Black empowerment and social issues ended up undoing the mainstream success he achieved with "Me and Mrs. Jones" as audiences turned their back on him. 

The O’Jays - "Back Stabbers" (1972)

Back Stabbers brought the O’Jays a Billboard No. 1 song with "Love Train," an iconic ode to world peace and unity that made them synonymous with the success of Philadelphia soul. "Love Train" and the album’s self-titled first single "Back Stabbers" are the yin and yang of the sound, as the mysterious and moody "Back Stabbers" represented its early penchant for creative experimentation. 

"Back Stabbers'' adopts influences from the funky, psychedelic Norman Whitfield sound that was defining Motown in the ‘70s with songs like "Papa Was A Rolling Stone" and "Smiling Faces Sometimes," the latter of which is quoted in "Back Stabbers." In its extended introduction, a thrilling piano gives way to conga and bongo drums, jazzy guitar, and organ, all underscored by sinister-sounding strings and horns. The O’Jays’ Eddie Levert and William Powell engage in a frantic back-and-forth throughout, building the feelings of frenzy. 

As much about the state of the world — one that was in the midst of the Watergate scandal, Vietnam War and mass urban decay — as it is about relationship paranoia, "Backstabbers" is an ode to betrayal, with evocative lyrics like "the blades are long, clenched tight in their fists / Aimin' straight at your back, and I don't think they'll miss." 

The Stylistics - "People Make the World Go Round" (1973)

Philadelphia soul is often called a "producer’s genre," but its iconic lyrics can’t be underrated — many of which came from the poetic imagination of Linda Creed, Thom Bell’s most frequent collaborator. The two primarily worked together on songs for the groups the Spinners and the Stylistics, cranking out R&B staples like "The Rubberband Man" and "You Are Everything." 

Bell instantly hit a creative stride with the Stylistics largely because of his love of lead singer Russell Thompkins Jr. 's tenor voice. In 2023, Rolling Stone included Thompkins Jr. on their 200 Best Singers of All Time list, affirming "[Thompkins Jr.’s] supernally precise singing defined R&B romanticism and gave the falsetto tradition new heights to hit." Bell dialed up his penchant for both sweetness and experimentation for the Stylistics’ production, such as on the Creed-written "You Make Me Feel Brand New" which combines Thompkins Jr’s falsetto and a hypnotic electric sitar for a spiritual feeling. 

Bell and Creed' creative partnership reached its experimental peak with the Stylistics’ "People Make The World Go Round." Creed’s lyrics leaned into poetic commentary on greed and exploitation, like "Wall Street losin' dough on every share, they're blamin' it on longer hair / big men smokin' in their easy chair, on a fat cigar without a care." To complement her experimentation, on top of Bell’s usual stack of orchestration, the song featured wind chimes, marimba, xylophone, and a flute solo. The song’s melody followed a stilted syncopation that reflected the intensity of the subject matter, structuring Thompkins Jr.'s falsetto into a meandering rhythm that turned the usually romantic voice into something haunting.

MFSB - "T.S.O.P. (The Sound of Philadelphia)" (1973)

The literal "sound" of Philadelphia soul is the sound of MFSB (Mother Father Sister Brother), the house band for Philadelphia International Records and the instrumentalists on the vast majority of Philadelphia soul songs. MFSB was a group of 30-plus session musicians at Sigma Sound Studios in Philadelphia, where the majority of Gamble, Huff, Bell and co.’s songs were recorded by engineer Joe Tarsia. 

The rich, symphonic sounds that define Philadelphia soul were brought to life by MFSB, and once they finally claimed the spotlight as a recording act they produced the genre’s most important entry. In 1973 MFSB released "T.S.O.P. (The Sound of Philadelphia)," a song Don Cornelius asked Gamble and Huff to write to become the new theme song for "Soul Train." The result indeed feels like an uplifting, exhilarating train ride.

MFSB had their moment to shine and they delivered; from Zach Zachery’s wailing saxophone outro to Lenny Pakula’s jubilant organ to a dominant drum rhythm by Earl Young, who would go on to be called the father of disco drums and win a GRAMMYfor "Disco Inferno" as a member of the Trammps. The song is tied together with a harmonious bow by the vocals of girl group the Three Degrees, marking the start of their prolific run at Philadelphia International Records with just two lyrics: "people all over the world" and "let’s get it on, it’s time to get down." 

The Three Degrees - "If and When" (1973)

The Three Degrees’ self-titled first album on Philadelphia International Records was released in late 1973, hot off of the success of "T.S.O.P.." At a time when the girl group boom had dried up, the Three Degrees soared to international stardom. (The now-King of England still loves their music, and invited them to sing and party with him on his 30th birthday.) 

The biggest hit on The Three Degrees was "When Will I See You Again," a dreamy song that follows a fairly straightforward Gamble and Huff formula which, like "T.S.O.P.," treats the Three Degrees’ vocals like one of many beautiful instruments in the mix, rather than the centerpiece. The song trails off into a set of harmonies that scratch the surface of what the group is capable of when given the space to shine. 

They shine brightest on "If and When," a wistful, intense ballad that showcases the group as a powerhouse vocal unit. Every second of the song’s sound is emotive and wholly centered on the Three Degrees, with the ornate orchestration and fanfares serving to build up the vocal dynamics rather than the other way around. Around the halfway mark of the song, the brash chorus gives way to a four minute outro where the group erupts into a vocal supernova. The Three Degrees give their finest vocal performance for those lasting minutes of harmonic variations on the chorus, swelling and stretching and blending their voices as elegantly as any orchestra. 

The O’Jays - "For The Love of Money" (1973)

The O’Jays were often the conduit for Gamble & Huff’s philosophies and politics, and the messages in their music became most poignant on 1973’s Ship Ahoy. Ship Ahoy charts historical injustice to diagnose what Gamble and Huff identified as issues still plaguing the Black community. Ship Ahoy’s title track is a nine minute epic pointing to the original sin of Black America, the transatlantic slave trade. Bookended by the sounds of waves and whips, "Ship Ahoy" casts a sorrowful, unflinching spotlight on slavery. 

The rest of the album looked at issues like environmental injustice ("This Air I Breathe") and lack of solidarity ("Don’t Call Me Brother"). Love songs sprinkled in between balance between consciousness and optimism, but Gamble and Huff never shied away from the topics they deemed most important. 

The album’s crown jewel is "For The Love of Money," a moody song about the evils of materialism, lamenting that "people can't even walk the street / because they never know who in the world they're gonna beat for that mean, green almighty dollar." In one of their first big creative departures, Gamble and Huff replaced their typical lovely strings with a funky bass, topped off with background vocal chants warped by echo effects to hammer home the ominousness. Trumpets that sound more like warning sirens, mark the brightest sounds on the song.

Teddy Pendergrass - "When Somebody Loves You Back" (1978)

Teddy Pendergrass’ rise to stardom was a Cinderella story, having been initially hired as a drummer for the group Harold Melvin and the Blue Notes before joining the group as a vocalist. Once the group joined Philadelphia International Records, it became clear to Gamble and Huff that Pendergrass had a standout voice that was perfectly suited to their style and he essentially became the vocal headliner of Harold Melvin and the Blue Notes. 

With a voice Rolling Stone listed as the 42nd greatest of all time, Pendergrass was the lead on all of the group’s biggest hits, such as "If You Don’t Know Me By Now," "Wake Up Everybody," and "The Love I Lost." 

A solo breakout was inevitable, and Pendergrass went on to become the first Black artist to have five consecutive platinum albums. Debuting in the midst of disco’s late ‘70s reign, Gamble, Huff, and Pendergrass leaned heavier into pure soul than many of their peers. Pendergrass’ baritone voice balanced Gamble and Huff’s ornamental productions with sensual grit. Combined with Pendergrass’ abundance of natural charm and charisma, his stream of bedroom songs like "Close the Door," "Come Go With Me," and "Turn Off The Lights" made Pendergrass into a prolific sex symbol. But the more saccharine "When Somebody Loves You Back" showcases his musical partnership best, as Gamble and Huff amplify a feeling of dizzying elation with playful horns and a whirlwind of strings cushioning Pendergrass’ giddy celebration of loving and being loved. 

McFadden & Whitehead - "Ain't No Stopping Us Now" (1979)

Gene McFadden and John Whitehead mastered the art of putting the "message in the music," and proved to be two of the greatest lyricists of Philadelphia soul. At their sentimental best they co-wrote The Intruders’  "I’ll Always Love My Mama" and Harold Melvin and the Blue Notes’ "Wake Up Everybody," channeling their cynical sides for Harold Melvin and the Blue Notes’ "Bad Luck" and the O’Jays "Back Stabbers." Their songwriting specialty was storytelling, and eventually they wanted to be the ones singing the stories. 

McFadden & Whitehead’s first single off their debut album was "Ain’t No Stopping Us Now," where Philadelphia soul explicitly dovetails into disco, as peppy drum kicks and a synthy keyboard augment the sound. One of the most optimistic songs of all time, "Ain’t No Stopping Us Now" is naturally anthemic, lending itself well to sports and other pursuits of victory with lyrics like "we won't let nothing hold us back, we're puttin' ourselves together, we're polishing up our act. / And if you've ever been held down before, I know you refuse to be held down any more." It became not only their signature hit but a national anthem for Black American prosperity, and was used prominently on Barack Obama’s 2008 presidential campaign trail. 

The Jones Girls - "Nights Over Egypt" (1981)

One of Philadelphia International Records’ most prolific songwriters and producers was Dexter Wansel, who created a cosmic fantasyland in his musical corner of the world. As he stated in 2018, "I did a lot of instrumentation that was experimental. I’ve always thought of outer space as being my guideline." Wansel’s own underrated debut album on Philadelphia International Records, Life on Mars, layered warbling synthesizers on top of funk and jazz fusion to convey his take on cosmic liberation. Its standout "Theme from the Planets" can be heard in hundreds of samples, notably in the drums and bass line of Dido’s "Thank You" (and thus in Eminem’s "Stan").

Wansel was then perfectly positioned for Philadelphia soul’s transition from classical influences and disco cheer towards the slicker, more future-focused R&B of the 1980s. His collaborations with the Jones Girls were some of the most successful examples of this transition, with vocal dexterity that made them as suited to symphonies as they were to funk. Wansel and co-writer Cynthia Biggs channeled the Egyptology influences that were prominent in Afrofuturist funk for the Jones Girls’ "Nights Over Egypt." A song that married strings and harps with groovy jazz fusion, it became emblematic of the quiet storm subgenre that boomed in the early ‘80s. 

21 Albums Turning 50 In 2024: 'Diamond Dogs,' 'Jolene,' 'Natty Dread' & More

New Music Friday: Listen To New Music From RIIZE, Norah Jones & Dave Grohl, Mr. Eazi & More
Jacob Collier performing in 2023

Photo: Mike Lewis Photography/Redferns via Getty Images

list

New Music Friday: Listen To New Music From RIIZE, Norah Jones & Dave Grohl, Mr. Eazi & More

As we hurtle into spooky season, listen to these spooky tracks from Mr. Eazi, RIIZE, Norah Jones & Dave Grohl and more.

GRAMMYs/Oct 27, 2023 - 04:56 pm

As Halloween approaches, this New Music Friday offers a potion of nostalgia, emotions and fresh sounds.

From RIIZE — K-pop's rising stars, who are mesmerizing listeners with their pop hit "Talk Saxy" — to Norah Jones & Dave Grohl uniting for an unexpected collaboration with "Razor," many different genres are being represented today.

Keeping old times alive, Taylor Swift released her highly-anticipated Taylor’s Version of 1989, and Duck Sauce is bringing back their 2011 "Barbra Streisand" sound with their new dance single, "LALALA."

Listen to these seven new tracks and albums that will gear you up for spooky season 2023.

RIIZE - "Talk Saxy"

K-pop’s rising stars, RIIZE, are making a vibrant musical return with their new single, "Talk Saxy," a hypnotic dance track that adds a level of depth to their sound even including a catchy saxophone riff. The lyrics focus on attraction to a stranger, and wanting to get their attention.

"Talk to me exactly what you feel / Hide nothing, show me all and everything / It’s okay, let your heart do what it wants / Get it straight to the point / Talk Saxy," RIIZE croons on the chorus.

This track follows their debut single "Get a Guitar," which launched their announcement that they’d signed with RCA Records. RIIZE is the first boy band group to hail from SM Entertainment since Kpop group NCT. RIIZE members, Shotaro and Sungchan, are notably from NCT, and departed from the K-pop group this year.

Norah Jones & Dave Grohl, "Razor"

Dave Grohl, the frontman of Foo Fighters, graced jazz-pop singer Norah Jones’ podcast with special musical performances, including a cover of "Razor," a rare gem from the Foo Fighters 2005 In Your Honor album.

The track features a calm beat with a tranquil melody and guitar strings and piano, blending their strengths seamlessly. This track follows their collaboration on the In Your Honor track "'Virginia Moon."

During this podcast, Jones announced the release of a Black Friday Exclusive LP Record dropping on Nov. 24. Featuring a collection of podcast episodes with fellow musicians, this looks to be a real treat for fans of Jones and/or her estimable guests.

Jacob Collier feat. Michael McDonald and Lawrence - "Wherever I Go"

Jazz musician Jacob Collier has dropped the song "Wherever I Go," a look into his forthcoming album, Djesse Vol. 4. A track inspired by idols from his childhood including the Doobie Brothers, Stevie Wonder and more, he’s made a standout collaboration with Michael McDonald and Lawrence to craft a memorable record.

The two-minute track, which includes a strong bassline and soulful vocals, paints an illustration of loneliness from their lover.

The four-part journey of Djesse has gained him five GRAMMY awards and 11 nominations. With Djesse Vol. 4, collaborations such as "Little Blue" with Brandi Carlile to Ty Dolla $ign and Kirk Franklin are showcasing Collier’s versatility and knack for genre syntheses.. He also announced a 2024 North American tour with musicians Kemba and Emily King, celebrating the release of this album.

Mr Eazi - The Evil Genius

Afrobeats sensation Mr. Eazi has unveiled his debut album The Evil Genius. The 16-track record shows Eazi’s ability to blend his rhythms from his hometown Nigeria, with hypnotic grooves from Ghana where he spent most of his years.

The Evil Genius takes listeners through his roots, family, love and loneliness in three acts. His skill in blending different styles of music like Gospel and Ghanian styles, makes him the global phenomenon he is. Eazi chose 13 African artists from eight countries to collaborate on this album, bringing together different parts of Africa.

Enhancing the music album, he has introduced a global art exhibition in Ghana, which features work from young artists across Africa.

Tiësto with Tears for Fears, NIIKO X SWAE, GUDFELLA - "Rule The World (Everybody)"

American DJ & singer Tiësto dropped a fresh new track with Tears For Fears, NIIKO X SWAE and GUDFELLA for a reimagining of the 1985 "Everybody Wants To Rule The World." This heart-racing banger has blended stylistic worlds to imbue a classic song with an even catchier, dance-flavored beat.

NIIKO X SWAE originally released an unofficial remix on Soundcloud, which then went viral on social media.. "Rule The World (Everybody)" could certainly become a new party anthem to put on your ‘Halloweekend’ playlist.

Maria José Llergo - ULTRABELLEZA

Spanish singer María José Llergo released her newest album ULTRABELLEZA, following her 2020 Sanación. The album features songs that transverse between genres like "NOVIX," which features a intricate, Latin rhythm and "Superpoder," a star-studded pop song.

"Flamenco is like the blues," she said in a NY Times interview.  Liergo discusses how she incorporated Flamenco, a Spanish art form, into her album in hopes of keeping her cultural traditions rooted in the lyrics that "tell stories of survival — it’s always been a way for the most oppressed to escape."

Duck Sauce - "LALALA"

The hitmakers behind 2010 classics "Barbra Streisand" and "Big Bad Wolf" are back with another dubsmash single called, "LALALA." This duo has made another infectious dance track, which makes listeners transports them to the wildest party of their dreams. "LALALA" feels reminiscent of their past collaborations together, keeping up the nostalgia theme on this special Friday.

The GRAMMY-nominated producers behind Duck Sauce, Armand Van Helden and A-Trak, have recently joined Defected Records’ D4 D4NCE imprint. Keep checking GRAMMY.com on Fridays for a sampler platter of new sounds!

Global Spin: JINI Is Impatient In Love During This Passionate Performance Of Her Debut Solo Single, "C'mon"

news

New Music Friday: Listen To New Music From Norah Jones & Dave Grohl, Mr. Eazi, RIIXE and more

As we hurtle into spooky season, listen to these spooky tracks from Mr. Eazi, RIIZE, Norah Jones & Dave Grohol and more.

GRAMMYs/Oct 27, 2023 - 02:35 pm

As Halloween approaches, this New Music Friday offers a potion of nostalgia, emotions,  and fresh sounds.

From RIIZE — K-pop's rising stars, who are mesmerizing listeners with their pop hit “Talk Saxy” — to Norah Jones & Dave Grohl uniting for an unexpected collaboration with “Razor,” many different genres are being represented today.

Keeping old times alive, Taylor Swift released her highly-anticipated Taylor’s Version of 1989, and Duck Sauce is bringing back their 2011 “Barbra Streisand” sound with their new dance single, “LALALA.”

Listen to these seven new tracks that will gear you up for spooky season 2023.

RIIZE - “Talk Saxy”

Kpop’s rising stars, RIIZE, are making a vibrant musical return with their new single, “Talk Saxy,” a hypnotic dance track that adds a level of depth to their sound even including a catchy saxophone riff. The lyrics focus on attraction to a stranger, and wanting to get their attention. 

“Talk to me exactly what you feel / Hide nothing, show me all and everything / It’s okay, let your heart do what it wants / Get it straight to the point / Talk Saxy,” RIIZE croons on the chorus. 

This track follows their debut single “Get a Guitar,” which launched their announcement to signing with RCA Records. RIIZE is the first boy band group to hail from SM Entertainment since Kpop group NCT. RIIZE members, Shotaro and Sungchan, are notably from NCT, and departed from the K-pop group this year.

Norah Jones & Dave Grohl, "Razor"

Dave Grohl, the frontman of Foo Fighters, graced jazz-pop singer Norah Jones’ podcast with special musical performances, including a cover of “Razor,” a rare gem from the Foo Fighters 2005 In Your Honor album.

The track features a calm beat with a tranquil melody and guitar strings and piano, blending their strengths seamlessly. This track follows their collaboration on the In Your Honor track “'Virginia Moon.”

During this podcast, Jones announced the release of a Black Friday Exclusive LP Record dropping on Nov. 24. Featuring a collection of podcast episodes with fellow musicians, this looks to be a real treat for fans of Jones and/or her estimable guests.

Jacob Collier feat. Michael McDonald and Lawrence - "Wherever I Go"

Jazz musician Jacob Collier has dropped the song “Wherever I Go,” a look into his forthcoming album, Djesse Vol. 4. A track inspired by idols from his childhood including the Doobie Brothers, Stevie Wonder and more, he’s made a standout collaboration with Michael McDonald and Lawrence to craft a memorable record. 

The two-minute track, which includes a strong bassline and soulful vocals, paints an illustration of loneliness from their lover. 

**The four-part journey of Djesse has gained him five GRAMMY awards and 11 nominations. With Djesse Vol. 4, collaborations such as “Little Blue” with Brandi Carlile to Ty Dolla $ign and Kirk Franklin are showcasing Collier’s versatility and knack for genre syntheses.. He also announced a 2024 North American tour with musicians Kemba and Emily King, celebrating the release of this album.** 

Mr Eazi's - The Evil Genius

Afrobeat sensation Mr. Eazi has unveiled his debut album The Evil Genius. The 16-track record shows Eazi’s ability to blend his rhythms from his hometown Nigeria, with hypnotic grooves from Ghana where he spent most of his years.

The Evil Genius takes listeners through his roots, family, love and loneliness in three acts. His skill in blending different styles of music like Gospel and Ghanian styles, makes him the global phenomenon he is. Eazi chose 13 African artists from eight countries to collaborate on this album, bringing together different parts of Africa.

Enhancing the music album, he has introduced a global art exhibition in Ghana, which features work from young artists across Africa.

Tiësto with Tears for Fears, NIIKO X SWAE, GUDFELLA - "Rule The World (Everybody)"