Together with a fourth brother, Vernon, the group performed gospel music until Vernon's death a few years after its formation. After moving to the New York City area in the late 1950s, the group had their first successes during these early years, first coming to prominence in 1959 with their fourth single, "Shout", written by the three brothers. Initially a modest charted single, the song eventually sold over a million copies. In the 1960s, the group recorded songs for a variety of labels, including the top 20 single "Twist and Shout" and the Motown single "This Old Heart of Mine (Is Weak for You)", before recording and issuing the Grammy Award-winning hit "It's Your Thing" on their own label, T-Neck Records.
Influenced by gospel and doo-wop music, the group began experimenting with different musical styles incorporating elements of rock and funk as well as pop balladry. The inclusion of younger brothers Ernie Isley (lead guitar, drums) and Marvin Isley (bass guitar), and Rudolph's brother-in-law Chris Jasper (keyboards, synthesizers), in 1973 turned the original vocal trio into a complete band and reached the height of their success. For the next full decade, they recorded a string of top-selling albums from 3 + 3 to Between the Sheets, including the number one album The Heat Is On.
The six-member band splintered in 1983, with Ernie, Marvin, and Chris Jasper forming the short-lived spinoff group Isley-Jasper-Isley. The oldest member, O'Kelly, died in 1986 and Rudolph and Ronald released a pair of albums as a duo before Rudolph retired to a life in the Christian ministry in 1989. Ronald reconvened the group two years later in 1991 with Ernie and Marvin; five years later, in 1996, Marvin Isley left the group due to complications of diabetes. The remaining duo of Ronald and Ernie achieved mainstream success with the albums Mission to Please (1996), Eternal (2001) and Body Kiss (2003). Eternal spawned the top twenty hit "Contagious". As of 2019, the Isley Brothers continue to perform under the lineup of Ronald and Ernie.
The Isley Brothers have sold over 18 million units in the United States alone. They have had several hit songs including four Top 10 singles on the United States Billboard chart. With their first major hit charting in 1959 ("Shout"), and their last one in 2001 ("Contagious"), they are among the few groups ever to have hit the Billboard Hot 100 with new music in five different decades. Sixteen of their albums charted in the Top 40 and thirteen of those albums have been certified gold, platinum or multi-platinum by the RIAA. The brothers have been honored by several musical institutions, including the Rock and Roll Hall of Fame, which inducted them in 1992. Five years later, they were added to Hollywood's Rockwalk, and in 2003 they were inducted to the Vocal Group Hall of Fame. They received the Grammy Lifetime Achievement Award in 2014.
Full Wikipedia article: https://en.wikipedia.org/wiki/The_Isley_Brothers
Studio albums
Shout! (1959)
Twist & Shout (1962)
Twisting and Shouting (1963)
This Old Heart of Mine (1966)
Soul on the Rocks (1967)
It's Our Thing (1969)
The Brothers: Isley (1969)
Get into Something (1970)
Givin' It Back (1971)
Brother, Brother, Brother (1972)
3 + 3 (1973)
Live It Up (1974)
The Heat Is On (1975)
Harvest for the World (1976)
Go for Your Guns (1977)
Showdown (1978)
Winner Takes All (1979)
Go All the Way (1980)
Grand Slam (1981)
Inside You (1981)
The Real Deal (1982)
Between the Sheets (1983)
Masterpiece (1985)
Smooth Sailin' (1987)
Spend the Night (1989)
Tracks of Life (1992)
Mission to Please (1996)
Eternal (2001)
Body Kiss (2003)
Baby Makin' Music (2006)
Power of Peace (2017)
Move Your Body
The Isley Brothers Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I like you, Ronnie
Come here, shorty
Back it up right over here, baby
(Back it up right over here)
Right there (Yeah, slow)
Don't move (You got a body on you, baby)
Work your body (Work your body)
(Can you do your thing, baby)
Lord, have mercy
Yeah, yeah, yeah, I like that
Right like that, right like that
Like that, like that
Work it, work it, work it, work it
1 - I like the way you move your body
So soft and so gentle
You're moving your body
I like the way you move your body
Move your body (Move your body)
Move your body (Move you're body)
You've got that thing that drives me crazy
Girl, can we go half on a baby
I'll be your freak, you be my lady
'cause it's your hips, your thighs, your lips, your eyes
Girl, would you be my private dancer
You're all I need, you got the answer
Girl, you're my heat, you're my fire
'cause it's your hips, your thighs, your lips, you're eyes
Repeat 1
Inside my mind, you got me trippin'
Inside my head, I see you strippin'
Tap it just right and I'll be tippin'
Your hips, your thighs, your lips, your eyes
You got that thing that drives me crazy
Girl, can we go half on a baby
You got me wondering who's that lady
Your hips, your thighs, your lips, your eyes
You know
Repeat 1
Play it, Earnie
Oh, yeah babe, baby
I like the way, sho' 'nuff I like it
I like the way, you know I like it there
I like the way, sho' 'nuff I like it
I like the way, you know I like it
[Johnson Sisters]
Dance with me, come on dance with me baby
Dance with me, make romance with me baby
Dance with me, come on dance with me baby
Dance with me, make romance with me baby
Dance with me, come on dance with me baby
Dance with me, make romance with me baby
Dance with me, come on dance with me baby
Dance with me, make romance with me baby
Oh baby, shake your body, baby (Whoa)
Come on, shake your body, baby (Whoa)
Come on, whew, shake your body, baby (Whoa)
Come on, oh shake it, baby (Whoa)
Come on move, move
[Repeat 2 until fade]
The Isley Brothers' song "Move Your Body" is a classic tune that speaks directly to the listener's desire for physical affection. The song is characterized by a seductive rhythm and playful lyrics that encourage the listener to let go and feel the music. The song has a smooth R&B sound that was popular in the 90s, and it's clear that the song's intended audience is couples on the dancefloor or in the bedroom.
The lyrics of the song detail the way the singer feels about the object of his affection. He admires her body and the way she moves, and he can't help being drawn to her. The song is a classic depiction of the male gaze, with the singer objectifying the woman he is singing to by describing her body in intimate detail. However, despite its somewhat problematic portrayal of women, the song is still an enjoyable and iconic R&B track that continues to be beloved by fans of the genre.
In conclusion, "Move Your Body" is a sultry and seductive tune that speaks to the listener's desire for physical connection. The lyrics are playful and fun, while the music has a smooth R&B sound that will get listeners grooving whether they're on the dancefloor or in the bedroom.
Line by Line Meaning
I like you, Ronnie
The singer expresses their admiration for Ronnie in a friendly manner.
Come here, shorty
The singer addresses someone in a playful manner and invites them to come closer.
Back it up right over here, baby
The singer asks the addressee to move backward towards them.
(Back it up right over here)
The artist clarifies their earlier request to the addressee.
Right there (Yeah, slow)
The artist indicates that the addressee has reached the desired spot and asks them to move slowly from that point.
Don't move (You got a body on you, baby)
The singer compliments the addressee on their physique and asks them to refrain from moving for a moment.
Work your body (Work your body)
The singer encourages the addressee to move their body in a specific way.
You got a body baby, see some things
The artist repeats their appreciation for the addressee's body and suggests that it is visually stimulating.
(Can you do your thing, baby)
The artist further prompts the addressee to showcase their dancing abilities.
Lord, have mercy
The artist expresses amazement and awe towards the addressee.
Yeah, yeah, yeah, I like that
The singer indicates their approval of the addressee's movements.
Right like that, right like that
The artist indicates that they want the addressee to continue dancing in the way they currently are.
Like that, like that
The singer further emphasizes this point.
Work it, work it, work it, work it
The singer urges the addressee to keep moving their body.
I like the way you move your body
The singer expresses their admiration for the addressee's dance moves.
So soft and so gentle
The artist describes the addressee's movements in a positive manner.
You're moving your body
The artist once again acknowledges the addressee's dancing ability.
Move your body (Move your body)
The singer reiterates their previous encouragement for the addressee to move their body.
Move your body (Move you're body)
The singer repeats themselves for emphasis.
You've got that thing that drives me crazy
The artist expresses their strong attraction towards the addressee's physical appearance and movements.
Girl, can we go half on a baby
The artist suggests the possibility of starting a family with the addressee.
I'll be your freak, you be my lady
The artist playfully suggests a dynamic where they are the more unconventional partner and the addressee is more traditional.
'cause it's your hips, your thighs, your lips, your eyes
The singer enumerates the physical features of the addressee that they are attracted to.
Girl, would you be my private dancer
The artist asks the addressee if they would be their exclusive dance partner.
You're all I need, you got the answer
The singer expresses their emotional attachment to the addressee and considers them to be a solution to their needs.
Girl, you're my heat, you're my fire
The singer compares the addressee to elements associated with passion and energy.
Repeat 1
The singer repeats the chorus of the song.
Inside my mind, you got me trippin'
The artist admits to thinking about the addressee often and deeply.
Inside my head, I see you strippin'
The artist admits to sexual fantasies involving the addressee.
Tap it just right and I'll be tippin'
The singer suggests that small actions from the addressee can have a major effect on their attraction to them.
You got that thing that drives me crazy
The singer repeats their previous line, emphasizing their strong attraction to the addressee.
Girl, can we go half on a baby
The artist repeats their previous line, suggesting the possibility of starting a family with the addressee.
You got me wondering who's that lady
The artist expresses their curiosity about the addressee and their desire to get to know them better.
Your hips, your thighs, your lips, your eyes
The artist repeats the physical features that attract them to the addressee.
You know
The singer indicates that the addressee is aware of their appeal and effect on them.
Repeat 1
The artist once again repeats the chorus of the song.
Play it, Earnie
The singer calls out to someone named Earnie, likely a band member, to start playing music or to initiate a solo.
Oh, yeah babe, baby
The singer expresses their enthusiasm and enjoyment of the music and the moment.
I like the way, sho' 'nuff I like it
The singer once again expresses their admiration and approval of something, likely the addressee's movements.
I like the way, you know I like it there
The artist reiterates their enjoyment of a specific aspect of the situation.
I like the way, sho' 'nuff I like it
The artist repeats themselves for emphasis.
I like the way, you know I like it
The singer once again repeats their enjoyment of the situation.
Dance with me, come on dance with me baby
A trio of female backup singers urge the addressee to dance with the singer.
Dance with me, make romance with me baby
The backup singers suggest a more intimate form of dancing with the artist.
Oh baby, shake your body, baby (Whoa)
The backup singers further encourage the addressee to dance in a sensual and provocative way.
Come on, shake your body, baby (Whoa)
The backup singers repeat their previous encouragement for the addressee to dance provocatively.
Come on, whew, shake your body, baby (Whoa)
The backup singers again repeat their encouragement for the addressee to dance in a sensual manner.
Come on, oh shake it, baby (Whoa)
The backup singers urge the addressee to continue dancing in a sensual and provocative manner.
Come on move, move
The backup singers urge everyone to keep dancing.
[Repeat 2 until fade]
The chorus of the song is repeated until the song fades out.
Lyrics © Universal Music Publishing Group, G.W. PRODUCTIONS BV
Written by: ANGELA W. ISLEY, GLENN DON II STANDRIDGE, RAPHAEL SAADIQ, ROBERT C. JR. OZUNA, RONALD ISLEY
Lyrics Licensed & Provided by LyricFind