A long running male vocal group from Jersey City, New Jersey, with roots i… Read Full Bio ↴A long running male vocal group from Jersey City, New Jersey, with roots in the doo-wop era. They first formed as the Manhattans, circa 1963, and hit the charts on Carnival Records in the mid 60's, maintaining chart popularity well into the the 1980's when their hit "Shining Star" topped the charts.
THE MANHATTANS were originally: Winfred "Blue" Lovett, Richard Taylor, Kenny Kelley, George "Smitty" Smith and Sonny Bivins. The quintet reportedly took it's name not from the big city across the water from New Jersey, but from the cocktail known as the Manhattan featuring whiskey, vermouth, and bitters. Still, the name suggested class, something the Manhattans have epitomized throughout their long career.
Between 1970 and 1973 they recorded for Starday/King Records , and by 1973 they were signed to industry behemoth Columbia where their career finally took off.
After 10 years of lower charting singles, the 1976 hit "Kiss and Say Goodbye" was the group's biggest hit to date and led to a performance at Jimmy carter's 1977 inaugural. In 1980 they won a Grammy for Shining Star written and produced by Leo Graham. In the mid 1980's female singer Regina Belle was briefly added to the lineup, singing on the Bobby Womack-produced single, "Where Did We Go Wrong" (a duet with Gerald Alston). She also contributed to The Manhattans 1986 Columbia Records album, "Back To Basics" before signing as a solo artist.
Two versions of The Manhattans have soldiered on to today. One lead by original member Sonny Bivins, and another created after a long hiatus, when founding member Blue Lovett began working with former lead Gerald Alston for a late career touring resurgence. Alston also appeared on Wu-Tang Clan's song "Stick Me For My Riches" in 2007.
In 2013, "Original" member Edward "Sonny" Bivins group features "Sonny" Bivins, Lee Williams, Charles Hardy, Harsey Hemphill and Alvin Pazant. In 2013, The Manhattans CD single "Just For Tonite" was released by Westwood Music Group. Currently, the group is recording material for a 2014 release. The Manhattans is a Registered U.S. Trademark owned by Manhattan Entertainment, Inc. All Rights Reserved.
THE MANHATTANS were originally: Winfred "Blue" Lovett, Richard Taylor, Kenny Kelley, George "Smitty" Smith and Sonny Bivins. The quintet reportedly took it's name not from the big city across the water from New Jersey, but from the cocktail known as the Manhattan featuring whiskey, vermouth, and bitters. Still, the name suggested class, something the Manhattans have epitomized throughout their long career.
Between 1970 and 1973 they recorded for Starday/King Records , and by 1973 they were signed to industry behemoth Columbia where their career finally took off.
After 10 years of lower charting singles, the 1976 hit "Kiss and Say Goodbye" was the group's biggest hit to date and led to a performance at Jimmy carter's 1977 inaugural. In 1980 they won a Grammy for Shining Star written and produced by Leo Graham. In the mid 1980's female singer Regina Belle was briefly added to the lineup, singing on the Bobby Womack-produced single, "Where Did We Go Wrong" (a duet with Gerald Alston). She also contributed to The Manhattans 1986 Columbia Records album, "Back To Basics" before signing as a solo artist.
Two versions of The Manhattans have soldiered on to today. One lead by original member Sonny Bivins, and another created after a long hiatus, when founding member Blue Lovett began working with former lead Gerald Alston for a late career touring resurgence. Alston also appeared on Wu-Tang Clan's song "Stick Me For My Riches" in 2007.
In 2013, "Original" member Edward "Sonny" Bivins group features "Sonny" Bivins, Lee Williams, Charles Hardy, Harsey Hemphill and Alvin Pazant. In 2013, The Manhattans CD single "Just For Tonite" was released by Westwood Music Group. Currently, the group is recording material for a 2014 release. The Manhattans is a Registered U.S. Trademark owned by Manhattan Entertainment, Inc. All Rights Reserved.
Love Don't Love Nobody
The Manhattans Lyrics
Jack went up the hill for Jill
To get her a pail of water
To show her that he loved her
(Ooh, he loved her)
He really, really loved her
(Ooh, he loved her)
Romeo told Juliet
Something that she could never forget
To show he loved her
(Ooh, he loved her)
He really, really loved her
Whoa, [?] in a storybook
A play of fantasy
They could never compare
With the love between you and me
Because we got a love we can feel
We got a love that's really real
We got a love we can feel
We got a love that's really real
He was such a determined fella
He searched all over for Cinderella
To show he loved her
(Ooh, he loved her)
He really, really loved her
(Ooh, he loved her)
Mary's lamb was white as snow
He followed her wherever she'd go
To show he loved her
(Ooh, he loved her)
He really, really loved her
Whoa, [?] in a storybook
A play of fantasy
They could never compare
With the love between you and me
Because we got a love we can feel
We got a love that's really real
We got a love we can feel
We got a love that's really real
To get her a pail of water
To show her that he loved her
(Ooh, he loved her)
He really, really loved her
(Ooh, he loved her)
Romeo told Juliet
Something that she could never forget
To show he loved her
He really, really loved her
Whoa, [?] in a storybook
A play of fantasy
They could never compare
With the love between you and me
Because we got a love we can feel
We got a love that's really real
We got a love we can feel
We got a love that's really real
He was such a determined fella
He searched all over for Cinderella
To show he loved her
(Ooh, he loved her)
He really, really loved her
(Ooh, he loved her)
Mary's lamb was white as snow
He followed her wherever she'd go
To show he loved her
(Ooh, he loved her)
He really, really loved her
Whoa, [?] in a storybook
A play of fantasy
They could never compare
With the love between you and me
Because we got a love we can feel
We got a love that's really real
We got a love we can feel
We got a love that's really real
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: KENNETH GAMBLE, KENNY GAMBLE, LEON HUFF
Lyrics Licensed & Provided by LyricFind
To comment on or correct specific content, highlight it
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@charlesgold9016
The Spinners’ “Love Don’t Love Nobody” was one of the finest soul records of the 1970s, and still sounds to me like one of the greatest deep-soul ballads of all time. It was written by Charles Simmons and Joseph Jefferson, whose credits appeared on many Philadephia records of the era; the arrangement and production came from the extremely great Thom Bell, who moulded the hits of the Delfonics and the Stylistics as well those of the Spinners. It also has a lead vocal that shows what was lost to the art of soul singing when Philippé Wynne died in 1984 at the age of 43, after suffering a heart attack on stage in Oakland, Calfornia.
Wynne could decorate a song with wonderfully inventive ornamentation which, by contrast with the work of the narcissists of today’s so-called R&B, never called undue attention to itself but was always in the service of the song, the arrangement, and the production. In that respect he was the peer of Ronald Isley and Teddy Pendergrass. And he was at his exalted best on “Love Don’t Love Nobody”: seven minutes and 13 seconds of soul heaven.
The record begins with Bell’s piano, discreetly shadowed by a bass guitar and vibes, quietly commanding attention. There’s gospel in the cadences, but also a grave delicacy in Bell’s keyboard voicings and a pensive elegance in his touch. It’s the sound of introspection, even the sound of sadness itself, setting Wynne up for his entrance with that heart-rending opening verse: “Sometimes a girl will come and go / You reach for love, but life won’t let you know / That in the end you’ll still be loving her / But then she’s gone, you’re all alone…”
As the track builds, Wynne adds his characteristic inventions to the song but firmly resists the temptation to overdo it. He’s listening to Bell’s arrangement, so spare, so subtly sophisticated as it adds strings and backing voices, and he’s making himself a part of it, even when he jams over the long fade.
One other thing. I was doing some remixing at Sigma Sound in 1974 when I fell into conversation with an engineer, and asked him about Thom Bell. When I told him how much I admired “Love Don’t Love Nobody”, he said that he’d worked on that session a year or so earlier. He told me that the rhythm track had been done in a single take, and that Bell had finished it in tears. That knowledge doesn’t make me listen to it in a different way, but perhaps it does help to explain the very deep connection that it can make.
Richard Williams
@TheKnowledge88
I love being raised by ppl of this generation..when i cook dinner for my family i listen to these songs..and cry because i miss seeing my older aunts and uncles who are no longer here dance to these songs ..forever in my heart until the end of time 😢
@rosiekelly7916
Yes!!!! I totally feel you. .I do the same when cooking, They just don't make music like this no more
@ernestboykin3rd706
Appreciate it bruh it's a blessing real chop!!
@jamestunes3255
I feel you bro
@cashandtheecity
😓🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻❤
@williamperson5848
D. Lowery, l feel u
@sherreljones4828
If only.i had a man to appreciate me.a great lady.not a cheater.and trusting Jehovah to live the way he wants me too.❤❤❤❤.
@user-fc2bh8wy4x
I am studying to be a Jehovah's witness as well i will pray 🙏 for you my sister and may jehova bless you with the companion your looking for great love my sister. My name is Donny.
@prophetmonitaylor144thousand
Not a jehovah witness beloved, not religious, just a relationship with yahweh through yahshua @user-fc2bh8wy4x
@jayd7531
❤