Gwen McCrae -

Gwen McCrae (December 21, 1943 – February 21, 2025) was an American soul singer who first performed and recorded during the 1960s with then-husband George McCrae. As a solo singer, she cut multiple singles for Columbia and Cat during the 1970s. Her first album, Rockin’ Chair, spawned a charting hit with the moaning title-track.

Background

McCrae was born Gwen Mosley on December 21, 1943, in Pensacola, Florida. As a teenager, she performed at local clubs in a sequence of vocal groups (The Lafayettes, The Independents).

In 1963, she met bluejacket George McCrae (b. 1944), whom she married the following week. After performing as a duo for several years, they were discovered by teenage singer Betty Wright, who brought them to the attention of Miami soul-press Alston Records. The pair cut three singles on Alston in 1969/70: “Like Yesterday Our Love Is Gone” (b/w “Stranded in This Broken Heart of Mine”), “Three Hearts in a Tangle” (b/w “One of These Days”), and “No One Left to Come Home.”

In 1970, Gwen commenced he solo career with George as her manager. She first signed to Columbia and issued five 1970–72 singles, charting with a cover of “Lead Me On” by Bobby Bland. In 1972, she cut the first rendition of “You Were Always On My Mind,” later made famous by Elvis Presley and Willie Nelson. She next signed with TK-subsidiary Cat, where she issued 12 singles between 1973 and 1979, starting with a cover of the 1957 Ed Townshend hit “For Your Love.”

In 1974, George had an unexpected No. 1 hit on the Billboard Hot 100 with “Rock Your Baby,” set to a backing track by KC & the Sunshine Band. Gwen was originally slated to sing the track but failed to appear on the day of the session.

Gwen McCrae (aka Rockin’ Chair)

Gwen McCrae released her self-titled debut album in 1974 on Cat (US), President (UK), and RCA Victor (Europe, Japan).

The album showcases Miami soul and early disco stylings with a blend of rhythm-forward dance cuts and emotive ballads. Steve Alaimo produced the sessions with horn and string arrangements by Mike Lewis.

Backing is provided by guitarists Jerome Smith, Joey Murcia, Phillip Wright, and Willie “Little Beaver” Hale; keyboardists Harry Wayne Casey (organ), Latimore (piano), and Timmy Thomas (electric piano); bassists George Perry, Rick Finch, and Ron Bogdon; and drummers Freddie Scott, Rick Finch, Robert Ferguson, and Robert Johnson. Horn players include Mike Lewis, Vinny Tano, and Whit Sigener.

Clarence Reid wrote four of the album’s nine songs. McCrae also covers songs by Sonny Thompson (“Let Them Talk”) and Ed Townsend (“For Your Love”). Harry Wayne Casey and Steve Alaimo co-wrote the opening cut “Move Me Baby,” while Willie Hale contributed “He Don’t Ever Lose His Groove.”

The uptempo numbers “Move Me Baby” and “He Keeps Something Groovy Goin’ On” set a propulsive rhythmic tone with brisk horn accents and contoured vocal phrasing. “90% of Me Is You” and “It Keeps on Raining” unfold at a slower pace with layered strings and tightly controlled lead lines. “Let Them Talk” and “For Your Love” display McCrae’s ballad phrasing over sparse, mid-tempo arrangements.

A1. “Move Me Baby” (4:55) — Written by Harry Wayne Casey and Steve Alaimo, this opener unfolds in relaxed, syncopated motion, blending electric piano flourishes with a supple rhythm section. McCrae’s vocal alternates between command and invitation, tracing desire as a gradual build rather than a sudden spark.

A2. “Your Love Is Worse Than a Cold Love” (2:44) — Composed by Clarence Reid, the song confronts emotional indifference with clipped phrasing and quickened pace. McCrae channels the lyric’s frustration through controlled intensity, turning bitterness into assertion.

A3. “He Keeps Something Groovy Goin’ On” (3:02) — Written by Reid and Ingram Kitts, this track rides a restrained rhythmic drive underscoring a lyric of sustained fascination. McCrae balances confidence and curiosity, her phrasing threading through shifting instrumental accents.

A4. “Let Them Talk” (2:55) — Originally written by Sonny Thompson and first recorded by Little Willie John in 1959, this interpretation slows the tempo into a deep, deliberate statement of endurance in love. McCrae extends the phrasing, allowing every line to carry the weight of self-possession.

B1. “For Your Love” (2:58) — First recorded in 1958 by composer Ed Townsend, covered since by The Righteous Brothers and Peaches & Herb. McCrae’s reading reshapes the song into a plea marked by subtle harmonic tension, the strings cushioning her unwavering tone.

B2. “It’s Worth the Hurt” (2:21) — Written by Clarence Reid, the song frames perseverance in love as both defiance and devotion. McCrae’s clipped delivery and the track’s unhurried rhythm convey acceptance without surrender.

B3. “90% of Me Is You” (2:52) — Reid’s composition distills dependence into near stillness, the arrangement’s spare bass line and string phrases evoking emotional confinement. McCrae’s vocal inhabits the lyric’s submission with careful restraint, giving shape to longing as control.

B4. “It Keeps on Raining” (3:09) — Another Reid piece, pairing lament and continuity through patient rhythmic repetition. McCrae’s voice flows against the instrumentation’s steady motion, expressing endurance rather than despair.

B5. “He Don’t Ever Lose His Groove” (2:58) — Written by Willie “Little Beaver” Hale, the closing track returns to steady midtempo rhythm, tracing admiration through understated sensuality. McCrae’s phrasing keeps tension alive within the ease of delivery.

Sessions occurred at TK Studios in Hialeah with producer Steve Alaimo.

Cat promoted Gwen McCrae with “Move Me Baby” (b/w “Your Love Is Worse Than a Cold Love”), followed by “It’s Worth the Hurt,” which reached No. 66 on the Billboard R&B chart.

“Rockin’ Chair”

In May 1975, McCrae issued the non-album single “Rockin’ Chair” (b/w “It Keeps on Raining”), which reached No. 1 on the Billboard R&B chart and No. 9 on the Hot 100. The song functions as an answer record to George McCrae’s 1974 hit “Rock Your Baby,” with George providing backing vocals.

“Rockin’ Chair” (3:15) — Written by Willie Clarke and Clarence Reid, the song swells on a stately precession with swelling horn figures, McCrae’s vocal turns an invitation to intimacy into a poised declaration of mutual surrender.

With a hit on their hands, Cat and RCA added the song to the 1975 second edition of Gwen’s debut album, re-titled Rockin’ Chair.

Together (w/ George McCrae)

In 1975, George and Gwen McCrae released Together, an album of duets on Cat Records.

The album pairs George and Gwen’s distinct vocals over mid-’70s Miami soul arrangements, blending romantic ballads with disco-tinged uptempo numbers. Disco rhythms inform select tracks, while other songs adhere to straightforward, expressive soul, allowing the duo to trade lines and harmonize with subtle tension.

Backing players include bassists Arnold Paseiro and “Chocolate” Perry, drummers Joe Galdo, Robert Ferguson, Robert Johnson, and “Tubby” Zeigler, guitarists Ismael Ledesma, Jerome Smith, Joey Murcia, Phillip Wright, Snoopy Dean, and Warren Thompson, pianists Albhy Galuten, Latimore, Mike Lewis, Ray Martinez, and Timmy Thomas, horn players Ken Faulk, Mike Lewis, Vinnie Tano, Whit Sidener, and conga players Oliver Brown and Richie Puente, Jr. Strings and horn arrangements were handled by Mike Lewis.

Clarence Reid wrote the first four tracks and “Home Sick, Love Sick.” He co-wrote the last two songs with Willie Clarke. The McCrae’s co-wrote “Let’s Dance, Dance, Dance” with Ray Martinez and Steve Alaimo.

Songs divide between mid-tempo disco and romantic soul. “Let’s Dance, Dance, Dance” applies disco rhythms to encourage movement, while “You and I Were Made for Each Other” and “Mechanical Body” dwell on romantic intimacy. Ballads like “I’m Comin’ at You” and “Home Sick, Love Sick” rely on gentle string and horn support to frame the vocal interplay. Tracks like “The Rub” and “Let Your Love Do the Talkin’” explore funk-leaning rhythmic variations with clean, contoured instrumental lines.

A1. “I’ll Do the Rockin’” (3:42)
A2. “You and I Were Made for Each Other” (3:08)
A3. “Mechanical Body” (3:01)
A4. “I’m Comin’ at You” (3:12)
A5. “Let’s Dance, Dance, Dance” (3:36)

B1. “Winners Together or Losers Apart” (4:05) — written by Reid, Martinez
B2. “Home Sick, Love Sick” (3:42)
B3. “The Rub” (3:36)
B4. “Let Your Love Do the Talkin’” (3:36)

Sessions occurred at T.K. Productions, with Clarence Reid and Steve Alaimo producing and Mike Lewis (7) arranging horns and strings. Together features cover photography by Mario Algaze, and cover design and layout by Drago.

T.K. Records promoted the album with singles including “Let’s Dance, Dance, Dance” (with George McCrae) and “Winners Together or Losers Apart” (with George McCrae).

Something So Right

Gwen McCrae released her second solo album, Something So Right, in 1976 on Cat.

The album blends lush Miami soul arrangements with upbeat dance numbers and stately ballads. Clarence Reid and Steve Alaimo produced the sessions with horn and string charts by Mike Lewis.

Backing is provided by guitarist Clay Cropper, Joey Murcia, and Warren Thompson, pianist Latimore and Cropper (acoustic piano), bassist George “Chocolate” Perry, and drummer Tubby Zeigler.

Clarence Reid wrote six of the album’s eight songs. McCrae also covers songs by Paul Simon (“Something So Right”) and Little Anthony & the Imperials (“Tears on My Pillow”).

The title track opens the set with a controlled yet expressive vocal delivery over an elegant, slow-building arrangement. “Mr. Everything” and “Iron Woman” move at a brisk pace with assertive phrasing and rhythmic drive. “I’ve Got Nothing to Lose but the Blues” closes the album on a reflective note with drawn-out turns and sustained vocal lines.

A1. “Something So Right” (5:24) — originated as a 1973 album track by Paul Simon, written by Simon. McCrae delivers a poised vocal reading with a measured rise in intensity through the choruses.
A2. “Tears on My Pillow” (4:00) — originated as a 1958 hit by Little Anthony & the Imperials, written by Al Lewis and Sylvester Bradford. McCrae slows the pace to frame her spoken interjections and full-voiced phrasing.
A3. “Love Without Sex” (4:50)
A4. “Mr. Everything” (3:42)

B1. “Iron Woman” (4:12)
B2. “Damn Right It’s Good” (4:00)
B3. “Let Nature Take Its Course” (3:30)
B4. “I’ve Got Nothing to Lose but the Blues” (4:42)

Sessions occurred at TK Studios in Hialeah with producers Clarence Reid and Steve Alaimo and mastering at Sterling Sound.

Record label Cat promoted Something So Right with “Cradle of Love” (b/w “Damn Right It’s Good”), which reached No. 53 on the Billboard R&B chart, followed by “Damn Right It’s Good” (b/w “Iron Woman”), which peaked at No. 72.

Let’s Straighten It Out

Gwen McCrae released her third album, Let’s Straighten It Out, on April 17, 1978, on Cat. It contains “Love Insurance,” her 1975 non-album single.

The album balances mid-tempo funk and smoldering ballads with tightly arranged strings and horns, highlighting McCrae’s expressive vocal range. It collects both new tracks and her 1975 single “Love Insurance,” pairing upbeat numbers with sensual slow jams.

Backing players include keyboardist Mike Lewis (horns, strings arranger), with guitar, bass, and drums performed by a larger ensemble of session musicians; specifics on named session players beyond Lewis are not listed. Background vocals are supplied across tracks but unnamed aside from coordination by Katie Kahrs.

Frederick Knight produced Side A and wrote “Tonight’s the Night.” Clarence Reid produced Side B and wrote the last three tracks. Steve Alaimo co-produced “Let’s Straighten It Out.” The album also includes covers of Stevie Wonder (“Signed, Sealed, Delivered”) and Mel & Tim (“Starting All Over Again”).

Upbeat numbers like “Early Morning Love” and “Love Insurance” push a brisker rhythmic pace, while ballads such as “Let’s Straighten It Out” and “Tonight’s the Night” emphasize descending string lines and emotive vocal swells. “Signed, Sealed, Delivered” retains its original pop-soul contour, and “At Bedtime” closes the album with a slower, intimate pulse.

A1. “Early Morning Love” (3:24) — written by Sam Dees.
A2. “Starting All Over Again” (3:51) — written by Phillip Mitchell; cover of Mel & Tim.
A3. “Tonight’s the Night” (4:18)
A4. “Signed, Sealed, Delivered” (4:13) — cover of Wonder’s 1970 hit, co-written by Lee Garrett and Syreeta Wright.

B1. “Let’s Straighten It Out” (4:46) — written by B. Latimore; horns and strings arranged by Mike Lewis.
B2. “Love Insurance” (4:21)
B3. “Cradle of Love” (3:22)
B4. “At Bedtime” (3:51)

Sessions occurred at various studios in Miami under the direction of Clarence Reid and Frederick Knight, with co-production by Steve Alaimo on select tracks.

Let’s Straighten It Out features design by AGI and photography by Joe Elbert.

Cat promoted the album with the single “Starting All Over Again.”

Melody of Life

Gwen McCrae released her fourth album, Melody of Life, on November 12, 1979, on Cat.

The album finds McCrae collaborating with Betty Wright, who produced and arranged the sessions, providing sleek, tightly structured soul arrangements that foreground McCrae’s commanding vocals. Synthesizer textures, Fender Rhodes, and layered backing vocals support a mix of mid-tempo tracks and emotional ballads.

Backing players include bassist Michael Wilkerson, drummer Gregory Wilkerson, percussionist Robert “Rickey” Webb, keyboardists Garry Greene (Clavinet, Micromoog) and Kevin Kendrick (piano, Fender Rhodes, ARP Polyphonic, Crumar synthesizers), and guitarist William E. Bridgeforth. Horns and strings were arranged by Mike Lewis, with backing vocals from Betty Wright, Jeremiah Burden, and Lynn Williams.

Betty Wright co-wrote all seven tracks, assisted on select tracks by Lynn Williams, Kevin Kendricks, and Eternity.

Tracks divide between soulful mid-tempo numbers and expressive ballads. “All This Love That I’m Givin’” layers thick synthesizer bass with background vocals on its tag. “I Can Only Think of You” employs gentle strings and flute phrases to underline yearning, while “The Joy” features sprightly horns and an elastic bass rhythm. “Ease the Pain” climaxes with a multi-second vocal wail, emphasizing emotional intensity. “The Melody of Life” closes the set with sweeping, contemplative textures.

A1. “All This Love That I’m Givin’” (4:08) — Eternity, Wright, Williams, Jeremiah Burden
A2. “I Can Only Think of You” (5:34) — Wright, Regina Payne, Richard “Dimples” Fields.
A3. “Maybe I’ll Find Somebody New” (3:36) — Eternity, Wright, Burden, Garry Greene

A4. “I Found a Love” (4:36) — Eternity, Wright, Williams
B1. “The Joy” (4:38) — Wright, Kendricks, Williams; horns and strings arranged by Mike Lewis.
B2. “Ease the Pain” (3:34) — Wright, Kendrick
B3. “The Melody of Life” (6:07) — Wright, Elsie Fergeson; horns and strings arranged by Mike Lewis.

Sessions occurred at Quadradial Studios and T.K. Studios under the production and arrangement of Betty Wright, engineered by “Bad Boy” Ingria and Freddy “Stonewall” Lucero, with assistant engineer Dave “MG”. Mixing took place under Ingria and Dave.

Melody of Life features design by Rob Vaughn and Terri Berns with photography by Howard Austin Feld.

Cat promoted the album with the single “All This Love That I’m Givin’,” which gained underground dance traction in the UK.

The album emphasizes McCrae’s expressive vocal range, particularly on “Ease the Pain” and “I Can Only Think of You,” pairing elegant soul backgrounds with impassioned delivery, resulting in a set of lithe, sophisticated late-’70s soul.

Gwen McCrae (1981)

Gwen McCrae released her self-titled fifth album on September 2, 1981, on Atlantic.

The album blends post-disco rhythm structures with traces of Southern soul phrasing, distinguished by Kenton Nix’s horn-and-string arrangements and propulsive percussion patterns. The sessions pair her raw vocal delivery with polished downtown club production.

Nix wrote or co-wrote seven of the album’s nine tracks. Gwen McCrae contributed to “Poyson,” while Deidre Nix co-wrote “All My Love” and “No Deposit/No Return.” Henry Batts wrote “Stood the Test” and co-produced the record with Nix.

The opening track “Funky Sensation” rides a mid-tempo pulse with rolling percussion and angular horn figures, framing McCrae’s assertive vocal turns. “Poyson” and “Feel So Good” follow a similar rhythmic chassis with denser backing vocals. “No Deposit/No Return” introduces a reggae-influenced sway, while “All My Love” and “Stood the Test” slow the pace with clipped drum figures and upward turns in the string lines.

A1. “Funky Sensation” (6:35) — written by Kenton Nix. The lyric plays as a loose dance exhortation over a steady beat and syncopated horn responses.
A2. “Poyson” (5:07) — co-written by Gwen McCrae and Kenton Nix.
A3. “Feel So Good” (5:38) — written by Kenton Nix.

B1. “All My Love” (5:00) — written by Deidre Nix.
B2. “Stood the Test” (3:42) — written by Henry Batts.
B3. “Do You Wanna Be Mine” (5:49) — written by Kenton Nix.
B4. “No Deposit/No Return” (4:18) — co-written by Deidre Nix, arranged by Bert Reid.
B5. “Have a Good Time” (4:14) — written by G. Nix.
B6. “Movement” (1:54) — written by Kenton Nix.

Sessions occurred at Atlantic Studios in New York with producer Kenton Nix, co-producer Henry Batts, and engineers Bobby Warner and Bruce Gerstein. Mixing took place at Right Track and Blank Tape Studios with Hugo Dwyer. Herb Powers mastered the album at Frankford/Wayne Mastering Labs.

Nix employed guitarists Dennis Weeden, Phil Hamilton, and William Hamilton; bassist Fred Brown; keyboardists Galen Underwood (grand piano, Rhodes) and Michael Benidictus (Prophet 5); drummers and horn arranger Ray “Johnny” Reid (also trombone and clap trap); percussionist Fred Walcott; bongo player David Lewis; trumpeter Tyrone Cox; and saxophonists Larry Smith and Jeffrey Smith.

Gwen McCrae features art direction by Bob Defrin with photography by David Kennedy.

Atlantic promoted the album with “Funky Sensation” (b/w an alternate mix), which reached No. 22 on the Billboard R&B chart and No. 15 on the Club chart. “Poyson” followed as a second single.

“Funky Sensation” became a durable dancefloor classic, later sampled by Afrika Bambaataa on “Jazzy Sensation” (1981) and numerous 1990s house and hip-hop records.

On My Way

Gwen McCrae released her sixth album, On My Way, on September 20, 1982, on Atlantic.

The album blends McCrae’s commanding vocals with polished early-’80s soul production, emphasizing layered horn and string arrangements alongside synthesizers and electric piano. It balances contemplative ballads with mid-tempo funk-leaning numbers, highlighting her ability to convey emotion through nuanced phrasing and sustained notes.

Backing players include bassists Nate Watts, drummers James Gadson, percussionist Paulinho Da Costa, guitarists David T. Walker and Leo Nu Centelli, keyboardists Denzil Miller, Michael Wycoff, Webster Lewis, and synthesizer players Robbie Buchannon and Webster Lewis.

Songs vary between emotive ballads and mid-tempo, rhythm-driven tracks. “Hang In” opens with layered vocals and sharp-turning keyboard motifs. “Make Believe” pairs fluid synth textures with contemplative lyrics, while “Keep the Fire Burning” and “Doin’ It” use rhythmic pacing to underscore themes of desire and resolve. Ballads like “I Need to Be with You” and “Be for Real” allow McCrae to sustain high-register notes and emphasize emotional tension.

A1. “Hang In” (4:19) — Co-written by McCrae with Frederick Burgess, Monica Pege, Victor Burke, Webster Lewis.
A2. “Make Believe” (5:03) — written by Ray Obiedo, Teresa Trull.
A3. “Keep the Fire Burning” (5:37) — written by Willie Hutch.
A4. “I Need to Be With You” (3:53) — written by Harry Shannon, Tony Macarlay.

B1. “Be for Real” (4:32) — written by Frederick Knight.
B2. “Hey World” (4:25) — written by James Alan Smith, Samuel Garner.
B3. “I Didn’t Take Your Man” (4:42) — written by Earl Randle, Par Barnes.
B4. “Doin’ It” (4:48) — written by Willie Hutch.

Sessions occurred at Hollywood Sound Recorders under producers Webster Lewis and assistant James Gadson, engineered by Dennis King, Nikki Bowden, and Ross Palone, with mixing by Ross Palone and mastering by Dennis King at Atlantic Studios, New York City.

Ernie Fields leads the horn section, with solos by Mark Russo; he and H.B. Barnum arrange the strings. McCrae, James Gadson, Monica Pege, and Webster Lewis handle the vocal arrangements, while Julia Waters, Maxine Waters, Michael Wycoff, and Stephanie Spruill provide additional backing vocals.

On My Way features artwork by Sandi Young. Atlantic promoted the album with the single “Hang In” (b/w “Make Believe”).

The album emphasizes McCrae’s sustained vocal power and expressive phrasing, pairing elegant horn and string arrangements with mid-tempo and ballad tracks that articulate longing, resolve, and affection.

Discography: