The Greatest Oldies Music

Oldies Musics

The O’Jays – Forever Mine

Introduction

“Forever Mine” by The O’Jays is a soulful love ballad that captures the timeless essence of romance and devotion. Released in 1979, the song showcases the smooth harmonies and emotive vocals that define The O’Jays’ signature sound. Join us as we immerse ourselves in the heartfelt lyrics and captivating melody of “Forever Mine,” and explore the enduring appeal of this soulful classic.

Did You Know?

  • “Forever Mine” was written by Kenny Gamble and Leon Huff, renowned songwriters and producers known for their contributions to the Philadelphia soul sound.
  • The song became one of The O’Jays’ biggest hits, reaching the top of the Billboard R&B chart and earning widespread acclaim.
  • With its lush instrumentation and heartfelt lyrics, “Forever Mine” has become a staple of romantic playlists and wedding receptions.
  • The O’Jays’ smooth vocals and soulful delivery imbue the song with a sense of passion and longing that resonates with listeners of all ages.

Video

Lyrics: Forever Mine

Forever mine
All because you’re my kind, oh, baby
I got what you want, you got what I want
And we were made for each other, oohForever mine
And I’m so glad ’cause it gets better with time, oh, girl
I like what you like, you like what I like
And we were made for each other

Oh, baby, you are that someone
I’ve been hopin’, I’ve been lookin’ all my days
Don’t you ever think about leavin’
This heart of mine would be grievin’
Don’t go, stay, stay

Forever mine
Ah, we’re, we’re one of a kind, mmm, mmm, ooh, ooh, baby girl
I need what you need, you need what I need
And we were made for each other, ooh, oh, girl

Oh, baby, I wanna love you
Love you so, make it good right down to the bone, to the bone
‘Cause it’s you I’m thinkin’ about pleasin’
Give you all the love you’re needin’
Don’t go (Please), stay (Stay), stay

Forever mine
‘Cause you and me, we get along just fine, ah, baby
I got what you want (Good lovin’), you got what I want (Good lovin’)
And we were made for each other

Ha…we’ve been around
And I had a loves and I know you had a lot of loves too
But I ain’t never had nobody
That do the things you do

We go together
Well, like birds in the trees
Empty in a world of troubles, girl
If you wasn’t here with me, stay

Forever mine, oh
‘Cause, ’cause you’re my kind, ooh, ooh, baby, baby, baby girl
You know that I like what you like (Good love), you like what I like (Good lovin’)
Hey…we belong together, ooh, baby, oh, baby, you

I got what you want, you got what I want
And we were made for each other, for each other, girl, oh, oh, oh, girl
You know that I like what you like, you like what I like
We were made for each other, girl, for each other, baby

I got what you want so don’t you ever think about leavin’
Oh, baby, oh, girl, I like what you like
‘Cause it’s you I’m thinkin’ about pleasin’
Ooh, ooh, baby, oh, girl, oh, girl

I know that ever think about leavin’ (I need good lovin’)
Oh, baby, oh, baby ’cause (And if you need me)
You I’m thinkin’ about pleasin’
Oh, baby, I…

Ever think about leavin’
Don’t do it (Don’t do it), don’t do it (Oh, baby)
You I’m thinkin’ about pleasin’
I…oh…don’t you ever think about leavin’

(Don’t do it) Don’t do it, baby
(Don’t do it)

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Oldies Musics

Tucked away in a private drawer, far from the polished sets of her television show, lay a bundle of 341 letters. These were not press clippings or scripts; they were brittle, handwritten testimonies from servicemen stationed in remote barracks, deep in war-torn tunnels, and across desolate battlefields. During the long years of the Second World War, as Hollywood presented a glossy, curated image of American life, Donna Reed spent her nights reading these letters and, more remarkably, personally answering them. This was the quiet, invisible work that defined her, long before the public labeled her the quintessential television mother. Behind the camera during her production years, Reed was a different person entirely. She was rarely seen holding a script for a scene; she was more likely to be found hunched over lighting diagrams or studying the intricacies of cinematography. She possessed an uncredited producer’s mind, constantly analyzing how the frame could better reflect the reality of the family she was trying to depict. The studio environment was frequently cold and high-pressured, but she moved through it with a meticulous attention to detail that frustrated those who wanted to treat her as merely another pretty face in the cast. These tactile remnants—the stacks of ink-stained paper and the forgotten notes on camera angles—tell the story of a woman who never truly fit the box Hollywood built for her. While the world remembers the steady, comforting image of a television home, she lived a life carved out of hard labor and deep empathy. She carried the weight of those soldiers’ stories and the technical burdens of the studio floor until her final days, forever balancing the fragility of her public image against the demanding, gritty reality of her actual life.