The Spinners are an American rhythm and blues vocal group that formed in Ferndale, Michigan, in 1954. They enjoyed a string of hit singles and albums during the 1960s and 1970s, particularly with producer Thom Bell. The group continues to tour, without any original members, after Henry Fambrough retired in 2023.
"TSOP (The Sound of Philadelphia)" is a 1974 recording by MFSB featuring vocals by The Three Degrees. It was written by Gamble and Huff as the theme for the American musical television program Soul Train, which specialized in African American musical performers. The single was released on the Philadelphia International Records label. It was the first television theme song to reach No. 1 on the Billboard Hot 100.
"(Not Just) Knee Deep" is a song by the American funk band Funkadelic written by George Clinton. The song was released as a single for their album Uncle Jam Wants You (1979).
"Until You Come Back to Me (That's What I'm Gonna Do)" is a song written by Morris Broadnax, Clarence Paul, and Stevie Wonder. The song was originally recorded by Stevie Wonder in 1967, but his version was not released as a single and did not appear on an album until 1977's anthology Looking Back. The best-known version of this song is the 1973 release by Aretha Franklin, who had a million-selling top 10 hit on Billboard charts. The song reached No. 1 on the R&B chart and No. 3 on the Hot 100 chart in 1974. It became an RIAA Gold record.
"Then Came You" is a 1974 song recorded by American soul singer Dionne Warwick and American R&B group The Spinners. It was credited to Dionne Warwicke and the Spinners. The track was written by Sherman Marshall and Phillip T. Pugh, and produced by Thom Bell.
"Something He Can Feel" is a song composed by Curtis Mayfield for the 1976 motion picture Sparkle. The song, a love ballad in a Chicago-/Philly-soul style, became a number-one hit on the Billboard's R&B singles chart in the United States twice with two separate recordings: a 1976 version by Aretha Franklin from the film's soundtrack, and a 1992 cover by girl group En Vogue.
"The Rubberband Man" is a song recorded by American vocal group the Spinners. The song, written by producer Thom Bell and singer-songwriter Linda Creed, is about Bell's son Mark, who was being teased by his classmates for being overweight. Intended to improve his son's self-image, the song eventually evolved from being about "The Fat Man" to "The Rubberband Man".
"How Could I Let You Get Away" is a song recorded by the American vocal group The Spinners. Produced by Thom Bell and recorded at Philly's Sigma Sound Studios, the lush, string-augmented production of the song drew comparisons to another Bell - produced group, The Stylistics. The song was recorded for inclusion on the group's 1972 self-titled debut album on Atlantic Records. It was also the A-side of the group's first single release on Atlantic in July 1972. It was the first Spinners hit to feature lead vocals by Philippé Wynne. The song had modest success on the charts, reaching number fourteen on the U.S. R&B charts and crossing over to the U.S. Pop charts peaking at number seventy seven. However, it would be the single's B-side, "I'll Be Around" led by the Spinners' other lead singer Bobby Smith, that would be the group's real chart breakthrough, becoming a #1 R&B and #3 pop hit in the fall of 1972 and eventually reaching sales of over a million copies.
"I'll Be Around" is a song recorded by the American R&B vocal group The Spinners. It was co-written by Thom Bell and Phil Hurtt and produced by Bell.
Robert Steel Smith, professionally known as Bobby Smith, also spelled Bobbie, was an American R&B singer notable as the principal lead singer of the classic Motown/Philly group, The Spinners, throughout its history. He was the principal lead singer from its formation in 1954 when he was eighteen, until his death in 2013.
"Could It Be I'm Falling in Love" is a 1972 song recorded by the American R&B vocal group The Spinners. It was co-written by Melvin and Mervin Steals, two songwriter brothers working for Atlantic, who were sometimes credited as "Mystro and Lyric." It was produced by Thom Bell, recorded at Philadelphia's Sigma Sound Studios and the house band MFSB provided the backing. Bobby Smith sings lead through most of the song, while Philippé Wynne handles vocal duties on the outro.
"One of a Kind (Love Affair)" is a song recorded by the American R&B vocal group The Spinners (known as "Detroit Spinners" in the UK). It was written by Joseph B. Jefferson and produced by Thom Bell.
"Games People Play", also known as "'They Just Can't Stop It' The ", is a song recorded by American R&B vocal group The Spinners. Released in 1975 from their Pick of the Litter album, featuring lead vocals by Bobby Smith, it was a crossover success, spending a week at number one on the US Hot Soul Singles chart and peaking at number five on the Billboard Hot 100. Recorded at Philadelphia's Sigma Sound Studios, the house band MFSB provided the backing. Female backing vocals on the song were performed by Carla L. Benson, Evette Benton, and Barbara Ingram, who together formed the legendary studio backing vocal group Sweethearts of Sigma. The female lead vocal on the track is by Evette Benton. This song was an RIAA-certified million seller for the Spinners.
"It's a Shame" is a song co-written by Stevie Wonder, Syreeta Wright and Lee Garrett and produced by Wonder as a single for the Spinners on Motown's V.I.P. Records label. The single became the Detroit-reared group's biggest single on the Motown Records company since they had signed with the company in 1964 and also their biggest hit in a decade.
"Bad Luck" is a song recorded by American vocal group Harold Melvin & the Blue Notes from their album To Be True. Released as a single in 1975 by Philadelphia International Records, the song was written by Victor Carstarphen, Gene McFadden, and John Whitehead and produced by Gamble and Huff, with MFSB providing instrumentals. The single was number one on the Billboard Disco Action chart for eleven weeks, also peaking at no. 4 on Hot Soul Singles and no. 15 on the Hot 100. With an unusually loud hi-hat by session drummer Earl Young, "Bad Luck" is considered a signature disco song.
Mighty Love is the fourth studio album recorded by American R&B group The Spinners, released in January 1974 on the Atlantic label. It was the Spinners' second album for Atlantic and, like their breakthrough Atlantic debut Spinners, was produced by Thom Bell at Sigma Sound Studios in Philadelphia.
Pick of the Litter is the sixth studio album by American R&B group The Spinners, released in August 1975 on the Atlantic label. The album was produced by Thom Bell and recorded at Sigma Sound Studios in Philadelphia.
Happiness Is Being with the Spinners is the seventh studio album recorded by American R&B group The Spinners, released in July 1976 on the Atlantic label. It was produced by Thom Bell and recorded at Sigma Sound Studios in Philadelphia and Kaye-Smith Studios in Seattle.
"Sadie" is a song recorded by the American R&B vocal group The Spinners. The song was written and produced by Joseph B. Jefferson, Bruce Hawes and Charles Simmons. Recorded at Philly's Sigma Sound Studios and released as the third single from their 1974 New and Improved album on Atlantic Records, "Sadie" would chart at number #7 on the U.S. R&B Singles Chart, their 10th consecutive Top 10 Atlantic single on the chart. It also reached the number #54 position on Billboard Pop Singles chart.
"Ghetto Child" is a 1973 song recorded by American R&B music group the Spinners for the Atlantic label. It was written by Thom Bell and Linda Creed. It was produced by Bell, and recorded at Philadelphia's Sigma Sound Studios with the house band MFSB providing the backing instrumentation. It is notable for being one of few songs that all three main leads, Bobby Smith, Philippé Wynne and Henry Fambrough sing lead. Although some think the song focuses on racial injustice broadly and the injustice of the 1967 Detroit Riot more specifically, the lyrics suggest that the song may be about intra-racial discrimination—the song is written from the perspective of a black child who is derided not (primarily) due to his skin-color but due to his class status.
