OK.
Let's do it till you do it. Yeah.
Tell me why can't you leave?
Was it just two sense?
I say, won't you come go with me?
Take out some time
If you need a hand
I know that it could change
Let's get on down, right now
Let's get on down
Now don't you wanna
Chow tonight?
Don't you wanna
Chow tonight?
Don't you wanna
Chow don't you wanna
Don't you wanna
Don't you wanna jam?
Do you wanna jam?
Come on and sing along
Do whatever you feel as long
As you have a good time, that's all
Just have a good time
Don't you wanna jam?
Don't you wanna Ooh
Don't you wanna dance?
Don't you, don't you wanna Ooh
Don't you wanna dance?
Ooh, yeah Yeah.
I want to drink.
I want to drink beside you.
I want to have the last dance with you. Yeah.
Drop the night away.
I want to drink with you.
Put your hands in mine.
I want to jam the library. Yeah.
I want to jam.
I want to jam with you, because I do.
I want to jam.
I want to jam with you, baby. Yeah.
Better run out of gas. Yeah.
Hey, thanks, baby.
Thank you very much, man.
That was really great, you know?
Welcome to Black Gold Hits.
I'm very excited about tonight's show, folks,
because we're in for a great evening of musical entertainment.
We'll be hearing from the hottest hitmakers on
the charts, and you'll get the inside
story behind some of your favorite
million-selling records.
Did you know, for instance, that Quarter to
Three by Gary U.S. Bond was banned for having
dirty lyrics?
Did you believe that?
Yeah, I can't believe it.
But I can't wait for Gary to tell us about that later.
Oh, really.
And a lot of things can happen in the midnight hour.
Wait till you hear what the wicked Wilson
Pickett was doing in the midnight hour.
And that classic song became a Black Gold hit
all over the world.
Well, see, I know what he was doing, because I
was there watching it.
To help us get the inside stories, we have one
of the nation's top-rated DJs, folks,
from WCBS-FM in New York City, and author of
Behind the Hits, Mr. Bob Shannon.
Thank you, Lou.
Tonight we'll be hearing the stories behind the
hits that you've heard a thousand times,
making them come alive.
Unforgettable Songs have some pretty
unforgettable stories, and I'm looking forward
to sharing
them with you.
I can't wait to get started.
Next up, we'll get things going with the
classic number one song by Gloria Lauren and Carl
And a behind-the-hit story with Benny King.
He'll tell us how the classic Stand By Me
became a hit all over again in the 80s.
And Michael Bolton sings a top ten gold song of
88, 20 years after it was number one in 626.
Hey, that's just the beginning of Black Gold
Hits, so lock it in and leave it on.
The Raw presents Black Gold Hits of Natalie
Cole, Earth, Wind & Fire, The Four Tops and
Ravie Jackson.
Brought to you by Budweiser, proud sponsor of
the 1988 U.S. Olympic Team.
This Bud's for you.
This Bud's for all that you do.
What a series this has been.
It's good.
It's all tied up.
It looks like Riggs may be injured.
Oh, what a time for this to happen. Miles.
The Daytona Shelby Zee.
It's gotta be a dodge.
Will this be black?
I don't give a damn about that.
lovers, ladies and gentlemen, Gloria Loring and
Carl Anderson.
I don't know what we're afraid of.
Nothing can change if we made love.
So I'll be your prayer.
And I'll be your lover.
Cause I know in our hearts we believe
we don't have to be one or the other.
Oh no, we could be both to each other.
Yes, it's a chance that we're taking.
And somebody's heart may be breaking.
Ooh, but we can't stop what's inside us.
Our love for each other will guide us.
So I'll be your prayer.
And I'll be your lover.
Cause I know in our hearts we believe
we don't have to be one or the other.
I've been through you, you've been through me.
Sometimes a friend is the hardest to see.
We always know when it's late on the run.
Nobody else is as we fear to find.
So I'll be your prayer.
And I'll be your lover.
Cause I'll be your prayer.
And I'll be your lover.
Cause I know in our hearts we believe
we don't have to be one or the other.
Oh no, we could be both to each other.
Alright, how are you?
I'm just fine.
Good to see you.
How are you, buddy? Good.
Alright, that's great.
You know, you first sang this song as a solo on
Days of Our Lives, huh?
Yes, I did.
I did all of the elements and I knew that if I
could sing it often enough on the show
and cause enough response, that maybe I'd get
one of the record companies interested in it.
Well, you really did good on that one, didn't you?
Carl, didn't every record company turn it down
for us?
Well, there's a guy who shall remain nameless
who took the tape and listened to it for about
eight bars
and said, I don't hear it, Carl.
Yeah, I know that story.
I went to visit him later.
And Nananana.
Well, you've got a hot new album out now, right?
It's called Full Moon and No Hesitation.
Yes, it is.
Yeah, and it's been a wonderful project.
It was produced by George Duke. Yep.
We wrote, in fact, we wrote the title song.
We wrote two of the other songs. Really?
It's the first time I've written, I co-wrote
seven of the 11 songs on the album. Wow.
So, it's a good project for me.
Gonna get all the money, huh?
I'm no fool.
I've been in this business two minutes.
Hey, it sounds great.
I'm sure you will be a smash.
Carl, you got a new record out also?
On Polygram, it's called An Act of Love.
Oh, yeah.
Co-produced by myself, La La, and Al McKay.
Oh, yeah? Yeah.
Listen, you'll be back a little later, Carl,
cause we want you to do it now, of course.
I wanna thank you very much.
Gloria, thank you so much.
Thank you.
I will be seeing you.
Since the 60s, Wilson Pickett's wicked style
has made him one of the most legendary rock
and rollers in the world.
Believe it or not, it only took him one hour to
write in the midnight hour.
And it's a classic that will live on forever.
Wilson Pickett tells us his story behind the hit.
The midnight hour was one of the greatest songs
that I've ever written.
And if you notice, a lot of songs back in the
gospel days, you could hear things like,
in the midnight hour, you know, stuff like that.
So I came about writing it because it was an
expression that had been used.
Well, you had used it before.
I used it on the end of I Found a Love. Sure.
I Found a Love by the Falcons.
And when I was the lead singer of the
Violinaires, which is a gospel group out of
Detroit, Michigan,
we was writing songs in the midnight, the word,
wait till the midnight hour.
But what does that mean in a gospel context?
I mean, I know what it means in the other
context, but what about gospel?
I don't know.
I guess it's just that it's a time that you can
have solitude.
I mean, you can get to the meaning of what
you're feeling in the midnight hour, you know.
And so I decided to write it and relate it to a
woman, you know.
So let's get it on in the midnight hour.
Your love comes tumbling down.
I mean, if this midnight hour business worked
for all of that, then it should work for this,
too, you know.
Coming up, we have the legendary Eddie
Kendricks and another behind-the-hit story that
I think you'll enjoy.
Hang tight.
That's right, Lou.
I talked to classic rock and roller Gary U.S. Vons.
And he's going to tell us why his number one
black gold hit, Quarter to Three, was
originally banned from the radio and yet went
on to sell millions of copies.
The thinking man's guide to burgers.
First, you get yourself a happy...
That was his inspiration for his number one
all-time hit, The Dock of the Bay.
Twenty years later, that classic lives on in an
exciting new 80s way.
Ladies and gentlemen, Mr. Michael Bolton.
Sit in the morning sun, I'll be sitting when
the evening comes.
And I want to roll away again.
Sitting on the dock of the bay, watching the
tide roll away.
Sitting on the dock of the bay, wasting time.
Left my home in Georgia, headed for the Frisco Bay.
I had nothing to live for, looked like
nothing's gonna come my way.
I'm just gonna sit on the dock of the bay,
watch the tide roll away.
Sitting on the dock of the bay, wasting my
precious time.
It looks like nothing's gonna change, no.
Cause everything, everything remains the same.
I can't do what ten people tell me to do.
I guess I'll remain the same.
It looks like nothing's ever gonna change.
No, everything remains the same.
I can't do what ten people tell me to do.
So I guess I'll remain the same.
I'm sitting here resting my bones.
And this loneliness won't leave me alone.
Two thousand miles, oh.
Just to make this dock my home.
Lord, I'm gonna sit on the dock of the bay.
Hey, gonna watch the tide roll.
Gonna watch the tide roll away from the dock of
the bay.
Gonna waste my time.
I'm gonna sit on the dock of the bay.
I'm gonna sit.
That sounds great, Michael.
You know, you're following in some pretty big
footsteps there, man.
Yeah, well, I like to think so.
I learned from Ray Charles, Marvin Gaye, Smokey Robinson,
Wilson Pickett, you know, a few singers.
Mostly Motown, I think I had the benefit of
learning from great singers.
I had to work real hard to be able to sing what
they were singing,
and I got beyond the ABCs of singing.
Well, on top of being a great bluesman, you're
a terrific songwriter,
and you going to come back later with some more
tunes for us, man?
Sure, I feel happy about it.
You know, I've been doing this show all day,
you know what I mean?
I've been interviewing people who've been
writing hits for other people
and for themselves.
Ain't nobody gave me a song yet.
They didn't know until now you wanted one.
Why don't you go upstairs to your dressing room
and bring me one down?
I do have a couple up there right now.
It would be nice, you know what I mean?
I could use it, you know what I'm talking about?
I'll get there right now.
I appreciate it.
My pleasure.
I'll see you in a minute.
Freddie, you got it, Freddie.
One of the most dynamic rock and rollers ever
to appear on stage
is Gary U.S. Barnes.
He's been singing hits for nearly three decades.
It started way back in 1961 with the number one
hit, Quarter to Three,
which almost got him into quite a bit of trouble.
It was banned for, I guess, a couple of months.
I refused to play it on the radio.
So by that happening, then the kids went out
and bought it right away
because everybody wanted to hear the dirty lyrics.
You know, and there were no dirty lyrics.
But I still have people come up to me 30 or 40
years old and say,
you said that, didn't you?
No, I didn't do that.
Quarter to Three is just as exciting to me and
I guess to the audience
because we use it as an encore song.
And it still fits the format of what I'm doing,
even with the Bruce stuff, the new stuff.
I guess I've just been doing rock and roll all
these years.
That's all I can do.
Can't answer the phone, but that's what happens.
I can rock and roll.
Our next guest is yet another superstar from
the Jackson family.
Her first album, Centipede, burst into the top 10,
and her new album, Are You Tough Enough, is
climbing the charts too,
singing her new single, Play Thing.
Please welcome the remarkable Ruby Jackson!
Ruby Jackson!
Play, play thing, baby. Don't call me up unless
you're serious.
I don't want to be your lady, now, now, now. I
don't want to be your lady, baby.
Don't call me up unless you're serious.
Play, play thing, baby.
Play, play thing, baby. Don't call me up unless
you're serious.
I thought it would be good to share the thought
with other people,
women feel the same way, that they don't want
to be treated as play things.
That's hot. You have such a talented family,
such a great big family as well.
I want to know, is putting an album together a
big help when you do that?
It's a strong encouragement from every member
in the family,
and it always has been in times past.
However, this particular album, none of my
family were involved with it.
However, I always get support from them with everything.
Well, you could have always called me, Ruby.
Yeah, Jackson. That's right.
Well, I know that you're not only a great
singer and a songwriter,
I know that you're a wife, you're a mother, and
you're a homemaker.
I want to know how do you do all that at once?
It's not easy. But you know what helps a
tremendous amount
is the fact that I get total support from my family,
and I really try to involve them in everything
that I do.
And that way, they feel a part of everything,
so we work it out.
And how old are the children now?
My oldest is 17. I have a 10-year-old and a
2-year-old every 6 12 years.
You've been busy, huh? Plaything, huh?
Just one last question, okay?
In the future, will there be any more singing
Little Jacksons?
I don't know. I've never really impressed on my
kids' mind
seriously about going into the business.
However, there is serious talent in that area,
and if they decide, it's up to them.
I want them to be able to handle and cope with
it though,
so we have to wait and see.
Yeah, well, I hope they wait a little later
until after I'm done.
Oh, really?
Reeve, you're wonderful.
Would you please give it up to Miss Reeve Jackson?
Thank you.
Coming up, Natalie Cole, Earth, Wind & Fire,
the Four Tops, The Sheeps, Stephanie Mills as
Blue Walls presents more black gold hits.
Strength. Pride. Today, the Clydesdales symbolize...
$4,500 yesterday, Miss Lee, and the game is
spreading all over Harlem.
The boys all around the pool halls are spending
their money on the numbers...
St causin' a Blunder
So stand up, stand on your own
That's they tell me
You can make it alone
But where does it say you have to move far away
from you
I'm strong.
Oh, when all it really proves is I'm lonely
without you.
And loneliness has to be wrong.
I live for your love.
Every minute.
I live for your love.
In my life.
Want you in it.
I live for your love.
I admit it.
I live for your love.
I wake up with no one to kiss.
Sometimes I wonder, wonder, wonder if I just exist.
I know there are people I could see and places
I could be
and friends who call.
Oh, but what good does it do?
There's no substitute for you.
I want you on nothing at all.
I live for your love.
Every minute.
I live for your love.
In my life.
Want you in it.
I live for your love.
I admit it.
I live for your love.
And your kissing.
You know how I miss it.
Your sweet tender touch.
I need you so much that I just can't go on anymore.
But I wouldn't give up.
I wouldn't give up.
Because, darling, I live for your love.
Every minute.
I live for your love.
Want you in it.
I live for your love.
I hate to admit it.
But oh, I live for.
Your love.
I live for your love.
Every day.
Every minute.
I only got one life.
I want you in it.
Oh, my baby. Yes.
I live for your love. Ooh.
Our next guest is one of the truly great voices
of rock and soul music.
His career began as lead singer for the group
The Drifters.
and he was recently voted into the Rock and
Roll Hall of Fame.
In 1961, he wrote and recorded the hit record,
Stand By Me.
Twenty-five years later, thanks to the
blockbuster movie of the same title,
it was a top ten hit again.
Now, Bob Shannon asked Benny King if he ever
thought he would be in the music business 25
years later.
None of us, I think, knew the expectation of
what was gonna happen next in the business.
We all treated the business as if it was gonna
be here for a minute and disappear.
And fortunately for most of the singers, such
as myself and songwriters,
that what had happened was that we accidentally
or purposely found out that we were good songwriters
and the producers as well and the arrangers
found out that, hey, we are good at this.
This is good and the music is good, the feeling
is good, and people locked into it and it found
a life.
But at the very beginning everybody was trying
to get little bits and pieces
because I think that the reason was, and that's
the only reason I can find anyway,
that they thought it was gonna be a short-lived thing.
I have kids that come up to me in concerts and
things like that
and they're telling me, you're the greatest
thing that ever happened to music
and you're the best singer and you're the best
of this and I love that song.
This song has such a great meaning to me.
Now I'm talking to kids like now eleven and
twelve and up
and it is nice to know that they're connected
with the song and things like that.
But it's a very strange feeling for myself, as
you said,
because you never assume that anything like
this is gonna come back into your life again
and have this sort of an impact as well.
I do shows with some friends of mine when we
all started together.
It's not like the Sinatra Ole Show, it's like our...
We do shows together. I do most of these shows
by myself.
Recently I've been doing a lot of shows with
the Four Tops
and I got a new album out on EMI Manhattan,
Save the Last Dance for Me.
That's my new album.
You redo the song?
I redid Save the Last Dance for Me because a
lot of people don't remember me being with The Drifters.
So I get away with it. I get a chance to do
that twice.
And I had some great, great help on the album.
Mick Jones from Fauna, Mark Noffler from Dire
Straight, Tom Bailey from Thompson Twin,
who else, Lamont Dozier, produced a couple of tracks.
A young kid by the name of Preston Glass who
was doing some great work out here
with Earth, Wind and Fire. He just did their
new album.
He did a couple of tracks for me.
So I'm in very good company there as far as
help with the new album.
And I think it's a pretty good album.
So far it's gotten fairly good reviews.
The return of Earth, Wind and Fire and special
guest Shanice Wilson next as Lou Rawls presents
Black Gold Hits.
Okay, pal. This is where we start.
And four Grammy Awards.
With this latest Black Gold hit, I wish you
belonged to me, ladies and gentlemen,
the unmistakable sound of Mr. Lou Rawls.
It's too bad you belong to somebody else.
I wish you belonged to me and it's a doggone
shame you love me.
Somebody else. I wish that you were loving me.
I can't take it no more. Another day I'll go insane.
Getting harder to live without your love.
You see I'm with you every day. But at night
you go your way.
And I go mine. It's too bad you belong to
somebody else.
I wish you belonged to me and it's a doggone
shame you love me.
Somebody else. I wish you were loving me.
Cause every time we meet my heart it aches with
so much pain.
I got to make a decision about our love.
You see I'm with you during the week. Saturday,
Sunday we don't speak.
Sunday you're mine again. All mine again.
I said it's too bad you belong to somebody else.
I wish that you belonged to me and it's a
doggone shame you're going home.
Somebody else. Won't you come home with me.
I wish you belonged to me. Now it would be so nice.
Me and you together babe. Oh girl.
We could be loving each other. Loving each
other. We could be happy together forever.
What are we gonna do babe. Oh girl.
Don't you know life is short. Let's get
together baby. Oh girl.
I said it's too bad you belong to somebody else.
I wish that you belonged to me and it's a
doggone shame you're going home.
Somebody else. Won't you come home with me.
I wish you belonged to me.
Listen. I'll call and make a reservation about
a little hideaway.
And I'll meet you there when we get off and work.
Somebody else. I wish that you belonged to me.
I wish you belonged to me.
One of the biggest black girl groups of the
70's and 80's is Earth, Wind & Fire.
In less than 20 years they've sold over 20
million records and they're still going strong.
Bob Shannon talked to Philip Bailey and Maurice
White of Earth, Wind & Fire about how it all
started for them.
We just cut records every year based on what
was happening at the time.
You know we pretty much mimicked what was going
on then and never really knew what we were
going to do the next album.
People would say what direction are you going
to take the next record? You don't know until
you get there.
Yeah the sound became commercial. The sound in
the beginning wasn't commercial.
No it wasn't.
It's something that after you hear it a while
it becomes commercial because it's sales.
But we never really tried to put ourselves in a
commercial band.
We just was always in a sense of searching for
something that we could present wholeheartedly
to the people.
(music playing)
So now is this permanent or is this just sort
of you're back together for an album and a tour
and then you'll go off in different directions again?
No actually we're going to stay together but
we're going to still do separate things.
We just want to keep the adventure exciting.
So we're here to stay.
Kashif, Shanese Wilson, Freddie Jackson and
more as Blue Rawls presents Black Gold Hits continues.
Here's where the feeling begins.
Earth. Wind. Fire.
Coca-Cola classic.
The feeling's real. You know it can't be beat.
Get started to the system you can feel it in
your boot.
Ah the taste of life feel the magic that it brings.
It's the ultimate sensation when you've got the
real thing.
Coca-Cola classic.
Can't beat it. Can't beat the feeling.
Feeling. Feeling.
Chocolate is scrumptious when it crunches.
That's why I love my sweet.
Ripe old age of 14. 14 right.
She's burst into the top ten with her dynamic
debut album Discovery.
Her hot single No Half Steppin' is climbing the
charts and that's only the beginning of more
great things to come from this remarkably
talented Shanese Wilson.
We asked Shanese what it's like to be a 14 year
old and have her first album top the charts.
Well it feels great and this is something that
I've always wanted to do.
And I just want to thank everyone who has made
it possible for me.
Ladies and gentlemen Shanese Wilson.
All boys are going to know my name when I am done.
They get upset.
Breaking hearts.
They get mad.
Breaking hearts.
End my claim to fame.
Put it bad and down for all they try.
I'll be a millionaire.
When I'm out, I'm hanging with my friends.
People say we're cute.
We're together.
Yeah we play to win.
And if you're gonna spell it, do we care?
So what's it mean to you?
You know we're not stupid.
We got to do it right.
You gotta do it right
In the middle of the day
And in the middle of the night
You gotta step in
Show just what you got
And don't give up nothing
If you think you're hot
I'm not, I'm not
I'm not about
Playing games
I got too much that
I wanna do
I don't have time
To sit down and explain
And if you're gonna
Try to figure out
What I say to you
You gotta step in
You gotta do it right
In the middle of the day
And in the middle of the night
You gotta step in
Show just what you got
And don't give up nothing
If you think you're hot
You gotta step in
You gotta do it right
In the middle of the day
And in the middle of the night
You gotta step in
Show just what you got
And don't give up nothing
If you think you're hot
You gotta step in
I'm not, I'm not
I'm not
I don't have time
To sit down and explain
And if you're gonna
Try to figure out
What I say to you
You gotta step in
You gotta do it right
In the middle of the day
And in the middle of the night
Well, alright.
We're singing.
I do my best
To let you know
What it feels like
When on stage
I put you to the test
You better believe
After you leave
You're gonna know what to do
So just watch out
Don't give up and love me
If you think you're hearted
We're coming back
We're back
Thank you.
Alright, yeah.
Shadice, 14 years old.
Thank you, Shadice.
Boy, when you think of
the magical Motown sound,
you have to think of
the classic Four Tops.
They've been performing and recording together
for more than 30 years, with legendary hits
like Baby I Need Your Lovin', I Can't Help
Myself, and Reach Out, I'll Be There.
We caught up with the Four Tops at a concert in
New York City and found out just how they
keep on spinning those hits.
Now the Four Tops are one of the few groups to
leave Motown and continue to have hits.
How did you make that transition?
Well, I guess that's just fortunate that we ran
across some writers that had something
happening for us.
You know what I'm saying?
It didn't necessarily have to be that way but
fortunately for us, it did.
You know, we had Brian Potter and, and, and...
Steve Barry.
Steve Barry and those guys on the West Coast
and they came up with some great stuff for
us on ABC and that was what it was.
Do you guys have any good stories behind any of
the hits?
You've had so many but one really good story
you can tell us.
He didn't like...
I didn't like I Can't Help Myself or Reach Out. Yeah?
The only reason I sing it is because I just,
just sing it.
Lawson said, man, go ahead and sing the song.
I thought it was nothing.
So you didn't think it would be a hit? No.
I mean, that goes to show you what I know, right?
I hear you guys did a lot of these things late
at night.
You'd go into Motown at midnight or something,
go in for a session and, and work like, you
know, all night long. Yeah.
Was that kind of a pattern that you set up with
these songs?
Well, I mean, there was really no special time
at Motown.
That's what was so great about it.
In fact, when we recorded Babe, I Need You
Lovin', we were watching the Temptations at
the, at a club in Detroit called the 20 Grand
and Brian Holland came up and said, man, we
think we have a great tune for you guys and,
and the club closed at 2:00.
He says about three, three and three 30.
Why don't we meet at his field and listen to it?
We said, great.
We got down to about three 30 and about five 30.
We were through it.
We had recorded it that night.
In fact, we just went in and recorded it.
So what we heard is like the first, uh, just
first take or so?
They already had the track cut.
Holland Doja Holland had already cut the track
and, uh, they just wanted us to come down
and hear it.
But when we got there, we said, man, why don't
we just do it now?
And we did.
Coming up, Kashif and Michael Boulton as Lou
Rawls presents Black Cold Hits.
She's on the case, looking for the style that's hers.
Every notice when you use Royal Oak charcoal.
Yes, but he writes them too. Right?
He's written for the Pointer Sisters, Cher,
Kenny Rogers, Starship, Joe Cocker and Greg Allman.
Why ain't none of these folks wrote no songs
for me, but this head, he saved for himself
and for us, ladies and gentlemen, from his
latest album, The Hunger, singing his chart
topping song.
That's what love is all about.
Mr. Michael Bolton.
When you and I
And surely reached the end.
Still here we are, the flame as strong as ever.
All because we both kept holding on.
We know we couldn't weather any storm.
So baby that's what love is all about, two
hearts that
follow the wind.
Somehow to keep the dream from dying.
Something we could never live without,
if it takes forever we can work it out.
The under shadow of a doubt.
Baby that's what love is all about.
As time goes by, we learn to rediscover
the reason why this dream of ours survives.
Through thick and thin, we're destined for each other.
Knowing we can reach the other side,
follow the other mountains of our pride.
Baby that's what love is all about,
two hearts that follow the wind.
Somehow to keep the fire burning.
Something we could never live without,
if it takes forever we can work it out.
The under shadow of a doubt.
Baby that's what love is all about.
Right at the good times it's easy.
The hard times can tear you apart.
There'll be times in your heart when the
feeling is gone.
But you keep on believing.
And you keep holding on.
Baby that's what love is all about,
two hearts that follow the wind.
Somehow to keep the fire burning.
Something we could never live without,
if it takes forever we can work it out.
The under shadow of a doubt.
Baby that's what love is all about.
My next guest is a consummate musician and Entertainer
who delivers some of the hottest material
top of the charts today, folks.
In 1983, Billboard magazine named him
one of the top new black artists of the year. Really?
He writes number one songs, he produces number
one songs,
and he sings number one songs.
Is he giving up any number one songs?
I wish he would.
I wish he would, too.
Here with his new song, Love Me All Over,
proves that Kashif is destined to go gold.
Here he is, folks, Kashif.
Love me all over.
Soon I'm gonna learn that way.
We gonna have to get this thing right.
Love me all over.
Don't keep on trying.
But love is always slipping from sight.
I reminisce about your tender kiss and the
cheer that I feel.
And all the things that we used to do.
Can we do them for you?
Love me all over.
And I'll get like you used to.
You used to do.
Can I hold you in my arms tonight?
Can I get you in the mood?
Oh, girl.
Oh, yeah, you.
Love me all over.
I want my love all over you.
Girl, I want my love all over you.
I'm gonna wrap you up tonight, baby.
Gonna make you feel like new. Yeah.
So let's take the time and make tonight a night
that we won't forget.
Oh, girl.
You've got to be sure.
This is a love with no way we regret.
So turn off the light.
Turn off the phone.
Turn the phone.
What's that like?
Oh, that's dark, girl.
Yes, girl. Ooh.
I'm gonna do for you.
I'll turn you on.
Love me all over.
Oh, love me all over.
Like you used to do.
You used to do.
Can I hold you in my arms tonight?
Can I get you in the mood?
Oh, girl.
Do it, do it tonight.
All I try to give to you is love that is precious.
Love that is true.
Hope that is true.
My love.
Let's keep this love's promise, keep it.
I'm gonna keep it on till you give it.
Gotta keep it in the mood. Ooh.
Come on, baby.
Turn off the light.
Turn off the phone.
Turn the phone.
What's that like?
Oh, that's dark, girl.
Yes, girl. Ooh.
I'm gonna do for you.
I'll turn you on.
Love me all over.
All over and over and over and over.
Like you used to do.
I gotta hold you in my arms tonight.
Can I get you in the mood?
Oh, girl.
Do it, do it tonight.
Love me all over.
Oh, yeah.
I want my love all over you.
Girl, I want my love all over you.
Gonna wrap you up tonight.
Gonna make you feel brand new.
Oh, girl.
Love you all.
Love you all over.
Love you all.
Oh, girl.
Love you all over.
Yeah, all right.
How you doing, Bud?
I'm all right.
How are you?
I'm good.
Listen, tell us about some of the superstars
who helped you out on this album, your new
album, Love Changes.
Well, I was very fortunate to do, of course, do
the duet with Dion, Reservations for Two.
And me, Lisa Morgan, and I did something together.
There's Doug E. Fresh, Whitney Houston singing
background on one song, Kenny G's playing
saxophone on a couple of songs.
Yeah, why didn't you call me, man?
We couldn't get you.
You also go on the road to share some of your
musical secrets.
What do you do?
Yeah, for the past, I guess, month or so, I've
been lecturing at colleges across the country. Really?
Yeah, on the business of music, how to get into
the industry and how we make records.
That's fantastic.
Let me ask you this.
Is there anybody that you haven't worked with
that you'd like to?
Actually, yes.
In the past month, ten people have come up to
me and said, you should work with Diana Ross.
So I think she might be high on my list right now.
That's going to be a long list, brother.
Ladies and gentlemen, Kashif.
Stephanie Mills, Carl Anderson, Melissa Morgan,
and more as Luwahl's Black Gold hits continues.
These days, people talk a lot about truth in labeling.
At Budweiser, we started our own truth in
labeling program over 100 years ago.
And what was true 100 years ago?
It was true 10,000 years ago.
Today it's entirely true.
Let's give it up for beating the black gold.
Welcome to the stage.
And we try to say goodbye
So many reasons not to stay
So many feelings to deny
Tender eyes confessing me
Temptation makes me turn my mind
Resisting you so hopelessly
Every time I try
Here comes the night
I feel desire take control
Here comes the night
With every touch I'm letting go
A story starts into one fall
You're without us, miss loving
I feel your look into my soul
Sending a message out to me
Your tender eyes confessing me
Temptation makes me change my mind
Resisting you so hopelessly
Every time I try
Here comes the night
I feel desire take control
Here comes the night
With every touch I'm letting go
I remember all those broken dreams
And I'm not gonna spend it my way
Now, now, now, now
I'm not gonna waste everything I see
But I just can't, don't wanna, walk away
Don't wanna make me walk away
Cause I don't wanna Ooh
Hey boy, here it comes
Here comes the night
Come baby, wander
I feel desire take control
Here comes the night
Come baby, wander
Here comes the night
Thank you.
Freddie Jackson's explosion into superstar status
is nothing short of phenomenal.
His Smash albums continue to sell millions
and his live performances are setting records
all over the world.
Here he is live on our stage with one of his
all-time hits that will live forever. It's the
fabulous Freddie Jackson
There's something that I want to say
But words sometimes get in the way
I just want to show my feelings for you
There's nothing that I would rather do
Than spend every moment with you
Yes you should know
You're so
You are my lady
You're everything I need
You are my lady
You're all I'm living for
There's no way that I can resist
Your precious kiss
Girl you've got me so hit me tight
Just say that you'll stay with me
Because our love was meant to be
I promise to love you more
Than you do today
You are my lady
You're everything I need
You are my lady
You're all I'm living for
You are my lady
You're everything I need
You are my lady
You're everything I need
You are my lady
You're all I'm living for
What a hell that was
You are my lady
You're everything I need
You are my lady
You're all I'm living for
I love the way you move
I'm losing my head
I want to show you
Coming up, Lou Wall presents the black gold heads
of Felix Cavallari of the Last Rose,
Hint Ballard of the Midnighters,
and Eddie Kendrick next.
Why keep plucking?
That black gold hit is with us tonight, ladies
and gentlemen,
Eddie Kendricks. Eddie, how you doing, buddy?
Tell the people that you're on backstage at the
Apollo, because
I was back there, and I knew him.
Yeah, after those six flights of stairs coming
out, it was really tough.
And doing that 30 minutes and 15 minute break.
Yeah, well Smokey, we met Smokey, he was at the
backstage at the Apollo,
and he brought us two great songs.
One was, Way You Do Things, and the other one
was with my girl.
All right. That was him.
Well, listen, how many gold records did you
really make with The Temptations?
Because everything you did was gold, wasn't it?
Well, I think, from my recollection, we had
like 23 gold albums and about 18 singles.
Good goodness. Now you're making hits as a duo. David?
David Ruffin.
Boy, that's cold-blooded. Temptations, you
really had to touch.
Your new release is One More for the Lonely Hearts.
You know, what kind of, I mean, I know you
weren't backstage at the Apollo
when Smokey come with that one.
You didn't bring that to us. Right.
I had that song about 12 years. Really?
It was written by a gentleman by the name of
Charles Braxton.
And his brother is Dwight Quawee Braxton, and
he has since passed away.
And I told him, if I ever had a chance to do
the song, I would record it.
And I finally got a chance, and I recorded it.
Hey, well, it really came out great, man.
Thanks. Listen, best of luck on the new record.
Okay, folks, Eddie Kendricks. Freddie?
Freddie, with legendary hits like Groovin', A
Girl Like You,
People Got to Be Free and Good Lovin',
the Rascals were one of the first blue-eyed
soul groups of the 60s.
We talked to Felix Cavallari about how four
guys from Brooklyn came to sound so soulful.
No matter how we tried to go another way, it
ended up soulful, you know.
And, you know, as I said, I don't take the
credit for the soulfulness of the band.
I think that, you know, we really genuinely as
a unit had that feeling in the band, you know.
I don't know. To me, the word soul, to begin
with, is sort of like a sharing of music, you
know what I'm saying.
In other words, like a communication is an even
better word, you know what I'm saying.
People that can play together, they have that
kind of soul feeling.
There's a bliss about recording that
unfortunately today is not as much present as
it used to be
with the computers and all the stuff that we
have in the studio.
You don't have that one on one kind of making
love situation in the studio that you used to have.
The point being that we really didn't pay that
much attention to the commerciality of the business.
That wasn't really number one what we were,
that's not what we were doing.
You wanted to make music.
Yeah, music, and there was this thought of
like, you know, being part of this uplifting of
people's consciousness
like bringing an end to racial strife and
bringing an end to, you know, strife in
general, you know.
Those were really the motivating forces in the
60s, at least as far as harassment is concerned.
My next guest is sometimes called the biggest
voice from the smallest package in show business.
Her dynamic singing style has sold millions of
records around the world,
earning her both the coveted Grammy and the
American Music Awards.
And she's reached for the gold and grabbed it, folks,
with the song, If I Were Your Woman.
Ladies and gentlemen, if you will, Miss
Stephanie Mills.
Hey, baby, there's something I want to say.
If I were your woman, and you were my man,
you'd have no other woman, you'd be weak as a lamb.
If you had the strength to walk out that door,
my love would overrule.
I'd call you back if I were your woman.
If I were your woman, and you were my man,
you'd have no other woman, you'd be weak as a lamb.
If you had the strength to walk out that door,
my love would overrule.
Yes, you can try to love you, but you need to
know you don't ask.
If I were your woman, if I were your woman,
if I were your woman, here's what I'd do.
If I were your woman, if I were your woman,
you'd have no other woman, you'd be weak as a lamb.
If you had the strength to walk out that door,
my love would overrule.
You're a part of me and you don't even know
that I'm what you need, but I'm so afraid to
show it.
If I were your woman, if I were your woman,
if I were your woman, here's what I'd do.
I'd never, never, no, no,
never, never, no, no, stop loving you.
still to come, Hank Ballard in the Midnighters
and Carl Anderson as Lou Ball presents more
black gold hits.
In the award winning performances, Carl
Anderson is one of the most versatile artists
on the
scene today.
Here he is with his newest record, more than
you'll ever know.
Ladies and gentlemen, the sensational Carl Anderson.
Take my hand and walk a while and talk a while.
Feel my love always there beside you.
Be the one I know you'll tell me everything.
You are the one I cherish more than anything.
I love you more than you'll ever know.
I love you more than you'll ever see.
More than my heart could ever show.
I love you more than you'll ever know.
Think of me and know that I believe in you.
There'll always be this precious time together.
Until a love so strong no words could ever say.
A love that lasts forever.
I love you more than you'll ever know.
I do!
I love you more than you'll ever see.
More than my heart could ever show.
I love you more than you'll ever know.
Even when it doesn't feel like love,
know that I love you.
And that's all you ever need to know.
So take my hand and walk away, walk away.
Feel my love always there beside you.
Be the one I know you'll tell me everything.
You are the one I cherish more than anything.
I love you more than you'll ever know.
I love you more than you'll ever see.
More than my heart could ever show.
I love you more than you'll ever know.
And now, Hank Ballard is truly a pioneer of
rock and roll.
With his backup group, The Midnighters, his
record sold millions all over the world.
Even though many of them were banned from the
airwaves, a lot of people know Hank Ballard
hits like Finger Popping Time.
But most people don't know that he wrote the
legendary song, The Twist.
It was like the chicken and the egg.
Now which came first, the dance or the song?
Now you told me The Midnighters were doing a
thing like the Twist on the stage.
They were, they were doing a routine.
Twisting the bottles.
And that's when the lyric came to me. Twist.
I said, it sounds commercial, you know.
Twist, Twist, Twist.
I had the gut feeling it was gonna be the
biggest record of all time, the biggest dance
play of all time.
But the record company couldn't hear it.
Now they put it on the b-side of it, right?
They made it a b-side, and I sure wish I'd get
some more b-sides like that, you know?
I took it to DJ Records.
They turned it down.
I said, well, I noticed kills were here.
They turned it down.
I said, well, I'm not sure what they did.
But it's a good song.
It's a good song.
I said, well, I'm not sure what they did.
But it's a good song.
I said, well, I'm not sure what they did.
But it's a good song.
I said, well, I'm not sure what they did.
But it's a good song.
It's a good song.
I said, well, I'm not sure what they did.
But it's a good song.
I said, well, I'm not sure what they did.
But it's a good song.
I said, well, I'm not sure what they did.
But it's a good song.
I said, well, I'm not sure what they did.
But it's a good song.
I said, well, I'm not sure what they did.
But it's a good song.
I said, well, I'm not sure what they did.
But it's a good song.
I said, well, I'm not sure what they did.
But it's a good song.
I said, well, I'm not sure what they did.
But it's a good song.
I said, well, I'm not sure what they did.
But it's a good song.
I said, well, I'm not sure what they did.
But it's a good song.