By 1973, when Gladys Knight and the Pips released their biggest hit, “Midnight Train to Georgia,” one critic deemed them “the best soul group of the day performing at its peak.” Emily Lordi writes about the group’s impact on soul music.
,” a documentary about the 1969 Harlem Cultural Festival. Yet neither film knows quite what to do with Gladys Knight and the Pips—a group that, although it had begun in the nineteen-fifties, and recorded hit singles in the nineteen-sixties, didn’t take off until the early seventies. They broke through not by singing protest anthems but by advancing a wholesome yet gender-progressive image of pro-Black excellence.
The scholar Mark Anthony Neal has written that Knight was “the female voice of the Black working class in the 1970s”—more grounded than either the divine Still, Knight was creatively and professionally ambitious. In the interview she gave on “Soul!” before singing “If I Were Your Woman,” she tells Gerry Bledsoe and Roslyn Woods that she enjoys “clean fun” like picnics and doesn’t go out much because she has two kids.
That revision, remarkably, moves the speaker even further into the margins of the song. She is telling the story of a man whose dreams of stardom didn’t pan out, and whom she plans to accompany back home to the South. But she tells it so emphatically that the emotional center shifts. No other vocal group could have dramatized the play between foreground and background as skillfully as Gladys Knight and the Pips.
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