The Greatest Oldies Music

Oldies Musics

Dance Fever Alert: ‘Stomp!’ by The Brothers Johnson is the Ultimate Party Anthem! (1980)

The Brothers Johnson | iHeart

About the Song

In the realm of funk music, there are undeniable anthems that have the power to ignite dance floors and transport listeners to a realm of pure, unadulterated groove. Among these timeless classics, “Stomp!” by The Brothers Johnson stands out as a beacon of infectious energy and irresistible rhythm. Released in 1980 as part of their album Light Up the Night, this iconic track has cemented its place in music history as a definitive party starter.

From the opening notes, “Stomp!” exudes an irresistible invitation to move. The infectious bassline, courtesy of Louis Johnson, locks into a steady groove that pulsates with unrestrained energy. George Johnson’s guitar riffs weave through the arrangement, adding layers of funk and excitement, while drummer Alex Weir propels the beat forward with relentless precision.

Over this irresistible foundation, the brothers’ vocal harmonies soar, exuding an infectious blend of joy and exuberance. Their call-and-response style, a hallmark of their sound, adds a playful dynamic to the track, further fueling the party atmosphere.

The lyrics, infused with simple yet powerful affirmations, capture the essence of the song’s message: to let loose, embrace the moment, and revel in the joy of movement. The repeated refrain, “Stomp!”, serves as a rallying cry, urging listeners to throw off their inhibitions and surrender to the irresistible rhythm.

The impact of “Stomp!” extends far beyond its initial release. The song has become a staple in the playlists of DJs and partygoers worldwide, its infectious energy guaranteed to fill any dance floor. Its enduring popularity has earned it a place in numerous films and television shows, further solidifying its status as a cultural touchstone.

In conclusion, “Stomp!” by The Brothers Johnson stands as a testament to the enduring power of funk music to ignite joy, inspire movement, and create a sense of shared revelry. Its infectious groove, irresistible melody, and empowering message have made it an undeniable party anthem that continues to captivate listeners across generations. So, the next time you find yourself in need of a musical pick-me-up, turn up the volume, let loose, and let the irresistible rhythm of “Stomp!” transport you to a realm of pure, unadulterated dance fever.

Brothers Johnson music, videos, stats, and photos | Last.fm

Video 

Lyrics: Stomp!

Steppin’ out the weekends open wide
Fill it up, let’s blast the jams and rideWhile we’re cruisin’ around in the street
Listen up for the party in feet
Slap me five that’s the place we’ve arrived, it’s aliveEv’rybody take it to the top we’re
Gonna stomp all night
In the neighbourhood
Don’t it feel all right

Gonna stomp all night
Wanna party
Till the morning light

Runnin’, runnin’, runnin’

The set is hot, there’s people wall to wall
Old ones, young things, short ones standing tall

So grab the one with the smile on her face
And hit the floor and stay right on the case
The heat is on and the funk just won’t leave us alone

Ev’rybody take it to the top we’re
Gonna stomp all night
In the neighbourhood
Don’t it feel all right

Gonna stomp all night
Wanna party
Till the morning light

Gonna stomp all night
In the neighbourhood
Don’t it feel all right

Gonna stomp all night
Wanna party
Till the morning light

Stomp!

Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don’t wanna quit
Put your heels where you’re feeling it

Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don’t wanna quit
Put your heels where you’re feeling it

Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don’t wanna quit
Put your heels where you’re feeling it

Stomp all night
In the neighbourhood
Don’t it feel all right

Gonna stomp all night
Wanna party
Till the morning light

Stomp all night
In the neighbourhood
Don’t it feel all right

Gonna stomp all night
Wanna party
Till the morning light (Well, well, well)

Stomp all night
In the neighbourhood
Don’t it feel all right

Gonna stomp all night
Wanna party
Till the morning light

Stomp all night
In the neighbourhood
Don’t it feel all right

Gonna stomp all night
Wanna party
Till the morning light

Stomp all night
In the neighbourhood
Don’t it feel all right

Gonna stomp all night (All night)
Wanna party
Till the morning light

Stomp!

Stomp, step down in it
Put your foot where you feel the fit (Take it to the top)
Stomp, you don’t wanna quit
Put your heels where you’re feeling it (Take it to the top)

Stomp, step down in it
Put your foot where you feel the fit (Take it to the top)
Stomp, you don’t wanna quit
Put your heels where you’re feeling it (Take it to the top)

Stomp, step down in it
Put your foot where you feel the fit (Take it to the top)
Stomp, you don’t wanna quit
Put your heels where you’re feeling it (Take it to the top)

Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don’t wanna quit
Put your heels where you’re feeling it

Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don’t wanna quit
Put your heels where you’re feeling it

Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don’t wanna quit
Put your heels where you’re feeling it

Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don’t wanna quit
Put your heels where you’re feeling it

Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don’t wanna quit

Related Post

By June 1977, Elvis Presley no longer looked like the unstoppable young man who had shaken America two decades earlier. His health was deteriorating, exhaustion followed him from city to city, and people close to him could see that performing had become increasingly difficult. Yet Elvis continued walking onto the stage. It was not simply because another concert was scheduled. For Elvis, the stage remained one of the few places where the weight of everything else could briefly disappear. Once the lights came up and thousands of voices called his name, something inside him seemed to awaken again.

August 16, 1977 began quietly at Graceland, with no sign that before the day was over, the world would be talking about Elvis Presley in the past tense. He was only 42. Within hours of the news spreading, people began gathering outside the gates. Some brought flowers. Others simply stood there crying beside strangers. What made the scene so powerful was that many of them had never met Elvis. Yet his voice had been present at their first dances, their heartbreaks, their family gatherings, and the private moments when a song somehow understood what they could not put into words. They were mourning someone famous, but the grief felt strangely personal.

There was one person who could make Elvis Presley forget, at least for a moment, that the world called him “The King.” To Lisa Marie Presley, he was simply Daddy. She was born on February 1, 1968, exactly nine months after Elvis and Priscilla’s wedding, and from the beginning she occupied a place in his heart that fame could never touch. Elvis could walk into an arena and hear thousands screaming his name, but those closest to him understood that the small voice calling him “Daddy” meant something entirely different. Lisa was not another part of the Elvis Presley story. She was his child, and his love for her was intensely personal.

You Missed

Country

SOME FRIENDSHIPS ARE WRITTEN IN SONGS… BUT ONLY A FEW BECOME FOREVER. There was something truly magical about the friendship between Kenny Rogers and Dolly Parton — a bond that went far beyond the stage, the spotlight, and the music. In country music history, few duos ever captured the beauty of genuine connection the way they did. Their voices blended perfectly, but it was their friendship, respect, and love for each other that made every performance unforgettable. In 2013, they gave the world one final reminder of that special bond with “You Can’t Make Old Friends.” Nearly three decades after “Islands in the Stream” became a timeless classic, Kenny and Dolly returned together to create a song that felt less like a performance and more like a heartfelt conversation between two lifelong friends. Now, that song carries an even deeper meaning. Kenny Rogers left us in 2020… and today, the world says goodbye to Dolly Parton — two extraordinary souls who brought warmth, comfort, and joy to millions through their music. They were more than country music legends. They were storytellers, dreamers, and reminders that the greatest treasures in life are the friendships we build along the way. You can create many songs. You can create many memories. But **you can’t make old friends.** Some friendships are too special to disappear. They live forever in the melodies, the memories, and the hearts of everyone who was lucky enough to witness them. Rest peacefully, Kenny. Rest peacefully, Dolly. Thank you for giving us a lifetime of music, love, and unforgettable moments. The harmony you created together will continue to play forever.

Country

Long after Waylon Jennings passed away, his wife Jessi Colter often noted how eager people were to fixate solely on his darkest chapters—even though she preferred to remember the redemption that followed. She never sugarcoated how terrifying his intense struggles with drug addiction had been, admitting there came a breaking point where she could no longer stand by helplessly as he consumed himself. Then came the turning point. When Waylon finally summoned the strength to pull himself out of that abyss, Jessi marveled that “he never touched anything again.” He backed up his sobriety with a steadfast vow: “I’m making a mark for the good for the rest of my life.” It was a promise Jessi firmly believed he kept right up until his death on February 13, 2002, at the age of 64. While outsiders loved to replay the outlaw mythology and the roughest years of his past, Jessi’s truest memory was of the man who beat the darkness, walked out into the light, and spent his remaining decades making good on his word.

Country

GEORGE STRAIT PAID A MOVING TRIBUTE TO HIS LIFELONG MENTOR CHARLEY PRIDE, PERFORMING A CLASSIC HIT AND REMINDING THE WORLD THAT STANDING NEXT TO A GIANT ALWAYS MAKES YOU STAND TALLER. More than eight months after the passing of country trailblazer Charley Pride on December 12, 2020, at age eighty-six, fellow icon George Strait took the stage at CMT Giants: Charley Pride to honor a friendship that had spanned over four decades. Recalling how Charley had welcomed him to Nashville when he was still an unknown newcomer, George shared a profound truth: standing next to a true giant makes anyone stand taller. Delivering a heartfelt performance of Charley’s signature hit “Is Anybody Goin’ to San Antone,” George proved that even after achieving his own legendary status, he still carried the deep reverence of the young singer who once looked up to a pioneer.

Country

Before he ever stepped up to center stage under his own name, Cal Smith spent years standing quietly in the shadows as a sideman, playing guitar behind country legend Ernest Tubb. Born Calvin Shofner in Oklahoma and raised in California, he paid his dues in clubs and on radio before joining the Texas Troubadours in the early 1960s, watching other stars soak up the applause while his own solo ambitions moved at a crawl. By 1972, Smith was well into his late thirties with little more than modest chart placings to show for his efforts. Everything flipped when fellow songwriter Bill Anderson handed him “The Lord Knows I’m Drinking,” a sharp track about a man taking heat from a churchgoer whose own hands weren’t exactly clean. The single struck a nerve, shooting straight to No. 1. The true lightning strike arrived soon after. In December 1973, Smith walked into Bradley’s Barn to lay down Don Wayne’s “Country Bumpkin.” Tracing an ordinary man’s journey through marriage, children, and the devastating loss of his wife, the song packed an entire lifetime into a few poignant verses and climbed to the top of the charts in 1974. The accolades poured in, sweeping Single Record and Song of the Year at the ACM Awards, alongside a CMA Song of the Year honor for the writing. Smith quickly proved he wasn’t a one-hit wonder by following up with another chart-topper, “It’s Time to Pay the Fiddler.” After more than a decade of holding down the rhythm section for everyone else, Cal Smith’s long-delayed moment in the sun finally arrived—forever stamping his voice onto one of the defining country anthems of the 1970s.