Bobby Womack -

Bobby Womack (1944–2014) was an American soul singer/songwriter who first recorded with his four brothers in The Valentinos, a protege act of Sam Cooke. They originated the Rolling Stones first international hit, “It’s All Over Now.”

Womack launched his solo career with the 1968/69 Minit albums Fly Me to the Moon and My Prescription. On UA, he made seven albums between 1971 and 1976 and scored R&B hits with “That’s the Way I Feel About ‘Cha,” “Woman’s Gotta Have It,” “Harry Hippie,” “Across 110th Street,” “Nobody Wants You When You’re Down and Out,” “You’re Welcome, Stop On By,” “Check It Out,” “Daylight,” and the 1974 chart-topper “Lookin’ for a Love.”

Background

Bobby Womack was born on March 4, 1944, in the Fairfax neighborhood of Cleveland, Ohio; the third of five sons borne to Naomi and Friendly Womack. Their other sons (in fraternal order) were Friendly Jr. (born 1941), Curtis (1942–2017), Harry (1945–1974), and Cecil (1947–2013).

Womack grew up poor in Cleveland’s slums, where the family sometimes ate fish snouts salvaged from the trash of nearby restaurants. Friendly worked in steel factories but also functioned as a minister and gospel singer at their local baptist church, where Naomi played organ for the choir.

Naomi encouraged her boys to sing but Friendly deemed his guitar off-limits. While out on his work shifts, they took turns on the instrument, which Bobby mastered by age eight. One day, he broke a string and replaced it with one of his shoe laces. He escaped punishment by demonstrating his musical talents to his father. Upon realizing that his sons could sing and play, Friendly bought them all guitars and assembled them as a music group, the Womack Brothers. Due to his left-handedness, Bobby played his guitar upside down.

The Womack Brothers

In 1954, the brothers first performed as Curtis Womack & the Womack Brothers to spotlight 12-year-old Curt’s singing abilities, though ten-year-old Bobby often shared the lead. Friendly and Naomi backed them on guitar and organ, respectively. They cut their first gospel single, “Bible Tells Me So” (b/w “Buffalo Bill”), in 1955 for the Alabama-based Penchant Records.

In 1956, they played an opening slot for the Soul Stirrers, a revolving door Southern soul act then-fronted by Sam Cooke, who took partial to the young combo. He secured them an opening slot on a tour with the Staple Singers and promised further help once he established himself in the industry.

By 1960, the now-famous Cooke launched SAR Records, which issued two 1961 Womack Brothers gospel singles: “Yield Not to Temptation” (b/w “Somebody’s Wrong”) and “Couldn’t Hear Nobody Pray” (b/w “Somewhere There Is a God”). Due to lack of airplay for their gospel sound, Cooke recommended a secular approach under a new name.

The Valentinos

The bothers adopted a soul-pop sound as The Valentinos, named in reference to Italian-American silent film star Rudolph Valentino (1895–1926), an originator of the “Latin Lover” archetype and one of Hollywood’s first male sex symbols.

Between June 1962 and October 1964, The Valentinos released five singles on SAR. Curt first took lead with his smooth tenor, though the gruff baritone of the now-18-year-old Bobby soon found favor with Cooke and radio programmers. Their first single, “Lookin’ for a Love,” reached No. 8 on the Billboard R&B chart and secured them an opening spot on James Brown & The Famous Flames’ US tour.

In May 1964, The Valentinos cut their fourth a-side, “It’s All Over Now,” co-written by Bobby and his sister-in-law, Shirley. Within days of its release, English newcomers the Rolling Stones heard the single on New York’s WINS-AM radio station during an in-studio appearance. They immediately covered the song, which became the Stones’ first UK No. 1 single. Despite his initial objections, Bobby warmed to the cover once he received his first royalty check.

On December 11, 1964, The Valentinos suffered a career blow when Sam Cooke died from a gunshot wound at the Hacienda Motel in South Central Los Angeles, where motel manager Bertha Franklin shot him in (disputed) self-defense. SAR folded and The Valentinos disbanded for a year.

Early Solo Singles

Two months after the Hacienda tragedy, Womack (now 20) courted controversy with his February 1965 elopement with Cooke’s widow, Barbara (29). Despite the backlash, Womack joined Ray Charles’ backing band and pursued a solo career with four singles on four different labels.

Oct 1965 | Checker
A. “I Found a True Love”
B. “A Lonesome Man”

Dec 1965 | HIM
A. “Nothing You Can Do”
B. “Get It While You Can”

Aug 1966 | Keymen
A. “What Is This?”
B. “I Wonder”

Feb 1967 | Atlantic
A. “Find Me Somebody”
B. “How Does It Feel”

In 1966, the Valentinos reformed without Bobby for the Chess single “Let’s Get Together” and cut three further singles through 1969 on Jubilee. The youngest brother, Cecil, later surfaced in Womack & Womack, an Eighties R&B duo with his wife Linda.

Meanwhile, Bobby worked as a session guitarist in Memphis at Chips Moman’s American Studios, where he played on recordings by Joe Tex, The Box Tops, and Aretha Franklin. His original songs impressed Wilson Pickett, who recorded Womack’s “I’m a Midnight Mover” as a 1968 Atlantic a-side. Elsewhere, Womack signed a solo album deal with Minit Records, a New Orleans-based R&B label distributed by Liberty.

1967–68 Minit Singles

Jul 1967
A. “Baby, I Can’t Stand It”
B. “Trust Me”

Oct 25, 1967
A. “Broadway Walk”
B. “Somebody Special”

Feb 1968
A. “What Is This”
B. “What You Gonna Do (When Your Love Is Gone)”

Jul 1968
A. “Fly Me to the Moon (In Other Words)”
B. “Take Me”

Nov 1968
A. “California Dreamin'”
B. “Baby, You Oughta Think It Over”

Fly Me to the Moon

Bobby Womack released his debut solo album, Fly Me to the Moon, in January 1969 on Minit.

The album blends Southern soul and deep balladry with prominent brass, organ, and rhythm guitar interplay, aligning Womack’s sound with the Memphis and Muscle Shoals scenes. Sessions featured his lead guitar and vocals backed by guitarist Reggie Young, bassist Mike Leech, pianist Bobby Wood, organist Bobby Emmons, and drummer Gene Chrisman.

Womack wrote seven of the twelve songs. He also reprises “I’m a Midnight Mover,” co-written with Wilson Pickett, and covers songs popularized by Frank Sinatra (“Fly Me to the Moon”), Margaret Whiting (“Moonlight in Vermont”), Wilson Pickett (“I’m in Love”), and the Mamas & the Papas (“California Dreamin’”).

The album mixes hard-driving soul numbers and restrained ballads. Womack’s take on “Fly Me to the Moon” injects the 1954 standard with brassy propulsion and raspy vocal grit. “Baby! You Oughta Think It Over” and “What Is This” surge with sharp horn figures and quick rhythmic turns, while “Somebody Special” conveys longing through anguished phrasing and tense string accents. “Moonlight in Vermont” softens the pace with organ-led nocturnal textures, and “Love, the Time Is Now” channels the civil rights message of Sam Cooke’s “A Change Is Gonna Come.” His reassertion of “I’m in Love” favors tenderness over Pickett’s swagger, and his closing originals, “No Money in My Pocket” and “Lillie Mae,” ride propulsive, funk-leaning backbeats.

A1. “Fly Me to the Moon (In Other Words)” (2:08) — originated in 1954 as a single by Kaye Ballard, written by Bart Howard, and popularized by Frank Sinatra in 1964. Womack recasts it as a horn-driven Southern soul number with emphatic vocal phrasing.
A2. “Baby! You Oughta Think It Over” (2:37)
A3. “I’m a Midnight Mover” (2:02) — co-written with Wilson Pickett, who released the original version in 1968 as a Top 20 R&B hit.
A4. “What Is This” (2:32)
A5. “Somebody Special” (2:55)
A6. “Take Me” (2:30) — written by Dee Ervin.

B1. “Moonlight in Vermont” (2:35) — standard first recorded by Margaret Whiting in 1944, written by John Blackburn and Karl Suessdorf.
B2. “Love, the Time Is Now” (3:18)
B3. “I’m in Love” (2:42) — first recorded by Wilson Pickett in 1967; written by Bobby Womack.
B4. “California Dreamin’” (3:20) — originated as a 1965 single by the Mamas & the Papas, written by John and Michelle Phillips.
B5. “No Money in My Pocket” (3:00)
B6. “Lillie Mae” (2:06) — written by Don Juan Mancha and Vee Pea.

Sessions took place in 1968 at American Sound Studio in Memphis with Chips Moman producing and engineering by the studio team.

Minit promoted the album with “What Is This” (b/w “Somebody Special”), which reached No. 17 on the Billboard R&B chart.

Wilson Pickett originally scored a Top 5 R&B hit with “I’m in Love” in 1968. Aretha Franklin later covered the song in 1974, reaching No. 1 R&B and No. 19 pop. Tom Petty and the Heartbreakers performed the song in their early 1980s sets, and the Temptations recorded it in 2007.

My Prescription

Bobby Womack released his second solo album, My Prescription, in April 1970 on Minit.

The album builds on the Southern soul sound of Fly Me to the Moon with fuller horn charts, tighter rhythms, and a mix of personal narratives and reinterpretations of pop standards. Womack fronts a Memphis session group with guitarist Reggie Young, keyboardists Bobby Wood (piano) and Bobby Emmons (organ), bassist Mike Leech, and drummer Gene Chrisman.

Womack wrote or co-wrote eight of the twelve songs with Darryl Carter. He also revisits earlier material and interprets songs by Sam Cooke (“I’m Gonna Forget About You”), The Temptations (“Don’t Look Back”), Jonathan King (“Everyone’s Gone to the Moon”), and Tony Bennett (“I Left My Heart in San Francisco”), along with a reprise of “Fly Me to the Moon.”

“How I Miss You Baby” opens the set with a slow, brassy lament. “More Than I Can Stand” continues in that vein with similarly measured pacing and raw vocal delivery. “It’s Gonna Rain” drives with a forceful, church-inflected pulse, while “Arkansas State Prison” pairs slide guitar with chain-gang rhythms and lyrics about incarceration and escape. He lightens the tone on “I Left My Heart in San Francisco” with a sped-up treatment and taut rhythmic phrasing. “Thank You” closes the album on a stripped, intimate note that foregrounds his voice against sparse instrumentation.

A1. “How I Miss You Baby” (3:16) — written by Bobby Womack and Darryl Carter. The lyrics express the narrator’s anguish over a recent breakup.
A2. “More Than I Can Stand” (2:51)
A3. “It’s Gonna Rain” (2:24)
A4. “Everyone’s Gone to the Moon” (2:37) — originated as a 1965 single by Jonathan King.
A5. “I Can’t Take It Like a Man” (3:05) — written by Jimmy Williams and Larry Weiss.
A6. “I Left My Heart in San Francisco” (2:23) — popularized in 1962 by Tony Bennett, written by George Cory and Douglass Cross.

B1. “Arkansas State Prison” (2:57) — written by Bob Morrison.
B2. “I’m Gonna Forget About You” (2:26) — originated as a 1965 single by Sam Cooke.
B3. “Don’t Look Back” (2:48) — originated as the 1965 B-side to “My Baby” by The Temptations, written by William “Smokey” Robinson and Ronald White.
B4. “Tried and Convicted” (2:48)
B5. “Fly Me to the Moon (In Other Words)” (2:09) — originated as a 1954 single by Kaye Ballard, written by Bart Howard.
B6. “Thank You” (4:07)

Sessions occurred at American Sound Studio in Memphis with producer Chips Moman and engineers at Minit. Womack arranged the album with Glen Spreen and Mike Leech.

Record label promoted My Prescription with “How I Miss You Baby” (b/w “Tried and Convicted”), which reached No. 14 on the Billboard R&B chart and No. 93 on the Hot 100. “More Than I Can Stand” followed as the second single in 1970.

Aretha Franklin later covered “I’m in Love” (from Womack’s previous album), but no major 1970s or 1980s covers emerged from My Prescription.

The Womack Live

In 1970, Liberty issued The Womack Live, sourced from a Saturday night Hollywood concert.

The album captures Bobby Womack in a husky, intimate setting, blending soul, R&B, and pop covers with his own compositions. His backing ensemble remains mostly undocumented, though he engages in guitar interplay with his sidemen and features a guest duet with R&B singer Percy Mayfield.

Bobby Womack wrote four of the nine songs, co-writing additional tracks with D. Carter, D. Patterson, and Wilson Pickett. The set also includes covers of Sam Cooke (“Laughing and Clowning”), George Harrison (“Something”), John Phillips (“California Dreamin’”), Fred Neil (“Everybody’s Talkin’”), and Percy Mayfield (“To Live the Past”).

Womack’s performance alternates between intimate acoustic passages, high-energy soul-rock vamps, and contemporary pop interpretations. Acoustic moments like “Oh How I Miss You Baby” contrast with a sped-up “California Dreamin’” featuring guitar interplay. He ventures into blues with “Laughing and Clowning,” and closes with funk-inflected vamps, including “I’m a Midnight Mover,” the spoken-word “Preacher,” and “More Than I Can Stand,” performed amid audience chaos.

A1. “Let It Out” (2:00) — Womack opens with an invitation to the audience, setting an energetic tone.
A2. “Intro” (0:20) — brief spoken or instrumental lead-in.
A3. “Oh How I Miss You Baby” (4:08) — co-written with D. Carter; soulful expression with audience participation.
A4. “California Dreamin’” (6:04) — John Phillips; uptempo pop interpretation with Womack guitar duel.
A5. “Something” (2:44) — George Harrison; contoured vocal phrasing over delicate accompaniment.
A6. “Everybody’s Talkin’” (3:02) — Fred Neil; smooth pop/R&B crossover.

B1. “Laughing and Clowning” (3:44) — Sam Cooke; blues-infused tribute to Womack’s mentor.
B2. “I’m a Midnight Mover” (5:19) — co-written with W. Pickett; frenetic soul-rock performance.
B3. “The Preacher” (6:00) — co-written with D. Patterson; spoken-word, revivalist style.
B4. “More Than I Can Stand” (4:45) — co-written with D. Carter; closing funk-infused soul vamp.

Sessions captured the live performance at a Hollywood venue, with Womack and Ed Wright producing and Ken Deane engineering.

Album art arranged by Ron Wolin features photography by Joel Franklin and Ron Wolin.

The Womack Live documents a vibrant, interactive set bridging Womack’s earlier soul roots and the revolutionary energy he would bring to his 1971–1974 recordings, showcasing his range as a singer, guitarist, and bandleader.

Communication

Bobby Womack released his third solo album, Communication, on September 15, 1971, on United Artists.

The album pairs rugged funk and intimate soul with orchestral arrangements and extended monologues, reflecting Womack’s growing confidence as a performer, producer, and interpreter.

Womack wrote or co-wrote four of the eight songs. He also covers James Taylor (“Fire and Rain”), Ray Stevens (“Everything Is Beautiful”), and the Carpenters (“(They Long to Be) Close to You”), and interprets “Come l’Amore,” written by Bob Hilliard and Leon Ware.

The title track opens the album with taut funk and declamatory vocals, setting a confrontational tone. He contrasts that with the reflective ballad “(If You Don’t Want My Love) Give It Back” and the blues-tinged “That’s the Way I Feel About Cha,” a slow-burning centerpiece with string accents and wordless vocal interjections. His ten-minute “Monologue / (They Long to Be) Close to You” frames the Carpenters hit with an unscripted reflection on the music industry, pivoting into a hushed, drawn-out performance of the song. He reworks “Fire and Rain” as an anguished plea, retaining its narrative weight, and closes with “Yield Not to Temptation,” a gospel song he first recorded with The Womack Brothers in the 1950s.

A1. “Communication” (4:30) — written by Bobby Womack. A funk-driven opener with pointed lyrics on personal expression and social constraint.A2. “Come l’Amore” (3:00) — written by Bob Hilliard and Leon Ware.A3. “Fire and Rain” (4:30) — originated in 1970 as a single by James Taylor, written about the loss of a friend and early struggles with addiction and fame.A4. “(If You Don’t Want My Love) Give It Back” (2:50) — written by Bobby Womack.B1. “Monologue / (They Long to Be) Close to You” (9:30) — originated in 1970 as a hit single by the Carpenters, written by Burt Bacharach and Hal David. Womack precedes his version with a lengthy spoken reflection on the music business and artistic compromise.B2. “Everything Is Beautiful” (2:55) — originated in 1970 as a single by Ray Stevens, written as an appeal for tolerance and acceptance.B3. “That’s the Way I Feel About Cha” (5:03) — written by Jimmy Grisby, Joe Hicks, and Bobby Womack. A languid soul ballad with orchestral strings and call-and-response vocals.B4. “Yield Not to Temptation” (3:02) — a gospel number Womack first recorded with his brothers as The Womack Brothers in the late 1950s.

A1. “Communication” (4:30) – Written and produced by Bobby Womack, the title track opens the album with a taut funk rhythm, syncopated guitar figures, and a lyric urging emotional honesty between people. Womack delivers the message with quick vocal turns and improvisational phrasing that underline the urgency of connection.

A2. “Come l’Amore” (3:00) – Written by Bob Hilliard and Leon Ware, this composition centers on enduring faith in love’s power despite age or circumstance. Womack’s supple phrasing and the relaxed instrumental pulse frame the lyric’s quiet optimism.

A3. “Fire and Rain” (4:30) – Originated as a 1970 single by James Taylor, who wrote the song about loss, addiction, and renewal. Womack reshapes it with a slower rhythmic pace and sustained guitar tones, recasting Taylor’s introspection as a soul confession.

A4. “(If You Don’t Want My Love) Give It Back” (2:50) – Written by Womack, the song confronts rejection and emotional fatigue with conversational directness. He blends elements of gospel phrasing and clipped guitar accents, transforming frustration into measured assertion.

A5. “Medley: Monologue / (They Long to Be) Close to You” (9:30) – The medley combines a spoken reflection on artistic compromise with Womack’s version of the Burt Bacharach–Hal David standard, popularized by the Carpenters in 1970. His monologue traces the struggle for creative freedom before sliding into an unhurried interpretation that turns the familiar lyric into a plea for authenticity.

B1. “Everything Is Beautiful” (2:55) – Written and first recorded by Ray Stevens in 1970, the song originally celebrated universal kindness. Womack reimagines it through a warm soul arrangement that steadies the tempo and lends the message a more grounded, human tone.

B2. “That’s the Way I Feel About Cha” (5:03) – Written by Jimmy Grisby, Joe Hicks, and Womack, this ballad weighs vulnerability and perseverance in love. Womack’s layered harmonies and sustained guitar figures reinforce the lyric’s call to embrace affection despite fear or doubt.

B3. “Yield Not to Temptation” (3:02) – A traditional gospel song that Womack and his brothers recorded in their early career as the Womack Brothers. Here he revisits it with firm rhythm and ensemble vocals, closing the album in a return to faith and endurance.

He leads a Muscle Shoals rhythm section with guitarists Tippy Armstrong and Jimmy Johnson, drummer Roger Hawkins, bassist David Hood, keyboardists Barry Beckett (piano, clavichord, harpsichord, electric piano, Moog synthesizer), Clayton Ivey, and Truman Thomas, plus a horn section of trumpeter Harrison Calloway, trombonist Dale Quillen, and saxophonists Ronnie Eades (baritone) and Harvey Thompson (tenor). Backing vocals come from Friendly Womack Jr., Curtis Womack, Harry Womack, Cecil Womack, Patrice Holloway, Pam Grier, and Janice Singleton.

Sessions occurred at United Artists Recording Studio in Los Angeles with Bobby Womack producing and John Van Hamersveld handling art direction.

United Artists promoted Communication with “That’s the Way I Feel About Cha” (b/w “Come l’Amore”), issued in November 1971. The single reached No. 2 on the Billboard R&B chart and No. 27 on the Hot 100, giving Womack his first crossover hit. “Communication” followed in early 1972 as a second single.

James Brown later drew inspiration from “Come l’Amore” for his 1972 duet with Lyn Collins, “What My Baby Needs Now (Is a Little More Lovin’).” Womack himself revisited “(If You Don’t Want My Love) Give It Back” twice in later years, including an acoustic version for the Across 110th Street soundtrack and a 1970s instrumental by J. J. Johnson.

Understanding

Bobby Womack released his fourth solo album, Understanding, on March 30, 1972, on United Artists.

Womack blends Southern soul with elements of funk, country, and pop across nine tracks recorded at American Sound Studio in Memphis and Muscle Shoals Sound Studios in Alabama. He worked with members of the Muscle Shoals Rhythm Section, giving the album a grounded but expansive sound that straddled deep soul and modern R&B.

Womack wrote five songs for Understanding. He co-wrote “Woman’s Gotta Have It” with Darryl Carter and Linda Womack, and “Simple Man” and “Ruby Dean” with Joe Hicks. The album also contains covers of songs by the Beatles (“And I Love Her”), Neil Diamond (“Sweet Caroline”), and Jim Ford (“Harry Hippie”).

The opening cut, “I Can Understand It,” sets a hard-driving pace with call-and-response vocals, surging horns, and extended vamping that became a club favorite. “Woman’s Gotta Have It” unfolds as a mid-tempo cautionary tale, its pulse anchored by Mike Leech’s prominent bassline. Womack slows the Beatles’ “And I Love Her” into a string-laden ballad, while the title character of “Ruby Dean” narrates hardship against a blues-country rhythm with pedal steel guitar. “Harry Hippie,” later flipped from the B-side of “Sweet Caroline,” became a Top 10 R&B hit and a personal tribute to his brother Harry Womack.

A1. “I Can Understand It” (6:36) – Written by Bobby Womack, the track channels gospel-infused soul over a layered, stutter-stepping rhythm and interwoven guitar lines. Womack vocalizes frustration and longing with angular phrasing, while Muscle Shoals instrumentation builds tension beneath the lyrical reflection on relational clarity.

A2. “Woman’s Gotta Have It” (3:35) – Co-written by Bobby Womack, Linda Womack, and Darryl Carter, the song addresses a man’s inattention to his partner, stressing emotional accountability. Mike Leech’s bass anchors the measured tempo as Womack’s vocal ascends and descends with preacher-like authority, underscored by subtle strings and percussion.

A3. “And I Love Her” (2:46) – Originated by John Lennon and Paul McCartney of the Beatles, Womack slows the tempo and introduces swelling strings and soft Hammond chords, transforming the classic ballad into a reflective, intimate meditation on enduring affection.

A4. “Got To Get You Back” (2:53) – Written by Chris Green and Jerry Lynn Williams, the track revisits Womack’s Southern soul roots, layering bold brass and syncopated rhythms as he articulates determination to reclaim a lost love.

A5. “Simple Man” (5:58) – Co-written by Womack and Joe Hicks, the song combines gospel-inspired riffs with jittering percussive accents. Womack’s vocal swings between urgent cries and measured statements, exploring the struggles of authenticity and social navigation.

B1. “Ruby Dean” (3:27) – Written by Womack and Joe Hicks, this track tells the story of a neglectful mother through a countrified soul framework, weaving pedal steel and harmonica with driving guitar and restrained percussion. Womack’s voice traces the narrative with stark clarity and rhythmic patience.

B2. “Thing Called Love” (3:57) – Written by Edward Wright and Joe Hicks, the song features Womack overdubbing multiple vocal lines, producing call-and-response textures. Brass punctuates the mid-tempo rhythm while the lyrics explore the challenges and allure of romantic attachment.

B3. “Sweet Caroline” (3:13) – Originated by Neil Diamond, Womack maintains the original structure but layers expressive vocal inflections and subtle rhythmic variation, highlighting the sentimentality of the lyric through restrained instrumental support.

B4. “Harry Hippie” (3:40) – Written by Jim Ford, the song memorializes Womack’s late brother, Harry Womack, portraying his carefree and unpressured life. Womack delivers the narrative with reflective phrasing over a steady pulse, turning personal loss into a measured, soulful tribute.

Sessions occurred at American Sound Studio in Memphis and Muscle Shoals Sound Studios in Alabama with Womack producing and René Hall and Mike Leech arranging.

The album features guitarists Tippy Armstrong, Jimmy Johnson, and Reggie Young; bassists David Hood and Mike Leech; keyboardists Barry Beckett, Bobby Emmons, and Bobby Wood; drummers Roger Hawkins and Hayward Bishop; saxophonists Ronnie Eades and Harvey Thompson; trumpeter Harrison Calloway Jr.; trombonist Dale Quillen; and backing vocals by Friendly, Curtis, Harry, and Cecil Womack, Janice Singleton, Pam Grier, and Patrice Holloway.

United Artists promoted the album in April 1972 with “Woman’s Gotta Have It” (b/w “(If You Don’t Want My Love) Give It Back”), which topped the Billboard R&B chart and reached No. 60 on the Hot 100. In July, they issued “Sweet Caroline” (b/w “Harry Hippie”), which peaked at No. 16 R&B and No. 51 pop. After radio flipped the sides, “Harry Hippie” became the bigger hit, reaching No. 8 R&B and No. 31 pop in early 1973.

“I Can Understand It” was later covered in 1973 by New Birth, whose fast-paced rendition became a Top 5 R&B hit, and by The Valentinos. In 1975, Kokomo recorded their own version, which reached No. 13 on the US Disco File Top 20.

Across 110th Street (OST, w/ J. J. Johnson)

On December 16, 1972, United Artists issued Across 110th Street, a split-record Blaxploitation soundtrack with five Bobby Womack songs interspersed with orchestral score pieces by J. J. Johnson.

American filmmaker Barry Shear (Wild in the Streets, The Todd Killings) directed the corresponding neo-noir action thriller in which two undercover officers — Lt. William Pope (Yaphet Kotto: Live and Let Die, Truck Turner) and Capt. Frank Mattelli (Anthony Quinn) — investigate a deadly bank heist.

Womack’s contributions blend soul, funk, and rock influences with pointed lyrical commentary, while Johnson’s instrumentals provide jazz-inflected, cinematic textures. Womack performs with Peace, a backing ensemble whose lineup remains largely undocumented, alongside session players including Carol Kaye on electric bass and Emil Richards on percussion.

Bobby Womack wrote three full songs, co-writing the title track and its instrumental version with J.J. Johnson. The soundtrack also features Womack reprising his 1971 composition “If You Don’t Want My Love (Give It Back)” in an acoustic format. Johnson composed and conducted five instrumental tracks, adding orchestral interludes between Womack’s soul-rock numbers.

Songs split into vocal and instrumental sections. Womack’s originals alternate between acoustic reflection (“If You Don’t Want My Love”), high-energy funk-rock (“Do It Right”), and gospel-inflected soul (“Hang On in There”), while Johnson’s pieces such as “Harlem Clavinette” and “Harlem Love Theme” add suspenseful jazz textures. The title track, “Across 110th Street,” anchors the album with a lyrical focus on survival in impoverished urban settings, featuring contoured phrasing and rhythmic tension.

A1. “Across 110th Street” (3:45) — co-written with J.J. Johnson; reflects urban struggle and survival, combines soul vocals with funk rhythms.
A2. “Harlem Clavinette (Instrumental)” (2:12) — J.J. Johnson; jazz-funk orchestral piece.
A3. “If You Don’t Want My Love” (2:27) — acoustic reprise of Womack’s 1971 song; intimate vocal and guitar interplay.
A4. “Hang On in There (Instrumental)” (2:45) — Johnson; orchestral, suspenseful jazz textures.
A5. “Quicksand” (1:37) — funk-driven instrumental featuring electric piano; short, action-ready piece.
A6. “Harlem Love Theme (Instrumental)” (3:07) — Johnson; sensual orchestral motif.

B1. “Across 110th Street (Instrumental)” (2:26) — Womack, Johnson; title track rendered instrumentally.
B2. “Do It Right” (2:59) — Womack; rock-oriented funk, high-energy band performance.
B3. “Hang On in There” (2:23) — Womack; gospel-rooted soul, rhythmic callbacks to 1970 hit “It’s Gonna Rain.”
B4. “If You Don’t Want My Love (Instrumental)” (3:03) — Womack; acoustic instrumental adaptation.
B5. “Across 110th Street – Part II” (2:52) — Womack, Johnson; extended thematic reprise of title song.

Sessions occurred at United Artists-associated studios in Los Angeles with Bobby Womack producing his songs and J.J. Johnson conducting his orchestral instrumentals.

The album’s title features cover photography depicting the urban landscape of Manhattan’s 110th Street, reinforcing the film’s thematic focus.

Record label promoted the album with the single “Across 110th Street” (b/w “Hang On in There”), which reached No. 19 on the Billboard Best Selling Soul Singles chart and No. 56 on the Hot 100. The song later appeared in Quentin Tarantino’s Jackie Brown (1997) and Ridley Scott’s American Gangster (2007).

Across 110th Street juxtaposes Womack’s gritty soul-rock and Johnson’s cinematic jazz-funk, producing one of the era’s most pointedly urban Blaxploitation soundtracks. Womack’s title track endures as a defining portrait of survival amid systemic hardship, while the instrumental passages establish a period-specific, tense musical atmosphere.

Facts of Life

Bobby Womack released his fifth solo album, Facts of Life, in July 1973 on United Artists.

Womack presents a collection of intimate soul and funk songs marked by warm string accents and understated arrangements. The album contrasts romantic optimism with restless loneliness, closing with a forceful rock reinterpretation of a 1967 Bob Dylan classic.

Womack wrote four songs and co-wrote two others. He also covers songs popularized by Bessie Smith (“Nobody Wants You When You’re Down and Out”), Sam Cooke (“That’s Heaven to Me”), Dusty Springfield (“The Look of Love”), Aretha Franklin (“Natural Woman”), and Bob Dylan (“All Along the Watchtower”).

Sessions took place at Muscle Shoals Sound Studios in Alabama with guitarist Pete Carr, bassist David Hood, keyboardist Barry Beckett, and drummer Roger Hawkins, all members of the Muscle Shoals Rhythm Section. Womack handles lead vocals and guitar and also arranges the horns and strings.

“I’m Through Trying to Prove My Love to You” sets a mournful tone with plaintive vocals and strings accenting his emotional peaks. He reshapes “Nobody Wants You When You’re Down and Out” into a tense, mid-tempo soul statement with shimmering strings and rhythmic drive. The medley “Facts of Life / He’ll Be There When the Sun Goes Down” opens with a spoken confessional about life on the road before giving way to a softly contoured ballad. “If You Can’t Give Her Love (Give Her Up)” rides a shuffling pulse with brass bursts and Hammond organ textures. “The Look of Love” becomes a ghostly soul meditation, while the album ends with an intense, guitar-driven reading of “All Along the Watchtower.”

A1. “Nobody Wants You When You’re Down and Out” (2:59) — originated as a 1923 composition by pianist Jimmie Cox, popularized by Bessie Smith’s 1929 recording during the Great Depression.A2. “I’m Through Trying to Prove My Love to You” (3:51)A3. “If You Can’t Give Her Love (Give Her Up)” (2:49) — written by Clayton Ivey and Phillip Mitchell.A4. “That’s Heaven to Me” (2:53) — originated as a 1956 single by Sam Cooke.A5. “Medley: Holdin’ on to My Baby’s Love / Nobody” (3:13) — “Holdin’ on to My Baby’s Love” written by George Jackson and Raymond Moore.B1. “Medley: Fact of Life / He’ll Be There When the Sun Goes Down” (6:21)B2. “Can’t Stop a Man in Love” (2:24) — written by George Soule and Terry Woodford.B3. “The Look of Love” (3:51) — popularized by Dusty Springfield in 1967; composed by Burt Bacharach and Hal David.B4. “Natural Man” (2:48) — originated as “(You Make Me Feel Like) A Natural Woman,” popularized by Aretha Franklin in 1967; written by Gerry Goffin, Carole King, and Jerry Wexler.B5. “All Along the Watchtower” (3:21) — originally recorded by Bob Dylan for John Wesley Harding (1967) and reinterpreted by Jimi Hendrix in 1968.

A2. “I’m Through Trying to Prove My Love to You” (3:51) – Written by Bobby Womack, the track presents heartache with controlled urgency, layered over a somber, deliberate pace. Strings and subtle percussion heighten the tension as Womack’s voice crescendos on key phrases, conveying resignation and emotional clarity.

A3. “If You Can’t Give Her Love (Give Her Up)” (2:49) – Written by Clayton Ivey and Phillip Mitchell, Womack adapts a message popularized by Mary Wells into a bright, shuffling rhythm punctuated by brass and Hammond organ. The lyrics counsel honesty in romance, with vocal phrasing that alternates between insistence and gentle coaxing.

A4. “That’s Heaven to Me” (2:53) – Written by Sam Cooke, Womack slows the tempo to create a reflective ballad. Harmonized backing vocals and understated string flourishes complement his vocal, which navigates the contours of love and devotion with measured emphasis.

A5. “Medley: Holdin’ on to My Baby’s Love / Nobody” (3:13) – Co-written by Womack, George Jackson, and Raymond Moore, this medley alternates between a spirited affirmation of commitment and a reprise of the earlier cautionary song. Shifting tempos and interlaced brass lines support Womack’s layered vocals, blending reassurance with reflection.

B1. “Medley: Fact of Life / He’ll Be There When the Sun Goes Down” (6:21) – Written by Womack, the first part features intimate spoken and sung passages detailing life on the road, transitioning into a gentle, jazzy ballad that promises fidelity and presence. Strings and warm chordal textures underscore the lyrical intimacy.

B2. “Can’t Stop a Man in Love” (2:24) – Written by George Soulé and Terry Woodford, the song rides a bouncing, shuffling rhythm with lively brass and organ interplay. The lyrics assert the inevitability of passion, and Womack’s phrasing alternates between emphatic declarations and softer, reflective turns.

B3. “The Look of Love” (3:51) – Written by Burt Bacharach and Hal David and originally popularized by Dusty Springfield, Womack’s rendition slows the bossa nova rhythm into a brooding, ghostly pace. Horns and restrained strings emphasize sensuality, while his vocal arcs over the contours of desire with subtle tension.

B4. “Natural Man” (2:48) – Written by Carole King, Gerry Goffin, and Jerry Wexler and originally performed as “(You Make Me Feel Like) A Natural Woman” by Aretha Franklin, Womack interprets the song tenderly, emphasizing lyrical vulnerability. Minimalist instrumentation and controlled phrasing highlight the narrative of personal affirmation.

B5. “All Along the Watchtower” (3:21) – Written by Bob Dylan and recorded by Womack in a conceptually rock-tinged arrangement, the track builds an ominous, angular tension beneath the dialogue of the lyrics. Guitar and percussion accentuate the shifting narrative perspective, closing the album with a sense of restless urgency.

Sessions occurred at Muscle Shoals Sound Studios in Sheffield, Alabama, with Womack producing and Jerry Masters engineering.

United Artists promoted Facts of Life with “Nobody Wants You When You’re Down and Out” (b/w “If You Can’t Give Her Love”), which reached No. 2 on the Billboard R&B chart and No. 29 on the Hot 100. “I’m Through Trying to Prove My Love to You” followed later in 1973 and peaked at No. 80 R&B.

Jimi Hendrix’s version of “All Along the Watchtower” became definitive in 1968; Womack’s cover later influenced soul reinterpretations of the song by Richie Havens and Buddy Miles in the late 1970s.

Lookin’ for a Love Again

Bobby Womack released his sixth solo album, Lookin’ for a Love Again, on January 11, 1974, on United Artists.

The album combines rugged funk, tender soul, and country-tinged balladry, reflecting Womack’s stylistic range at a creative peak. He recorded with the Muscle Shoals Rhythm Section, including guitarist Pete Carr (lead), guitarist Jimmy Johnson (rhythm), bassist David Hood, keyboardists Barry Beckett (electric piano, piano, Moog), Clayton Ivey (organ, clavichord), Truman Thomas (electric piano, clavichord), and drummer Roger Hawkins. Additional guitarists include Rhino Rheinardt and Tippy Armstrong. The Muscle Shoals Horn Section adds brass, and René Hall contributes string arrangements. Womack’s brothers Friendly, Curtis, Cecil, and Harry provide backing vocals.

Womack wrote or co-wrote five of the album’s ten songs. He collaborates with keyboardist Truman Thomas on “You’re Welcome, Stop on By” and “There’s One Thing That Beats Failing,” and covers songs popularized by the Valentinos (“Lookin’ for a Love”) and folk performer Joan Baez (“Copper Kettle”). He also interprets a song by Jim Ford (“Point of No Return”) and material by Clayton Ivey, Frank Johnson, and Terry Woodford (“You’re Messing Up a Good Thing”).

The title track updates the 1962 Valentinos hit with tighter rhythmic accents, horn bursts, and layered background vocals. He contrasts this with wistful soul numbers like “I Don’t Wanna Be Hurt by Ya Love Again” and “Point of No Return,” both steeped in vulnerability and resignation. “Doing It My Way” unfolds as a languid soul monologue with a spoken interlude, while “Let It Hang Out” takes a heavier rhythmic turn with aggressive guitar and sharp brass figures. The closing “There’s One Thing That Beats Failing” lands on an affirmative, mid-tempo groove.

A1. “Lookin’ for a Love” (2:37) — originated in 1962 as a single by the Valentinos, written by J. W. Alexander and Zelda Samuels and produced by Sam Cooke. The song evolved from the Womack Brothers’ gospel number “Couldn’t Hear Nobody Pray.”A2. “I Don’t Wanna Be Hurt by Ya Love Again” (3:26)A3. “Doing It My Way” (5:36)A4. “Let It Hang Out” (2:22)A5. “Point of No Return” (2:44) — written by Jim Ford.B1. “You’re Welcome, Stop on By” (3:40) — co-written by Bobby Womack and Truman Thomas.B2. “You’re Messing Up a Good Thing” (2:34) — written by Clayton Ivey, Frank Johnson, and Terry Woodford.B3. “Don’t Let Me Down” (2:04) — written by Truman Thomas.B4. “Copper Kettle” (3:17) — written by Albert Frank Beddoe; popularized by Joan Baez in 1962.B5. “There’s One Thing That Beats Failing” (2:42) — co-written by Bobby Womack and Truman Thomas.

A1. “Lookin’ for a Love” (2:37) – Written by J. W. Alexander and Zelda Samuels, the song originated as a 1962 single by the Valentinos, featuring Bobby Womack on lead vocals, and was covered by the J. Geils Band in 1971. Womack’s 1974 version updates the doo-wop foundation with a smoldering, mid-tempo soul rhythm, layered with his brothers’ harmonies, while the lyrics express longing and the search for romantic connection.

A2. “I Don’t Wanna Be Hurt by Ya Love Again” (3:26) – Written by Bobby Womack, the track moves at a gentle, contemplative pace with subtle string arrangements. The lyrics convey caution in love, as Womack balances vulnerability with restrained phrasing across angular vocal turns.

A3. “Doing It My Way” (5:36) – Composed by Womack, this piece unfolds as a reflective, orchestrated meditation on personal independence and choice. The track features a soft, deliberate rhythm, accented with a spoken interlude that punctuates the lyrical narrative.

A4. “Let It Hang Out” (2:22) – Written by Womack, this uptempo track emphasizes driving, forceful rhythms and sharp instrumental punctuations. The lyrics celebrate decisiveness and unrestrained energy, supported by dynamic guitar and horn interplay.

A5. “Point of No Return” (2:44) – Written by Jim Ford, the song navigates a brooding, restrained tempo, conveying the melancholy of irrevocable decisions. Second vocal lines by Jimmy Ford add counterpoint to Womack’s expressive phrasing, while the instrumentation underscores lyrical tension.

B1. “You’re Welcome, Stop on By” (3:40) – Co-written by Womack and Truman Thomas, this track combines a steady, menacing rhythm with a contrasting sweet bridge. The lyrics offer generosity and reassurance, with Womack’s vocal weaving through dynamic contours against the instrumental tension.

B2. “You’re Messing Up a Good Thing” (2:34) – Written by Clayton Ivey, Frank Johnson, and Terry Woodford, the song rides a brisk pace punctuated by bright brass accents. Womack’s vocal shifts between pointed caution and gentle persuasion, reflecting relational strain.

B3. “Don’t Let Me Down” (2:04) – Written by Truman Thomas, the piece maintains a tight, urgent rhythm with accentuated string motifs. Lyrics appeal to steadfastness in love, while vocal delivery alternates between pleading and controlled restraint.

B4. “Copper Kettle” (3:17) – Written by Albert Frank Beddoe, this traditional-inspired folk song celebrates heritage and craft. Womack’s vocal slides over a soft, deliberate rhythm, accompanied by country-inflected instrumentation, reinforcing the narrative of familial and historical continuity.

B5. “There’s One Thing That Beats Failing” (2:42) – Composed by Womack and Thomas, the song closes the album with an uplifting, measured tempo. Lyrics focus on perseverance and the pursuit of fulfillment, articulated through nuanced vocal turns and warm, understated orchestration.

Sessions occurred at Muscle Shoals Sound Studios in Sheffield, Alabama, with Bobby Womack producing and Gregg Hamm, Jerry Masters, and Karat Faye engineering.

United Artists promoted Lookin’ for a Love Again with “Lookin’ for a Love” (b/w “Let It Hang Out”), issued in January 1974. The single reached No. 1 on the Billboard R&B chart and No. 10 on the Hot 100, becoming Womack’s biggest crossover hit. “You’re Welcome, Stop on By” followed in mid-1974 (b/w “There’s One Thing That Beats Failing”) and peaked at No. 5 R&B and No. 59 pop.

J. Geils Band covered “Lookin’ for a Love” in 1971 on The Morning After, and Squeeze later recorded it as a bonus track for East Side Story. “Copper Kettle” also became a folk standard, recorded by numerous singers in the 1960s folk revival.

I Don’t Know What the World Is Coming To

Bobby Womack released his seventh solo album, I Don’t Know What the World Is Coming To, in May 1975 on United Artists.

The album pivots from the warm Muscle Shoals soul of his early 1970s work toward a harder-edged sound infused with funk-rock textures and gospel intensity. It features Womack on guitar, bass, and lead vocals with extensive support from a large session cast that includes steel guitarist Sneaky Pete Kleinow, bassist Chuck Rainey, keyboardist Leon Ware, and drummer Jim Keltner.

Womack wrote or co-wrote eight of the ten songs. His brother Cecil co-wrote “Superstar,” “(If You Want My Love) Put Something Down on It,” and “Jealous Love.” Ware contributed the composition “What’s Your World” and co-wrote “Git It.” The closing number adapts the traditional hymn “Yes, Jesus Loves Me.” In 1978, Rod Stewart lifted the melody of “(If You Want My Love) Put Something Down on It” for his hit “Da Ya Think I’m Sexy?”

The album opens with “Interlude #1 / I Don’t Know,” a spiritual lament that bursts into a dense wall of drums and stacked guitars. Womack shifts into acoustic introspection on “Superstar,” then builds a sensual contour through the simmering soul of “(If You Want My Love) Put Something Down on It.” He unleashes jagged electric guitar phrasing on the funk-rock workout “Git It.” Ware’s “What’s Your World” rides clipped, syncopated rhythms, contrasting the earthy southern soul pulse of “Check It Out.” “Interlude #2” serves as the album’s most emotionally raw moment, setting a bleak gospel atmosphere. A rough-and-ready “Jealous Love” prefaces the closing two numbers: a stomping duet with Bill Withers (“It’s All Over Now”) and a fervent solo reading of “Yes, Jesus Loves Me.”

A1. “Medley: Interlude #1 / I Don’t Know” (3:14) – Written by Bobby Womack and Truman Thomas, the track opens with a reflective, slow-tempo interlude that segues into a rock-driven plea. Layered guitars and syncopated percussion underpin Womack’s questioning of social change and personal impact.

A2. “Superstar” (3:36) – Composed by Cecil Womack and Mary Womack, this track adopts a countrified, acoustic texture. Lyrics caution against pride and the dangers of overreaching, delivered with understated phrasing.

A3. “(If You Want My Love) Put Something Down On It” (3:43) – Written by Bobby Womack and Cecil Womack, the mid-tempo ballad features sharp guitar accents and undulating bass lines. Womack’s vocals articulate intimacy and desire, navigating angular melodic turns.

A4. “Git It” (4:23) – Composed by Womack and Leon Ware, this funk-infused track drives with layered percussion and distorted guitar riffs. Lyrics emphasize assertive pursuit of pleasure, matched by aggressive, propulsive pacing.

A5. “What’s Your World” (5:14) – Written by Leon Ware, the track blends rhythmic variations with fuzzed electric guitar textures. Vocals and harmonies explore personal introspection and relational tension.

B1. “Check It Out” (3:50) – Written by Womack, the song features steady, strutting rhythms and piercing guitar fills. Lyrics deliver confident, direct statements on personal authority and self-assurance.

B2. “Interlude #2” (3:51) – Composed by Womack, this brooding, slow-tempo piece layers gospel-inflected chords with minimal percussion. It conveys stark emotional despair and reflective meditation.

B3. “Jealous Love” (5:48) – Written by Womack and Cecil Womack, this track moves with tense, surging rhythm variations. Lyrics examine possessiveness and vulnerability within a romantic relationship. Womack first wrote and recorded this song for Wilson Pickett in 1968.

B4. “It’s All Over Now” (featuring Bill Withers) (2:55) – Written by Womack, this duet employs clapping, church-style rhythms and call-and-response vocals. The track expresses closure and release after relational conflict.

B5. “Yes, Jesus Loves Me” (4:23) – Traditional, arranged by Bobby Womack and Roger Dollarhide, the track features gospel-styled pacing and layered harmonies. Womack’s raspy vocals emphasize devotion and spiritual affirmation.

Sessions occurred at Paramount Recording Studios in Hollywood with Womack producing and Roger Dollarhide engineering.

United Artists promoted the album with “Check It Out,” which became its biggest single.

Rod Stewart later adapted the melody of “(If You Want My Love) Put Something Down on It” for “Da Ya Think I’m Sexy?” (1978).

Safety Zone

Bobby Womack released his eighth solo album, Safety Zone, on October 27, 1975, on United Artists.

The album shifts his gritty early-seventies soul toward a more polished, studio-driven sound shaped by producer David Rubinson, known for his work with the Pointer Sisters and Herbie Hancock.

Womack wrote five of the eight songs. He revisits “Trust in Me,” which he originally wrote and played on for Janis Joplin’s Pearl (1971). He also co-wrote “Daylight” with Harold Payne. Outside material includes songs popularized by the Temptations (“I Wish It Would Rain”) and Chris Kenner (“Something You Got”), as well as a composition by Melvin “Wah Wah” Ragin and Ray Parker Jr.

“Everything’s Gonna Be Alright” opens the album with a sprawling, layered arrangement that blends sharp rhythmic breaks and massed backing vocals. “I Wish It Would Rain” slows the Motown ballad to a heavier, more sorrowful pace with deep vocal harmonies. “Trust in Me” highlights Womack’s rasp over restrained instrumentation, contrasting the lush production elsewhere. “Something You Got” takes Kenner’s 1961 R&B song into reggae-tinged territory, and “Daylight” captures a late-night party setting with a winding vocal line that became one of Womack’s signature performances of the period.

A1. “Everything’s Gonna Be Alright” (7:02) – Composed by Bobby Womack, the track unfolds over a spacious, undulating rhythm with extended instrumental passages. Lyrics offer reassurance and optimism, carried through Womack’s expressive vocal arcs against layered backing vocals.

A2. “I Wish It Would Rain” (4:19) – Written by Barrett Strong, Norman Whitfield, and Roger Penzabene, the song originated as a 1967 Temptations single. Womack interprets it with restrained, contoured phrasing over a steady, deep-paced arrangement, conveying heartbreak and longing with a rich harmonic foundation. Later covered by Gladys Knight & the Pips and Aretha Franklin.

A3. “Trust in Me” (3:51) – Composed by Womack, originally recorded by Janis Joplin for her 1971 album Pearl, the song features intimate, flexible rhythms. Womack’s interpretation emphasizes vocal nuance and tension, underscoring the vulnerability and seductive persuasion in the lyrics.

A4. “Where There’s a Will, There’s a Way” (6:25) – Written by Womack, the track moves with a bright, buoyant pace punctuated by polished instrumental accents. Lyrics encourage persistence and determination, with Womack’s voice navigating angular contours over the layered orchestration.

B1. “Love Ain’t Something You Can Get for Free” (3:24) – Composed by Melvin Ragin and Ray Parker Jr., the song rides a moderate, syncopated rhythm with subtle instrumental highlights. The lyrics frame love as an earned, reciprocal force, expressed through controlled vocal inflections and dynamic shifts.

B2. “Something You Got” (5:30) – Written by Chris Kenner, Womack sets this piece to a reggae-influenced rhythm, emphasizing pulse and swing. Vocals articulate desire and persuasion, weaving through angular phrasing over the track’s buoyant instrumentation. Originated as a 1961 single by Chris Kenner, covered by Alvin Robinson, Wilson Pickett, and the Moody Blues.

B3. “Daylight” (3:31) – Composed by Womack and Harold Payne, the track opens with a languid, contemplative pace, reflecting the exhaustion and resignation of a nocturnal lifestyle. Lyrics explore the tension between night-time revelry and the dawn’s inevitability, enhanced by expressive, fluid vocal turns.

B4. “I Feel a Groove Comin’ On” (8:33) – Written by Womack, this extended track builds suspense through layered, shifting rhythms and instrumental interplay. The lyrics celebrate anticipation and immersion in music, with Womack’s vocals guiding the track through contoured peaks and introspective valleys.

Safety Zone features Womack on guitar and vocals with guitarist Wah Wah Watson, bassist Willie Weeks, pianist Sonny Burke (piano, synthesizer), and drummer James Gadson, plus percussionist Bill Summers and guest pianist Herbie Hancock (on “I Feel a Groove Comin’ On”). Backing vocals come from multiple groups, including the Pointer Sisters and the Valentinos.

Sessions occurred at Wally Heider Studios in San Francisco and The Village Recorder in Los Angeles with Rubinson producing and engineering assistance from staff at both facilities.

United Artists promoted Safety Zone with “Daylight,” which became a major R&B hit and one of Womack’s best-known songs of the period.

“Daylight” was later covered by the disco group Vicki Sue Robinson in 1976 and by Kelly Rowland in 2007.

B.W. Goes C&W

Bobby Womack released his ninth solo album, B.W. Goes C&W, in April 1976 on United Artists.

The album presents Womack exploring traditional country within his soul-rooted vocal style, integrating gentle string arrangements, steel guitar accents, and mid-tempo pacing. He is accompanied primarily by five guitarists, a full rhythm section, and various session musicians typical of country recordings; his father, Friendly Womack Sr., contributes vocals on “Tarnished Rings.”

Bobby Womack wrote three tracks and collaborated with his brother Cecil Womack on “Don’t Make This the Last Date.” The album features covers of Kenny O’Dell’s “Behind Closed Doors” and “I Take It On Home,” Steve Nelson and Bob Hilliard’s “Bouquet of Roses” (originally recorded by Eddy Arnold), Sam Cooke’s “Tired of Living in the Country,” Gib Guilbeau’s “Big Bayou,” and Jim Ford’s “I’d Be Ahead If I Could Quit While I’m Behind.”

Songs divide into reflective ballads and mid-tempo country-soul interpretations. “Song of the Mockingbird” showcases Womack’s control over mid-tempo pacing with lush string flourishes and subtle steel guitar. “Tarnished Rings” highlights familial vocals and a narrative of personal reflection. “Behind Closed Doors” and “I Take It On Home” demonstrate Womack’s ability to contour familiar country material through his phrasing, while “Bouquet of Roses” maintains traditional country ornamentation.

A1. “Don’t Make This the Last Date” (3:12) — Cecil Womack; tender, narrative-driven ballad.
A2. “Behind Closed Doors” (2:32) — Kenny O’Dell; cover of Charlie Rich hit, exploring romantic secrecy.
A3. “Bouquet of Roses” (2:43) — music: Steve Nelson; lyrics: Bob Hilliard; originated as a 1948 side by Eddy Arnold; Womack adapts it with gentle string accents.
A4. “Tired of Living in the Country” (2:01) — Sam Cooke; country-inflected cover of Womack’s mentor.
A5. “Tarnished Rings” (2:39) — Roger Dollarhide; features vocals by Friendly Womack Sr.

B1. “Big Bayou” (2:50) — Gib Guilbeau; mid-tempo storytelling with country instrumentation.
B2. “Song of the Mockingbird” (3:10) — David Lovelace, Greg Attaway; mid-tempo ballad with strings and steel guitar; emotional reflection.
B3. “I’d Be Ahead If I Could Quit While I’m Behind” (2:34) — Jim Ford; countrified narrative.
B4. “You” (2:40) — D. Warner; mid-tempo country-soul hybrid.
B5. “I Take It On Home” (3:17) — Kenny O’Dell; cover emphasizing Womack’s interpretive phrasing.

Sessions occurred at various Los Angeles studios under Womack’s production, with engineering handled by studio staff.

B.W. Goes C&W stands as a unique entry in Womack’s catalog, merging traditional country arrangements with his expressive vocal phrasing. The familial collaboration on “Tarnished Rings” and the crafted mid-tempo balladry of “Song of the Mockingbird” offer the album its emotional core, while the covers demonstrate Womack’s ability to adapt canonical country material through a soul-informed lens.

Home Is Where the Heart Is

Bobby Womack released his tenth solo album, Home Is Where the Heart Is, in September 1976 on CBS.

The album marks his first release on the Columbia label and reunites him with the Muscle Shoals rhythm section for a return to deep, horn-laden soul with gospel overtones.

Womack co-wrote two tracks with Harold Payne and performs songs by Phillip Mitchell (“Home Is Where the Heart Is,” “Something for My Head”), Eddie Hinton (“Just a Little Bit Salty”), Sam Cooke (“A Change Is Gonna Come”), Paul Carrack (“How Long”), and Paul Williams and Roger Nichols (“We’ve Only Just Begun”). He also covers Chris Kenner associate Sir Mack Rice (“I Could Never Be Satisfied”).

The title track opens the album with a brisk, brassy soul shuffle, followed by the bluesy “Just a Little Bit Salty.” “Standing in the Safety Zone” fuses autobiographical lyrics with crisp horns and clipped guitar phrasing. Womack leans into a slow, spacious arrangement on “One More Chance on Love,” one of his most impassioned vocal performances of the period. He reshapes Ace’s 1974 soft rock hit “How Long” with layered gospel backing, contrasting the hard funk undertow of “I Could Never Be Satisfied.” “Something for My Head” adds a reflective, socially aware tone, while his reading of Sam Cooke’s “A Change Is Gonna Come” carries clear mentor-student reverence. The set closes with a soul recasting of the Carpenters’ “We’ve Only Just Begun.”

A1. “Home Is Where the Heart Is” (3:20) – Written by Phillip Mitchell, the track opens with brisk, forward-moving rhythms and layered horns. Womack delivers grounded, folksy vocals that frame the lyrics’ reflection on belonging and emotional roots.

A2. “Just a Little Bit Salty” (3:18) – Composed by Eddie Hinton, the song slows to a deliberate, fatback pace, emphasizing playful, ironic storytelling. Sparse instrumentation allows Womack’s expressive voice to contour through the song’s teasing phrasing.

A3. “Standing in the Safety Zone” (5:14) – Written by Bobby Womack and Harold Payne, the track features punchy horn stabs and funk-driven bass lines. Vocals articulate autobiographical observations, navigating sharp turns and rhythmic shifts that underscore resilience and awareness.

A4. “One More Chance on Love” (6:38) – Composed by Womack and Payne, this centerpiece unfolds with a deep, measured tempo and expansive string and keyboard textures. Lyrics convey vulnerability and longing, carried through Womack’s controlled, contoured vocal delivery.

B1. “How Long (Has This Been Goin’ On)” (2:52) – Written by Paul Carrack and originally a 1974 single by Ace, Womack transforms the soft rock composition with gospel-tinged backing vocals and a measured, syncopated rhythm, emphasizing emotional surprise and reflective tension.

B2. “I Could Never Be Satisfied” (2:22) – Composed by Henry Bush and Sir Mack Rice, the track struts on a grease-laden, moderate pace, reinforced by horns and funk bass. Womack’s vocals articulate desire and restlessness, bending phrasing sharply across the rhythmic backdrop.

B3. “Something for My Head” (3:00) – Written by Phillip Mitchell, the song adopts a contemplative, introspective tempo, underscoring lyrics of socio-political reflection. Womack’s voice traces angular turns over understated instrumentation, emphasizing the thematic weight.

B4. “A Change Is Gonna Come” (3:12) – Written by Sam Cooke, the track originated on his 1964 album Ain’t That Good News. Womack interprets the civil rights anthem with patient, soaring phrasing and lush, contoured arrangements that accentuate hope and struggle.

B5. “We’ve Only Just Begun” (3:59) – Composed by Paul Williams and Roger Nichols and originally popularized by the Carpenters, Womack adapts the ballad into a soulful statement with warm, measured pacing. Vocals and harmonies contour the lyrics’ optimism, highlighting renewal and possibility.

Womack fronts a large ensemble that includes guitarists Charles Fullilove, Jimmy Johnson, Eddie Hinton (acoustic), and Wayne Perkins (lead on “One More Chance on Love” and “We’ve Only Just Begun”); bassist David Hood; keyboardists Barry Beckett and Sonny Burke; drummer Roger Hawkins; and percussionist Tom Roady. The horn section comprises tenor saxophonists Dashilell Humdy and Harvey Thompson, baritone saxophonist Ronald Eades, trumpeters Alan Deville, Ben Culley, Harrison Calloway, and Lester Smith, and trombonists Dale Quillen and Zaimos Rowan. Vocals come from a large chorus including members of the Valentinos, Cecil and Curtis Womack, and Cassietta George.

Sessions occurred at Muscle Shoals Sound Studio in Sheffield, Alabama, and at studios in Los Angeles with Womack producing and Carrot Faye, Gregg Hamm, Roger Dollarhide, Steve Melton, Bob “Inky” Incorvaia, and Jerry Masters engineering.

CBS promoted Home Is Where the Heart Is with “Home Is Where the Heart Is” as its lead single, followed by “How Long (Has This Been Goin’ On).”

“A Change Is Gonna Come” remained a centerpiece of Womack’s later live sets, reinforcing his long artistic kinship with Sam Cooke.

Pieces

Bobby Womack released his eleventh solo album, Pieces, in July 1978 on Columbia.

The album pairs his seasoned soul phrasing with arrangements that straddle late-’70s club rhythms and Muscle Shoals–steeped balladry. Womack fronts a large ensemble with five guitarists (including P-Funk guitarist Glenn Goins and Muscle Shoals veteran Jimmy Johnson), two bassists (jazz-soul figure Michael Henderson and David Hood), multiple keyboardists (Rudy Robinson on clavinet and synthesizer, Barry Beckett), two drummers, auxiliary percussionists, the Detroit Horns and Horny Horns, the Detroit Symphony Orchestra, and background singers including David Ruffin and Brandye. Candi Staton guests on two numbers.

Womack wrote or co-wrote three songs and co-composed two more with Leon Ware and his brother Cecil Womack. Producer Don Davis co-wrote the opener with Willie Schofield and contributed two additional songs with other writers. The album also features outside material by Allee Willis, Arenita Walker, Cynthia Girty, Jimmy George, and John Hammond.

The uptempo “It’s Party Time” opens the album with clipped guitar figures and a propulsive rhythm section. “Trust Your Heart,” featuring David Ruffin and Candi Staton, uses a slow-blooming pace and ascending string figures. Womack and Staton trade verses on “Stop Before We Start,” a ballad with subdued horns and vibraphone fills. “When Love Begins Friendship Ends” pivots on a low, sustained pulse and pensive guitar phrasing, while “Wind It Up” embraces a brisk, floor-aimed tempo. “Is This the Thanks I Get” evokes classic Southern soul tension, and “Caught Up in the Middle” mirrors the Muscle Shoals atmosphere of his earlier work. “Never Let Nothing Get the Best of You” closes the set with a communal, percussive drive.

A1. “It’s Party Time” (4:09) – Written by Don Davis and Willie Schofield, the track drives with brisk, layered percussion and bright horn textures. Womack delivers an invitation to let loose and escape daily strain through celebration.

A2. “Trust Your Heart” (3:56) – Composed by Bobby Womack, Don Davis, and Leon Ware, this duet with Candi Staton moves with a supple rhythmic flow and ascending string lines. The lyrics urge faith in emotional instinct over hesitation or fear.

A3. “Stop Before We Start” (3:27) – Written by Arenita Walker and Cynthia Girty, and featuring Staton, the song unfolds at a slow, deliberate pace. Womack and Staton voice two perspectives on temptation and restraint, acknowledging the consequences of crossing emotional lines.

A4. “When Love Begins Friendship Ends” (5:19) – Composed by Allee Willis, the track combines elastic rhythm and restrained instrumentation. Lyrics trace the shift from platonic connection to romantic entanglement, reflecting on loss and inevitability.

B1. “Wind It Up” (3:57) – Written by Womack, Cecil Womack, and Leon Ware, the song features pulsing rhythm layers and interlocking guitars. Womack’s vocal delivery emphasizes energy and release through movement and abandon.

B2. “Is This the Thanks I Get” (3:19) – Written by Jimmy George and John Hammond, this ballad moves with languid pacing and soft horn inflections. Womack’s phrasing conveys hurt and disbelief at emotional betrayal and unreciprocated devotion.

B3. “Caught Up in the Middle” (5:21) – Composed by Don Davis, Jerry Don Stephens, and Ronnie McNeir, the track settles into a slow, measured rhythm accented by vibraphone and strings. The lyrics depict the tension of divided loyalties and moral uncertainty.

B4. “Never Let Nothing Get the Best of You” (4:31) – Written by Bobby Womack and Cecil Womack, the closing track carries an even, insistent pace with rhythmic precision. Its message centers on perseverance and inner strength amid adversity.

Sessions occurred at Muscle Shoals Sound Studio in Sheffield, Alabama, and United Sound Systems in Detroit with Don Davis producing and Roger Dollarhide engineering.

Columbia promoted Pieces with “Trust Your Heart,” a single backed with “Wind It Up.”

“Trust Your Heart” and “Stop Before We Start” marked Womack’s only studio collaborations with Candi Staton.

Roads of Life

Bobby Womack released his twelfth solo album, Roads of Life, in July 1979 on Arista.

The album blends R&B and soul with touches of contemporary disco rhythms, maintaining Womack’s emotive vocal style while exploring personal grief and romantic themes.

Bobby Womack wrote or co-wrote six tracks, often collaborating with his brother Cecil Womack and occasionally with Patrick Moten or Leon Ware. The album concludes with a cover of Peter Allen and Jeff Barry’s “I Honestly Love You.”

The album alternates between tender ballads, emotionally charged mid-tempo tracks, and rhythm-driven numbers. “The Roads of Life” and “Give It Up” are reflective pieces, while “Honey Dripper Boogie” and “Mr. D.J. Don’t Stop the Music” highlight upbeat, danceable arrangements. “The Roots in Me,” featuring Melissa Manchester, stands out for its soulful depth and vocal layering, and “How Could You Break My Heart” opens with a simulated phone call intro, underscoring relational tension.

A1. “The Roads of Life” (5:28) — Womack and Cecil Womack co-write; a reflective ballad on personal struggle and resilience.
A2. “How Could You Break My Heart” (5:17) — Womack and Patrick Moten; opens with a faux phone call, expressing relational betrayal.
A3. “Honey Dripper Boogie” (4:51) — Womack original, an upbeat, rhythmic number.
A4. “The Roots in Me” (4:49) — Womack and Leon Ware; features guest vocals by Melissa Manchester, affirming personal and cultural grounding.

B1. “What Are You Doin’” (4:29) — Womack and Cecil Womack; mid-tempo exploration of romantic frustration.
B2. “Give It Up” (4:39) — Womack and Cecil Womack; dance-oriented, optimistic rhythm.
B3. “Mr. D.J. Don’t Stop the Music” (5:17) — Womack; encourages continuation of joyous musical expression.
B4. “I Honestly Love You” (3:50) — cover of Peter Allen and Jeff Barry; an intimate declaration of devotion.

Roads of Life features five guitarists (Larry Byrom, Jimmy Johnson, Howie McDonald, Cecil Womack, Reggie Young), three bassists (David Hood, Anthony Willis, Bob Wray), four keyboardists (Barry Beckett, Tim Henson, Randy McCormick, Patrick Moten), four drummers/percussionists (Jack Ashford, Eddie “Bongo” Brown, Jimmy “Bebop” Evans, Roger Hawkins), six horn players (Ben Cauley, Charles Rose, Harrison Calloway, Harvey Thompson, Ronnie Eades, Wayne Jackson), guest vocalist Melissa Manchester, and backing vocal trio Pat Hodges, Denita James, and Jessica Smith. Leon Ware contributed vocal arrangements.

Sessions occurred at Muscle Shoals Sound Studio, Sheffield, Alabama, and Magic Wand Studios, Los Angeles, with Womack, Patrick Moten, and the Muscle Shoals Rhythm Section producing.

Arista promoted the album with “How Could You Break My Heart,” which reached No. 40 on the US R&B chart.

Dedicated to his late son Truth Womack, the album channels grief and loss alongside romance. While some tracks adopt period-typical disco-soul formulas, “The Roots in Me” provides the most sustained emotional resonance.

The Poet

Bobby Womack released his thirteenth solo album, The Poet, in October 1981 on Beverly Glen Music.

The album blends his seasoned soul vocals with contemporary R&B production, emphasizing smooth arrangements, restrained jazz textures, and intimate narratives.

Womack wrote or co-wrote the majority of the album, with Cecil Womack contributing one track and Jim Ford co-writing three numbers. Patrick Moten and Roger Dollarhide also share songwriting credits, while Sandra Sully co-wrote one track. The album contains no cover songs.

Opening with the rollicking, mid-tempo “So Many Sides of You,” the set moves through tender ballads like “Just My Imagination” and “Secrets,” where subtle string charts and piano figures underscore Womack’s baritone. “Lay Your Lovin’ on Me” and “Games” offer soft jazz-tinged exercises, with long intros and codas framing expressive vocals. The standout “If You Think You’re Lonely Now” combines a restrained rhythm, sultry handclaps, and Womack’s plaintive delivery, while closer “Where Do We Go from Here” layers extended arrangements and choral textures reminiscent of the Philadelphia soul sound.

A1. “So Many Sides of You” (3:44) – Written by Bobby Womack and Jim Ford, the track opens with crisp piano, sharp drum accents, and tight basslines. Vocals shift fluidly, exploring relational complexity and the layers of intimacy in love.

A2. “Lay Your Lovin’ on Me” (4:03) – Composed by Womack, Patrick Moten, and Sandra Sully, the song moves at a steady, contoured pace. Womack’s voice navigates angular phrasing while delivering a direct plea for closeness.

A3. “Secrets” (3:54) – Written by Womack and Ford, the piece maintains a moderate, syncopated rhythm, allowing his vocals to trace subtle contours around themes of trust and hidden emotions in a relationship.

A4. “Just My Imagination” (5:05) – Adapted from the Temptations’ classic, Womack transforms the original with country-inflected phrasing and sharp vocal turns, exploring yearning and wistful daydreams.

B1. “Stand Up” (3:30) – Composed by Cecil Womack, the track features a brisk, syncopated tempo and interlocking rhythm patterns. Lyrics advocate self-assertion and confidence, supported by layered harmonies.

B2. “Games” (6:51) – Written by Womack and Roger Dollarhide, this extended ballad unfolds with jazz-inflected keyboards and deliberate rhythmic variations. Vocals contour through complex emotional negotiations in love and mistrust.

B3. “If You Think You’re Lonely Now” (5:30) – Composed by Womack, Patrick Moten, and Richard Griffin, the song combines slow, steady percussion with sharp vocal inflections. The lyrics convey warning and vulnerability within a faltering relationship.

B4. “Where Do We Go from Here” (6:40) – Written by Womack and Ford, the closer builds with expansive keyboard lines and subtle tempo shifts. Womack’s gruff voice contrasts with silky backing vocals, articulating doubt, resolution, and longing in love’s uncertainty.

Womack leads a tight ensemble including five guitarists (David T. Walker, Womack himself), two bassists (Nathan East, David Shields), multiple keyboardists (Patrick Moten, Dale Ramsey), drummers James Gadson and percussionists Eddie “Bongo” Brown and Paulinho da Costa, harpist Dorothy Ashby, and backing vocalists including Cecil, Curtis, and Friendly Womack, Jr., The Waters, and Richard Griffin. Handclaps feature Womack family members Regina, Sally, Vincent, and Tondalei.

Sessions occurred at Kendun Recorders in Burbank, California, and Hit City West in Los Angeles with Bobby Womack producing and Avi Kipper, Barney Perkins, and Robert Battaglia engineering.

The Poet features cover art by Norman Seeff, depicting Womack in a lavender sports coat and sunglasses.

Beverly Glen promoted the album with “Secrets,” followed by “If You Think You’re Lonely Now,” which reached No. 3 on the Billboard Hot Black Singles chart, and “Where Do We Go from Here,” which reached No. 26.

“If You Think You’re Lonely Now” became a signature Womack ballad, inspiring later covers, including K-Ci Hailey’s 1994 R&B version.

The Poet ll

Bobby Womack released his fourteenth solo album, The Poet II, on February 29, 1984, on Beverly Glen Music.

Building on the intimate soul and contemporary R&B textures of The Poet, the album integrates lush arrangements, soft jazz inflections, and socially conscious moments.

Womack wrote or co-wrote seven tracks, including “Love Has Finally Come at Last,” “Through the Eyes of a Child,” and “Tell Me Why.” Cecil and Linda Womack contributed one track, while Chris Brubeck wrote another. The album contains no cover songs, though “American Dream” samples Martin Luther King Jr.’s “I Have a Dream” speech.

The album opens with the optimistic piano ballad “Love Has Finally Come at Last,” one of three duets with Patti LaBelle. “It Takes a Lot of Strength to Say Goodbye” and “Through the Eyes of a Child” continue the duet and reflective threads, with George Benson delivering an intricate guitar solo on the latter. Playful arrangements appear on “Surprise, Surprise,” while “Tell Me Why” channels a Solar Records–style dance energy. “Who’s Foolin’ Who” evokes contemporary R&B textures, and “I Wish I Had Someone to Go Home To” offers a tender, intimate moment. Closing track “American Dream” delivers a socially conscious message over extended arrangements, quoting King’s iconic speech.

A1. “Love Has Finally Come at Last” (5:36) – Written by Bobby Womack and Patrick Moten, this duet with Patti LaBelle features piano-led accompaniment and layered harmonies. Vocals trade with angular phrasing, conveying relief and fulfillment at the arrival of love.

A2. “It Takes a Lot of Strength to Say Goodbye” (3:52) – Composed by Chris Brubeck, the duet navigates measured tempo and subtle rhythmic shifts. Lyrics explore the emotional labor of ending a relationship while maintaining dignity and care.

A3. “Through the Eyes of a Child” (5:21) – Written by Womack and Jim Ford, the song combines intricate guitar lines, including a solo by George Benson, with supple, flowing rhythms. The lyrics reflect innocence and social awareness, observing the world from a youthful perspective.

A4. “Surprise, Surprise” (3:38) – Composed by Womack and Ford, the track moves with a light, playful pace, punctuated by sharp rhythmic accents. The lyrics chronicle unexpected developments in romance, framed with gentle humor.

B1. “Tryin’ to Get Over You” (4:16) – Womack and Ford’s composition features moderate, undulating tempo with soft percussion and contoured vocals. The song explores lingering heartache and the struggle to move past a love lost.

B2. “Tell Me Why” (6:16) – Written by Womack and Ford, the track builds over syncopated electronic drums and dense synth layers. Vocals articulate confusion and frustration over a failing relationship, underscored by urgent, driving basslines.

B3. “Who’s Foolin’ Who” (4:02) – Composed by Womack and Ford, the song features steady rhythm variations and interweaving backing vocals. The lyrics confront deception and miscommunication between partners with pointed directness.

B4. “I Wish I Had Someone to Go Home To” (3:47) – Written by Cecil Womack and Linda Womack, the track moves at a gentle, contemplative pace. Lyrics express longing for companionship and the quiet pain of solitude.

B5. “American Dream” (4:40) – Composed by Womack and Ford, the song integrates excerpts from Martin Luther King Jr.’s 1963 “I Have a Dream” speech. Its measured, plodding rhythm supports lyrics that reflect on social aspirations, justice, and the gap between ideal and reality.

Womack leads a large ensemble: five guitarists (David T. Walker, George Benson, Robert Palmer, Courtney Sappington, Womack himself), one bassist (David Shields), two keyboardists (Michael Wycoff, Denzil “Broadway” Miller), two synthesists (Frank “Rusty” Hamilton, Denzil “Broadway” Miller), drummer James E. Gadson with electronic drums by Fred Johnson, percussionist Paulinho da Costa, harpist Dorothy Ashby, harmonica by Frank “Rusty” Hamilton, and horns including Wilton Felder, Fred Wesley, Harry Kim, Sidney Muldrow, Thurman Green, and Fernando Harkless. Background vocals feature Patti LaBelle, Kathy Bloxson, Regina Womack, The Valentinos, Luther Waters, Julia Waters, Oren Waters, and Maxine Waters.

Sessions occurred in 1983 at Beverly Glen studios with Bobby Womack, Andrew Loog Oldham, and James E. Gadson producing and Barney Perkins engineering.

Record label promoted the album with “Love Has Finally Come at Last” and “It Takes a Lot of Strength to Say Goodbye,” followed by “Tell Me Why,” which became a UK Top 75 dance hit.

The album was named “Best Album of 1984” by NME. Patti LaBelle’s duets provide dramatic counterpoint to Womack’s vocals, and George Benson’s guitar adds lyrical depth to select tracks, making the album a nuanced continuation of The Poet.

Someday We’ll All Be Free

Bobby Womack released his fifteenth solo album, Someday We’ll All Be Free, in 1985 on Beverly Glen Music.

The album maintains the smooth, intimate soul textures of Womack’s early 1980s Beverly Glen output, favoring soft ballads with occasional up-tempo excursions.

Womack wrote or co-wrote three tracks, including “Falling in Love Again” and “In Over My Heart.” Cecil and Linda Womack contributed two tracks, and the album includes covers of Donny Hathaway’s “Someday We’ll All Be Free,” Bobby Moore’s “Searching for My Love,” and Cecil Womack’s “I’m So Proud.”

The album opens with the tender, gospel-tinged “I’m So Proud” (Cecil Womack) and moves into the titular cover, “Someday We’ll All Be Free,” an anthem originally written by Donny Hathaway and Edward Howard about liberation and perseverance. Womack and his ensemble balance soft ballads like “Gifted One” with the up-tempo, rhythmic “Falling in Love Again.” The vocoder-accented “Searching for My Love” adds a contemporary touch, while “I Wish I Had Someone to Go Home To” revisits a previous The Poet II track, blending intimate lyricism with layered backing vocals.

A1. “I’m So Proud” (5:01) — written by Cecil Womack, a declaration of enduring devotion.
A2. “Someday We’ll All Be Free” (6:14) — originated as a 1973 Donny Hathaway side, written by Hathaway and Edward Howard, later covered by Sérgio Mendes, Average White Band, and Ben E. King; an uplifting anthem of personal and social liberation.
A3. “Gifted One” (4:28) — Cecil and Linda Womack tribute, emphasizing familial and romantic bonds.
A4. “Falling in Love Again” (5:21) — Womack-penned, featuring rhythmic piano and an up-tempo pulse.

B1. “Searching for My Love” (3:43) — Bobby Moore composition with vocoder textures, exploring longing and reconciliation.
B2. “In Over My Heart” (3:50) — Womack original, reflecting emotional vulnerability.
B3. “I Wish I Had Someone to Go Home To” (3:40) — Cecil and Linda Womack; previously recorded on The Poet II, a contemplative ballad on solitude and desire for companionship.

Womack is supported by four guitarists (Charles Fearing, Craig T. Cooper, David T. Walker, Womack himself), five bassists including session legends Abraham Laboriel, James Jamerson, Nathan East, David Shields, and Freddie Washington, four keyboardists (Dale Ramsey, Patrick Moten, Clarence McDonald, Dean Gant) with additional synthesizers by Lathan Omar and Ramsey Embick, four drummers/electronic percussionists (Craig T. Cooper, Harvey Mason, James Gadson, Ricky Lawson), harpist Dorothy Ashby, percussionists Eddie “Bongo” Brown and Paulinho da Costa, saxophonist Don Myrick, and trumpeters Chuck Findley, Gary Grant, and Jerry Hey. Background vocals are provided by Angela Winbush, Marva King, Vesta Williams, Van Ross Redding, and The Waters.

Sessions occurred in 1985 at Yamaha Studios in Glendale, California, and Hit City West, Los Angeles, with Bobby Womack and Patrick Moten producing most tracks. “I Wish I Had Someone to Go Home To” was produced by Andrew Loog Oldham and James Gadson.

Norman Seeff provided cover photography. Beverly promoted the album with “Falling in Love Again” and “I’m So Proud.”

Comprising outtakes from The Poet and The Poet II, the album retains the smooth, polished soul of that era. While less cohesive than its predecessors, it offers Womack’s expressive vocals, elegant arrangements, and moments of social reflection, particularly on the Hathaway cover.

Discography: