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- 1Got To Be Together05:46
- 3Old-Fashion Love04:57
- 5All The Way Down03:38
- 6Sorry To Say04:04
- 7Wake Up Children04:35
- 8Mighty Spirit04:06
- 9Jesus Is Love06:06
Info for Heroes
„From 1974 until the end of the '70s, the Commodores enjoyed kicking out the hits. As the 1980s rolled in, the Commodores did not lose much steam as they scored their first Top Ten hit of the decade with the midtempo beauty 'Old Fashion Love.' From the flattering lyric to the zestful groove, the splendid selection is complemented by Lionel Richie's colorful delivery. It peaked at number eight on the Billboard R&B charts.'Heroes' extols everyday people for their feats and courage and checked in at 27 after 11 weeks on the charts. The former Tuskegee collegians were not known to do gospel, but the self-contained sextet scored big with 'Jesus Is Love.' Richie's prayerful message and pleading cries are solidified with a lyric and melody that complement one another. The song's popularity is far greater than what the charts reflected (number 37). 'Wake Up Children' and 'Mighty Spirit' are two other inspirational selections.“ (Craig Lytle, AMG)
Lionel Richie, vocals
Thomas McClary, electric guitar
Walter Orange, drums, vocals
Milan Williams, guitar, keyboards
William King, trumpet
Ronald LaPread, bass
Renowned for the R&B hits "Just to Be Close to You," "Easy," and "Brickhouse," to name but a few, Commodores were one of the top bands during their long tenure at Motown. The group is credited with seven number one songs and a host of other Top Ten hits on the Billboard charts, and their vast catalog includes more than 50 albums.
The members of Commodores, all of whom attended Tuskegee Institute in Alabama, came together as a result of two groups disbanding: the Mystics and the Jays. Initially formed to simply play music as a pastime and to meet girls, the lineup consisted of William King (trumpet), Thomas McClary (guitar), Ronald LaPread (bass), Walter "Clyde" Orange (drums), Lionel Richie (saxophone), and Milan Williams (keyboards). The members nearly went stir-crazy trying to pick a name for the group, but with no success. As a last resort, Orange gave King a dictionary and told him to pick a name — that name was the Commodores. With Clyde Orange the only learned musician in the group, Commodores began spreading their music throughout their base, which included Tuskegee, Montgomery, and Birmingham, AL.
After success securing dates in their own backyard, the band ventured to New York City for a gig at Smalls Paradise. Told, in so many words by the club owner, that their sound was not happening, the self-contained band was nevertheless called back to the club to fill in for a last-minute cancellation. That night the Tuskegee alumni performed before a standing-room-only crowd — most of which were friends and family of the band. Unaware of the planned crowd, the owner booked the band for two more weeks.
Commodores' long association with Motown began as a result of a tour opening for the Jackson 5. That opportunity occurred in 1971, when the group auditioned in New York City for an unknown yet high-profile gig. Two weeks later, they made their first appearance in the prized support slot, and didn't give it up for more than two years. Their excellent shows naturally led to a deal with Motown, and they debuted with the up-tempo instrumental dance cut "Machine Gun." Written by Milan Williams, its Top Ten outing gave the group immediate attention. It was followed by the Top 20 single "I Feel Sanctified," which led to their third single — and first number one record — in "Slippery When Wet." Inside of 17 weeks, the septet was rocking the airwaves with their brand of Southern funk, spiced with an animated vocal delivery courtesy of Lionel Richie and Clyde Orange.
In September of 1976, they released "Just to Be Close to You," their second number one single and a number seven pop hit. The Top Ten hit "Fancy Dancer" followed, and then came "Easy." Different from their other tunes, "Easy" was very serene and not nearly as soulful or funky as the band's other tunes. Nonetheless, it claimed the number one spot on the charts, and it paved the way for the style of ballads the group became known for. One exception to the ballad-heavy approach was "Brickhouse," the song that soon became the group's anthem. The arrangement and candid vocal lead by Clyde Orange was complemented by the evenly saturated percussive and rhythmic attack, and it cracked the Top Ten at number four. Two consecutive number one singles would follow: the dance cut "Too Hot ta Trot" and the placid number "Three Times a Lady." And then there was "Still," the last number one for the group with Richie as a member. In 1981, Richie recorded "Endless Love" with Diana Ross. The song peaked at number one for seven and nine weeks, respectively, on the Billboard R&B and pop charts. Its success was a prelude to what Richie enjoyed upon his 1982 exit from the group.
In the absence of Richie, the group promptly courted tenor J.D. Nicholas (formerly of Heatwave) and ended up recording their biggest hit. Penned by Clyde Orange, "Nightshift" paid tribute to the late soul singers Marvin Gaye and Jackie Wilson. For four consecutive weeks it topped the charts, and it also won the group their only Grammy.
Commodores finally left Motown in 1985. Consequently, the group signed with Polydor the same year and had another swing at the Top Ten with "Goin' to the Bank." During the '90s, the band was reduced to a core of three: Orange, King, and Nicholas. The threesome were nearly as active as they'd ever been, performing around the world and managing their own label, Commodore Records.
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