Introduction

The Isley Brothers, legendary pioneers of soul and R&B music, have left an indelible mark on the music industry with their timeless classics. One such gem is “Love The One You’re With,” a soulful anthem that has captivated hearts and minds since its release. In this article, we delve into the magic of this song, exploring its origins, the talented artists behind it, and uncovering fascinating details that add depth to the musical journey.

Did You Know?

The Isley Brothers

The Isley Brothers, comprising siblings Ronald, Rudolph, and O’Kelly, have been a force in the music scene since the 1950s. With a career spanning decades, they have seamlessly navigated through various genres, from doo-wop to funk, earning a reputation as versatile musical innovators. “Love The One You’re With” showcases their ability to infuse soulful melodies with meaningful lyrics, a hallmark of their enduring legacy.

“Love The One You’re With”

Released in 1971, “Love The One You’re With” became an instant classic. The song’s soul-stirring vocals, coupled with its uplifting message, struck a chord with listeners worldwide. Written by Stephen Stills and originally performed by Crosby, Stills, Nash & Young, The Isley Brothers’ rendition added a distinctive touch, making it a standout in their extensive repertoire.

Video

Lyrics: Love The One You’re With

If you’re down and confused
And you don’t remember who you’re talking to
Concentration slips away
Because you’re baby is so far away

Well, there’s a rose in a fisted glove
And the eagle flies with the dove
And if you can’t be with the one you love, honey
Love the one you’re with
You got to love the one you’re with
You got to love the one you’re with
You got to love the one you’re with

Don’t be angry, don’t be sad
Don’t sit crying talking ’bout the good times you’ve had
Well, there’s a girl sitting right next to you
And she’s just waiting for something to do

Well, there’s a rose in a fisted glove
And the eagle flies with the dove
And if you can’t be with the one you love, honey
Love the one you’re with
You got to love the one you’re with
You got to love the one you’re with

Doo, doo, doo, doo, doo, doo, doo, doo
Doo, doo, doo, doo, doo, doo, doo, doo
Doo, doo, doo, doo, doo, doo, doo, doo
Doo doo doo, doo doo doo

Lord, love the one you’re with
You got to love the one you’re with
You got to love the one you’re with
Why don’t you love

Turn your heartaches right into joy, now
She’s a girl, yeah, and you’re a boy
I want you to get it together and make it nice
Well, you ain’t gonna need anymore advice

Hey, there’s a rose in a fisted glove
And the eagle flies with the dove
Sometimes you can’t be with the one you love, honey
Love the one you’re with
You got to love the one you’re with
You got to love the one you’re with
You got to love the one you’re with
You got to love the one you’re with

You gotta love (love the one you’re with)
You gotta love (love the one you’re with)
Oh, love (love the one you’re with)
You gotta love (love the one you’re with)
Woah yeah (love the one you’re with)
You gotta love, love the one you’re with
(love the one you’re with)
You gotta love (love the one you’re with)

Doo, doo, doo, doo, doo, doo, doo, doo
Doo, doo, doo, doo, doo, doo, doo, doo
Doo, doo, doo, doo, doo, doo, doo, doo
Doo doo doo, doo doo doo

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.