7 Awesome Covers of the R&B Classic “Night Time Is The Right Time”

Pioneering R&B and blues singer Nappy Brown

“Night Time Is The Right Time” is a rhythm-and-blues classic that was first recorded by legendary blues pianist, singer, and songwriter Roosevelt Sykes, aka “The Honeydripper,” in 1937. He cowrote the song with fellow bluesman Jimmy Oden. Melodically, the song is similar to Leroy Carr’s “When The Sun Goes Down,” released in 1935. This version has been described as “moderate tempo 12-bar blues” with Roosevelt on vocals and piano. According to some music historians, it was "drawn from the old vaudeville tradition.” The song is about longing for the companionship and love of a romantic partner in the evening, as well as celebrating the intimate connection two lovers share during those late hours. 

 In 1938, pioneering bluesman Big Bill Bronzy recorded "Night Time Is the Right Time No. 2,” which features slightly different, more suggestive lyrics. That same year, Roosevelt recorded a new version, also with slightly different lyrics.

Over the years, a host of talented artists have covered “Night Time is the Right Time”.  I’ve compiled a list of my seven favorite covers of this classic. Here’s the list in no particular order:

Nappy Brown (1957)

Highly influential R&B and blues singer Nappy Brown recorded an incredible rendition of the song in 1957, titled “The Right Time” and released on Savoy Records. He completely transformed it into a scorching, gospel-infused workout, complete with call-and-response vocals and sleazy piano and sax. And Brown delivers a blistering lead vocal performance. This major overhaul of the track significantly heightened its sexual energy and emotional punch. This version features additional lyrics with background singers answering his verses. Brown claimed songwriting credit for his rendition, splitting it with his label boss Herman Lubinsky (under the pseudonym “Lew Herman”) and record producer Ozzie Cadena. The players on the track included Buster Cooper (trombone), Hilton Jefferson (alto sax), Budd Johnson (tenor sax), Kelly Owens (piano), Skeeter Best (guitar), Leonard Gaskin (bass), and Bobby Donaldson (drums). Brown’s version of the classic failed to make the national charts.

Nappy Brown's "The Right Time" is available at Amazon.

Ray Charles (1958)

Iconic soul legend Ray Charles released his version, titled “(Night Time) Is The Right Time,” in late 1958 on Atlantic Records. He borrows Nappy Brown’s arrangement but performs it at a faster tempo. Charles brings his usual flair and soulful electricity to this track. He’s accompanied on vocals by Margie Hendrix, founding member of girl group the Raelettes, who were backup singers for Charles. Hendrix elevates the track significantly with her powerful, devastating vocal performance. And the Raelettes bring it on the backing vocals. In a 2002 interview with Charlotte Magazine, Nappy Brown discussed the differences between his and Charles’s version of the song:  

"The difference between me and Ray Charles's ‘Night Time Is the Right Time' is he had it up-tempo with Mary Ann and them behind him—the ladies [Charles' female backup singers, the Raelettes]. I had mine in a slow tempo with a gospel group behind me. That was my gospel group. But he got everything just like mine, note for note."

Charles’s version was a hit, peaking at #5 on the U.S. R&B singles chart and #95 on the pop charts. The song was featured on the albums Ray Charles in Person (1960) and The Genius Sings The Blues (1961). It’s widely considered the definitive version of the song and has become a rhythm-and-blues standard. The song was featured on the landmark TV sitcom The Bill Cosby Show. It was featured in episode 3 of season 2, titled “Happy Anniversary,” which originally aired on October 19, 1985. The Huxtable family lip-syncs to the song to celebrate the 49th anniversary of Cliff Huxtable’s parents. Six-year-old Rudy Huxtable (played by Keshia Knight Pulliam) steals the scene with her hilarious, over-the-top performance of Margie Hendrix’s gritty vocals. The scene is considered one of the top musical moments in television history.

 Here’s the full personnel for the song: Ray Charles (vocals/electric piano), The Raelettes (Margie Hendricks, Darlene McCrea, Mary Ann Fisher, and Patricia Lyles) on vocals, with instrumentation by Bennie Crawford (baritone sax), David "Fathead" Newman (tenor sax), Lee Harper (trumpet), Ed Willis (bass), and Teagle Fleming (drums). 

The Bill Cosby Show cast performs  “(Night Time Is) The Right Time.”

Ray Charles's "(Night Time Is) The Right Time" is available at Amazon.

Aretha Franklin (1968)

The Queen of Soul recorded an amazing rendition of “Night Time Is The Right Time” for her Gold-certified thirteenth album, Aretha Now, released on June 13, 1968, on Atlantic Records. As usual, Aretha makes the song her own, putting her distinctive sonic stamp on this classic. The legendary artist brings her incomparable vocal magic to this track as well as her impressive skills on piano. She tickles the hell out of those keys! The track also features a marvelous horn arrangement. Here’s the song's full personnel: Aretha (lead vocals and piano), Jerry Jemmott (bass), Roger Hawkins (drums), Wayne Jackson (trumpet), The Sweet Inspirations (background vocals), Willie Bridges and Floyd Newman (baritone saxophone). 

Aretha Franklin's "Night Time Is The Right Time" is available at Amazon

Creedence Clearwater Revival (1969)

Celebrated rock band Creedence Clearwater Revival brings its potent brand of blues rock to this rousing rendition of the R&B classic. John Fogerty lights up the track with gutbucket lead vocal performance and some wicked guitar work. And the rest of the CCR crew also brings the fire. This track is included on the band’s highly acclaimed third studio album, Green River, released August 7, 1969. The players on this track are John Fogerty (lead and backing vocals, lead guitar), Stu Cook (bass), Doug Clifford (drums), and Tom Fogerty (rhythm guitar).  

CCR's "The Night Time Is The Right Time" is available at Amazon

Tina Turner (1978)

Tina Turner delivers a ferocious, soul-stirring vocal performance on this explosive cover. She takes the classic to a whole new level with her formidable pipes. This rendition was included on Turner's third solo album Rough, released in September 1978 on the EMI label in the UK, Ariola Records in West Germany and United Artists Records in the United States. It was her first solo album release since she finalized her divorce from Ike Turner on March 29, 1978. On her previous two albums, Tina Turns the Country On! (1974) and Acid Queen (1975), she was still a member of the Ike & Tina Turner Revue. The personnel on this cover are Tina Turner (lead vocals), Ron Stockert (piano), Ed Greene (drums), Dennis Belfield (bass), Lenny Macaluso (electric guitar), William Smith (Hammond B-3 Organ), Airto Moreira (percussion), Horns: The L.A. Horns (Rick Kellis, Dennis Faris, Jeff "Dino" Deane). Strings: The Gerald Lee String Company.

Tina Turner performs "Night Time Is The Right Time" on a German TV show in 1979

Tina Turner's "Night Time Is The Right Time" is available at Amazon

James Brown (1983)

    

The legendary Godfather of Soul dropped this killer rendition of the R&B classic in 1983, released under the title “The Night Time Is The Right Time (To Be With the One That You Love).” He packs his vocals with tons of soul and style, and his band keeps things cookin’ with their tight musicanchip. Brown even gives a little taste of the organ on this hot cut. It was released as the B-side of the single "Bring It On...Bring It On" on the independent Churchill/Augusta record label. Brown’s cover of the classic reached #73 on Billboard’s R&B singles chart. It’s also included on his 52nd studio album, Bring it On!, released in May 1983. The musicians who backed Brown on “The Night Time Is The Right Time (To Be With the One That You Love)” included Jimmy Nolen (guitar), Arthur Dickson (drums), and the J.B.’s Internationals. The female vocalist who accompanied Brown was his backup singer, Kathy Jordan, who did a bang-up job. She's currently married to civil rights activist Rev. Al Sharpton. They met in 1971 while touring with James Brown and later married in 1980. When Sharpton was a teenager, Brown was a mentor and father figure to him. He worked as Brown's touring manager between 1973 and 1980.

The Rolling Stones (2006)

The Rolling Stones burned up the stage with an electrifying performance of “The Night Time (Is The Right Time)” during their historic 2006 free concert at Copacabana Beach in Rio de Janeiro, Brazil. Mick Jagger was in rare form, effortlessly commanding the audience’s attention with his raw, gritty vocals and patented serpentine dance moves. Jagger shared lead vocals with singer Lisa Fischer, who delivered a dynamic showstopping performance. Her stage chemistry with Jagger was off the charts. Keith Richards, Charlie Watts, and Ronnie Wood all bring their A game to this smokin’ performance. Their playing is nasty, dirty, and extremely soulful. And they received strong support from these talented players: Daryl Jones (bass), Chuck Leavell (keyboards, backing vocals), Bobby Keys (saxophone), Blondie Chaplin (percussion, backing vocals), Michael Davis (trombone), Tim Ries (saxophone), Kent Smith (trumpet), and Bernard Fowler (backing vocals).

The Rio concert took place on February 18, 2006. It was part of the Rolling Stones’ A Bigger Bang Tour. An estimated 1.5 million people attended the concert, making it one of the largest concerts in history. 

“Rock The Boat” by The Hues Corporation

Soul-pop trio the Hues Corporation was formed in Santa Monica, California, in 1969. Musician and songwriter Wally Holmes founded the group with his friend, singer Bernard St. Clair Lee. The group’s name is a pun on billionaire/aviation giant Howard Hughes’ company, the Howard Hughes Corporation, with “hue” a synonym of color. They recruited female vocalist Hubert Ann Kelley, who they spotted at a Los Angeles talent show. Singer Karl Russell responded to a notice posted at Southern California record stores, completing the trio. They started out performing at Las Vegas’ landmark casino and hotel, Circus Circus, opening for prominent entertainers such as Frank Sinatra, Milton Berle, Nancy Sinatra, and Glen Campbell. 

The group released their debut single, “Goodfootin',” on Liberty Records in 1970 with “We're Keepin’ Our Business” as the B-Side. However, the single failed to chart. They caught their first big break when they were tapped to appear in the 1972 Blaxploitation/horror film Blacula, starring William Marshall and Vonetta McGee. They were featured in a nightclub scene performing the songs “There He Is Again,” What the World Knows,” and “I’m Gonna Catch You.” 

Shortly after their appearance in Blacula, lead singer Karl Russell left the group to pursue a solo career and was replaced by Fleming Williams. The group signed with RCA Records in 1972 and released their debut album Freedom for the Stallion on December 7, 1973. The collection’s lead single was the title track, “Freedom for the Stallion.” The lovely Allen Toussaint-penned pop-soul track was a minor hit, peaking at #63 on the Billboard Hot 100 and #9 on Billboard’s Adult Contemporary chart. And it rose to #16 on the Canadian charts. The album’s second single, “Miracle Maker (Sweet Soul Shaker)” failed to crack the charts.

“Rock The Boat” was a track on Freedom for the Stallion. The group’s manager, Wally Holmes, wrote the song, and John Florez produced it. Florez initially wasn’t a fan of the lyrics, calling them “trite.” He changed the opening line from “Ever since our voyage of love began" to “So I’d like to know where you got the notion” to give it more punch. The song was originally released as the B-side of “All Goin’ Down Together,” the third single from Freedom for the Stallion. However, due to the enthusiastic response to “Rock The Boat” at New York dance clubs, Florez remixed it to augment the bass and rhythm instruments and re-released it in May of 1974. 

“Rock The Boat” possesses a breezy, infectious charm, featuring a unique rhythm arrangement with a rumba-like beat that’s bolstered by a reggae-influenced bass line. And Fleming Williams delivers a smooth, rich lead vocal performance complemented by Kelley and Lee's exquisite background harmonies. The track boasts an irresistible chorus, soaring strings, and marvelous horn charts. It closes out with some fine guitar work from Larry Carlton.  

The song uses nautical imagery to symbolize a strong, enduring love that remains steadfast throughout rough times: “Up to now, we've sailed through every storm/And I've always had your tender lips to keep me warm.” “Rock The Boat” is a shimmering celebration of a couple’s undying love and unbreakable union.

In a 1999 interview with ClassicBands.com, St. Clair Lee discussed the song’s distinct sound and how it can’t really be categorized as pop or disco: 

 It was a song that you could do anything on. You could cuddle, or you could get crazy if 

 you wanted to. It was a love song without being a love song. But it was a disco hit, and     

 it happened because of the discos.

The musician lineup on "Rock The Boat" included Wilton Felder (bass), Joe Sample (piano), Larry Carlton (guitar), Jim Gordon (drums), and Wally Holmes (trumpet).

“Rock The Boat” was a huge crossover smash. It topped the Billboard Hot 100, peaked at #2 on Billboard’s R&B singles chart, and reached #5 on Billboard’s Dance Club Songs chart. It also enjoyed significant chart action internationally, landing in the top 10 in seven countries: Argentina (#2), the UK (#6), South Africa (#5), Ireland (#9), New Zealand (#8), the Netherlands (#4), and Canada (#1). And it climbed to #18 in Australia. The track sold more than two million copies worldwide and was certified Gold by the RIAA. And it’s widely considered one of the earliest disco records and the first true disco song to reach number one on the Billboard Hot 100.

"Rock The Boat" has been sampled on 15 songs, including Jurassic 5’s “Concrete Schoolyard” and “Force M.D.'s Meet the Fat Boys" by Force M.D.'s, featuring Fat Boys. It has been featured on many film soundtracks and TV series.

The popular “Rock The Boat” dance is frequently performed at weddings and birthday parties. The dance involves a large group of people sitting down in a row and “rowing” a boat to the song. In 2019, the song regained global attention when the “Rock The Boat” dance was performed in an episode of the highly popular and critically acclaimed teen sitcom Derry Girls. 

The group’s next single was the “Rock The Boat” sound-alike “Rockin’ Soul,” released in October 1974. While the song performed well on the charts, it didn’t come close to matching the massive success of its predecessor. It peaked at #18 on the Billboard Hot 100, #6 on Billboard's R&B singles chart, and #5 on Billboard’s Dance Club Songs. It reached #24 on the UK charts, #9 in the Netherlands, and #33 in Canada. 

The Hues Corporation had another modest hit in 1975 with “Love Corporation” and one in 1977 with “I Caught Your Act.” In the subsequent years, the group completely disappeared from the charts. They broke up sometime around 1980. 

In the 1990s, St. Clair Lee reactivated the Hues Corporation in the wake of a renewed interest in the group, recruiting new members Bruce Glover and Elaine Woodward. The trio performed worldwide alongside fellow classic soul acts on the oldies circuit until Lee’s death in 2011.

The Hues Corporation performing "Rock The Boat" live in 1973

On June 23, 2013, a crowd of 2560 performed the "Rock The Boat" dance in Keady, County Armagh, Northern Ireland, to raise money for cancer research.

“Reach Out I'll Be There” by The Four Tops

Legendary Motown vocal quartet the Four Tops dominated the pop and R&B charts with their epic track “Reach Out I’ll Be There” in 1966. This classic is pure sonic brilliance. It’s cinematic in scope and masterfully performed, featuring an incredible arrangement with flawless bass work from James Jamerson and a dynamic beat. The track boasts a powerful chorus and an electrifying lead vocal performance by Levi Stubbs, complemented by the rich background harmonies. And the wistful piccolo and galloping percussion at the intro effectively set the song’s dramatic tone.

Written by Motown’s celebrated songwriting and production team Holland-Dozier-Holland, “Reach Out All Be There” is an anthem about unconditional love, hope, empathy, and unwavering support. The song’s narrator promises his lady that he’ll always be there for her, even in her most vulnerable and darkest moments. It’s also widely interpreted as having an underlying message of solidarity, hope, and resilience among the Black community and the many struggles its members faced during the Civil Rights Era. The song was released just two years after the passage of the historic Civil Rights Act of 1964, and it offered Black Americans comfort, inspiration, and mutual support during that transitional period of uncertainty and societal upheaval. 

Additionally, “Reach Out I’ll Be There” is known for its complex, unique structure. In an old interview with music technology publication Sound on Sound, Lamont Dozier said the song marked a critical shift in the Motown sound. 

Up until then, most of the songs basically had three chords. They were very simple and, in a sense, very rock and roll, but I think the experiment of putting classical and gospel together reached full force on “Reach Out I’ll Be There.” To my knowledge, those structures had never been explored before, and on that song, we were reaching out for different sounds and approaches.

During an interview with journalist, author, and music historian Marc Myers for the book Anatomy of a Song: The Oral History of 45 Iconic Hits That Changed Rock, R&B and Pop, Dozier explained that he wanted to write "a journey of emotions with sustained tension, like a bolero” in his approach to composing “Reach Out I'll Be There.” “To get this across, I alternated the keys, from a minor, Russian feel in the verse to a major, gospel feel in the chorus."

Folk-rock pioneer Bob Dylan also served as a major source of inspiration for "Reach Out I'll Be There." In a 2014 interview with The Guardian, Four Tops founding member Duke Fakir said Eddie Holland asked Levi Stubbs to perform the song in Dylan’s signature shout-singing style. Stubbs initially had reservations and felt uncomfortable singing the song in that style, Fakir explained. 

He said, "I'm a singer. I don't talk or shout." But we worked on it for a couple of hours, recording it in pieces, talking part after talking part. Eddie realised that when Levi hit the top of his vocal range, it sounded like someone hurting, so he made him sing right up there. Levi complained, but we knew he loved it. Every time they thought he was at the top, he would reach a little further until you could hear the tears in his voice.

Also, Fakir said Stubbs improvised the lyric, “Just look over your shoulder.” “[It] was something he threw in spontaneously,” said Fakir. “Levi was very creative like that, always adding something extra from the heart.” The finished product sounded very different from your typical Four Tops song, so the group assumed it would just be an experimental album track and wouldn’t be released as a single. A few weeks later, Motown boss Berry Gordy sent the group a memo that said: “Make sure your taxes are taken care of – because we're going to release the biggest record you've ever had." The group was bewildered and had no idea which song Gordy was referring to. “So when are we going to record this great song?” they asked, and he answered you already have.” He was talking about “Reach Out I’ll Be There.” The group begged Gordy not to release the song as a single, as they thought it was too experimental-sounding and would tank on the charts. But Gordy was adamant. The group did a complete 180 once the song hit the airwaves. Fakir recounted the first time he heard "Reach Out I'll Be There" on the radio:

I was out driving when I heard the song on the radio for the first time. It hit me like a lead pipe. I turned my car round and drove right back to Berry's office. He was in a meeting, but I opened the door and just said: "Berry, don't ever talk to us about what you're releasing. Just do what you do. Bye.”

“Reach Out I’ll Be There” was released August 18, 1966, on Motown, and was an instant smash. It sat atop the Billboard Hot 100 and Billboard’s R&B singles chart for two consecutive weeks. And it topped the UK singles chart for three consecutive weeks. Also, it made the top 10 in Belgium (#10), Canada (#6), Ireland (#4), and the Netherlands (#6). And it reached #13 on the charts in West Germany. It was the Four Tops' biggest hit, selling 1.2 million copies worldwide. Rolling Stone magazine ranked it at number 78 on its current list of The 500 Greatest Songs of All Time. Billboard magazine ranked it at number four on its list of the Top 100 Hits of 1966. In 2022, the Library of Congress selected “Reach Out I’ll Be There” for preservation in the National Recording Registry. The Four Tops' version of the song was inducted into the Grammy Hall of Fame in 1998. 

Here’s the full personnel for “Reach Out I’ll Be There”: Levi Stubbs (lead baritone vocals), Abdul “Duke” Fakir (first tenor backing vocals), Renaldo "Obie" Benson (bass-baritone backing vocals), Lawrence Albert Payton Sr. (second tenor backing vocals), James Jamerson (bass), Richard “Pistol” Allen (drums), and guitars (Robert White, Eddie Willis, and Joe Messina). And all of these talented musicians were members of Motown's famed in-house band, the Funk Brothers. Motown songwriter, composer, and producer Norman Whifield was responsible for the galloping percussion sound in the song. He achieved this by playing a bell-less tambourine with timpani mallets. Motown's in-house female vocal group, the Andantes, joined the Tops on background vocals, enhancing the track considerably. The Andantes consisted of Jackie Hicks, Marlene Barrow, and Louvain Demps. The piccolo part was played by 14-year-old Dayna Hartwick, who had a few sessions with the Detroit Symphony Orchestra to her credit at the time. The young musician had a dislocated knee, so three of the Funk Brothers (Joe Messina, Robert White, and James Jamerson) carried her into the session.

“Reach Out I’ll Be There” was the lead single from the Four Tops' fifth studio album Reach Out, released in July 1967. It’s their biggest-selling LP. In addition to “Reach Out,” the collection includes the classics “Bernadette,” “Standing in the Shadows of Love,” and “7 Rooms of Gloom.”

“Reach Out I’ll Be There” has been sampled on 25 songs and featured in a host of film soundtracks, including The Witches (2020), Hitsville: The Making of Motown (2019), Harsh Times (2005), The Best of Youth (2003), Gothika (2003), Contact (1997), Pontiac Moon (1994), and Cooley High (1975). Additionally, it was used for the main trailer for the second season of the highly popular, critically acclaimed Apple TV+ series Severance. 

Some of the major artists who have covered the song include Diana Ross, Gloria Gaynor, Petula Clark, Average White Band, Michael McDonald, the Jackson 5, Boyz II Men, Irene Cara, and Thelma Houston. Joe Biden used “Reach Out I’ll Be There” during his campaign for the 2020 United States Presidential election.

“Reach Out I’ll Be There” is a timeless masterpiece that will still be played decades from now, on the radio, in films, on television, at events, etc. It’s one of the best songs released in the 1960s and the crown jewel among the Four Tops’ amazing discography.

The Four Tops performing "Reach Out I'll Be There" on The Ed Sullivan Show, October 16, 1966

The Four Tops performing "Reach Out I'll Be There" live in Paris, France, in 1967

"Reach Out I'll Be There" is available at Amazon

“It’s Your Thing” by The Isley Brothers

The Isley Brothers had their biggest hit with the funk classic “It’s Your Thing,” released in February 1969. This exhilarating groove anthem was one of the standout releases of that year. People were bumpin’ it everywhere: the club, the beach, cars, parties, festivals, etc. The song boasts a smashing arrangement, with marvelous musicianship featuring gutbucket bass, dirty guitar riffs, funky piano, and killer horns. And Ronald Isley delivers a gritty, soulful vocal performance. 

The song is a celebration of personal independence, artistic freedom, and sexual liberation. It also served as the band’s declaration of independence following their departure from Motown in 1968. The Isleys felt restricted, sidelined, and creatively stifled at the legendary Detroit-born label. The band released “It’s Your Thing” on their reactivated label, T-Neck Records, which they founded in 1964. The label had been inactive since 1965, when they signed with Motown. 

In an interview on The Isley Brothers: Summer Breeze Greatest Hits Live DVD, Ronald Isley said he wrote "It's Your Thing" while dropping his daughter off at school one day. Worried that he might forget the lyrics, he began humming the tune in his head and rushed straight to his mother’s house to write it out. He sang it to his eldest brother, O’Kelly Isley Jr., who liked it right away and thought it could be a hit. So they immediately set up the studio to record it. 

“It’s Your Thing” was a popular phrase at the time the Isleys recorded the song. It has an ambiguous double meaning. It could be about having the sexual freedom to hook up with whoever you want to without shame or guilt, or simply about self-independence and following your own path and pursuing your own interests, whatever they may be. The song covers both of these themes.

Ronald, Rudolph Isley, and O’Kelly Isley Jr. are the credited writers for “It’s Your Thing.” The song was the first major hit that the Isleys wrote and produced themselves. It topped Billboard’s R&B singles chart and peaked at #2 on the Billboard Hot 100. The song also performed well on the charts in the UK (#30), France (#9), and Canada (#3). It has sold over two million copies worldwide and earned the Isleys a Grammy for Best R&B Vocal Performance by a Duo or Group in 1970. It was their first Grammy win. The song ranked at number 420 on Rolling Stone magazine’s 2004 list of The 500 Greatest Songs of All Time. "It's Your Thing" was the lead single from the Isleys' sixth studio album, It's Our Thing, released in April 1969.

Here’s the full personnel for “It’s Your Thing”: Ronald Isley (lead vocals), O’Kelly Isley Jr. and Rudolph Isley (background vocals), Woody Woodson (drums), Charles “Skip” Pitts (guitar), Trevor Lawrence (tenor saxophone), Herb Rooney (piano), George Patterson (alto saxophone and arrangement), and Ernie Isley on bass, who was only 16 at the time. It was his first appearance on an Isley Brothers record. They recorded it at A&R Studios in New York. The musicians that the Isleys recruited for the session had toured with soul/R&B legend Wilson Pickett. Guitarist Charles Pitts was later known for his funky wah-wah guitar riff on Issac Hayes’ "Theme From Shaft." 

“It’s Your Things” has been sampled on 13 songs, including “My Thang” (James Brown, 1974) and “Shake Your Thang” (Salt-N-Pepa feat. E.U., 1988). It was featured in the film soundtracks Tender Bar (2021), The Witches (2020), The Glorias (2020), Uncle Frank (2020), Smurfs: The Lost Village (2017), Sausage Party (2016), Stonewall (2015), The Falling (2014), Soul Kitchen (2009), Pride (2007), Music Within (2007), Big Momma’s House 2 (2006), The Big Bounce (2004), Runaway Jury (2003), Muppets from Space (1999), Out of Sight (1998), Virgin Snow (1976), and It’s Your Thing (1970). It has also been featured in several TV movies and series.

“It’s Your Thing” has been covered by a slew of artists, including Aretha Franklin, the Jackson 5, Ann Peebles, the Temptations, Johnnie Taylor, and Jason Derulo. This classic track still gets a lot of play on oldies stations, movies, commercials, events, TV series, and more.

The Isleys performing "It's Your Thing" live in 1969

Here's another great live performance of the Isleys performing " It's Your Thing" along with their 1959 classic "Shout."

"It's Your Thing" is available at Amazon

Related blog entry:

Album Review of The Isley Brothers' Go For Your Guns