R&B Classics - The "I'm In Love With That Song" Podcast - Music Commentary, Song Analysis & Rock History

In this episode, we pay homage to the legendary Curtis Mayfield, a pivotal figure often overlooked in discussions about the great artists of the ’60s and ’70s. Join us as we explore his poignant track “Hard Times” from the album There’s No Place Like America Today. We delve into the rich history of his career, from his early days with The Impressions to his groundbreaking solo work that tackled social and political issues head-on.

We uncover the intricate layers of this slow-burning groove, highlighting the subtle interplay of instruments and the emotional depth of Mayfield’s lyrics. As we navigate through the song’s haunting themes of love, fear, and societal struggles, you’ll gain a deeper appreciation for Mayfield’s artistry and the timeless relevance of his message. Tune in for an insightful journey into the life and music of a true musical genius.

TRANSCRIPT:

People, get ready– The “I’m In Love With That Song” Podcast is coming! My name is Brad Page, thanks for joining me here on the Pantheon Podcast Network. Each episode of this show, I pick one of my favorite songs and we take the time to listen– really listen– to uncover little elements, those special moments that turn a good song into a great one. Musical expertise is not a prerequisite here; you don’t have to know anything about music theory or understand a lot of technical jargon. We’re just going to put our ears to work and discover what’s been right there all along.

On this edition of the podcast, we’re going to be exploring a track by one of the most important figures in music history. When people list the important black artists of the 60’s and 70’s, you often hear musical geniuses like Stevie Wonder, Marvin Gaye, Sly Stone, Michael Jackson and Prince… but there’s one name that often gets overlooked: Curtis Mayfield.

Well, on this episode, we’re going to pay tribute to this musical genius by listening to Curtis Mayfield and a song called “Hard Times”.

Curtis Mayfield was born in Chicago in June 1942. When he was around 8 years old, he stumbled across a guitar shoved in the back of a closet and that was it. He’d already been singing in church and noodling around on piano, but man, when he found that guitar, he really fell in love. It set the direction for the rest of his life, really.

When he played piano, he liked to use the black keys, which meant that he was mostly playing in the key of F#. So when he taught himself to play guitar– and he was entirely self-taught– he transferred that to the guitar, and created his own F# tuning on guitar, which gave him a sound unlike anyone else.

He dropped out of school when he was 16 and joined a local group called The Roosters. Eventually they changed their name to The Impressions. Their first hit was “For Your Precious Love” in 1958, featuring the vocals of Jerry Butler, the band leader.

That taste of success was enough to inspire Butler to go solo, so he left and Curtis took over The Impressions. In 1961, with Curtis at the helm, The Impressions had a hit with “Gypsy Woman”. Their next big hit was in 1963 with “It’s All Right”.

Under Mayfield’s direction, they developed their unique harmonies centered around Mayfield’s falsetto vocals, as exemplified with their 1964 hit “I’m So Proud”.

But Curtis had more on his mind beyond love and romance. Not that there’s anything wrong with that, but Curtis Mayfield was a black man living in America in the 1960’s, and he wasn’t just a witness to what was going on– he was part of it. He was living it. And he had things to say.

For all that was great about Motown, they stayed decidedly away from politics; and Stax Records, even though they were integrated and in that sense, more progressive than most, they largely avoided the subject at the time. The fact that they were located in Memphis probably meant it was safer if they didn’t.

But Curtis had no such reservations. They released “Keep On Pushing” in 1964, one of the first pop songs to directly address civil rights.

That was followed by “People Get Ready” in 1965. By any measure, one of the most significant singles ever released. It reached number three on the R&B charts, number 14 on the Top 100 chart. Martin Luther King considered it the unofficial anthem of the civil rights movement. It’s been covered dozens of times, by everyone from The Staple Singers to Bob Dylan, from Bob Marley to Rod Stewart and Jeff Beck. It’s a song that still inspires today.

“People Get Ready” was also the first time that Mayfield’s guitar was prominently featured on a track.

Curtis continued to write songs addressing the social and political environment, particularly from the black perspective. His lyrics could be pointed, but the music was always subtle, gentle and encouraging. He might have been angry– God knows there’s plenty to be angry about– but the music was rarely delivered in anger.

In 1968, he launched his own record label with manager Eddie Thomas called Curom Records. Finally, he was able to control his own recording and publishing, something very few artists, black or white, were able to do. In 1968, he released his first solo album, simply titled “Curtis”, in 1970. It is a great record, including at least two classics: “Move On Up” and “Don’t Worry If There’s A Hell Below, We’re All Going To Go”. Listen to the fuzz bass on this track.

Two more albums followed in 1971, and then in 1972, he got the job to create the soundtrack to “Superfly”.

Mayfield’s soundtrack is simply iconic. Along with Isaac Hayes’ “Shaft”, it defined the sound of this era of filmmaking. The thing is, Curtis wasn’t really a fan of the movie, at least not the message. Where the film “Superfly” in some ways glorifies drug dealers, Curtis wanted none of that; he was not interested in promoting that. So, with the “Superfly” soundtrack, you have these songs that are, in essence, commenting on the actions and the characters in the film, with Curtis giving his point of view, which often is in opposition to the images on the screen. It all makes for, I think, one of the most interesting and unique soundtracks ever recorded. Along with the title cut, the album also features a few other classics like “Pusher Man” and “Freddy’s Dead”.

The success of the “Superfly” album, and the album literally outsold the movie, that success ushered in a second career for Mayfield, writing and recording for films, and he would release a handful of other soundtracks, working with Gladys Knight, the Staples Singers and Aretha Franklin.

And he would continue recording solo albums. “Back To Whe World” came out in 1973, “Sweet Exorcist” and “Got To Find A Way” in 1974, and 1975’s “There’s No Place Like America Today”. That’s the album we’re visiting on this episode.

“There’s No Place Like America Today” was Mayfield’s seventh studio album. Curtis was wrestling with his own depression, not to mention the troubling situations in America at the time… I guess some things never change. This is Mayfield’s State of the Union album, and it’s sobering. Death, poverty, sadness all make their way into these songs, but so does love and romance, faith and hope. Its ‘one of my favorite Curtis Mayfield albums… in fact, maybe it is my favorite.

The song we’re digging into in this episode is “Hard Times”. It’s the second-to-last song on the album.

The album was produced by Curtis, and features Gary Thompson and Phil Upchurch on guitars, Rich Tufo on keyboards, Harold Dessent on woodwinds, Joseph “Lucky” Scott on bass, Quinton Joseph on drums, Henry Gibson on percussion, and Curtis Mayfield on vocals, guitar and keyboards.

“Hard Times”, like all of the songs on the album, was written by Curtis Mayfield. And like most of the tracks on this album, it’s a slow burn. Doesn’t come on strong, but the groove is insistent. The song kicks off with a single hit on the hi-hat and then the band launches into the groove.

Let’s explore this groove a little bit. Let’s start with the bass, drums and percussion. You can hear that the drums are recorded quite dry, not much for reverb or room sound on them. And that makes for a very intimate and maybe even a little claustrophobic sound.

Now let’s hear the guitars. I’m just making a guess here, but I think we’re hearing Curtis and Gary Thompson on rhythm guitars and it’s Phil Upchurch playing some lead lines in the left channel, using a wah-wah pedal to get that classic sound.

Alright, lets go back to the top.

At this point, there’s a subtle shift in the groove, and the guitar solo comes a little more forward. Focus on those tasty licks.

That leads us to the first verse. You’ll hear multiple vocals; all the voices are Curtis overdubbed.

I really like that little instrumental break there. Here comes the second verse, and Curtis is really laying it out here. You can feel his depression and paranoia in these lyrics. “I’m afraid to come outside; although I’m filled with love I’m afraid they’ll hurt my pride, so I play the part I feel they want of me, and I’ll pull the shades so I won’t see them seeing me.”

Nice guitar lick there. There’s more tasty guitar playing coming up. It’s in the left channel, but let’s see if we can bring it to the center and up the volume a bit.

That brings us to the third and final verse. Just a classic Curtis Mayfield vocal on this track. You can really feel the emotion in his voice.

For this chorus, let’s hear what the band is doing underneath the vocals. The interplay between the bass and the drums, it’s great.

Let’s pick it up from there through the chorus.

And the track will slowly fade out. Riding out on the groove.

Curtis Mayfield – “Hard Times”

As I said at the beginning, when people mention the important black artists of the late 60’s and 70’s, it’s usually names like James Brown, Stevie Wonder, Aretha Franklin, Prince; Curtis Mayfield is often left off the list, but he stands toe-to-toe with any of the important artists of that period.

Curtis would continue to release albums through the 70’s and the 80’s, as well as doing concert tours… and it was at a concert in Brooklyn, New York, on August 13, 1990– an outdoor show at Wingate Field,– when a storm was brewing. And just as Curtis’s name was announced and he headed for the stage, a massive gust of wind hit the lighting trusses. Lights came crashing down, injuring half a dozen people. And Curtis, Curtis was struck in the back of his neck, breaking his third, fourth and fifth vertebrae. Curtis was permanently paralyzed from the neck down. He’d never play guitar again. He was 48 years old.

Being paralyzed made breathing difficult, which made it almost impossible for him to sing. But Curtis didn’t give up. In 1996, six years after the accident, he released one final album titled “New World Order”. Recording it was painstaking and arduous. He discovered that if he laid on his back, gravity would help him to exhale, just enough to be able to sing one line at a time.

And so slowly, a line at a time, he was able to record his vocals for this last album.

Curtis’ health declined, and in December 1999, the day after Christmas, Curtis passed away. He was 57.

Rolling Stone magazine referred to him as “the gentle genius”. That’s as good as any way to describe the great Curtis Mayfield.

I hope you enjoyed this edition of the podcast. As always, we’ll be back in about two weeks with another new episode. All of our previous shows are available on our website, and we’re creeping up on 200 episodes, so there’s plenty of them to be discovered. You can listen on the website, lovethatsongpodcast.com, or find the shows on your favorite podcast app.

You can keep in touch with us on Facebook, just look for the “I’m In Love With That Song” podcast and you’ll find us there. Or send an email to lovethatsongpodcast@gmail.com.

Support the show by sharing it with your friends and family. And if you’d like to go one step further, then head over to oldglory.com and buy a t-shirt or some band merch from your favorite artist. Old Glory has tons of great stuff, and if you use our discount code, lovethatsong, you’ll save 15% and you’ll be supporting this show. That’s oldglory.com , Discount code is lovethatsong– get some cool merch, save some money, and support the show. Thanks.

On behalf of Pantheon Podcasts, where fans belong, I thank everyone for listening. Now it’s time for you to rediscover some of the great Curtis Mayfield records. So go listen, and I’ll meet you back here next time.

Many bands would be running out of ideas by their 8^th album, but not Earth, Wind &Fire – many consider All ‘n All to be their best record. Freshly inspired by the varied sounds & rhythms of South America, Maurice White brought his genre-blending compositions to new heights on this 1977 album, as evidenced by the opening track, “Serpentine Fire”, which White himself described as Earth Wind & Fire’s “most ambitious single”.

TRANSCRIPT:

Sing a song and keep your head to the sky, ‘cause you’re all shining stars. This is the “I’m In Love With That Song” podcast, one of many fine shows on the Pantheon Podcast Network, and I’m your host, Brad Page. Each episode, I pick one of my favorite songs and we dig into it together, looking and listening for all those magic moments, the little things that turn a good song into a great one. Don’t worry if you’re not a musician or musical expert, you don’t need to be. We’re just going to tune our ears into the arrangements, the performances and the production that make it a great song.

This episode we’re listening to one of the biggest, most successful acts in history. Call ‘em R&B, call ‘em funk, call ‘em Afro pop, jazz, soul…. any way you look at it, this band has an incredible catalog of music and a bunch of huge hits. We’re going to explore one of those hits right now: This is Earth, Wind And Fire with “Serpentine Fire”.

This is our second visit with Earth Wind And Fire. We covered the song “Shining Star” back on Episode 56– check that one out if you haven’t heard it yet. It’s one of my favorites. So let’s recap just a little of Earth Wind and Fire’s history here.

Maurice White was born in Memphis, Tennessee in 1941. For a while he played with Booker T in Memphis before he moved to Chicago to live with his mother and stepfather. He attended the Chicago Conservatory of Music, played drums around the scene, and worked as a session drummer at Chess Studios, where he played with many of the greats: Etta James, Chuck Berry, Junior Wells, Muddy Waters, just to name a few.

In 1969, he formed the Salty Peppers with Wade Flemings and Don Whitehead. Eventually he moved to LA and changed the name of the band to Earth Wind and Fire, based on his astrological sign. In 1970, his brother Verdine White joined the band as their bass player. Earth Wind and Fire released their first self-titled album in 1971. Their second album, “The Need of Love”, came out the same year, and a third album, “Last Days And Time”, was issued in 1972. That was the first album with vocalist Philip Bailey, who would share vocals with Maurice White and become a critical factor in the band.

“Head To The Sky” came out in 1973, and “Open Our Eyes”, their fifth album, in 1974. This album features “Mighty Mighty”, which was kind of their first big crossover hit.

In 1975, they released “That’s The Way of the World”, their 6th album. It was also the soundtrack to the film That’s The Way of the World, and the band appears in the movie. “Shining Star” is from this album, and it would become their first #1 hit on the Billboard Hot 100. See our previously-mentioned Episode 56 for more details.

The title cut was also issued as a single.

Maurice White was a musical visionary, but he was more than that, too. He envisioned bringing people together spiritually through his music. He viewed their next album, the album that would become “Spirit”, as their most important album so far. He was also interested in showing a different vision of black masculinity than what you typically got from celebrities. He wanted to present the band as “sons of a royal and noble Africa”.

The album cover featured the band all dressed in white, eyes closed in meditative poses with three large white pyramids behind them. This was the first of many album covers that would feature eastern and Egyptian imagery.

He wanted to awaken spirituality among his audience. Not so much religion, but spirituality. His goal was to share his interests– mysticism, Buddhism, Egyptology. As Maurice said, “Our vibe was definitely afro-centric, but not a separatist one. It was about community, the family of man.”

Sadly, as they were working on the “Spirit” album, they lost a key member of their family. Charles Stepney had worked closely with the band on their last few albums as producer, arranger and contributing songwriter. He died on May 17, 1976 from a heart attack. He was 45 years old. He was a close friend of Maurice White and the whole band, really. The album would be in many ways a tribute to Stepney. “Spirit”, their 7th studio album was released in September 1976.

After the success of the “Spirit” album and the massive tour that followed, by now, Earth Wind and Fire were putting on an amazing stage show and they were a huge concert draw. But Maurice White was exhausted. He needed a break. He took the first vacation of his life, spending two months touring South America. He visited drum schools in Brazil and absorbed the sounds and rhythms of the various cultures. When he returned home, he brought these fresh ideas to the next Earth Wind and Fire album, which would be called “All In All”, their 8th album of all new material.

Now, you would think at that pace, eight albums plus a live album, all within six years, that they would have run out of steam. But many people consider “All In All” to be their best album.

“Serpentine Fire” is the song that opens the album, and what a way to kick it off. It was written by Maurice White, Verdine White and Reginald Sonny Burke. It was produced by Maurice White.

\Maurice has described the song as “profoundly odd, an idiosyncratic mixture of African music, tango and gospel blues, with an abstract lyric about Kundalini energy.” Kundalini is a form of divine feminine energy located at the base of the spine. When awakened, it leads to spiritual liberation. Kundalini is a Sanskrit word meaning “coiled, or coiled like a snake”.

Maurice White says “Serpentine Fire” is Earth Wind and Fire’s most ambitious single because it’s so musically abstract. The song begins with an intro played by the bass, keyboards and percussion, with the horns joining in after the first four measures. You can already hear that Latin feel in the percussion.

Let’s go back and listen to the keyboards because it’s a very dense mix. A lot going on. Sometimes it’s hard to pick out the individual parts. There are at least two keyboard parts, one on the left and one on the right. The one on the right has a phasing effect on it. From there, it’s going to break out into a supremely funky track.

Let’s break that down a bit. Like all good funk songs, at the heart of the groove is the bass guitar. Adding to this syncopation is both the percussion and the horn parts. So let’s listen to those.

Little further down in the mix are the keyboard parts.

And there is one guitar part in the left channel. Let’s hear all of that together again. Now for the first verse.

Let’s check out the vocals. This is Maurice White with an occasional harmony by Philip Bailey. The vocals are doubled with a decent amount of reverb on them.

Let’s continue with the rest of that verse. This is the chorus where Philip Bailey takes over. Philip was renowned for his falsetto, and the way it contrasted and complemented Maurice White’s vocals is one of the most magical things about Earth Wind and Fire.

At the end of the chorus is a short section where they bring in the gospel influence. You can see how they’re blending all kinds of elements together.

That brings us back to the main riff. I love that vocal bit at the end there.

We’l pick it back up for the next verse.

That groove is so great. I want to hear just a little of the bass, the horns and the percussion. We’ll keep a little of the guitar in there, too.

I want to hear more of Maurice White’s vocal track.

And I’d like to hear just the vocals on that part, too.

There’s kind of a big finish there this time around. They could have ended the song right there, but just when you think it’s done, they kick back in.

Notice how there’s tuned percussion.

And that brings us to the last chorus. The guitars and keyboards are going to make their way forward a bit in the mix here at the end. The guitars are still difficult to make out, but there are two guitar parts in there. That’s pretty crazy, right? And of course, there are still the two keyboard parts. And of course, that killer bass guitar part that I just got to hear it by itself one more time.

All right, let’s go back to the final mix. We get another round of the chorus vocals, then the horns take over as the song fades out.

“Serpentine Fire” by Earth Wind and Fire. The “All In All” album was released in November 1977. The album cover featured artwork by Shusei Nagaoka. Shusei didn’t speak English, and Maurice didn’t speak Japanese, but they met and Maurice was able to articulate his ideas by showing him books on Egyptian art and UFO’s. Nagaoka sketched out some ideas and a relationship was forged that would result in a whole string of album covers for Earth Wind and Fire. Nagaoka created a bunch of other album covers for ELO, Jefferson Starship, and Deep Purple, but my favorites of his are the covers he did for Earth Wind and Fire.

Thanks for being a part of this edition of the “I’m In Love With That Song” podcast. You can find all of our previous episodes on our website, lovethatsongpodcast.com, or just look for us in your favorite podcast app. We’ll be back in about two weeks with another new episode. Until then, check out some of the other great podcasts on the Pantheon Podcast Network.

It’d be great if you left a review wherever you listen to the show, and if you’d like to contact us, you can find us on Facebook, or send an email to lovethatsongpodcastmail.com.

If you’d like to support the show, the best thing you can do is to tell a friend about it, because your recommendation really does mean a lot. As always, remember to support the artists you love by buying their music. And thanks for listening to this episode on Earth wind and Fire with “Serpentine Fire”.

Introducing a new segment of the podcast – “Creation & Evolution“, where we explore songs that travelled a long & winding road before they reached their final version. In this episode, we trace the history of a song that started from a phone call with Farrah Fawcett and ended up as Gladys Knight’s biggest hit.

TRANSCRIPT:

There’s the telltale theme music… it means it must be time for another episode of the “I’m In Love With That Song” podcast on the Pantheon Podcast Network. My name is Brad Page, and I’m your musical tour guide, your geologist of another sort, as we explore the rock that made history.

This time, I’m introducing a new segment I’m calling “Creation and Evolution”, where we’ll take a look at both the birth and the journey a song takes before it ends up in its final form. Some songs have a rather short path from the writer’s pen to the final release, but some songs take the long way around, and that’s what we’re going to explore here on “Creation and Evolution”.

For example, what do airplanes, Houston Texas, and Farrah Fawcett have to do with “Midnight Train to Georgia” by Gladys Knight and the Pips? Let’s find out.

Jim Weatherly was a songwriter from Mississippi who had written a few songs for Dean Martin and Peggy Lee. No hits, though he hadn’t really made his mark yet. One day in 1970, Weatherly called his friend, a struggling actor named Lee Majors, who would find fame as TV’s “Six Million Dollar Man”.

Majors wasn’t around, but his girlfriend, a struggling actress named Farah Fawcett, picked up the phone. She, of course, would eventually star in “Charlie’s Angels”.

Farah and Weatherly got to talking, and she told him she was just about to head out of LA to visit her family, leaving on a midnight plane to Houston. That phrase, “midnight plane to Houston”, stuck in his head. And as soon as he got off the phone, he sat down and in about 40 minutes, he wrote a whole song.

He based the song loosely on Fawcett and Majors. It was about a girl who went to LA to make it big, but when it doesn’t work out, she goes back home and her boyfriend follows her back. Weatherly recorded the song and included it on his 1972 solo album called Weatherly.

It’s a pretty modern country song, but the publisher had some faith in it and sent it around, hoping to find other artists to cover it. They even offered it to Gladys Knight.

But at this point, she passed on it.

They pitched it to another artist, singer Sissy Houston, Whitney Houston’s mom. She liked the song, but not the title. She said, “my people are from Georgia, and they didn’t take planes to Houston or anywhere else”. They took trains. And this is just a guess, but I think she might have been concerned about some confusion since her name was Houston and the song was about the city of Houston. Either way, Weatherly agreed to change the lyrics to “Midnight Train to Georgia”.

And besides the title change, this version also changes the genders. Now it’s the man who has failed and is going back home, and it’s the woman who follows him.

Sissy Houston released her version in February 1973.

Meanwhile, in 1973, Gladys Knight and the Pips had left Motown Records and signed a deal with Buddha Records, which gave her more freedom to pick her own material. By this time, Gladys had already had a hit with another Jim Weatherly song, “Neither One Of Us (Wants To Be The First To Say Goodbye” in 1972.

And when Gladys heard Sissy Houston’s version of “Midnight Train to Georgia”, she knew she could make it work. She envisioned it as an Al green style soul number.

Producer Tony Camillo had worked with everyone from Diane Warwick to Grand Funk Railroad. It was his job to record the instrumental tracks for “Midnight Train” for Gladys. But she wasn’t happy with what he came up with. Too polished, too orchestrated. She wanted something more stripped down. So he cut another version– and she rejected that one, too.

So working with engineer Ed Stasium, who would later become a legendary producer in his own right, working with The Ramones, Talking Heads, Motorhead and Living Color, just to name a few, they put together a small band: Jeff Mirinoff on guitar, Bob Babbitt on bass, Andrew Smith on drums, and Tony Camillo himself on piano. They banged out a simple backing track in an hour and sent it to Gladys, and that was exactly what she was looking for. They overdubbed horns and some strings, but for the most part, they kept it straightforward.

Gladys recorded her vocal in almost one take. No warm up, no run through, no punch-ins. She was well rehearsed and she knew what she wanted. She stepped up to the mic and four minutes later it was almost done. Except for some ad libs at the end, which we’ll get to later.

I love how she’s singing pretty softly there– she’s holding back, but then she lets loose a bit for the next part.

And here’s the first chorus.

Now, notice how the backing vocals by William Guest, Edward Patton, and Bubba Knight, along with Gladys herself, aren’t just singing harmonies or repeating lines from the lead vocal, they’re actually adding commentary. They’re in dialogue with the lead vocal. That’s something that Gladys and The Pips brought to the song. None of the other versions do that.

Here’s the second verse, and let’s bring up the vocals again so we can hear more of that interaction between the lead and the backing vocals.

I love this part.

And check out the backing vocals here.

James Jamerson is the bass player most associated with the Motown sound, and he’s a legend. But Bob Babbitt also played on many Motown classics, too, and he’s a phenomenal player as well. Let’s listen to some of Bob Babbitt’s bass work here.

You gotta love those woo-woos.

Now, I mentioned before how Gladys recorded her vocal in one take, and that’s true, right up until this point in the song. They wanted to have Gladys do some ad-libbing during the final choruses, some of those inspired, energetic interjections that can really add some emotional weight to a song.

The problem was that Gladys didn’t feel like she was a natural at that kind of thing, at least not at this point in her career. She didn’t feel comfortable and kind of froze up at the mic.

Merald Knight, who everyone called “Bubba”, was not only one of the pips, he was also Gladys’ brother. He took a mic into the control room, and with the backing track playing, he fed Gladys some lines into her headphones, and she sang them back as the tape rolled.

Now picture Bubba Knight in that control room looking at Gladys through the glass, singing these lines to her like, “my world, his world, our world”. And she’s singing them back and putting her own spin on them.

Gladys Knight and the Pips – “Midnight Train To Georgia”.

Buddha Records issued “Midnight Train to Georgia” as a single in August 1973, and eventually it worked its way to number one. It won the Grammy for best R&B vocal performance, and it would become Gladys Knight and The Pips calling card for the rest of their career.

Of the original Pips, Edward Patton passed away in February 2005; William Guest died in December of 2015, but Merald Bubba Knight, Gladys’s brother, is still with us, and Gladys herself, as of this recording, is still alive and well. She released her last album in 2014.

Jim Weatherly passed away in February 2021. He was 77.

Thank you for joining me for this episode. We’ll be back in two weeks with another new episode. Until then, you can binge on all of our past episodes, they’re all on our website, lovethatsongpodcast.com.

You can find us on Facebook to share your thoughts and feelings, just look for the “I’m In Love With That Song” podcast, and you’ll find us. You can also send me email at lovethatsongpodcast@gmail.com.

This show is one of many great podcasts on the Pantheon Podcast Network, so be sure to seek out all those other great shows.

To listen to the song again, complete and uninterrupted, stream it, download it, or buy it and support the music you love. Thanks again for joining me for this “Creation And Evolution” episode on Gladys Knight and the Pips’ “Midnight Train to Georgia”.

Tag: R&B Classics

Curtis Mayfield – “Hard Times”

Earth, Wind & Fire – “Serpentine Fire”

Creation & Evolution: Gladys Knight & The Pips “Midnight Train To Georgia”