Really?

Do you mean Cuba Gooding, Sr?

Yes that's true

​@@markmcallister9431YES. They even look alike.

​@@lindalou6105Yes

I actually like this song better.

Yes, I think this is a better song, but I love both!

How about You've Been My Inspiration, Spinning Around, Happiness Is Just Around the Bend, and Rolling Down the Mountain Side. They've had way more that one hit.

When u don’t know anything about the artist please be careful with your words..some family members of these groups are watching 👀

Even though The Spinners have been inducted into the National R&B Hall of Fame and Rock & Roll Hall of Fame, it just feels like that group doesn't get the mainstream respect that they earned. They put out some absolutely timeless music and did it for at least 3 decades (1960s, 1970s, and 1980s). Very few bands of any genre or generation can accurately claim that type of success and longevity. After the marathon is over, it would be great to see the guys dip into The Spinners vast catalogue for a reaction. I was also thinking about the group Cornelius Brothers and Sister Rose from the early to mid 1970s as well. They wouldn't fit in the "one hit wonder" marathon as they had two top #5 hits ("Treat Her Like A Lady" and "Too Late To Turn Back Now," a personal favorite from that era). Cornelius Brothers and Sister Rose could be another real nice band to introduce after the marathon as well. As a final thought, I did recall another interesting "one hit wonder" from the 1960s. The song "You Were On My Mind" was originally written by Sylvia Tyson, who was in a Canadian folk/country duo with her then-husband Ian. The duo recorded Sylvia's song in the mid-1960s, but it initially was not a hit in their native Canada or America. However, an American folk/pop group called "We Five," led by founder Michael Stewart (brother of John Stewart, a former member of The Kingston Trio, the writer of the song "Daydream Believer," and a solo artist with a hit entitled "Gold" during the 1970s). Apparently, Stewart rearranged Sylvia Tyson's original version of "You Were On My Mind," putting it more along the folk/pop sound that was picking up popularity throughout America in the mid-1960s. Sure enough, the We Five version of "You Were On My Mind" reached inside the top #5. The song was so popular that We Five were nominated for the Grammy Award for Best Performance By A Vocal Group alongside The Beatles that year, but neither band actually won the award. We Five did score another hit in the top #35 with the song "Let's Get Together." Fascinatingly enough, that song had its titled changed, it was rearranged a bit, recorded, and released by the band The Youngbloods, who made it a top 5 smash best known as "Get Together," a song which came to be viewed as a reflection on the notions of American subculture and pop culture in the late 1960s. Perhaps in a stroke of bad luck, We Five turned down the opportunity to record "Daydream Believer," which would go on to be a #1 hit for The Monkees in the late 1960s. As for Ian and Sylvia Tyson, they never had a hit song in America (beyond We Five's version of "You Were On My Mind") but they did achieve a #1 song ("Early Morning Rain" written by Gordon Lightfood), a top 5 song with a re-recorded and re-released "You Were On My Mind" in the early 1970s, with those two songs sandwiched between another top #25 hit in their native Canada. Both Ian and Sylvia Tyson would later be inducted into the Canadian Country Music Hall of Fame and Canadian Songwriters Hall of Fame. Their song "Four Strong Winds" was voted in a Canadian Broadcasting Corporation poll (as of the early 2000s) to be the greatest Canadian song of all time. So, a significant amount of interesting developments for several different groups, all potentially started by We Five's recording of "You Were On My Mind," their "one hit wonder." This intertwined web shows how music can be such a crazy business with a lot of career defining dominoes that can fall at any moment.

Love The Spinners.

TOTALLY agree!!

We did!

Their voices are even very similar❤❤❤❤

I was going to type that exact same message and just did a quick scan to see if anybody else beat me to the punch so bravo

@@jeffchampagne5587 Being an old man I remember both when this song dropped for Cuba Sr. and when I first saw Cuba Jr. I immediately knew and saw the relationship.

Nope, the Stampeders had a ton of hits - Carry Me, New Orleans, Oh My Lady, Wild Eyes and many more. Great suggestion though!

Nope. Not in the US where the boys are from@@Zebred2001​ The Stampeders reached #40 with a remake of "Hit The Road Jack." In the US they are a one-hit wonder.

​​@@legman1476First, The Stampeders are a Canadian band and secondly, they had at least 3 charted singles in the US: Sweet City Woman, Monday Morning Choo Choo (charted low but still charted) and Hit the Road, Jack.

Chi-Lites was the first album I ever in early 70s, bought with my babysitting money

@@Zebred2001 The only hit that I know of was "Sweet City Woman", I don't think their other songs were big or successful in the U.S., maybe othe countries but I love that song.

He's not wrong ^^^^^

The cover by Uncle Kracker is better. Just kidding! lol Love Dobie Gray's song!

He's Not Wrong.... He's Not Wrong.... He's Not Wrong.... He's Not Wrong.... He's Not Wrong.... 🤣🤣🤣🤣🤣

@@Jude_196 Ha!!!

@@jgsrhythm100 😆

Classic!

Can you dig it? I knew that you could.

LOL

I still have the 45!

True, the Hippies from the early '70s could never have predicted the Disco/Punk movements in late '70s. The late '60s was just springboard for the '70s.

Absolutely! Love, love, love this song!

Heyyyy, heyyyyy…. ❤❤❤

Love that song!!

"What Becomes Of The Broken Hearted" is a for sure Motown classic. Interestingly enough, Jimmy Ruffin scored another top #10 hit in America an incredible 14 years later with the song "Hold On (To My Love)." Another fascinating note about that song is that it was co-written and co-produced by Robin Gibb of The Bee Gees and Blu Weaver, the keyboardist for The Bee Gees during their peak of popularity in the 1970s. Perhaps in a musical irony, David Ruffin, Jimmy's younger brother and lead singer with The Temptations on such classics "My Girl" and "Ain't Too Proud To Beg," would go on to have exactly two solo hits of his own. Ruffin's incredible song "My Whole World Ended (The Moment You Left Me)" was just inside the top #10 in the late 1960s and "Walk Away From Love" also peaked slightly better than top #10 in the mid 1970s. Two brothers, 4 mainstream solo hit songs, but truly amazing talents.

@@user-lq4qe7pj9s Walk Away from Love is a great one too. What Becomes of the Brokenhearted will always bring me back to Fried Green Tomatoes as it’s placed in a great scene.

Thanks for the reply. While Jimmy Ruffin's 2nd solo hit was on a different label, it is truly mind-boggling to consider that Motown had OVER 50 #1 songs on the pop charts from 1961 to 1985 during the time that Berry Gordy owned and ran the label. As one might imagine, the "classic" period for Motown's biggest success was 1961 to 1970, when the label had nearly 30 #1 hit songs in less than 10 years. From 1971 to 1985, the label was still extremely successful with over 25 #1 hit songs in less than 15 years. Here's a breakdown of the artists and groups that accounted for those top of the chart tunes (listed by number of #1 songs during that time frame): *The Supremes: 12 *Stevie Wonder: 8 (Interesting Note: Given his incredible creative longevity and talent, Wonder sang the 2nd & 2nd to last #1 pop songs for Motown during this period) *Diana Ross: 5 (Interesting Note: From her time as the lead singer of The Supremes, her solo songs, and her duet with Lionel Richie, Diana Ross sang or was part of singing co-lead on an astounding 18 #1 pop songs during this period) *Lionel Richie: 4 (Interesting Notes: Between his lead singing work with The Commodores, his solo songs, and his duet with Diana Ross, Richie would sing or co-lead sing on 7 #1 songs during this time. Richie would also account for the final #1 song for Motown during this period) *The Temptations: 4 *The Jackson 5: 4 *Marvin Gaye: 3 *The Commodores: 2 *The Four Tops: 2 *The Miracles: 1 (Interesting Note: The Miracles had 2 #1 pop hits during this period; the first was with Smokey Robinson as the lead vocalist and the 2nd was as a standalone group) *Diana Ross & Lionel Richie: 1 *Thelma Houston: 1 *Eddie Kendricks: 1 *Michael Jackson: 1 (Interesting Note: As lead singer of The Jackson 5 and through his solo music with Motown, Michael Jackson would be the primary singer on 5 #1 songs during this time frame) *Smokey Robinson & The Miracles: 1 *Edwin Starr: 1 *Mary Wells: 1 *The Marvelettes: 1 (First #1 pop song for Motown) While I'm sure there are record labels out there that equal or perhaps exceed the total of #1 pop songs from this time frame, Motown releasing over 50 #1 songs in less than 25 years is a truly amazing accomplishment.

@@user-lq4qe7pj9s great stuff. As a classic rocker, who lived for concerts starting in 1976, I never got to see these artists live because I wasn’t smart enough to break out into other styles, but for some reason this music is still in my memory. Probably because radio played all kinds of stuff back then.

Oh yeah! Do that one!

I used to think it was Blood, Sweat and Tears that performed it.

I can see why you say that, Talley; the vocalist sound similar to David Clayton-Thomas of Blood, Sweat, and Tears, and the bands share that same jazzy, funky sound. @@TallyDrake

Get Together is an awesome song. Still holds up today!

I second "Waking in Memphis"!!

kzfaq.info/get/bejne/qcCqjaeT2sqbfoE.htmlsi=e6FNF1CUssaKR_Fp Very good point about an adaptation of the early "Motown Sound" with this song, which could be a reason why Nick commented that it sounded "older" than the early 1970s. I could easily see the legendary songwriting team of Holland-Dozier-Holland or other great Motown staff songwriters coming up with this for The Four Tops or The Temptations in the early 1960s. However, the thing that tips off how well this song has been received and it is so brilliant are the number of times that it's been sampled over the years. From what I could find, it looks like it has been used in OVER 15 other songs from the late 1980s all the way to the early 2010s. That's an awful lot of artists, writers, and producers that have been influenced by this song in their own music. For anyone that might want to hear the instrumental only track, it is the above link at the top. Another super choice for the marathon and great reaction from the guys on this one.

I dropped that one on the suggestions thread, back in the "community" (when that was goin' on), too. 👍👍 A unique, unexpected, unavoidable hit, that summer! Very cool tune. Excellent memories. "Earworm" qualities! 🤘🤘 [Plus: a Dutch band accurately 'discussing'/delineating the geography of California, always, adds something to the party! 😉😜😛👍👍]

kzfaq.info/get/bejne/h5pibKSA1bLDlKc.htmlsi=KdCChH2GGq1mDZ64 kzfaq.info/get/bejne/qqhlZ7uGzaedj6s.htmlsi=85fpI5VbUW4R8Eg5 kzfaq.info/get/bejne/rN2DhdSSv63XgKs.htmlsi=w7fbjqn2fEyHdkBp Terrific points on "rapping" from that time period, Glynn. To exemplify your points further, the top link above is Isaac Hayes' famous "Theme From Shaft." One thing that's fascinating about this song is that there really isn't a chorus. It seems like after each verse, Hayes does a one or two line spoken word "rap" before the next verse. Like you mentioned, Barry White may be on the "Mount Rushmore" of "rapping" from that time period. The second link above is to White's epic smash "You're The First, The Last, My Everything." The first two verses of the song (taking up nearly a whole minute) is White's "rapping" and then he breaks into his singing voice for the chorus and next verses. However, White returns to "rapping" again on the outro for about 30 seconds at the end. It is truly a master class in what you referred to in your post. The final link above is a bit different than what we hear from Hayes or White, but still within the spoken word known as "rap" from that period. It is the musical version of Gil Scott-Heron's famous poem "The Revolution Will Not Be Televised." The entire poem is performed in song as a spoken word "rap." Many music historians and early musical trailblazers in the genre consider the song and Scott-Heron's other records as being highly influential to the development of what would become rap/Hip Hop as we might know it today. So, thanks again for bringing up the spoken word "rap" in some of its earliest, most significant forms.