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Marvin Gaye and Tammi Terrell are probably rock's best-known romantic duo of all time, a twosome that would have made history even if Marvin hadn't already kicked up so much dust on his own. Tammi definitely brought out the more romantic side of Gaye — who could be misogynistic and fixated — and this soaring duet may be their greatest, a paean to the very nature of devotion. When Gaye sings 'Dare anybody to try and move me,' arcing into a falsetto on the 'try' — well, you know the feeling is real. This gospel-influenced number was recorded by both singers separately, mainly because Tammi was already suffering from the brain tumor that would shortly take her life. Even before Dirty Dancing gave this song a permanent home in the hearts of females everywhere, this 1957 single — written by, which probably accounts for the Latin tinges — was already one sexy little duet, set off by Mickey's unforgettable guitar break and the duo's ultra-seductive crooning: 'How do you call your loverboy?'
Of course, with a song like this, it's not about the lyrics at all — there are only eight couplets here — rather the intonation and passion of the pair's delivery. When Sylvia sings 'Oh, BAY-bee,' words are beside the point. Sylvia, perhaps unsurprisingly, went on to make the Seventies 'orgasm record' known as 'Pillow Talk,' released under her stage name Sylvia Robinson. 'Love Is Strange' incidentally was later quoted as the inspiration for Buddy Holly's less-randy 'Words Of Love.' 'Let the Good Times Roll' is a party record, right? Well, it would be, except that this prime slice of Fifties New Orleans R&B is a dialogue on increasing America's sexual culture —lines like 'C'mon baby, let me thrill your soul' brought the raw sexuality of the genre right into the nation's living rooms, which is exactly what the moral authorities despised about rock and roll. Even with the innocent (and insanely addictive) push-and-pull anchoring every verse, the invitation to 'close the door' and 'rock some more' was clearly not about dancing.
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(Ironically, Shirley went on to have a disco-era hit with a song entitled 'Shame, Shame, Shame.' Not all duets have to be romantic. The hilarious original, 'Tramp,' was released by Otis Redding and Carla Thomas in 1967. This classic duet dis is a staple of hip-hop history with samplings of it making its way into Salt N Pepa's 1994 smash hit 'Shoop' — a song devoted o the good points of the singer's love interest. In the track, Otis, known as the Lexicographer of Soul, is reduced to defending his poverty as Carla calls him out (by name!).
He may be a lover, indeed, the 'only son of a gun this side of the sun,' whatever that means, but he enjoys putting her on as well: 'You probably haven't even got twenty-five cents,' she declares, followed by Otis defending himself by singing 'I got six Cadillacs, five Lincolns, four Fords, six Mercurys, three T-Birds, a Mustang,' and that his momma and daddy were, too. The track was originally written by Lowell Fulson and Jimmy McCracklin in 1967 and has since been recorded by over 10 different artists. 'It's Gonna Work Out Fine' by Ike and Tina Turner wouldn't have existed without the genre groundwork laid by 'Love Is Strange' (which no doubt inspired Ike's guitar lick) and Dinah Washington and Brook Benton duets immediately preceding it (which clearly inspired everything else). But as usual, Ike and got rawer with the concept behind this 1962 burner than their forbears. The song has since been heralded as gustier, more to the point, and more willing to take chances in the genre than its predecessors.
Perhaps because of their torrid personal lives, the Turners really turned out a show stopper with this reconciliation ballad. Although uncredited in its original lease, this Ray Charles track is indeed a duet with The Raelettes vocalist Margie Hendricks. Originally written and performed by R&B star Percy Mayfield in 1960, 'Hit the Road, Jack' garnered fame only after Charles' versions hit the turntables in 1961.
The alternately furious and comic duet between Hendricks and Charles powers this brief but powerful stomper. The track is smooth yet raw, as is Brother Ray's way, and wrapped around a descending chord figure that instantly became part of the pop lexicon.
Although it wasn't written the way it was depicted in the movie 'Ray,' it could have been: listening to it, you could see that scene spring to life, even if the movie had never been made. Shrewd sometimes to a fault, Sonny Bono knew on which side his bread was buttered, which is why he designed his duets with Cher to be symbols of the counterculture, portraits of doomed hippie lovers a la Romeo and Juliet, a pair of losers with nowhere to fit in. Their other singles often featured only one or the other singing lead, making 'I Got You Babe' all the more definitive of their true impact.
If you don't care about rock history, you can still identify with it as a generic they-don't-understand-us anthem for teens of all eras. This call and response tune became an anthem of soul music of the 1960s, with siblings Inez and Charlie Foxx's original 1963 version topping charts and going on to influence a number of famous covers and pop culture references.
Since its original release, the track has since lost some of its luster to an unfortunate soft-rock version by the king and queen of the Seventies' singer-songwriter movement James Taylor and. Yet 'Mockingbird' is still a remarkable document since the lyrics themselves reveal next to nothing about what these two feel for each other. The sly delivery, on the other hand, transforms what is essentially a children's rhyme to a soul-filled number. 'Don't Go Breaking My Heart' could have been one of rock history's stickiest duets, with Elton making a career move into disco and longtime session singer Kiki Dee (hardly his equal, at least from a charisma standpoint) just sort of enjoying the moment. The pair made it work — sexuality and other concerns aside — mainly because they've got their friendship down pat and lyricist Bernie Taupin actually does a good job delineating what makes any good relationship work ('When I was down / I was your clown'). Relentlessly showbizzy but somehow rock anyway, 'Don't Go Breaking My Heart' has gone on to great commercial and cultural success, featured in several movie and television scenes.
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