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THE 1000 BEST SONGS IN THE WORLD EVER.

Posted by: In: Other 03 May 2025 Comments: 0

THE 1000 BEST SONGS IN THE WORLD EVER.

258-McFadden & Whitehead-Ain’t No Stoppin’ Us Now.

1979-Number 5 single.

Best Bit-At 1.42. Their stage name may sound like a firm of accountants, but they were actually one of the top song writing partnerships at Philadelphia International Records.

Gene McFadden was born on January 28th, 1949, in Olanto, South Carolina, United States, he died from liver and lung cancer on January 27th, 2006, one day short of his 57th birthday. John Whitehead was born John Cavadus Whitehead on July 10th, 1948, in Philadelphia, Pennsylvania, United States, he died on May 11th, 2004, at the age of 55. Whitehead was fatally shot, possibly in a case of mistaken identity. While fixing a car outside his home in Philadelphia, he was approached by two gunmen who fired multiple shots, then fled the scene, the murder remains unsolved. John Whitehead was the father of Kenny, and his late older brother John Whitehead Jr., who as an R&B duo released two studio Albums, in 1986, and 1994, and four singles between 1986-1995, of which two, both issued on ‘Motown Records,’ ‘Your Love is A 187,’ (1994-Number 32) and ‘Forget I Was a G,’ (1995-Number 40) both reached the UK top 40 singles chart.

Gene McFadden & John Whitehead first met each other as teenagers at school in the 1960’s in Philadelphia, where they formed a group called ‘The Epsilons’ which included future Harold Melvin & The Blue Notes (see also best songs 725) member Lloyd Parks. When Otis Redding (1941-1967) (see also best songs 712 and 377) came to Philadelphia, The Epsilons were invited to go on tour with him, which led to them signing to ‘Stax Records’ and releasing a single in 1970 called ‘The Echo.’ After the departure of Lloyd Parks, McFadden & Whitehead now a duo, changed their name to ‘Talk of the Town,’ and began working with the legendary Kenny Gambol and Leon Huff (see also best songs 1001-896-725-648-604-571-338 and 322) at Philadelphia Records. Gamble and Huff soon realised their potential as songwriters, and the pair went on to co-write or co-produce for artists of the calibre of The Jacksons, (see also best songs and 249 and 137) and Archie Bell & The Drells (see also best songs 571.) Their biggest success prior to this song came when they penned ‘Back Stabbers’ for the ‘O’Jays,’ which reached Number 3 in 1972 on the Billboard Hot 100, and Number 14 in the UK. Gene McFadden & John Whitehead are of course best remembered for ‘Ain’t No Stoppin’ Us Now,’ but they were key members in the development of the ‘Soul,’ R&B,’ and ‘Disco’ music that was coming out of ‘Philadelphia International Records’ in the 1970’s, and 1980’s.

The discography of McFadden & Whitehead includes three studio Albums released between 1979-1982, and eight singles, (including two re-releases of ‘Ain’t No Stoppin’ Us Now,’ in 1984 & 1985) issued between 1979-1985, there is also one official compilation Album ‘Ain’t No Stoppin’ Us Now: The Best of the PIR Years,’ issued in 2004 available. In America and the UK ‘Ain’t No Stoppin’ Us Now’ is there only charting single, reaching Number 13 on the Billboard Hot 100, although it also made Number 1 on what was known then as the Billboard ‘Hot Soul Singles’ chart. There fourth single release ‘I Heard It in a Love Song,’ from 1980, also reached that chart, peaking at Number 23. As in house songwriters and producers at ‘Philadelphia International Records’ McFadden & Whitehead worked with many of the labels artists, including Harold Melvin & the Blue Notes, The Intruders, and Melba Moore.

‘Ain’t No Stoppin’ Us Now’ was the first of three singles released from McFadden & Whitehead’s debut studio Album called ‘McFadden & Whitehead,’ from May 1979, the song was co-written and co-produced by McFadden & Whitehead, along with their long time collaborator Jerry Cohen, who also played the keyboards on the song. Other musicians to perform on the track included Bobby Eli, (1946-2023) (see also best songs 742) (guitar) and Dennis Harris, (see also best songs 322) (guitar.) The backing vocals were provided by Barbara Ingram, (1947-1994) Carla Benson, and Evette Benton, who formed as a vocal trio in 1972, alternating with group names such as ‘The Sweethearts of Sigma,’ ‘The Philadelphia Angels,’ ‘The Sweeties,’ and ‘The Sweethearts.’ Throughout the 1970’s the trio comprised the in-house backup group for Philadelphia International Records, working for the producer Thom Bell (1943-2022) (see also best songs 765 and 183.) It is calculated that they appeared on hundreds of songs including Billy Paul’s ‘Me and Mrs. Jones,’ (see also best songs 896 ) The (Detroit) Spinners’ ‘I’ll Be Around,’ and Lou Rawls’ ‘You’ll Never Find Another Love Like Mine’ (see also best songs 322.)

‘Ain’t No Stoppin’ Us Now’ has two cover versions that are well worth a listen. In 1979 the veteran American radio Disc Jockey, businessman, and Hip-Hop music pioneer Jocko Henderson (1918-2000) released an ‘Old Skool’ Rap version over the songs instrumental on Philadelphia International Records, and in 1988 the British Disc Jockey Steve Walsh (1958-1988) released his ‘Rap’ version called ‘Ain’t No Stopping Us Now (Party For The World,’) which made Number 44 on the UK top 40. ‘Ain’t No Stoppin’ Us Now’ is a song about succeeding despite having faced previous disadvantages. Kenny Gamble didn’t want McFadden & Whitehead to record the track as he figured that the song had far more chance of being a hit if it was recorded by the O’Jays, (see also best songs 648) which frustrated the duo. John Whitehead has said about the song, ‘If anything the song was a declaration of our independence from Gamble.’ Because of the songs lyrics it was soon adopted by the African/American community, and has been referred to as ‘The new black national anthem,’ and is often performed at major political and sporting events, replacing the 1900 written song ‘Lift Every Voice and Sing.’

‘There’s been so many things that’s held us down, but now it looks like things are finally comin’ around. I know we’ve got a long long way to go, and where we’ll end up I don’t know.’