The Greatest Oldies Music

Oldies Musics

The Isley Brothers – Contagious

Introduction

The Isley Brothers, legendary pioneers of R&B and soul, have left an indelible mark on the music industry with their timeless hits. Among these, “Contagious” stands out as a modern classic, showcasing the group’s ability to seamlessly blend soulful melodies and storytelling. Released in 2001, this track features not only the smooth harmonies of The Isley Brothers but also an unforgettable collaboration with R&B sensation R. Kelly.

Did You Know?

“Contagious” is a compelling narrative of love, betrayal, and consequence. Released as a single from The Isley Brothers’ album “Eternal” in 2001, the song became an instant hit. The addition of R. Kelly’s vocals added a contemporary twist to the group’s signature sound, creating a mesmerizing fusion of classic and modern R&B. The accompanying music video, directed by R. Kelly, further elevated the song’s impact with its cinematic storytelling.

The Isley Brothers, comprising Ronald, Rudolph, and Ernie Isley, have been a force in the music industry since the 1950s. “Contagious” not only reaffirms their status as musical pioneers but also demonstrates their ability to evolve with the times, staying relevant across generations.

Video

Lyrics: Contagious

It’s 2 A.M. I’m just getting in about to check my message
No one has called but my homies and some bill collectors
Cellular rings, somebody wants to borrow money
I two-way her she don’t hit me back something is funny
So I called her mother’s house and asked her has she seen my baby
Roll my six around looking for that missing lady
Got back in turned the TV on and caught the news
Then I put my hand on my head cause I’m so confused
And then I turned the TV down
Cause I thought I heard a squeaky sound
Somethings going on upstairs
And I know nobody else lives here
“Bump bump bump” as I get closer to the stairways all I hear
Then I hear my babies voice in my ear screaming out

You’re contagious, touch me baby, give me what you got
(And then a man said) sexy lady drive me crazy, drive me wild
(And I just can’t believe this shit)

I ran downstairs looked in the closet looking for that ooo
Said a prayer cause only God knows what I’m gonna do
What I saw was enough to drive a Preacher wild
I’m in the hall contemplating “not in my own damn house”
Who would have thought she was creeping with another man?
The down low happening to me all over again
And then I turned the TV down
‘Cause I know I heard a squeaky sound, something going on upstairs
‘Cause I know no one else lives here
“Bump bump bump” as I get closer to the stairways all I hear
Then I hear my babies voice in my ear screamin’

You’re contagious, touch me baby, give me what you got
(And then a man said)
Sexy lady drive me crazy, drive me wild
(And I just can’t believe this shit)

What the hell is going on between the sheets in my home?
Baby wait let me explain before you start to point your cane
Girl I’m about to have a fit
“Oh it’s about to be some shit!”
How did I get in to this? Should have never came home with this bitch
Low down dirty woman, back to where you come from
“But baby wait” but wait my ass
Hit the streets your ass is grass
Now Mister Biggs before you’re done
“Wait how you know my name son?”
“Honey wait I was gonna tell you”
“Move this cat looks real familiar”
Hmmm?!?! Now don’t I know you from somewhere a long time ago?
No, no, I don’t think so
Yeah, yeah, I feel I know you brother very well
No, no, you’re mistaking me for somebody else
“Frank” “SHUT UP!” “Can’t you see two men are talking?
“But” thought I told your ass to get to walking
Now I think you all better leave this place
‘Cause I’m about to catch a case

You’re contagious, touch me baby, give me what you got
Sexy lady drive me crazy, drive me wild

You’re contagious, touch me baby, give me what you got
You’re contagious, touch me baby, give me what you got
You’re contagious, touch me baby, give me what you got
You’re contagious, touch me baby, give me what you got

 

Related Post

When people look back on Elvis Presley’s final years, they sometimes reduce his story to a single question about medication. But the truth is far more complex and far more human. Behind the headlines was a man living with significant health problems, chronic pain, exhaustion, and the relentless demands of a life that rarely allowed him to rest. Every night, millions expected Elvis Presley. Very few wondered how much it cost the man behind the name.

There are moments in life that no amount of success can protect us from, and for Elvis Presley, one of those moments came in October 1973. It was the day Lisa Marie left Graceland to begin living with her mother after Elvis and Priscilla’s marriage had come to an end. The world saw the headlines of a famous divorce. Elvis felt something far more personal. He was watching the little girl who had become the center of his world walk away from the home they had shared.

The first time Mac Davis saw Elvis Presley, he never forgot the feeling. Years later, the memory remained as vivid as if it had happened the day before. “He was the most beautiful man you ever saw,” Mac once said, but he was talking about far more than appearance. There was something impossible to explain about Elvis. When he entered a room, conversations faded, heads turned without thinking, and for a brief moment it seemed as though the entire world had quietly stopped to watch him breathe.

You Missed

Country

THE SONGS AREN’T HIS ANYMORE—THEY BELONG TO THE 60,000 PEOPLE WHO REFUSE TO LET THE MUSIC STOP. There is a powerful, heavy silence that sits at the center of every Randy Travis concert, but it is never empty. Since the 2013 stroke that claimed his ability to sing and nearly took his life, the performance has evolved into something far more intimate than a standard tour. It has become a conversation between a legend who can no longer speak his truths and a world that refuses to forget them. For two years and 54 cities, Randy Travis has walked onto stages not to perform, but to be witnessed. With his wife, Mary, beside him and his original band anchoring the sound, the shows feature James Dupré taking on the vocal heavy lifting—but the real singer in the room is the crowd. Every night, thousands of voices bridge the gap left by aphasia. They handle the verses of “Three Wooden Crosses” and “On the Other Hand,” turning arenas into something resembling a massive, tear-filled revival. When Randy mouths the lyrics alongside them, he isn’t just watching a show—he is reclaiming his own catalog through the lungs of the people who grew up listening to it. The climax of the night is always the same: the final song. As the music fades and the band holds steady, Randy Travis takes the microphone. The man who was silenced by a stroke delivers the only word he needs to bridge the distance between his past and his present. He says, “Amen.” People often wonder why he continues to tour, why he chooses the grueling pace of the road when he could rest in the quiet of his home. But when you see the room “come apart” in that final moment, the answer is clear: this isn’t a farewell tour. It’s a reciprocal healing. The fans show up to give him back the songs he gave them, and he shows up to remind them—and himself—that while the voice may have changed, the spirit remains exactly where it always was. He is calling the tour More Life, and he has earned every syllable of that title. He is living proof that a legacy isn’t built on the perfection of a vocal performance, but on the connection that survives long after the ability to sing has faded.

Country

THREE DECADES. THREE ICONS. ONE RECORD THAT FINALLY MOVED. For thirty-five years, the number “six” stood as the absolute ceiling for a single night at the ACM Awards. It was a benchmark set by Garth Brooks in 1991, an untouchable milestone that felt like it belonged in a different era of the industry. Over the years, country music saw legends like Faith Hill and Chris Stapleton reach that same height, but for over a generation, no one could push past it. Until May 17, 2026. Ella Langley didn’t just break the record; she rewrote the scale. Walking away with seven awards—a clean sweep of every category she was nominated in—the 27-year-old from Hope Hull, Alabama, proved that the next chapter of country music isn’t just arriving; it has already taken the stage. Her wins were across the board: Female Artist of the Year, Artist-Songwriter of the Year, and critical sweeps for “Choosin’ Texas,” including Song and Single of the Year, plus a Music Event win with Riley Green. But the most striking image of the night wasn’t the trophy count. It was Langley standing beside Miranda Lambert—the woman who co-wrote and co-produced the anthem that fueled her historic night. In a business that loves to talk about “the good old days” and the untouchable nature of its legends, seeing a new artist stand on the shoulders of the giants who came before her to reach a new height was a powerful shift. Garth, Faith, and Chris Stapleton defined what was possible for thirty-five years. Ella Langley simply showed us that the ceiling wasn’t a permanent fixture—it was just waiting for the right song to push it higher. History in country music doesn’t end when a record is broken; it just gains a new perspective. The “six” record was a mountain that seemed impossible to summit, but now it’s just the base camp for whatever comes next.

Country

SHE DIDN’T WAIT FOR THE GRIEF TO FADE. SHE WALKED ONTO THE STAGE WITH IT. Lorrie Morgan has spent a lifetime learning a lesson that most people spend a lifetime trying to avoid: how to sing while your heart is breaking. In 1989, the world watched her lose Keith Whitley, and in the decades since, she has walked that same harrowing path again. When Randy White—the man she leaned on as her rock and her champion—passed away after his own battle with cancer, the silence in her home must have been deafening. But just six days later, Lorrie was in Prestonsburg, Kentucky. She didn’t go there to perform a polished, emotionless set. She went there to exist in the only place she has ever really known: behind a microphone. The most poignant part of that evening wasn’t the headliner, but the person who opened for her: her son, Jesse Keith Whitley. To see the man who lost his father decades ago now standing as a grown man, holding the space for his mother as she navigated the loss of Randy, was a silent, powerful testament to the only kind of legacy that matters. Randy had loved Jesse as his own, and in that moment, the love they had shared didn’t feel absent—it felt present in the way a son stood by his mother’s side. Lorrie didn’t return to the stage because she had “moved on.” There is no moving on from that kind of loss. She returned because she understands that strength isn’t the absence of sorrow; it’s the ability to keep moving even when sorrow is the loudest thing in the room. When she stepped into that spotlight, she was performing an act of defiance. She was proving that while life may leave you with empty chairs and broken pieces, the music—and the family you build—is the only thing that allows you to survive the night.

Country

HE NEVER WORE THE UNIFORM, BUT HE CARRIED HIS FATHER’S FLAG FOR THE REST OF HIS LIFE. Toby Keith’s most iconic anthem, “Courtesy of the Red, White and Blue,” was never intended to be a commercial product. It wasn’t born in a high-end Nashville writing room or designed to top the country charts. It was written in 20 minutes on a piece of scrap paper by a son grieving a father who had been taken in a sudden, senseless accident just months before the world changed on September 11, 2001. Hubert Keith Covel was not a celebrity. He was a veteran of the Korean War, a man who had given an eye to his country and spent every single day of his life making sure a flag flew from his porch. When he died in a collision on I-35, he left behind a vacuum that Toby didn’t know how to fill. When the towers fell, Toby didn’t look to the charts for inspiration—he looked to the lessons his father had hammered into him for years. His father had spent a lifetime urging Toby to support the people who do the heavy lifting—the soldiers. Toby listened. He spent the next several decades in places most artists avoid: carrier decks in the middle of the ocean, the dust of Kandahar, and the forgotten corners of Bagram. Over 18 USO tours and 250,000 service members, he became a fixture in the lives of those serving overseas, showing up not as a star, but as a representative of the man who raised him. He didn’t have to wear the uniform to understand the weight of it. By carrying his father’s flag into the most dangerous places on earth, Toby Keith turned a personal loss into a national service. Long after the stadium lights go dark and the records stop spinning, that flag in Oklahoma continues to wave. For the soldiers he sang to in the dirt and the families he supported, his music became more than entertainment—it became a promise kept to a one-eyed veteran who taught his son that being an American wasn’t just a label, but a lifelong commitment.