hughesjr's channel

Wayyyy too long Mr. Whitfield. It drags like a Sherman Tank in a taffy pull.

Out now on cd coupled with STEP INTO OUR LIFE

Key is a little too high for him.

@myboylollipop09 As a horn player, this is the perfect pitch. It's in the key of B-flat.

Kinda bubblegum.

Q: What kind of cigars does Sparkle Josh smoke?

A: Swishy Sweets

Grammy Nomination for Best R&B Instrumental Performance, 1979. Co-written by Ray Parker, Jr. Vocals by Arista recording artists The Waters.

This lady can flat-out sing!!!! It's like Aretha Franklin meets Pat Benetar!

Even Richard Simmons told billy to tone it down LOL

Directed by former Monkee and video music pioneer Michael Nesmith.

This song seems so beneath Travis during the latter part of his career. I can see if it was on his first or second album. But a seasoned vet like Tritt is too good for this type of bubblegum country.

#3 R&B, #17 POP.

@p0psHarlow The same Sylvia that produced Shame Shame Shame, Love On A Two Way Street, Rapper's Delight and the Message, the first rap recording inducted into the Library of Congress.

R.I.P. Sylvia Robinson.

R.I.P. Sylvia Robisnon.

One of the most comical Prince clones of the 80s. Motown was reaching for a hit.

sounds like something you'd hear on the love boat.

Love how she belts towards the end

Should have gone higher than #90 POP.

The b-side to "They're Coming To Take Me Away Ha Ha" should have been "They're Coming To Take Me Away Ha Ha--Instrumental" LOL

This song went #9 DANCE

This album is now on cd along with WHITE NIGHT

Motown bought out the J5's Steeltown contract on the condition that label owner Keith Gordon had to have a song on the group's first two albums. This one and "True Love Can Be Beautiful" (on the ABC album) fulfilled that agreement.

#29 POP

THUG BACKGROUND: Big!! Strong!!!!

MARGIE: I like the way you workout!

THUG BACKGROUND: Big!! Strong!!!!

MARGIE: I like those tight jeans

Gotta love it LOL

#45 R&B. Written by Leon and Ricky.

This sketch is stuck in 1978. Gay bars have progressed very much since then.

Ooooo yeah. She had trouble hitting notes on this one. She was definitely feeling the effect of her drug habit here.

Went to #44 POP on Billboard Hot 100

Two of the background singers on this record was future songwriter hall-of-famers Nick Ashford and Valerie Simpson.

Valerie Simpson (of Ashford and Simpson) is the lead vocalist here.

The first hit (#2 R&B, #35 POP) in which Stevie received credit as a producer. The label proudly read PRODUCED BY DON HUNTER and STEVIE WONDER.

co-written by Eddie Kendricks.

Guitar solo by Ray Parker Jr. All other instruments by Stevie.

Mary's only post-Motown top 40 pop hit (#13 R&B, #34 POP). Co-written by former Motown recording artist Barrett Strong, who was living in Chicago at the time. He moved back to Detroit in 1967 and hooked up with Norman Whitfield to co-write even more soul classics.