The Commodores Songs Ranked

Commodores is an American funk and soul band, which was at its peak in the late 1970s through the mid-1980s. The members of the group met as mostly freshmen at Tuskegee Institute (now Tuskegee University) in 1968, and signed with Motown in November 1972, having first caught the public eye-opening for the Jackson 5 while on tour. The group’s most successful period was in the late 1970s and early 1980s when Lionel Richie was the co-lead singer. The band’s biggest hit singles are ballads such as “Easy”, “Three Times a Lady”, and “Nightshift”; and funky dance hits which include “Brick House”, “Fancy Dancer”, “Lady (You Bring Me Up)”, and “Too Hot ta Trot”. The Commodores were inducted into the Alabama Music Hall of Fame and Vocal Group Hall of Fame. The band has also won one Grammy Award out of nine nominations. As well the Commodores have sold over 70 million albums worldwide. Here are all of The Commodores songs ranked.

Don’t miss out on the music of The Commodores! Click to enjoy songs from the band where Lionel Richie came from!

15. Machine Gun (Machine Gun, 1974)

“If you like the commodores and especially if you prefer the funkier stuff then this album is a must. It’s made before lionel’s vocals and ballard writing took over. Top notch”

14. Just to Be Close to You (Hot on the Tracks, 1976)

“Another swoon-some Lionel Richie ballad which became a big hit for the group. I’m not quite sure I go for Lionel’s whole “love man” schtick – leave it to Teddy, Barry and Marvin, but it certainly soothes as it grooves, if not too deeply.”

13. Cebu (Movin’ On, 1975)

“More funky grooves from The Commodores – whilst not as essential as the albums that came immediately before and after, ‘Movin On’ is still piled high with great tunes. Well worth seeking out.”

12. I’m Ready (Caught in the Act, 1975)

“Caught in the Act is a classic mid-seventies gritty funk-pop album. The Commodores were pretty good in the early days before they fully resigned themselves to the whims that would be the blueprint for singer and saxophonist Lionel Richie’s smooth solo career.”

See more: The Commodores Albums Ranked

11. Jesus is Love (Heroes, 1980)

“Jesus is love, that’s why you always see a graphic depiction of violence, torture, and hatred with him nailed into a piece of wood all the time. I have a pretty good life without Jesus so far, so I’ll take my chances without him.”

10. Lady (You Bring Me Up) (In the Pocket, 1981)

“Lionel Richie was a master of slow, sappy, love songs/ballads. He sold millions with the Commodores and solo. The formula was praised by radio and industry insiders. I have heard everyone from Casey Kasem to Dick Clark go on and on about the mastery of Lionel Richie. I get it. He was one of the best songwriters and hitmakers of the late ’70s and early to mid-’80s. All props have given!”

9. Still (Midnight Magic, 1979)

“I think I’d like to introduce a rule: we all get one. Everyone gets exactly one Lionel Richie soft rock song to like completely unironically in spite of their lack of quality. Everyone gets to choose one to enjoy for exactly how schmaltzy it is, enjoying the simple melodies, sweet nothings, and sonic manipulations. All the other ones must be shunned and avoided at all costs, but we get to keep one.”

8. Three Times a Lady (Natural High, 1978)

“Aaahhh..sweet…Lionel wrote this vignette for his mumsie…aaaahhhh. Just luverlly. And what did Mrs Ritchie get ? Flop all it seems from the divorce settlement. Anyhow, Three Times a Lady was one of the few songs that made it to number one, nicely squeezing in between “You’re the one that I want” and “DreadLock Holiday”. Lionel’s song to his Mam stayed atop for 5 long weeks and the Commodores were unable to beat this, soooo, Lionel fucked off soon thereafter and got into recording more fluff by himself. I should imagine that this would be big on the karaoke circuit…heaven forbid.”

7. Sail On (Midnight Magic, 1979)

“A surprisingly effective countrified soul ballad, and Richie’s last recording with the Commodores, too. Great soulful/funky final chorus. Really nice clear production on this. It starts as a slow country/soul ballad with piano, bass and guitar and then builds to big strings on the final upbeat chorus.”

6. Brick House (Commodores, 1977)

“No doubt the perfect soundtrack to any 70’s Pam Greer flick you’d care to throw a double D cup at. Cheesier than fondue night down at the local chapter of the Ancient Rome Society, but total gold all the same.”

See more: Hatebreed Albums Ranked

5. Oh No (In the Pocket, 1981)

“Another tinkling piano-ballad for The Commodores from the prolific pen of Lionel Richie, just before he had the smart idea to keep all the royalties to himself and go solo. The lyric for once is a little bitter-sweet but the rest of it is Lionel-by-numbers.”

4. Nightshift (Nightshift, 1985)

“Just briefly, after Lionel Richie went the expected solo route, did it seem as if the remaining Commodores with a new, younger lead vocalist, might prosper starting with this touching but never sentimental tribute to the memory of the recently passed-on Marvin Gaye and Jackie Wilson. It’s a lovely lyrical idea about their sweet sound coming down on the night shift and the song was a deserved hit but the group couldn’t follow it up and fell into relative obscurity soon afterwards.”

3. High on Sunshine (Hot on the Tracks, 1976)

“This was the Commodores before they became megastars and turned cheesy. Their repertory was diverse, not just Funk for the clubs and ballads for the Radio and the bedrooms. Lionel Richie was still a member of a band and not a caricature of himself nor a singer who eclipsed the rest of the band.”

2. Sweet Love (Movin’ On, 1975)

“Enter Lionel. After some fine funkified earlier singles, this was the first Commodores single to be a Lionel Richie ballad, from which sprung their greatest run of success. Richie’s brand of easy-listening MOR doubtless has its critics and has little to do with soul music per se but as easy-listening MOR, it’s unarguably pretty.”

1. Easy (Commodores, 1977)

“Free love anthem for the disco/soul crowd. In the late sixties, this sort of song would have sounded liberating. But in the late seventies, it just sounds kind of selfish. Which is perfectly fitting for the Me Decade, actually. My favorite lyric: “everybody wants me to be what they want me to be”. You don’t say, Lionel. Nice (simple) guitar solo, though.”