Photo: RCA Victor Records, Public domain, via Wikimedia Commons
Our Top 10 Sam Cooke Songs list looks back at the career of one of the most influential and groundbreaking artists in music history. Sam Cooke was a trailblazer, not only for his contributions to the development of soul and rhythm and blues but also for his pioneering role in the business side of the music industry. His first professional singing role came in 1950 when he joined The Soul Stirrers, a highly respected gospel group that helped shape his early career. Between 1957 and 1964, Cooke achieved thirty Top 40 hits in the United States, with three more released posthumously.
Cooke was a pioneer in black music, asserting control over his career at a time when the industry was overwhelmingly dominated by white executives. He formed his own publishing company and record label, SAR Records, in 1961, an uncommon and courageous move for an African-American artist of the time. Beyond music, Cooke was also a prominent figure in the civil rights movement, using his platform to advocate for social change.
His transition from gospel to popular music began with the 1956 single “Loveable,” a reworking of the gospel song “Wonderful.” This marked the beginning of his journey to mainstream success. In 1957, Cooke scored his first major hit with “You Send Me,” which spent six weeks at the top of the R&B charts and three weeks at number one on the Billboard Hot 100.
In 1960, Cooke signed with RCA Victor and continued his string of hits, starting with “Chain Gang,” which reached number two on the Billboard Hot 100. He also continued to assert his independence, founding SAR Records in 1961, where he nurtured the careers of other rhythm and blues artists. Unlike many other artists of his era, Cooke wrote most of his own material, further solidifying his legacy as a songwriter.
Cooke’s life was tragically cut short when he was shot and killed in December 1964, at the age of 33. Despite his untimely death, he left behind a remarkable legacy, producing fourteen studio albums and numerous hit singles. Although he never won any major awards during his lifetime, Cooke has since been posthumously honored with several accolades, including induction into the Rock & Roll Hall of Fame, the Songwriters Hall of Fame, and a star on the Hollywood Walk of Fame. In 1999, he was awarded a Grammy Lifetime Achievement Award. His influence has been cited by countless artists, and he remains regarded as one of the greatest and most important performers of all time.
# 9 – Ain’t That Good News
“Ain’t That Good News” marks a significant moment in Sam Cooke’s career, both musically and personally. Recorded in 1964, the song reflects Cooke’s return to the studio after a period of grief following the tragic death of his son. This was the first piece of new material he recorded for his album Ain’t That Good News after signing a deal that granted him greater creative control. The song, a secular reworking of an old gospel tune, showcases Cooke’s mastery of blending his gospel roots with secular themes. It was an instant hit, reaching number 11 on the Billboard Hot 100 and topping the R&B charts, signaling a triumphant return for Cooke after his personal struggles.
The song’s upbeat tempo and lively horn section give it an infectious energy. In contrast to the original gospel version, which focuses on spiritual salvation, Cooke’s rendition turns the focus toward romantic joy. The song tells the story of a man who receives a letter telling him his love is returning to him, bringing immense joy and a sense of renewal. Lines like, “I got a letter just the other day, telling me that she was on her way” convey a sense of anticipation, with Cooke’s delivery capturing the excitement of reunion and forgiveness. This romantic narrative resonates deeply with listeners, as Cooke transforms a gospel message of salvation into a universal story of love and reconciliation.
The lively arrangement also adds to the celebratory tone. With musicians like Joseph Gibbons on guitar and Edward Hall on percussion, the track has a buoyant, danceable feel. The horns, led by John Ewing and Jewell Grant, play a key role in driving the joyful energy of the song. Despite its lighthearted tone, “Ain’t That Good News” still carries a sense of depth, rooted in gospel themes of redemption and hope. The transformation of these themes into a love song reflects Cooke’s skill in bridging the sacred and the secular—a quality that made him one of the most distinctive voices in soul music.
In comparison to other tracks on this list, such as “That’s It—I Quit—I’m Movin’ On,” this song shows Cooke in a more optimistic and celebratory mood. While “That’s It—I Quit—I’m Movin’ On” deals with frustration and resignation, “Ain’t That Good News” is filled with excitement and the joy of rekindled love. Cooke’s ability to navigate the full emotional spectrum—from heartbreak to elation—cements his legacy as a masterful storyteller through music, making “Ain’t That Good News” one of the highlights in his career and one of the standout tracks in this collection.
# 8– I’ll Come Running Back To You
“I’ll Come Running Back to You” marked one of the earliest and most significant milestones in Sam Cooke’s career, released on November 18, 1957. The song, recorded at Cosimo Matassa’s famed studio in New Orleans, followed the massive success of Cooke’s debut single “You Send Me.” Produced by Bumps Blackwell and arranged by René Hall, the song was designed to emulate the sound of “You Send Me,” which had catapulted Cooke into the spotlight. Specialty Records’ Art Rupe rushed the single out in an attempt to capitalize on Cooke’s sudden fame, and his instincts proved correct. “I’ll Come Running Back to You” soared to number one on the Billboard Hot R&B Sides chart and reached number 18 on the Billboard Hot 100, solidifying Cooke’s early status as a crossover artist with both R&B and pop audiences.
Musically, “I’ll Come Running Back to You” has the hallmarks of the smooth, crooning style that would become synonymous with Cooke’s work. The track features Earl Palmer’s steady drumming, the rich tones of Lee Allen’s tenor saxophone, and a warm rhythm section led by Frank Fields on bass. The production is polished yet simple, allowing Cooke’s tender and soulful voice to take center stage. The song’s theme of regret and longing for a lost love is brought to life with lines like “Just call my name, I know, I’m not ashamed, I’ll come running back to you.” Cooke’s ability to balance vulnerability with emotional depth makes the track especially poignant, as his voice carries a sincerity that resonates deeply with listeners.
The lyrics reflect a story of regret and devotion, where the protagonist admits to his mistakes and pledges to return at a moment’s notice. “Just like a king, I’ve lost everything, I sit all alone on my throne,” Cooke sings, highlighting the loneliness and isolation that comes with the end of a relationship. The use of royal imagery underscores the sense of loss, as if love itself were a kingdom now fallen. In comparison to other songs in this list, such as “Ain’t That Good News,” where Cooke celebrates love’s return, “I’ll Come Running Back to You” takes a more somber tone, reflecting the pain of separation.
# 7 – Twistin’ the Night Away
“Twistin’ the Night Away” is one of Sam Cooke’s most infectious and upbeat hits, recorded on December 18, 1961, and released as a single in 1962. The song captured the cultural zeitgeist of the early 1960s, riding the wave of the “Twist” dance craze that was sweeping the United States and the UK. The track became an instant success, reaching number 9 on the Billboard Hot 100 and climbing to number 1 on the R&B chart. It also saw international success, peaking at number 6 in the UK. Cooke’s ability to blend his smooth vocal style with an energetic rhythm and danceable beat made the song an enduring classic.
The recording session for “Twistin’ the Night Away” featured a powerhouse of talent from The Wrecking Crew, a group of session musicians known for their work on many iconic tracks of the era. With René Hall as band leader and guitarist, Earl Palmer on drums, and Red Callender on bass, the rhythm section drove the song’s infectious groove. The brass arrangement, featuring saxophonists John Kelson, John Ewing, and Jewell Grant, added a layer of excitement that mirrored the vibrant energy of the dance floors at the time. The production, guided by Cooke’s keen sense for pop accessibility, created a perfect balance between his soulful delivery and the lively instrumentation.
Lyrically, “Twistin’ the Night Away” transports the listener to a lively party scene, filled with people of all walks of life enjoying the joy of dance. Cooke sings about men in evening clothes and women in slacks, with lines like “Here’s a man in evening clothes, how he got here, I don’t know, but man, you oughta see him go” showcasing the carefree, inclusive nature of the dance floor. The song emphasizes the unity brought by music and dancing, where age and background fade into the rhythm. This celebration of togetherness and pure fun makes it an uplifting anthem, one that still resonates with listeners today. The vibrant twist dance, paired with Cooke’s smooth yet lively vocal performance, encapsulates the spirit of the early ’60s in a way that few other songs manage to do.
Rod Stewart later covered “Twistin’ the Night Away” in 1973, adding a rock edge to Cooke’s original. Though Stewart’s version saw moderate chart success, peaking at number 59 on the Billboard Hot 100, it didn’t capture the cultural impact of Cooke’s version. The original remains the definitive take on the song, a testament to Sam Cooke’s knack for creating timeless music that transcends generations. “Twistin’ the Night Away” has since become a party anthem, regularly played at gatherings and a favorite in Cooke’s live performances. Its joyous celebration of music, dance, and community continues to make it a vital part of his legendary catalog.
# 6– Nothing Can Change This Love
“Nothing Can Change This Love,” released on September 11, 1962, showcases Sam Cooke at the height of his artistic and commercial success. The song, which peaked at number 2 on the Billboard Hot R&B Singles chart and number 12 on the Hot 100, stands as one of Cooke’s most enduring ballads. Its combination of heartfelt lyrics, Cooke’s smooth delivery, and the lush orchestral arrangement made it a staple in his catalog and a fan favorite. The song was later included in his album Mr. Soul, a testament to Cooke’s ability to bridge the worlds of pop and soul music effortlessly.
Recorded on August 23, 1962, at RCA Studio 1 in Hollywood, California, “Nothing Can Change This Love” was produced by the dynamic duo Hugo & Luigi, with arrangements conducted by René Hall. The recording session featured an impressive array of classical musicians, including violins, cellos, and a viola section, lending the song its rich, orchestral sound. Earl Palmer’s subtle drumwork and Edward Beal’s gentle piano complemented Cooke’s soothing vocal performance, creating a timeless piece. Cooke’s determination to perfect the song resulted in eight takes, and the final product was released just two and a half weeks after recording, quickly becoming one of his biggest hits of the year.
Lyrically, “Nothing Can Change This Love” is a declaration of unwavering affection. Cooke’s words, “If I go a million miles away, I’d write a letter each and every day,” express a steadfast devotion, regardless of time or distance. He describes his love as constant, comparing the object of his affection to delightful sweets: “You’re the apple of my eye, you’re cherry pie…sugar and spice, and everything nice.” The imagery of these lines elevates the song from a simple love ballad to a poetic ode to romantic devotion. Even in the face of potential heartbreak or separation, the narrator vows to welcome their lover back without hesitation, making the message of forgiveness and unconditional love a central theme in the song.
In comparison to other songs from this period, like “Bring It On Home to Me,” “Nothing Can Change This Love” further solidified Cooke’s status as a master of blending gospel-rooted soul with mainstream pop sensibilities. While “Bring It On Home to Me” carried a more bluesy tone, “Nothing Can Change This Love” emphasized romance and the lighter side of love, showcasing the versatility of Cooke’s voice and his ability to craft songs that resonated with a broad audience. The success of the track, both commercially and critically, reinforced Cooke’s standing as one of the most influential voices of the era, and it continues to be celebrated for its timeless appeal and emotional depth.
# 5 – Another Saturday Night
“Another Saturday Night” by Sam Cooke is a timeless hit that captures the frustration of loneliness amidst a vibrant, social backdrop. Released in 1963, the song comes from Cooke’s album Ain’t That Good News, and its relatable lyrics and upbeat tempo made it an instant success, peaking at number 10 on the Billboard Hot 100 and reaching the top spot on the R&B chart. The song’s upbeat rhythm, juxtaposed with its theme of solitude, reflects Cooke’s ability to take a personal and somewhat melancholy experience and turn it into a joyful tune that resonated with a broad audience.
The song was written during Cooke’s tour in England, where he found himself staying in a hotel that did not allow female guests. This isolation fueled the inspiration for the lyrics, which tell the story of a man who has money to spend but no one to spend it with. The line, “Another Saturday night and I ain’t got nobody, I got some money ’cause I just got paid,” perfectly captures the singer’s frustration as he navigates a weekend night alone. His spoken interlude about a woman resembling “Frankenstein” adds a lighthearted touch, showing Cooke’s knack for humor even in the face of personal disappointment.
Musically, “Another Saturday Night” features the talents of session drummer Hal Blaine, and other notable musicians like John Anderson on trumpet, Clifton White and Rene Hall on guitars, and Clifford Hills on bass. Cooke’s lively vocal performance is supported by a dynamic instrumental arrangement that keeps the song energetic, despite its theme of longing. The contrast between the buoyant sound and the melancholy narrative makes this track stand out, transforming a tale of loneliness into an irresistibly danceable hit.
In the context of Sam Cooke’s broader discography, “Another Saturday Night” stands as a prime example of how Cooke could infuse social themes and personal stories with charm and rhythm. Its success on both the pop and R&B charts solidified Cooke’s position as one of the leading voices of his generation, blending soul and pop effortlessly. The song’s appeal stretched beyond Cooke’s career, as it was later covered by artists like Cat Stevens, whose version also found success, further cementing the song’s place in music history.
# 4 – That’s Where It’s At
“That’s Where It’s At” by Sam Cooke is a smooth, soulful ballad that captures the tender moments between two people in love. Released as a single in September 1964, the song is a reflection of Cooke’s mastery in conveying deep emotions with simplicity and elegance. Although it did not achieve the commercial success of some of his bigger hits, peaking only at number 93 on the Billboard Hot 100, the song has garnered critical acclaim for its heartfelt lyrics and soulful performance.
The song was recorded on August 20, 1963, at RCA Studios in Los Angeles. It took 32 takes to get the final version, showing Cooke’s dedication to perfecting the sound. The musicians involved were top-tier talents, including René Hall and Bobby Womack on guitar, John Anderson on trumpet, Harper Cosby on bass, and June Gardner on drums. This stellar band provided the rich, warm backing that enhanced Cooke’s smooth vocal delivery. The arrangement, led by René Hall, with the addition of strings and brass, gave the song a lush and intimate atmosphere.
Lyrically, “That’s Where It’s At” is a celebration of quiet, personal moments in a relationship. Cooke sings about the joy of being with someone you love in lines like, “Lights turned way down low, and music is soft and slow, with someone you love so, that’s where it’s at.” The song exudes a sense of peaceful contentment, as Cooke paints a picture of romantic connection through simple yet powerful imagery. The repetitive phrase “That’s where it’s at” underscores the feeling of being exactly where you want to be when you’re with the right person, adding to the song’s emotional depth.
While it may not have been one of Cooke’s highest-charting songs, “That’s Where It’s At” has stood the test of time due to its heartfelt delivery and timeless message. The song has been covered by a variety of artists, including Ray Charles and Van Morrison, highlighting its lasting influence. Its gentle rhythm and smooth lyrics make it a standout in Cooke’s discography, reminding listeners of his ability to bring warmth and soul to every note he sang.
# 3 – Shake
“Shake” is one of Sam Cooke’s most iconic and energetic tracks, recorded during his final session before his tragic death in 1964. Released posthumously in 1965, “Shake” became a top 10 hit, peaking at number 7 on the Billboard Hot 100 and number 2 on the Cashbox R&B charts. This high-energy song, infused with danceable rhythms and soulful flair, is often celebrated for capturing the joy and liberation of movement, fitting perfectly within the 1960s dance craze that included other hits such as “Twist and Shout.” The song’s lively beat and catchy refrain made it an immediate success, even as it became a testament to Cooke’s enduring influence after his passing.
The recording session for “Shake” took place in Los Angeles at RCA Studios. Cooke worked with a talented group of musicians, including René Hall, who arranged the song, and a full brass section that brought a vibrant sound to the track. Cooke’s vocal performance is filled with charisma and playfulness, encouraging listeners to “loosen up them shoulders” and move to the beat. The song’s structure is simple, yet it maintains a driving momentum that showcases Cooke’s ability to blend rhythm and soul effortlessly. His spontaneous delivery adds to the charm of the track, making it a dance anthem that still resonates today.
Lyrically, “Shake” is a call to action, inviting listeners to let loose and feel the music. Cooke’s instructions are clear and direct, with lines like “Move your body all around” and “Shake it like a bowl of soup.” These playful commands give the song an infectious energy, making it impossible not to imagine people getting up to dance. The repetition of the word “shake” throughout the song builds the momentum, reinforcing its dance-floor appeal. Cooke emphasizes the soulfulness of movement, connecting the physical act of dancing to emotional release, which reflects a broader theme in his music: joy in the face of adversity.
“Shake” also became a favorite for cover versions by many influential artists. Otis Redding’s cover is particularly notable, as he infused the track with his signature soul style on his Otis Blue album. Redding’s version was later immortalized in live performances, including his unforgettable set at the Monterey Pop Festival in 1967, where he performed “Shake” with Booker T. & the M.G.’s. Other notable covers include renditions by Eric Burdon and The Animals, Ike and Tina Turner, The Supremes, and Rod Stewart. The song’s adaptability across genres and decades is a testament to its powerful simplicity and infectious rhythm.
“Shake” remains one of Sam Cooke’s enduring legacies, celebrating movement, joy, and soul in an unforgettable way. Its impact has extended beyond Cooke’s own career, cementing its place in music history through various interpretations and performances.
# 2 – A Change is Gonna Come
“A Change is Gonna Come” stands as one of Sam Cooke’s most profound and enduring songs, written in response to personal and societal struggles Cooke faced as an African American during the Civil Rights Movement. Released posthumously as a single in December 1964, following its inclusion on his Ain’t That Good News album, the song’s influence has grown far beyond its initial release. While it charted modestly compared to Cooke’s pop hits, reaching number 31 on the Billboard Hot 100, its lasting legacy far exceeds its original commercial success, becoming an anthem for hope, resilience, and change in the face of racial injustice.
The inspiration for “A Change is Gonna Come” was deeply personal for Cooke. A pivotal event occurred in 1963 when Cooke and his entourage were turned away from a whites-only hotel in Shreveport, Louisiana, sparking outrage and a public confrontation that led to their arrest. This experience, along with witnessing the growing Civil Rights Movement and being deeply moved by Bob Dylan’s “Blowin’ in the Wind,” prompted Cooke to write a song that captured the struggles and hopes of African Americans. The song’s message, which was influenced by Dr. Martin Luther King Jr.’s dream of equality, transcends Cooke’s own experiences and speaks to a broader collective experience of racial discrimination.
Musically, the song is both grand and intimate, with lush orchestration by René Hall, featuring strings and horns that convey a sense of melancholy and struggle. The arrangement is cinematic, with each verse building on the last, emphasizing the emotional weight of Cooke’s words. The recording took place at RCA Studios in Hollywood, California, in January 1964, with Earl Palmer on drums and Harold Battiste on piano, among other renowned musicians. Cooke’s vocal delivery is both haunting and hopeful, conveying a deep sense of yearning for justice and change. His powerful line, “It’s been a long, a long time coming, but I know a change gon’ come,” resonates deeply with anyone who has experienced hardship and believes in the possibility of a better future.
Lyrically, Cooke captures the pain of living under oppression and the weariness that comes with fighting for equality. Lines like “It’s been too hard living, but I’m afraid to die” reflect the uncertainty many faced during the tumultuous years of the Civil Rights Movement. Yet, despite these challenges, Cooke’s refrain is a beacon of hope, assuring listeners that change is inevitable, even if it feels far off. The verse where Cooke pleads for help from his “brother” only to be knocked down is a metaphor for the institutional barriers and betrayals African Americans faced during their fight for civil rights. But, as the song continues, it expresses an undying resilience, with Cooke stating, “Now I think I’m able to carry on.”
While “A Change is Gonna Come” did not dominate the charts like some of Cooke’s other hits, its cultural impact far surpassed its initial success. Over the years, the song has been covered by numerous artists, including Otis Redding, Aretha Franklin, and Beyoncé, and it has become a staple of Civil Rights-era soundtracks. Cooke’s ability to blend personal and political themes into a single composition made this song a timeless anthem for hope and change, solidifying his status as one of the greatest songwriters and vocalists of his generation.
# 1 – You Send Me
“You Send Me” is one of Sam Cooke’s most iconic songs, a timeless classic that solidified his place in music history. Released in 1957 as his debut single under Keen Records, the song became an instant success, topping both the Billboard Hot 100 and the R&B charts. Cooke wrote the song himself but credited it to his brother, L.C., to avoid legal issues with his previous gospel label and give his brother a career boost. The song’s blend of smooth vocals, soulful melodies, and heartfelt lyrics not only showcased Cooke’s immense talent but also marked a pivotal moment in the emergence of soul music.
Produced by Bumps Blackwell and arranged by René Hall, “You Send Me” was recorded in Los Angeles in June 1957. The session also produced Cooke’s rendition of “Summertime,” which was released as the B-side. Despite “Summertime” being initially intended as the A-side, radio DJs quickly gravitated toward “You Send Me,” and its popularity skyrocketed. The song’s simple yet deeply emotional lyrics express the thrill and joy of falling in love, with Cooke’s velvety voice delivering each line with sincerity and warmth. The chorus, “Darling, you send me / I know you send me / Honest you do,” conveys an earnestness that resonated with listeners, making the song relatable to a wide audience.
Musically, “You Send Me” is driven by its gentle rhythm and Cooke’s effortless vocal delivery. Supported by Hall’s guitar work, Ted Brinson’s bass, and Earl Palmer’s drums, the arrangement is smooth and understated, allowing Cooke’s voice to shine. The song also features backing vocals by The Pied Pipers, adding a layer of harmonic richness that complements Cooke’s lead. The minimalistic instrumentation and heartfelt performance create a sense of intimacy, drawing listeners into the romantic narrative Cooke masterfully conveys.
Upon its release, “You Send Me” became a crossover hit, reaching number one on both the R&B and pop charts, a rare feat for a black artist at the time. Its success marked a turning point in Cooke’s career, transforming him from a gospel singer into a mainstream pop and R&B star. Over the years, the song has been covered by numerous artists, including Aretha Franklin and The Manhattans, but Cooke’s original version remains the definitive take. Its impact on the genre of soul music and its influence on subsequent generations of artists is undeniable, cementing Cooke’s legacy as one of the most important figures in American music history.
Top 10 Sam Cooke Songs article published on Classic RockHistory.com© 2024
