They had their first U.S. hit in 1971 with "You're a Big Girl Now". Signing to Avco Records, The Stylistics began working with producer Thom Bell, who had already produced a catalogue of hits for The Delfonics, and songwriter Linda Creed. Bell imported the sweet soul techniques he had perfected with The Delfonics, and his arrangements worked perfectly with Thompkins' falsetto. The bittersweet lyrics from Creed were a key factor in creating hugely memorable music.
Their hits, distilled from three albums, from this period included "Betcha by Golly, Wow", "I'm Stone in Love with You", "You Make Me Feel Brand New" featuring a double lead with Love, "Stop, Look, Listen To Your Heart" and "You Are Everything". "You Make Me Feel Brand New" was the group's biggest U.S. hit, holding at #2 for two weeks in the spring of 1974, and was one of five U.S. gold singles the Stylistics collected. The Stylistics' smooth sound also found an easier path onto adult contemporary airwaves than other soul artists, and the group made Billboard magazine's Easy Listening singles chart twelve times from 1971 to 1976, with three entries, "Betcha By Golly, Wow," "You Make Me Feel Brand New," and "You'll Never Get To Heaven (If You Break My Heart)" reaching the Top 10.
The group split with Thom Bell in 1974, and the split proved devastating commercially to the group's success in the USA. Just as with The Delfonics, The Stylistics were to some extent a vehicle for Bell's own creativity. They struggled hard to find producers who could come up with the right material, and partnerships with Hugo & Luigi and Van McCoy were notably less successful. They left Avco for H&L Records and the Stylistics' popularity rapidly declined in the U.S., though their British popularity continued for the rest of the 1970s.
In 1980, James Dunn departed due to health problems, and James Smith left shortly thereafter. The group continued, recruiting new member Raymond Johnson, and releasing the album Some Things Never Change, in 1985. Johnson departed shortly afterward, leaving the group a trio. Love, Murrell, and Thompkins continued to tour until 2000, when original lead Thompkins left. Love and Murrell brought in two new members, Harold "Eban" Brown, formerly of the Delfonics, as lead ( who sounds amazingly like a young Russell Thompkins), and tenor Van Fields. The present group is featured live on the DVD's "The Stylistics Live at the Convention Center" (2006), as well as along with other artists of the '70's on the DVD "The Big Show."
In 2004, Russell Thompkins, Jr. started a new group, the New Stylistics, with the returning Raymond Johnson, James Ranton, and Jonathan Buckson. They are featured on the DVD "Old School Soul Party Live!," which was part of the PBS "My Music" series.
The Stylistics' catalog of hits have been mined frequently by other artists in recent years. Notable examples include "Betcha By Golly, Wow" covered by Prince, "You Are Everything" remade by Vanessa Williams, and "You Make Me Feel Brand New" redone by Boyz ll Men Roberta Flack and Simply Red. Mary J. Blige also used the chief line from the chorus of "You Are Everything" ("You are everything, and everything is you") in her 1997 hit "Everything." In 2006, Letoya Luckett used a similar sample to the background track of "You Are Everything" for the music to her hit single "Torn."
Give a Little Love
The Stylistics Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
What's on your mind?
Am I
wasting my time?
you seem to look so sad
whenever I'm around
tell me am I letting you down?
give a little love
take a little love
give a little love for love
give a little love
take a little love
give a little love for love
(baby)
give a little love
take a little love
give a little love for love
love, oh.
Now girl
tell me what's wrong
Are you
leading me on?
It used to be so sweet
just you and me
don't tell me that you letting me down
You've got to
give a little love
take a little love
give a little love for love
give a little love
take a little love
give a little love for love
(baby)
give a little love
take a little love
give a little love for love
Love, oh
(melody)
It used to be so sweet
just you and me
don't tell me that you letting me down
You've got to
Give a little love
Take a little love
Give a little love for love
Give a little love
Take a little love
Give a little love for love
(baby)
Give a little love
Take a little love
Give a little love for love
(melody)
You've got to
Give a little love
Take a little love
Give a little love for love
Give a little love
Take a little love
Give a little love for love
Got to give a little love
Just a little bit of love
(you)
You've got to
Give a little love
Take a little love
Give a little love for love
Give a little love
Take a little love
Give a little love for love
(baby)
Give a little love
Take a little love
Give a little love for love
You've got to
Give a little love
Take a little love
Give a little love for love
give a little love
take a little love
give a little love for love
The Stylistics' song Give a Little Love is a plea from the singer to a girl who seems to be distant and unhappy around him. He wonders if he is wasting his time pursuing her, and urges her to give a little love and take a little love, in order to build a relationship based on mutual affection. The repetition of this phrase throughout the song underscores its importance, as if the singer is trying to drill this message into the girl's head. The melody is equally insistent, with a catchy chorus that is easy to sing along to.
The lyrics of Give a Little Love are fairly simple and straightforward, but they are brought to life by the soulful delivery of The Stylistics. The lead singer's emotive voice conveys a sense of longing and vulnerability, making the listener empathize with his situation. The arrangement of the song is also noteworthy, with gentle strings and percussion creating a romantic atmosphere that perfectly complements the lyrics.
Overall, Give a Little Love is a classic example of the smooth, sophisticated soul music that The Stylistics were known for. Its message of reciprocity and the importance of giving and receiving love is universal and timeless, making it a song that will continue to resonate with listeners for years to come.
Line by Line Meaning
Little girl
Addressing a young woman
What's on your mind?
Asking about her thoughts
Am I wasting my time?
Questioning if spending time with her is pointless
you seem to look so sad
Observing her sad expression
whenever I'm around
When in his presence
Tell me am I letting you down?
Asking if he's disappointing her
You've got to give a little love
Encouraging her to show some love
Take a little love
Take some love in return
Give a little love for love
Exchanging love
Now girl
Addressing the woman again
Tell me what's wrong
Asking what's bothering her
Are you leading me on?
Questioning if she's toying with his emotions
It used to be so sweet
Recalling a time when things were good
Just you and me
When it was just the two of them
Don't tell me that you're letting me down
Asking her not to disappoint him
Got to give a little love
Reiterating the need for love
Just a little bit of love
Even a small amount of love is important
Writer(s): Luigi Creatore, Hugo E. Peretti, George David Weiss
Contributed by Bella A. Suggest a correction in the comments below.
Marcos Adriano Chicatto
Esta canção representa muito bem, o que foi a década de 80, do ponto de vista das grandes canções. Naquela época, era valorizado o timbre de voz do artista (geralmente era um timbre vocal "aveludado", lindo demais de se ouvir), os instrumentos musicais eram efetivamente tocados (os recursos tecnológicos musicais não eram tão utilizados, como são hoje em dia) e, de modo geral, visava-se, sobretudo, à harmonia das canções. A musicalidade, na sua excelência, era verificada. E isto é música de verdade. Às mais belas canções lentas internacionais e, às mais lindas canções lentas nacionais, são desta década. Como era bom e, continua sendo maravilhoso, ouvir músicas de qualidade como esta, são músicas atemporais. Hoje no mundo, vivemos um período extremamente pobre neste aspecto, um período de canções "fracas" (em letra, melodia e timbre de voz), comparadas às grandes canções que este mundo já viu. Tomara que este cenário musical empobrecido no mundo atual, mude. E que voltemos a ouvir músicas de verdade, músicas que façam bem aos ouvidos, sobretudo, que voltemos a ouvir músicas com letras que façam sentido (para o bem) e, com à harmonia que os nossos ouvidos desejam.
Rio do Sul - SC
Eugênio Morais
O que acrescentar à sua magnífica observação? Simplesmente agradecer! Camarada, infelizmente a música morreu no final da década de 1980. Assistimos atualmente uma decadência, um despejo, sem precedentes, de lixo sonoro. Viva a década romântica! Via a década de 1980!
Fabiana R. P. Muniz
Bem colocado seu comentário.
Nos tempos atuais, lembro que os únicos ritmos musicais que prezam os instrumentos são samba/pagode e bandinha de bailão. A maior parte utiliza eletrônicos.
Kelson Soares
Concordo. Arranjos musicais com instrumentos de verdade. Muito melhor! Bateria, contrabaixo, violões, etc... É uma sonoridade muito mais agradável. Músicas "artesanais". Por outro lado sons artificiais produzidos pelos programas computacionais dão uma sensação de coisa "mecanizada", processada.
Messias Araujo
8x a partir
Ismael Duarte
Tem toda a razão. Concordo plenamente contigo.
Aline F. de macedo
Simplesmente linda ❤ Nós turma dos 40 fomos privilegiados 🖐🖑
Intec Group
VERDADE
Aparecido Oliveira
Verdade tempo bom dê mais agora só saudades
Rosana Garcia
COMO NÃO GOSTAR DE UMA MÚSICA ASSIM???
SOU DESSA ÉPOCA E, GARANTO QUE FOI INESQUECÍVEL...