Introduction

“Shout,” the electrifying anthem by The Isley Brothers, is a timeless masterpiece that continues to ignite dance floors worldwide. Originally released in 1959, this dynamic song encapsulates the essence of rock and roll with its infectious rhythms and soulful vocals. Join us as we delve into the captivating story behind The Isley Brothers’ iconic hit and its lasting impact on music history.

Did You Know?

Fascinating Insights into “Shout” and The Isley Brothers

  • Origins of the Song: “Shout” was initially recorded by The Isley Brothers in 1959 as a gospel-inspired track before they reimagined it into the energetic rock and roll anthem it is known as today.
  • Chart-Topping Success: Upon its release, “Shout” soared to the top of the charts, solidifying The Isley Brothers’ status as pioneers of the rock and roll genre.
  • Cultural Influence: With its infectious energy and call-and-response format, “Shout” became an instant party favorite, inspiring generations of music lovers to dance and sing along.
  • Legacy of The Isley Brothers: Renowned for their innovative sound and electrifying performances, The Isley Brothers have left an indelible mark on music history, with “Shout” standing as a testament to their enduring talent.

Video

Lyrics: Shout 

Well
You know you make me wanna (Shout)
Kick my heels up and (Shout)
Throw my hands up and (Shout)
Throw my head back and (Shout)
Come on now (Shout)

Don’t forget to say you will
Don’t forget to say yeah, yeah, yeah, yeah, yeah
(Say you will)
Say it right now, baby
(Say you will)
Come on, come on
(Say you will)
Say that you
(Say you will)
Come on now

(Say) Say that you love me
(Say) Say that you need me
(Say) Say that you want me
(Say) You wanna please me
(Say) Come on now
(Say) Come on now
(Say) Come on now

(Say) I still remember
(Shooby-doo-wop-do-wop-wop-wop-wop)
When you used to be 9 years old
(Shooby-doo-wop-do-wop-wop-wop-wop)
Yeah, yeah
I was a fool for you, from the bottom of my soul, yeah
(Shooby-doo-wop-do-wop-wop-wop-wop)

Now that you’ve grown up
(Shooby-doo-wop-do-wop-wop-wop-wop)
Grown enough to know, yeah, yeah
(Shooby-doo-wop-do-wop-wop-wop-wop)
You wanna leave me, you wanna let me go
(Shooby-doo-wop-do-wop)

I want you to know
I said, I want you to know right now, yeah
You been good to me baby
Better than I been to myself, hey, hey
And if you ever leave me
I don’t want nobody else, hey, hey
I said I want you to know, hey
I said I want you to know right now, hey, hey

You know you make me wanna
(Shout, whoo) Hey, yeah
(Shout, whoo) Yeah, yeah, yeah
(Shout, whoo) All right
(Shout, whoo) All right
(Shout, whoo) Come on now
(Shout) Come on now
(Shout) Yeah, yeah, yeah
(Shout) Yeah, yeah, yeah (Good sound)
(Shout) Yeah, yeah, yeah (Good sound)
(Shout) Yeah, yeah, yeah (Good sound)
(Shout) All right (Good sound)
(Shout) All right (Good sound)
(Shout) All right (Good sound)
(Shout) All right

Now wait a minute
I feel all right (Yeah, yeah, yeah, yeah, yeah, yeah)
(Ooh)
Now that I got my woman
I feel all right (Yeah, yeah, yeah, yeah, yeah, yeah)
Every time I think about you
You been so good to me
You know you make me wanna
(Shout, whoo) Lift my heels up and
(Shout, whoo) Throw my head back and
(Shout, whoo) Kick my heels up and
(Shout, whoo) Come on now
(Shout, whoo) Take it easy
(Shout, whoo) Take it easy
(Shout, whoo) Take it easy (Higher)

(Shout) A little bit softer now (Whoo)
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now
(Shout) A little bit softer now

(Shout) A little bit louder now
(Shout) A little bit louder now
(Shout) A little bit louder now (Ooh)
(Shout) A little bit louder now
(Shout) A little bit louder now
(Shout) A little bit louder now
(Shout) A little bit louder now (Whoo)
(Shout) A little bit louder now (Whoo)
(Shout) A little bit louder now (Whoo)
(Shout) A little bit louder now (Whoo)
(Shout) A little bit louder now (Whoo)
(Shout) A little bit louder now
(Shout)

Hey, hey, hey, hey
(Hey, hey, hey, hey)
Hey, hey, hey, hey
(Hey, hey, hey, hey)
Hey, hey, hey, hey
(Hey, hey, hey, hey)
Hey, hey, hey, hey
(Hey, hey, hey, hey)

Jump now
Jump up and shout now (Whoo)
Jump up and shout now (Whoo)
Jump up and shout now (Whoo)
Jump up and shout now (Whoo)
Jump up and shout now (Whoo)
Everybody shout now
Everybody shout now
Everybody, shout, shout
Shout, shout, shout
Shout, shout, shout
Shout, shout, shout
Shout, shout, shout, shout (Oh, whoa, yeah)
Shout, shout, shout, shout (Oh, yeah)
Shout, shout, shout, shout
Everybody shout now (Ooh)
Jump up and shout now
Shout, shout, shout, shout
Shout, shout, shout, shout
Shout, shout, shout, shout
Shout, shout, shout, shout
Shout, shout, shout, shout
Shout, shout, shout, shout
(Shout)

You Missed

THE CHAOS STOPS. THE NOISE FADES. AND IN THE FINAL SECONDS, TOBY KEITH STEPS BACK INTO THE LIGHT. For most of the video for “Think As You Drunk,” Riley Green leans into the kind of high-octane, rowdy trouble that country music fans have been raising hell to for decades. He’s losing boots, stumbling through bars, and ending up in handcuffs—with his corgi, Carl, watching the whole mess with a look of pure, sober judgment. It’s the kind of reckless, fun-loving anthem that keeps the honky-tonks loud on a Friday night. But then, just as the dust settles, the mood completely shifts. As the track winds down, the familiar, unmistakable roar of Toby Keith’s voice cuts through, playing “As Good As I Once Was.” The camera stops following the chaos and lingers on a framed photo of Toby, center stage, holding a red Solo cup high in the air—a classic pose for the man who turned that cup into a national symbol. In that quiet moment, the jokes fall away. Riley Green doesn’t need a tearful monologue or a scripted tribute; he lets the music and the image do the heavy lifting. It is a masterful, respectful tip of the hat from one generation of country stars to the man who laid the blueprint for the modern drinking anthem. The tribute is more than just a nod in a video; it’s a commitment. A portion of the proceeds from the song is headed to the Toby Keith Foundation, directly supporting children fighting cancer and their families. While Carl the corgi might win the “funniest moment” award, Toby Keith gets the final word—a hauntingly perfect reminder of the legacy he left behind.

SHE STEPPED UP TO THE MICROPHONE TO SING A LOVE SONG WITH A MAN WHO WAS ALREADY GONE. When Lorrie Morgan walked into the studio to record “‘Til a Tear Becomes a Rose,” she wasn’t just performing a track for a Greatest Hits album. She was stepping into a haunting, high-stakes duet with her late husband, Keith Whitley, who had passed away just a year earlier. The technology was simple, but the emotional weight was crushing. Keith’s voice was already on the tape, preserved from an old demo he’d recorded with his friend Ricky Skaggs. There was no studio collaboration, no sharing a smile between takes, and no husband to hold once the final note faded. Lorrie had to stand in the silence, put on her headphones, and wait for Keith’s voice to come through—then harmonize with a ghost. When the song was released in 1990, it didn’t just climb the charts; it hit a nerve that few country songs ever reach. It felt raw, immediate, and painfully real. That fall, when the industry gathered for the CMA Awards, the song took home the trophy for Vocal Event of the Year. The two names—Lorrie Morgan and Keith Whitley—were etched together on the award, a cruel reminder of a partnership that had been tragically severed in its prime. While Lorrie stood alone to accept the honor, the recording remained a permanent monument to what they had been. It wasn’t just a song about sorrow or a performance about heartbreak; it was a widow using her own voice to reach across the silence and sing one last time with the man she couldn’t hold again. It stands today as a testament to the fact that while death can end a marriage, it can’t always silence the music that two people built together.