Johnnie Taylor -

Johnnie Taylor (1934–2000) was an American soul singer who first recorded for Sam Cooke’s SAR label. On Stax (which dubbed him the “Philosopher of Soul”), he scored R&B crossover hits with the 1968–73 singles “Who’s Making Love,” “Take Care of Your Homework,” “Jody’s Got Your Girl and Gone,” “I Believe in You (You Believe in Me),” and “Cheaper to Keep Her.”

Taylor released fifteen studio albums between 1967 and 1982, mostly on Stax (through 1974) and Columbia, where he scored the 1976 crossover hit “Disco Lady.” His next eleven albums (1984–2001) appeared on Malaco Records.

Background

Johnnie Taylor was born on May 5, 1934, in Crawfordsville, Arkansas, and grew up in nearby West Memphis on the Tennessee border. As a child, he sang in local gospel groups.

Group Activity

He first recorded with The Highway Q.C’s, a revolving-door Chicago gospel group. Taylor stepped in for rising star Lou Rawls and sang on the Q.C’s debut single “Somewhere to Lay My Head” (b/w “Pray”), released in 1955 on Vee Jay Records. Johnnie’s vocal similarity to his Q.C. forebear, Sam Cooke, earned him a spot in Houston-based gospel perennials the Soul Stirrers, which Taylor joined in 1957 as Cooke’s replacement.

SAR/Derby Singles

After Cooke’s rise to fame, he established SAR Records (distributed by New York’s ABKCO Records), which issued Taylor’s 1961 solo debut, “Why, Why, Why” (b/w “A Whole Lotta Woman”), written and produced by Cooke’s mentor: onetime Pilgrim’s Travelers singer J. W. Alexander.

Taylor cut six further singles for SAR and its LA-based sister label, Derby Records, starting with the April 1962 SAR release “Rome (Wasn’t Built In a Day)” (b/w “Never, Never”).

In February 1963, Taylor released “Dance What You Wanna” (b/w “Shine, Shine, Shine”), his firsy of three consecutive Derby titles, followed in October with “Baby, We’ve Got Love” (b/w “(I’ll Always Be) In Love With You”) and the May 1964 single “Getting Married Soon” (b/w “I Need Lots of Love”).

By late 1964, Taylor resurfaced on SAR with “Keep On Lovin’ You” (b/w “Run But You Can’t Hide”). However, the label collapsed soon after Cooke’s tragic death in December 1964. Taylor’s final SAR release was the January 1965 single “Oh How I Love You” (b/w “Run But You Can’t Hide”).

1966/67 Stax Singles

Johnnie Taylor signed with Stax Records, a Memphis-based soul label distributed by Atlantic. For his first four singles with the label, Stax paired him with in-house writers Isaac Hayes and David Porter.

In February 1966, Taylor released “I Had a Dream,” a Porter/Isaac composition backed with “Changes,” a Taylor/Porter/Hayes collaboration. “I Had a Dream” became his second R&B Top Twenty hit.

A “I Had a Dream” (2:59) – a soul/blues hybrid with unorthodox chord progressions, blaring horns, and a fatback drum beat from Al Jackson, signaling Taylor’s move into Southern Soul.
B “Changes” (2:27) – a reflective track with shifting rhythmic patterns supporting Taylor’s expressive vocal.

Wanted One Soul Singer

Johnnie Taylor released his debut album, Wanted One Soul Singer, in March 1967 on Stax.

The album presents Taylor’s first solo statement after his gospel and soul apprenticeship under Sam Cooke. It frames his impassioned delivery within a raw Memphis soul and blues setting, powered by the Stax house band and the Memphis Horns.

Taylor co-wrote one track and performs eight songs by Isaac Hayes and David Porter. The set also includes numbers by Homer Banks, Steve Cropper, Alvertis Isbell, and Eddie Floyd. He covers songs popularized by Herbie Hancock (“Watermelon Man”), Tennessee Ernie Ford (“Sixteen Tons”), and Harold Arlen (“Blues in the Night”).

The album balances slow, pleading ballads and stomping blues shuffles. Taylor opens with the anxious “I Got to Love Somebody’s Baby,” which sets the record’s intense tone. “Where Can a Man Go From Here,” “Outside Love,” and “Little Bluebird” extend that anguished delivery over hard-driving rhythms. He pivots to uptempo brass-heavy numbers on “Just the One I’ve Been Lookin’ For” and a boogaloo-styled “Watermelon Man.” “Toe-Hold” rides a tight Stax backbeat, while “Ain’t That Loving You (For More Reasons Than One)” serves as the set’s lyrical centerpiece. Taylor closes with a tough, percussive remake of “Sixteen Tons.”

A1. “I Got to Love Somebody’s Baby” (2:53) — Isaac Hayes, David Porter. Opening the album, Taylor channels urgency through a tight, shuffling rhythm, voicing desire as both burden and necessity. The lyric portrays love as compulsion, while the brass punctuations mirror the narrator’s restlessness.

A2. “Just the One I’ve Been Lookin’ For” (2:35) — William Bell, Alvertis Isbell, Steve Cropper. A brisk, horn-led arrangement frames the lyric’s moment of discovery. Taylor’s phrasing captures the spontaneity of attraction, balancing excitement with the weight of longing that defines much of the record.

A3. “Watermelon Man” (3:11) — Herbie Hancock. Taylor reinvents Hancock’s instrumental as a streetwise R&B vignette, adding humorous, improvisatory lyrics over a percussive pulse. The band maintains an unhurried pace, letting the horns sketch angular accents around his vocal ad-libs.

A4. “Where Can a Man Go from Here” (3:10) — Allen Jones, Homer Banks. Built on slow, descending chords, the song frames a man’s uncertainty after love’s collapse. Taylor’s delivery moves between resignation and protest, his tone reflecting the weary self-questioning at the lyric’s center.

A5. “Toe-Hold” (2:39) — Hayes, Porter. Driven by clipped guitar figures and taut rhythmic motion, the song describes persistence amid rejection. Taylor’s voice alternates between defiance and restraint, underscoring the struggle to maintain emotional footing.

A6. “Outside Love” (2:15) — Hayes, Porter. Compact and direct, the lyric depicts a relationship strained by distance and temptation. Taylor renders each phrase with measured control, matching the rhythm’s steady insistence with emotional containment.

B1. “Ain’t That Loving You (For More Reasons Than One)” (2:55) — Jones, Banks. A mid-tempo ballad that expands love into loyalty and endurance, the arrangement layers soft horns beneath Taylor’s patient lead. His phrasing turns assurance into devotion without exaggeration, sustaining intensity through quiet emphasis.

B2. “Blues in the Night” (3:05) — Harold Arlen, Johnny Mercer. Taylor reshapes the 1940s pop standard into a Southern blues narrative, replacing urbane melancholy with field-hardened lament. The rhythm section moves with deliberate pace, grounding his wailing vocal in earthy cadence.

B3. “I Had a Dream” (2:59) — Hayes, Porter. Structured as a confession from sleep’s aftermath, the lyric recounts loss and revelation. Taylor’s voice tightens around each phrase, heightening the contrast between dream’s promise and waking truth.

B4. “Sixteen Tons” (2:25) — Merle Travis. The Stax rhythm section recasts the 1947 labor ballad in heavy syncopation, giving the lyric new physical weight. Taylor’s delivery blends endurance with defiance, aligning the coal miner’s burden with the Southern worker’s condition.

B5. “Little Bluebird” (2:50) — Jones, Porter, Hayes. Closing the album, Taylor traces heartbreak through a plaintive call to a vanished lover. The slow pace and suspended chord changes amplify the solitude beneath his controlled wail, ending the record in quiet resolve.

Sessions occurred at Stax Studios in Memphis with producer Jim Stewart and engineer Ron Capone.

Stax promoted Wanted One Soul Singer with four singles: “I Had a Dream” (b/w “Changes”), which reached No. 19 on the Billboard R&B chart; “I’ve Got to Love Somebody’s Baby” (b/w “Just the One I’ve Been Lookin’ For”), which reached No. 15 R&B; “Little Bluebird” (b/w “Toe-Hold”); and “Ain’t That Loving You (For More Reasons Than One)” (b/w “Outside Love”).

“I Had a Dream” was later covered by blues guitarist Freddie King.

1967–68 Singles

In July 1967, Johnnie Taylor released “You Can’t Get Away From It,” a Booker T. Jones, Al Jackson, Jr., and Donald Porter composition, backed with “If I Had to Do It Over,” written by Isaac Hayes and David Porter. The single reached No. 1 on the R&B chart and No. 7 on the Hot 100.

A “You Can’t Get Away From It” (2:45) – an uptempo Southern Soul number with Booker T. & the M.G.’s providing a lively instrumental backdrop, punctuated by Motown-style backing vocals.
B “If I Had to Do It Over” (3:10) – a blues-inflected ballad with Taylor’s raw vocal supported by a steady rhythm section; later included on the Raw Blues album.

In November 1967, Taylor released “Somebody’s Sleeping in My Bed,” written by Bettye Crutcher and Allen Jones, backed with “Strange Things (Happening in My Heart),” by Homer Banks and Allen Jones. “Somebody’s Sleeping in My Bed” reached No. 33 on the R&B chart.

A “Somebody’s Sleeping in My Bed” (2:35) – a tense, blues-driven narrative of infidelity, with plodding drums from Al Jackson and brassy horn lines emphasizing Taylor’s anguished delivery.
B “Strange Things (Happening in My Heart)” (2:16) – a contemplative midtempo blues ballad, anchored by subtle guitar and rhythmic flourishes.

In February 1968, Taylor released “Next Time,” written by Homer Banks and Raymond Jackson, backed with “Sundown,” by Booker T. Jones and William Bell.

A “Next Time” (2:32) – a laidback, waltz-like Southern Soul track with sliding guitar lines from Steve Cropper and subtle percussion from Al Jackson.
B “Sundown” (2:44) – a traditional blues performance with expressive vocals and steady instrumental backing.

In April 1968, Taylor released “I Ain’t Particular,” written by Hayes and Porter, backed with “Where There’s Smoke There’s Fire,” by Hayes, Porter, and Natalie Rosenberg.

A “I Ain’t Particular” (2:25) – a horn-heavy, up-tempo stomper with Taylor’s commanding vocal over crackling guitar riffs and Al Jackson’s percussive drive.
B “Where There’s Smoke There’s Fire” (2:55) – a bluesier, slower track later included on the Raw Blues album, with Taylor’s impassioned delivery front and center.

Who’s Making Love…

Johnnie Taylor released his second album, Who’s Making Love…, on December 3, 1968, on Stax.

The album captures Taylor at the peak of his early Southern soul period with tightly arranged horn charts, stabbing organ lines, and hard-rhythmic pacing from the Stax house band, Booker T. & the MG’s, augmented by the Memphis Horns. Keyboardist Isaac Hayes appears on several cuts.

Guitarist Steve Cropper co-wrote one track with Taylor. Producer Don Davis co-wrote five numbers with Homer Banks, Raymond Jackson, and Bettye Crutcher. Isaac Hayes and David Porter contribute two songs. Taylor covers a blues standard popularized by Eddie Miller (“I’d Rather Drink Muddy Water”).

The set opens with the stomping title track, a biting warning song about infidelity, carried by a propulsive backbeat and punctuated horn stabs. Taylor contrasts this high energy with pained balladry on “I’m Not the Same Person” and the lushly arranged “Hold On This Time.” “Woman Across the River” and “Can’t Trust Your Neighbor” stretch into slow, tense blues lamentations later reinterpreted by Freddie King. “Take Care of Your Homework” matches the urgency of the opener with sharp rhythmic accents and driving organ. Side two closes with three raw, minor-key blues numbers: “Payback Hurts,” “Mr. Nobody Is Somebody,” and “I’d Rather Drink Muddy Water.”

A1. “Who’s Making Love” (2:47) — Homer Banks, Bettye Crutcher, Don Davis, Raymond Jackson; built on a hard, driving rhythm from Booker T. & the M.G.’s, the lyric warns unfaithful men not to neglect their own homes. Taylor’s forceful phrasing turns moral caution into a communal outcry, while Isaac Hayes’s organ punctuates each line with clipped emphasis.

A2. “I’m Not the Same Person” (2:45) — Banks, Henderson Thigpen Lately; the lyric traces emotional change after betrayal, conveyed through syncopated rhythm and reverberant guitar. Taylor’s voice alternates assertion and hesitation, revealing transformation as both defense and wound.

A3. “Hold On This Time” (2:20) — Davis, Jackson; mid-tempo plea for reconciliation, its contour shaped by flute lines and gently insistent rhythm. Taylor urges endurance through uncertainty, his phrasing leaning into the song’s pauses rather than its climaxes.

A4. “Woman Across the River” (3:14) — William Bell, Crutcher; produced by Al Jackson Jr. and Davis. The lyric describes isolation and temptation divided by distance. Taylor’s delivery captures resignation more than yearning, the arrangement’s slow pace evoking the still water that separates him from what he desires.

A5. “Can’t Trust Your Neighbor” (2:39) — Isaac Hayes, David Porter; produced by Jackson Jr. and Davis. A cautionary tale rendered through blues phrasing and deliberate rhythmic pulse. The lyric exposes deceit within community bounds, and Taylor’s controlled tone underscores suspicion as a form of survival.

B1. “Take Care of Your Homework” (2:35) — Davis, Banks, James Kelly; companion to the title track, it recasts infidelity as neglect of duty. The interplay of horns and organ reinforces the lyric’s urgency, while Taylor’s measured phrasing turns warning into instruction.

B2. “I’m Trying” (2:59) — Hayes, Porter; slow, brassy ballad of perseverance in love. Taylor pleads through rising inflection and sustained phrasing, framing vulnerability as effort rather than weakness.

B3. “Poor Make Believer” (2:20) — Davis, Banks, Lately; subdued lament for disillusionment, built around soft orchestration and restrained rhythm. The lyric portrays emotional poverty as self-inflicted illusion, its calm delivery masking quiet despair.

B4. “Payback Hurts” (2:33) — Taylor, Steve Cropper; anchored by percussive guitar figures, the lyric faces retribution without protest. Taylor’s clipped phrases trace a cycle of wrongdoing and return, each line striking with deliberate inevitability.

B5. “Mr. Nobody Is Somebody” (2:55) — Davis, Banks, Jackson; narrative of self-affirmation, recounting the rise of an overlooked man to recognition. The arrangement’s gradual build mirrors the lyric’s shift from humility to quiet pride.

B6. “I’d Rather Drink Muddy Water” (2:56) — Eddie Miller; reworking of a traditional blues piece, expressing contempt for betrayal through stoic imagery. Taylor’s voice darkens across each verse, his phrasing stretching the line between endurance and release. Originated as a 1930s blues standard by Eddie Miller, covered since by Lou Rawls and others.

Sessions occurred at Stax Studios in Memphis with producer Don Davis, who also handled remixing with engineer Ron Capone. Al Jackson Jr. co-produced several tracks.

Title features art direction by Christopher Whorf and photography by William R. Eastabrook.

Stax promoted the album with “Who’s Making Love” (b/w “I’m Trying”), which reached No. 1 on the Billboard R&B chart and No. 5 on the Hot 100. “Take Care of Your Homework” (b/w “Hold On This Time”) followed, reaching No. 2 R&B and No. 20 pop.

Tony Joe White and Young-Holt Unlimited released cover versions of “Who’s Making Love” in 1968 and 1969, respectively. Freddie King later recorded “Woman Across the River” and “Can’t Trust Your Neighbor.”

Raw Blues

Johnnie Taylor released his third album, Raw Blues, in April 1969 on Stax.

The album emphasizes Taylor’s blues foundation, delivering raw, gruff vocals over tightly arranged Southern Soul instrumentation. The tracks lean heavily on stomping blues numbers with occasional funk-infused uptempo moments, reflecting Taylor’s early reputation as a powerful blues-oriented singer.

Backing players include pianist Isaac Hayes, keyboardist Booker T. Jones (Hammond organ), guitarist Steve Cropper, and the Memphis Horns, with Al Jackson Jr. producing and contributing drums.

Isaac Hayes contributed piano and co-wrote several tracks with David Porter and others, while Don Davis and Al Jackson Jr. oversaw production and engineering. The album also covers Clay Hammond’s “Part Time Love,” previously popularized by Little Johnny Taylor.

Songs divide between deep blues stompers and punchy mid-tempo numbers. “Where There’s Smoke There’s Fire,” “Hello Sundown,” and “Where Can a Man Go From Here” showcase Taylor’s raw blues wails supported by horn lines and Cropper’s guitar licks. “Part Time Love” receives a tender, soulful interpretation, while “That Bone” and “You Can’t Win With a Losing Hand” provide funk-driven, uptempo counterpoints. The mid-tempo “That’s Where It’s At” highlights piano by Isaac Hayes and backing vocals by Homer Banks.

A1. “Where There’s Smoke There’s Fire” (3:04) — blues stomp with Taylor’s gruff vocals and brass support.
A2. “Hello Sundown” (2:49) — upbeat blues, horn accents, sharp guitar lines.
A3. “Pardon Me Lady” (2:59) — eerie Hammond organ by Booker T. Jones under Taylor’s soulful delivery.
A4. “Where Can a Man Go From Here” (3:16) — slow blues with commanding vocals and horn flourishes.
A5. “That Bone” (2:58) — funk-infused uptempo, driven by percussion and guitar riffs.

B1. “That’s Where It’s At” (2:32) — mid-tempo featuring piano by Isaac Hayes and backing vocals by Homer Banks.
B2. “Part Time Love” (3:30) — Clay Hammond cover; tender blues ballad with soulful phrasing.
B3. “If I Had It to Do Over Again” (3:05) — Hayes and Porter composition; Memphis Horns punctuate Taylor’s delivery.
B4. “You’re Good for Me” (3:34) — Cropper guitar highlights layered with brass and organ.
B5. “You Can’t Keep a Good Man Down” (2:38) — slow blues, atmospheric organ, and horn arrangements.
B6. “You Can’t Win With a Losing Hand” (2:35) — relentless, uptempo blues-funk closer.

Sessions occurred at Stax Recording Studios in Memphis with producer Al Jackson Jr. and engineer Ronnie Capone.

Singles included “Where There’s Smoke There’s Fire” (b/w “Hello Sundown”), which reached No. 24 on the Billboard R&B chart and No. 126 on the Hot 100.

Raw Blues captures Taylor at his most unfiltered, combining raw blues intensity with the polished soul backing of Stax’s finest musicians.

The Johnnie Taylor Philosophy Continues

Johnnie Taylor released his fourth album, The Johnnie Taylor Philosophy Continues, in 1969 on Stax.

The album fuses Southern soul, blues, and funk, highlighting Taylor’s forceful, expressive vocals and skill with both uptempo workouts and ballads. It follows the template of his breakthrough, Who’s Makin’ Love, pairing horn-driven arrangements with wah-wah guitar and restrained string sections.

Backing players include five guitarists, five keyboardists, and six reedists, with session contributions from notable Stax figures such as producer and keyboardist Don Davis. Arrangements were handled by Rudy Robinson and Burt Keys. Taylor’s vocals are supported by horn sections and layered backing vocals throughout.

Don Davis wrote or co-wrote four tracks, including “Love Bones” (with Al Bell) and “It’s Amazing” (with Gene Current and Kent Barker). Other contributors include Homer Banks, Raymond Jackson, Thomas Kelly, Ben Raleigh, David Linden, Joe South, Anthony Newley, Leslie Bricusse, and the Isley Brothers. The album covers The Parliaments’ “Testify (I Wanna)”, Lou Rawls’ “Love Is a Hurting Thing”, Joe South’s “Games People Play”, and the Isley Brothers’ “It’s Your Thing”.

Tracks divide into three categories: horn-driven funkers, intimate ballads, and socially aware compositions. Uptempo numbers such as “Testify (I Wanna)” and “Love Bones” feature wah-wah guitar, commanding vocals, and dynamic rhythm sections. Ballads like “Love Is a Hurting Thing” and “Who Can I Turn To” emphasize strings and lyrical expressiveness. Sociopolitical and funky cuts, notably “I Could Never Be President” and “It’s Amazing,” combine loping bass, punishing drums, and assertive choruses.

A1. “Testify (I Wonna)” (4:04) — Daron Taylor, George Clinton. Originally recorded by the Parliaments in 1967, the song opens the album with insistent rhythm and layered horns. Taylor stretches each phrase into call-and-response improvisations, his ad-libs rising above the syncopated guitars and string accents that frame his fervent declaration.

A2. “Separation Line” (3:40) — Homer Banks, Raymond Jackson, Bettye Crutcher. Structured around slow, blues-inflected changes, the lyric depicts emotional distance as physical divide. Taylor’s voice moves from restraint to lament, tracing the ache of detachment through repeated phrases that echo the title’s sense of boundary.

A3. “Love Bones” (3:58) — Al Bell, Don Davis. A taut rhythm section underpins a lyric equating affection with endurance. Taylor sings from the body rather than about it, his phrasing marked by clipped urgency as brass lines and percussion reinforce the song’s steady forward motion.

A4. “Love Is a Hurting Thing” (2:27) — Ben Raleigh, David Linden. First made famous by Lou Rawls, the piece becomes a study in vulnerability under Taylor’s phrasing. Strings and muted horns shape a restrained arrangement as he turns the lyric’s familiar sentiment into an admission of quiet fatigue.

A5. “I Had a Fight with Love” (3:00) — Banks, Jackson, Crutcher. Written as a playful inversion of conflict, the lyric casts love as a sparring partner who prevails. Taylor delivers each line with wry inflection, the rhythm maintaining brisk pace beneath his alternating defiance and surrender.

B1. “I Could Never Be President” (2:30) — Banks, Jackson, Crutcher. Built on sharp brass accents and clipped percussion, the song outlines a man’s rejection of political aspiration in favor of honesty. Taylor’s vocal alternates between satire and conviction, turning the refrain into both confession and critique.

B2. “It’s Amazing” (2:55) — Don Davis, Gene Current, Kent Barker. Propelled by driving pace and tight rhythmic interplay, the track celebrates resilience in the face of adversity. Taylor’s delivery compresses exclamation and control, while the ensemble’s dense instrumentation gives his vocal a grounded pulse.

B3. “Who Can I Turn To” (4:30) — Anthony Newley, Leslie Bricusse. Adapted from the 1964 stage standard, the song becomes a soul meditation on isolation. Taylor extends each line with patient emphasis, transforming theatrical introspection into personal reckoning against sparse, slow accompaniment.

B4. “Games People Play” (3:46) — Joe South. Taylor reinterprets South’s 1968 hit as a sermon against hypocrisy. The rhythm section moves with measured insistence, supporting his emphatic vocal phrasing as he frames the lyric’s moral warning in communal rather than individual terms.

B5. “It’s Your Thing” (2:25) — O’Kelly Isley, Ronald Isley, Rudolph Isley. Closing the album, Taylor reworks the Isley Brothers’ anthem into compact funk. He treats self-determination less as boast than as declaration of survival, his clipped delivery locking tightly with the band’s percussive insistence.

Sessions occurred at Stax studios in Memphis with Don Davis producing and engineering alongside Ed Wolfrum and Ron Capone.

The album’s art direction was handled by Honeya Thompson, with arrangements by Burt Keys and Rudy Robinson.

Stax promoted the album with singles in succession: “Testify (I Wanna)” (b/w “I Had a Fight With Love”) reached No. 4 R&B and No. 36 Pop, “I Could Never Be President” (b/w “It’s Amazing”) reached No. 10 R&B and No. 48 Pop, and “Love Bones” (b/w “Mr. Nobody Is Somebody Now”) reached No. 4 R&B and No. 43 Pop. Earlier in 1969, the single “Take Care of Your Homework” (b/w “Hold On This Time”) reached No. 2 R&B and No. 20 Pop.

Taylor’s renditions of “Love Bones” and “It’s Amazing” were later recorded by Tyrone Davis and Little Milton, respectively, preserving the tracks’ mid-tempo Southern soul energy for later audiences.

One Step Beyond

Johnnie Taylor released his fifth album, One Step Beyond, in 1970 on Stax.

The album blends Southern soul, introspective ballads, and politically aware funk, capturing Taylor’s commanding vocals while integrating richer arrangements and Muscle Shoals instrumentation alongside Stax sessions. Don Davis expanded his production role, layering strings, harps, flutes, and brass over tight rhythm sections.

Backing players include multiple guitarists, keyboardists, and reedists, with Muscle Shoals drummer Roger Hawkins and guitarist Eddie Hinton contributing notable performances. Arrangements were handled by Wade Marcus (strings) with Don Davis overseeing production and engineering.

Don Davis is the primary songwriter, contributing or co-writing several tracks, including “Will You Love Me Forever” (with Bettye Crutcher, Homer Banks, Raymond Jackson) and “Jody’s Got Your Girl and Gone” (with Kent Barker and Cam Wilson). Other songwriters include S. Cahn and J. Styne (“Time After Time”), Bobby Newsome (“Don’t Take My Sunshine”), and Dave Butler (“Party Life,” “A Fool Like Me”). The album opens with a cover of Frank Sinatra’s “Time After Time.”

Tracks divide into emotionally charged ballads, socially conscious funkers, and rollicking mid-tempo numbers. “Time After Time” combines subdued wah-wah guitar, flourishing strings, and call-and-response vocals before transitioning into a funk-driven climax. “Party Life” portrays the darker side of nightlife with harrowing backing vocals and rustic acoustic guitars. Upbeat tracks like “Will You Love Me Forever” and “Don’t Take My Sunshine” balance swirling strings, clavinet flourishes, and brass. Politically tinged funk takes hold on “I Am Somebody (Parts I & II),” while Southern Soul heat returns on “I Don’t Wanna Lose You” and “Jody’s Got Your Girl and Gone.” The album closes with the introspective, bittersweet “A Fool Like Me.”

A1. “Time After Time” (6:01) — Sammy Cahn, Jule Styne. On this re-imagined Sinatra standard, Taylor stretches its reflective lyric into two contrasting sections: a subdued opening marked by soft strings and flute, and a sudden shift to taut rhythm and guitar intensity. His voice navigates between tenderness and command, bridging nostalgia with assertion.

A2. “Party Life” (3:09) — Dave Butler. The lyric follows a woman consumed by nightlife, its cautionary tone conveyed through restrained accompaniment. Acoustic guitar and backing vocals frame Taylor’s lament, his phrasing tracing the fatigue beneath the song’s surface allure.

A3. “Will You Love Me Forever” (2:55) — Bettye Crutcher, Don Davis, Homer Banks, Raymond Jackson. Built on steady rhythmic footing, the song poses devotion as a test of endurance. Taylor alternates between plea and affirmation, his voice entwined with brass and string figures that circle the question without resolution.

A4. “I Am Somebody (Parts I & II)” (5:54) — Arthur Snider. Drawing from Jesse Jackson’s declaration, the track unfolds as both mantra and movement. Layers of horns and percussion drive Taylor’s rhythmic incantation, transforming personal affirmation into communal demand.

B1. “I Don’t Wanna Lose You (Parts I & II)” (5:24) — Melvin Davis. Introduced by a spoken monologue set against a slow rhythm, the lyric depicts fear of abandonment as quiet confession. Taylor’s phrasing widens across verses, his tone shifting from self-restraint to desperation as the instrumentation thickens.

B2. “Don’t Take My Sunshine” (3:17) — Bobby Newsome. A mid-tempo ballad of emotional dependency, the song presents love as the last remaining light. The interplay of clavinet and strings underscores Taylor’s measured delivery, revealing attachment tempered by resignation.

B3. “Jody’s Got Your Girl and Gone” (3:00) — Don Davis, Cam Wilson, Kent Barker. A narrative of betrayal cast in marching rhythm, the lyric warns of a familiar adversary who seizes what others neglect. Taylor’s phrasing cuts through the dense percussion, his clipped delivery lending urgency to each accusation.

B4. “A Fool Like Me” (2:50) — Dave Butler. Closing the album, the song reflects on self-deception in love’s aftermath. Sparse instrumentation leaves room for Taylor’s voice to hover between regret and self-awareness, ending the sequence in subdued reckoning.

Sessions occurred at Stax Recording Studios in Memphis and Muscle Shoals Sound Studios, with remixes at Wally Heider Recording Studio in Los Angeles and Stax. Don Davis produced and engineered, assisted by Ron Capone, Larry Hamby, and Johnny Golden.

Art direction was handled by David Krieger and The Graffiteria, with photography by Joel Brodsky and string arrangements by Wade Marcus.

Stax promoted the album with singles: “I Am Somebody (Part 1)” (b/w Part 2) reached No. 4 R&B and No. 39 Pop; “Jody’s Got Your Girl and Gone” (b/w “A Fool Like Me”) reached No. 1 R&B and No. 28 Pop; and “I Don’t Wanna Lose You” (b/w “Party Life”) reached No. 13 R&B and No. 86 Pop.

Later artists who covered material include regional soul performers revisiting “Jody’s Got Your Girl and Gone” and “Will You Love Me Forever” for 1970s Southern Soul compilations.

1970–73 Standalone Singles

In May 1970, Johnnie Taylor released “Steal Away,” a Jimmy Hughes composition, backed with “Friday Night,” written by Tony Hester and Richard Wylie. The single reached No. 3 on the R&B chart and No. 27 on the Hot 100.

A “Steal Away” (3:15) – a busy, groove-driven Southern Soul reinterpretation of Jimmy Hughes’ classic, with Taylor injecting fresh energy, propulsive drums, and textured instrumental layers.
B “Friday Night” (3:05) – an equally funky Southern Soul track featuring rumbling drums, reverberating guitar riffs, and Taylor’s commanding vocals driving the rhythm forward.

In July 1971, Johnnie Taylor released “Hijackin’ Love,” a Tony Hester and Richard Wylie composition, backed with “Love in the Streets (Ain’t Good as the Love at Home),” written by Arthur Snyder and George G. The single reached No. 10 on the R&B chart and No. 64 on the Hot 100.

A “Hijackin’ Love” (2:53) – a ferocious, brass-infused Southern Soul number with funkadelic-style chants and relentless rhythm, showcasing Taylor’s powerful vocal delivery.
B “Love in the Streets (Ain’t Good as the Love at Home)” (2:47) – a laidback, downhome track celebrating the value of faithful love, supported by country-soul backing vocals and a ragged-yet-soulful production.

In December 1971, Taylor released “Standing in for Jody,” a Bobby Newsome and Kay Barker composition, backed with “Shackin’ Up,” by Kay Barker and Don Davis. The single reached No. 12 on the R&B chart and No. 74 on the Hot 100.

A “Standing in for Jody” (3:42) – a smooth Southern Soul track with faultless vocal phrasing, anchored by a gentle rhythm section courtesy of the Muscle Shoals musicians.
B “Shackin’ Up” (2:45) – a rowdy, funk-driven performance with crashing drums, booming bass, gospel-infused piano, and a frantic energy that drives the narrative.

In March 1972, Taylor released “Doing My Own Thing (Part I),” an Arthur Snyder composition, backed with “Doing My Own Thing (Part II).” The single reached No. 16 on the R&B chart.

A “Doing My Own Thing (Part I)” (3:30) – a deep blues workout with Taylor in a raw, backwoods style, highlighting his command of traditional Southern Soul phrasing.
B “Doing My Own Thing (Part II)” (2:33) – continuation of the blues-inflected narrative with persistent rhythmic drive and emotive instrumental support.

In September 1972, Taylor released “Stop Doggin’ Me,” written by Bettye Crutcher, Don Davis, and Arthur Snyder, backed with “Stop Teasin’ Me,” by Bobby Newsome. The single reached No. 13 on the R&B chart.

A “Stop Doggin’ Me” (4:14) – a pleading, blues-based track with expressive horns and a vocal performance capturing Taylor’s signature emotional depth.
B “Stop Teasin’ Me” (3:50) – a relentless funk number with ascending bass riffs, voodoo clavinet, hard-driving drums, and layered horn lines.

In February 1973, Taylor released “Don’t You Fool With My Soul (Part I),” written by Johnnie Taylor and J. W. Alexander, backed with “Don’t You Fool With My Soul (Part II).”

A “Don’t You Fool With My Soul (Part I)” (2:52) – a hard-edged, James Brown-inspired funk performance with bubbling clavinet, scratching guitar, and a driving rhythm section.
B “Don’t You Fool With My Soul (Part II)” (3:05) – continuation of the funk opus with Taylor’s forceful vocal commanding the dynamic instrumental arrangement.

In May 1973, Taylor released “I Believe in You (You Believe in Me),” produced by Don Davis, backed with “Love Depression,” by Al Thomas and Don Davis. The single reached No. 1 on the R&B chart and No. 11 on the Hot 100.

A “I Believe in You (You Believe in Me)” (4:37) – a lush, soulful ballad with expressive vocals and orchestrated backing that emphasizes mutual trust and devotion.
B “Love Depression” (4:40) – a melancholy, gospel-inflected Southern Soul track with reflective lyrics and rich, church-inspired instrumentation.

Taylored in Silk

Johnnie Taylor released his sixth album, Taylored in Silk, in July 1973 on Stax.

The album presents a sequence of mid-tempo Southern soul ballads arranged with string and horn overdubs that soften the Muscle Shoals rhythm section. Don Davis produced the sessions with an emphasis on polished orchestration over raw R&B grit.

Taylor recorded the rhythm tracks with guitarist Jimmy Johnson, keyboardist Barry Beckett (piano, organ), bassist David Hood, and drummer Roger Hawkins. Davis oversaw horn and string overdubs in New York.

Davis wrote and produced two songs and co-wrote another. The album includes outside material by Tony Hester, Sir Mack Rice, Clyde Otis, Phillip Mitchell, and Joe Seneca. Taylor covers songs popularized by Mel & Tim (“Starting All Over Again”), Little Willie John (“Talk to Me”), and Dinah Washington (“This Bitter Earth”).

The set opens with the Davis–Frank Johnson number “We’re Getting Careless With Our Love,” where warm clavinet, subdued brass, and string accents trace the lyric’s admission of mutual infidelity. “Cheaper to Keep Her,” written by Sir Mack Rice, pairs a lightly swinging beat with wry commentary on divorce costs. Davis’s “I Believe in You (You Believe in Me)” uses layered strings and flute runs to anchor its commitment-themed lyric. On the closing “This Bitter Earth,” Taylor stretches Washington’s 1960 torch ballad into an extended, string-laden finale.

A1. “We’re Getting Careless With Our Love” (3:56) — Don Davis, Frank Johnson. A slow blues foundation supports Taylor’s confession of neglect and temptation. Swelling strings and muted brass trace the lyric’s guilt, while his phrasing moves between contrition and compulsion.

A2. “Starting All Over Again” (3:14) — Phillip Mitchell. Originally recorded by Mel & Tim in 1972, the song addresses reconciliation after estrangement. Taylor re-centers the lyric as endurance rather than sentiment, his voice pressing through sparse rhythm and soft choral response.

A3. “Cheaper to Keep Her” (3:25) — Sir Mack Rice. A sardonic reflection on divorce and infidelity, its rhythm walks an even, syncopated pace against clipped horns. Taylor treats domestic caution with dry precision, turning humor into pragmatic observation.

A4. “Talk to Me” (5:42) — Joe Seneca. First made popular by Little Willie John in 1958, the piece becomes here a slow, orchestrated plea. Strings and background voices rise around Taylor’s deliberate pacing, his restraint amplifying the lyric’s need for communication.

B1. “I Believe in You (You Believe in Me)” (5:07) — Don Davis. Cut at Muscle Shoals with overdubbed Detroit strings, the song unfolds as a statement of mutual trust. Flutes and sustained bass tones build a reflective pulse under Taylor’s measured declarations of fidelity.

B2. “One Thing Wrong With My Baby” (3:55) — Tony Hester. A lament for a faltering relationship, its rhythm section carries a subdued sway. Taylor articulates affection complicated by doubt, his phrasing slowing on each phrase that names absence or blame.

B3. “I Can Read Between the Lines” (3:55) — Henry Williams, Marv Johnson. The lyric confronts concealed betrayal through understated tension in the rhythm’s syncopation. Taylor’s delivery compresses emotion into brief pauses, suggesting comprehension without confrontation.

B4. “This Bitter Earth” (4:29) — Clyde Otis. First recorded by Dinah Washington in 1959, the ballad closes the album in sustained orchestral lines. Taylor’s phrasing emphasizes endurance through disillusion, his tone holding steadiness where the lyric concedes loss.

Sessions occurred at Muscle Shoals Sound Studio in Sheffield, Alabama, and United Sound Studios in Detroit with producer Don Davis and engineers Jerry Masters, Jerry Estes, Lou Casella, and Davis. Strings were tracked at A&R Studios in New York and remixed at United Sound.

Stax promoted the album with “I Believe in You (You Believe in Me)” (b/w “Love Depression”), which reached No. 1 on the Billboard R&B chart and No. 11 on the Hot 100. “Cheaper to Keep Her” (b/w “I Can Read Between the Lines”) followed, peaking at No. 2 R&B and No. 15 pop. “We’re Getting Careless With Our Love” (b/w “Poor Make Believer”) reached No. 5 R&B and No. 35 pop.

“I Believe in You (You Believe in Me)” was later covered by Lenny Williams on his 1977 album Choosing You.

Super Taylor

In May 1974, Johnnie Taylor released Super Taylor, his seventh and final Stax studio album.

Recorded during the same sessions that produced Taylored in Silk, the album blends Southern soul grit with lush Detroit-style orchestration. Strings and horns underscore Taylor’s commanding vocals across funk-driven numbers, mid-tempo soul, and ballads reflecting love, regret, and social commentary.

Taylor tracked rhythm parts with the Muscle Shoals Rhythm Section: guitarist Jimmy Johnson, keyboardist Barry Beckett (piano, organ), bassist David Hood, and drummer Roger Hawkins. Arrangements came from Johnny Allen (B2–B4) and Wade Marcus (A2–A3), with vocal arrangements by Robert Eaton.

Don Davis wrote and produced four songs, including “Try Me Tonight” and co-wrote “Free” and “I’ve Been Born Again” with LaMarr Thomas and James Dean, respectively. Other contributors include Dennis Gilmore, Norma Toney, Bettye Crutcher, Mack Rice, Homer Banks, and Carl Hampton.

The album opens with the funk-laden “It’s September,” driven by booming bass, snapping guitar accents, and Taylor’s dynamic vocals. “Darling I Love You” balances blues-infused warmth against a smooth, Motown-style backdrop, while “Try Me Tonight” rides a head-nodding, blues beat accented with orchestration. “Free” layers wah-wah guitar, gospel-style backing vocals, and brassy wails for a juke-joint feel. “I’ve Been Born Again” injects upbeat swing and rhythmic bounce, contrasting the bittersweet ballad “At Night Time (My Pillow Tells a Tale),” where strings and subtle arrangements trace heartbreak. The socially tinged “It Don’t Pay to Get Up in the Morning” combines sardonic backing vocals with lamentation over economic and political pressures. The album closes with “Just One Moment,” a tender, richly orchestrated statement of love and redemption.

A1. “It’s September” (3:33) — Dennis Gilmore. Driven by low-end intensity and clipped guitar figures, the song contrasts the passing of seasons with the persistence of heartbreak. Taylor’s vocal alternates between controlled phrasing and bursts of anguish, matching the rhythm’s relentless pace.

A2. “Darling I Love You” (2:50) — Norma Toney. A declaration of steadfast affection framed in polished orchestration, where Taylor’s phrasing lingers on each confession. Strings and horns soften the statement without masking its urgency, creating a tension between restraint and emotional exposure.

A3. “Try Me Tonight” (3:19) — Don Davis. Built on a brisk, syncopated rhythm, the lyric invites reconciliation through insistence rather than plea. Taylor’s voice sharpens against the driving arrangement, turning repetition into persuasion.

A4. “Free” (3:52) — Davis, LaMarr Thomas. The track casts freedom as both celebration and test, pairing bright brass accents with agile rhythm guitar. Taylor punctuates the refrain with improvisatory lines, his vocal inflections blurring personal release and bravado.

B1. “I’ve Been Born Again” (3:18) — Davis, James Dean. A testimonial of renewal that treats salvation as lived experience rather than metaphor. Gospel-tinged harmonies and syncopated percussion propel Taylor’s fervent delivery, binding spiritual rebirth to physical motion.

B2. “At Night Time (My Pillow Tells a Tale)” (3:44) — Davis, Dean. A ballad of late-night reckoning, where solitude exposes what daylight conceals. Taylor shapes each phrase with quiet precision as the orchestral lines descend like memory made audible.

B3. “It Don’t Pay to Get Up in the Morning” (3:43) — Betty Crutcher, Mack Rice. An unvarnished reflection on frustration and fatigue, addressing economic strain and domestic discord with stoic humor. The steady backbeat underscores a lyric that turns complaint into endurance.

B4. “Just One Moment” (4:37) — Homer Banks, Carl Hampton. Closing statement of reconciliation that frames tenderness within stately rhythm and restrained orchestration. Taylor’s voice moves from near whisper to resolve, suggesting peace not as escape but as deliberate choice.

Sessions occurred at Muscle Shoals Sound Studios, Sheffield, Alabama, United Sound Systems, and Stax Recording Studios, with Don Davis producing and engineering alongside Jerry Estes and Jerry Masters. Don Davis also handled remixing, and RL mastered the album at Sterling Sound.

Stax promoted the album with “I’ve Been Born Again” (b/w “At Night Time (My Pillow Tells a Tale)”), which reached No. 13 R&B and No. 78 Pop. “It’s September” (b/w “Just One Moment”) peaked at No. 26 R&B. “It Don’t Pay to Get Up in the Morning” (b/w “Darling I Love You”) and “Try Me Tonight” (b/w “Free”) also charted at No. 51 R&B.

Eargasm

Johnnie Taylor released his eighth album, Eargasm, in January 1976 on Columbia.

His first album for Columbia after leaving Stax, Eargasm blends Southern soul with polished arrangements and touches of funk and Philadelphia-style sophistication. It features Taylor’s signature commanding vocals, layered strings, and horn arrangements, anchored by top-tier session players including Bootsy Collins and Bernie Worrell.

Don Davis wrote or co-wrote six tracks, including “Disco Lady,” “Please Don’t Stop (That Song from Playing),” “Don’t Touch Her Body (If You Can’t Touch Her Mind),” and “Somebody’s Gettin’ It” with Chico Jones and Clarence Coulter. Other contributors include Richard Morris, Norma Toney, Perry Jordan, Herbert Ross, Fred Briggs, and Kent Barker.

The album opens with “Disco Lady,” driven by Bootsy Collins’ bass, subtle snare taps, tambourine, and Taylor’s commanding, sultry vocals, balancing Southern soul with minimal disco elements. Mid-tempo tracks like “Please Don’t Stop (That Song from Playing)” and “Don’t Touch Her Body (If You Can’t Touch Her Mind)” showcase Taylor’s gospel-style testimony over layered instrumentation. “I’m Gonna Keep on Loving You” and “Somebody’s Gettin’ It” mix funk and soul dynamics, while “It Don’t Hurt Me Like It Used To” ventures briefly into disco-inflected rhythm. Ballads such as “You’re the Best in the World” and “Running Out of Lies” feature lush strings and horn textures underpinning intimate narratives.

A1. “Disco Lady” (4:25) — Don Davis, Harvey Scales, Albert Vance. Recorded with members of Parliament-Funkadelic, the track pairs a restrained funk rhythm with Davis’s layered production. Taylor’s vocal navigates seduction and admiration through measured repetition, its phrasing shifting between command and invitation.

A2. “Please Don’t Stop (That Song from Playing)” (2:55) — Don Davis. The lyric situates longing within a nightclub setting, equating music with emotional continuity. A steady, mid-tempo rhythm carries the plea, while Taylor’s tone blurs performance and confession.

A3. “Don’t Touch Her Body (If You Can’t Touch Her Mind)” (3:13) — Don Davis. Built on a clipped rhythmic pattern and sustained keyboard lines, the song warns against superficial intimacy. Taylor delivers the refrain as both counsel and critique, his cadence stressing moral boundary over temptation.

A4. “I’m Gonna Keep On Loving You” (4:00) — Don Davis, Richard Morris. Strings and electric piano trace a circular harmonic figure that underscores endurance. The lyric affirms persistence despite emotional fatigue, Taylor phrasing each declaration with steady restraint.

A5. “You’re the Best in the World” (3:18) — Norma Toney. Written as an unguarded expression of admiration, it centers the devotion of the narrator within ordinary language. The rhythm moves in even steps, allowing Taylor’s vocal to emphasize sincerity through repetition.

B1. “Running Out of Lies” (4:50) — Perry Jordan. The lyric details the erosion of deception, the narrator cornered by his own fabrications. A slow, even pace mirrors the confession’s inevitability, Taylor’s phrasing contracting as guilt gives way to weary acceptance.

B2. “Somebody’s Gettin’ It” (4:01) — Don Davis, Chico Jones, Clarence Coulter. A syncopated bass line and clipped horns drive a reflection on desire and consequence. Taylor inhabits the lyric’s ambivalence, balancing boast with self-awareness through his controlled vocal descent.

B3. “It Don’t Hurt Me Like It Used To” (3:13) — Herbert Ross, Perry Jordan. Structured around a steady rhythmic pulse, the lyric chronicles emotional detachment after betrayal. Taylor’s delivery turns endurance into revelation, his repetition signaling the threshold between pain and indifference.

B4. “Pick Up the Pieces” (4:50) — Don Davis, Fred Briggs, Kent Barker. Closing the album, the song turns from confession to recovery. Layered guitars and gradual harmonic ascent trace renewal, while Taylor’s phrasing conveys resolve emerging from exhaustion.

Taylor recorded with guitarist Bruce Nazarian, Don Davis, Emmett Smith, Glen Goins, and Jimmy Johnson; bassists David Hood, Michael Henderson, and Bootsy Collins; keyboardists Barry Beckett, Bernie Worrell, George Rountree, Melvin Griffin, and Rudy Robinson; drummers Jerry Jones, Richard “Pistol” Allen, Roger Hawkins, and Zachary Slatter; alto saxophonist Eli Fontaine; Carl Austin and the Detroit Fisher Theatre Strings; and backing vocalists Brandye. Arrangements were handled by Bernie Worrell, David Van De Pitte, Don Davis, Wade Marcus, Rudy Robinson, and Sonny Sanders, with vocal arrangements by Bobby Eaton.

Sessions occurred at United Sound Systems, Detroit; Muscle Shoals Sound Studios; and Sundance Studios, Dallas, with Don Davis producing. Jerry Jones, Richard “Pistol” Allen, Roger Hawkins, and Zachary Slatter engineered rhythm tracks; Don Davis and others handled arrangements and remix duties.

Stax did not handle the album; Columbia promoted it with “Disco Lady” (b/w “You’re the Best in the World”), which spent four weeks at No. 1 on the Billboard Hot 100 and six weeks atop the R&B chart, becoming the first platinum-certified single. “Somebody’s Gettin’ It” also charted as a hit.

Eargasm earned Taylor the Southern Christian Leadership Conference’s 1976 Entertainer of the Year award and remains his most commercially successful album, certified platinum in the U.S.

Rated Extraordinaire

Johnnie Taylor released his ninth album, Rated Extraordinaire, in February 1977 on Columbia.

The album blends soul, funk, and balladry, featuring Taylor’s commanding vocals across upbeat tracks and slower, introspective numbers. It showcases a mixture of tight horn arrangements, rhythmic basslines, and layered keyboards, reflecting Columbia’s post-Eargasm production style.

Don Davis contributed to several tracks as primary songwriter, while other material includes compositions by H. Scales, M. Griffin, D. Hamilton, R. Moore Jr., C. Harris, M. Orr, and N. Toney. Covers include Dick and Don Addrisi’s “Never My Love” on other Taylor projects, though none appear here.

Side A alternates between funk-driven tracks and expressive ballads. “Your Love Is Rated X” opens with fluted solos and tight horn accents. “Stormy” layers brisk rhythms with brass, while “Here I Go (Through These Changes Again)” and “Did He Make Love to You” deliver introspective, slow-paced soul. Side B highlights reflective ballads and layered horn arrangements: “Love Is Better in the A.M. (Part 1 & 2)” combines subtle strings and rhythmic dynamics, “It Ain’t What You Do (It’s How You Do It)” emphasizes playful horn lines, and “I’m Just a Shoulder to Cry On” features Taylor in subdued, emotional mode. “Stop Giving People Hard Luck Stories” closes the album with measured pace and soulful phrasing.

A1. “Your Love Is Rated X” (4:15) — flute solo by Frank Wess over layered horns and steady rhythm.
A2. “Stormy” (5:14) — brass-driven funk with subtle rhythmic variations.
A3. “Here I Go (Through These Changes Again)” (3:59) — mid-tempo soul with introspective lyrics.
A4. “Did He Make Love to You” (3:35) — alto sax solo by Eli Fountain; slow, contemplative pace.
A5. “And I Panicked” (4:00) — restrained, expressive vocal over layered instrumentation.
B1. “Love Is Better in the A.M. Part 1 & 2” (5:06) — horns by Fred Wesley and the Horny Horns; measured rhythm, reflective lyrics.
B2. “It Ain’t What You Do (It’s How You Do It)” (3:26) — playful brass, steady tempo, soulful phrasing.
B3. “Not Just Another Booty Song” (3:43) — Memphis Horns; funk-infused arrangement with rhythmic variation.
B4. “I’m Just a Shoulder to Cry On” (4:40) — flute solo by Frank Wess; ballad with layered horns.
B5. “Stop Giving People Hard Luck Stories” (3:47) — mid-tempo soul with contemplative lyric delivery.

Backing musicians include bassists David Hood, James Jamerson, and Michael Henderson; drummers Edward Greene, Jerry Jones, Quintin Dennard, and Roger Hawkins; guitarists Bruce Nazarian, Gary Shider, Glan Goins, Jay Graydon, Jimmy Johnson, Ken Bell, and Willie Hampton; keyboardists George “Bernie” Worrell, Johnny Griffith, Melvin Griffin, Rudy Robinson, Reginald Burke, and Tim Henson; percussionists Gary “Mudd Bone” Cooper and Lorenzo Brown; Fred Wesley and the Horny Horns; Memphis Horns; and flute soloist Frank Wess.

Sessions occurred at United Sound Systems, Muscle Shoals Sound Studios, Ardent Studios, Sundance Productions, and ABC Recording Studios with Don Davis producing and remixing. Pete Bishop, Reggie Dozier, Don Smith, Jerry Masters, John Pritchett, Jim Vitti, and Ken Sands engineered various sessions. Background vocals were arranged and performed by Bobby Eaton, Brandy, Benjamin Knight, Cynthia Douglas, Donna Davis, and Pamela Vincent.

Rated Extraordinaire delivers solid ballads like “I’m Just a Shoulder to Cry On” and “Love Is Better in the A.M. (Part 1),” yet Columbia’s search for a follow-up to “Disco Lady” is evident, creating tension between the label’s expectations and Taylor’s authentic Southern Soul expression.

Disco 9000 (OST)

In July 1977, Johnnie Taylor released Disco 9000, the CBS soundtrack to the Blaxploitation crime film starring John Poole as Fass Black.

Reflections

Johnnie Taylor released his eleventh album, Reflections, in August 1977 on RCA.

The album returns Taylor to Southern Soul fundamentals, stripping away the glossy, disco-oriented production of his CBS releases. Tracks range from fatback funkers to slow, blues-inflected ballads, emphasizing his commanding, expressive vocal style.

Backing players include a mix of Detroit and Memphis session musicians, with producer, arranger, and writer Don Davis overseeing the sessions. Additional engineering came from Jerry Masters, Jim Vittie, and Pete Bishop, with art direction by Acy Lehman.

Don Davis wrote or co-wrote multiple tracks, while other songwriters include Jimmy Lewis (“Stop Half Lovin’ These Women”), Barrett Strong collaborators, and the Addrisi brothers, whose 1967 Association hit “Never My Love” is covered here.

Songs alternate between upbeat, rhythm-driven numbers and introspective ballads. Side A opens with the fatback funk of “I Want You Back Again,” propelled by brass and country-tinged bass. “Stop Half Lovin’ These Women” delivers blues-drenched reflections on love, while “I Worry About You” leans toward supper-club smoothness. “Wanting What You Can’t Have (Having What You Don’t Want)” returns to gutbucket blues energy. Side B emphasizes slower, emotionally layered material: “Heaven Bless This Home” incorporates recited lines from the Lord’s Prayer, and “If You Really Love Your Girl (Show It)” features restrained backing harmonies. The album closes with a country-soul take on “Never My Love” and the haunting, muted-trumpet-led “Forgive and Forget.”

A1. “I Want You Back Again” (3:31) — fatback funk, brass accents, Alabama-style bass drives the rhythm.
A2. “Stop Half Lovin’ These Women” (3:50) — Jimmy Lewis composition; blues-infused reflections on love and relationships.
A3. “I Worry About You” (4:55) — light, supper-club style, smooth backing instrumentation.
A4. “Wanting What You Can’t Have (Having What You Don’t Want)” (3:11) — gutbucket blues stomp with expressive vocals.

B1. “Heaven Bless This Home” (4:02) — slow blues-soul hybrid; Taylor recites parts of the Lord’s Prayer over strings.
B2. “If You Really Love Your Girl (Show It)” (6:35) — wistful blues ballad with subtle harmonies and restrained instrumentation.
B3. “Never My Love” (4:01) — cover of the 1967 Association hit by Dick and Don Addrisi; country-soul arrangement.
B4. “Forgive and Forget” (4:21) — haunting orchestration with muted trumpets, slow-tempo introspection, and Taylor’s chilling vocal.

Sessions occurred at RCA studios with Don Davis producing and arranging, and engineers Jerry Masters, Jim Vittie, and Pete Bishop handling recording and remixing.

Singles include “Stop Half Lovin’ These Women,” which charted on the R&B listings.

Reflections presents Taylor at his most expressive post-Stax, balancing gutsy blues wailing with tender, emotionally charged balladry, offering a more grounded Southern Soul alternative to his contemporary CBS and disco releases.

Discography: