Stanley was born
in Chicago, Illinois, on May 6, 1952, and currently resides in
Houston, Texas. “My mother was a hairdresser and she could sing, but she
wasn’t in an entertainment business. She was always encouraging me, because
she knew that this is what I wanted to do. Had it not been for her, I wouldn’t
have been able to do anything.” For a young boy enchanted by music, after
momma’s lullabies church music would be the next logical step those days. “I
had to be around five or six, when I was singing in the children’s choir at
Greater Harvest Missionary Baptist Church in Chicago.”
In Stan’s voice
and music, you can hear the influence of some of his biggest favourites – Bobby
Womack, David Ruffin, Marvin Junior of the Dells – but they were not
his very first idols. “My mother told me that when I was a kid and on TV Elvis
Presley would come on, I would jump up and try to dance in the same way.
Then I started listening to groups like the Temptations, the Four Tops and
stuff like that.” Today Stan puts one artist on a pedestal. “Theo Huff
- my little brother” (laughing).
THE SHARPEES
“I did a lot of
talent shows in Chicago, but I left Chicago in 1972 and moved to East St.
Louis, Illinois, where I was living with my mother’s cousins. That’s when I
had the affiliation with Benny Sharp and the Sharpees. I went into a
night club called the Blue Note, which was a very popular club at that time,
and they were the band there. The young lady that took me there knew Benny
Sharp and told him that I could sing. So he called me up on stage and I
started singing there, and they asked me did I want to work for them, and I
said ‘yes’.”
The Sharpees was a
group formed by Benny Sharp in St. Louis in 1961. Besides Benny, the very
first members included Stacy Johnson, Vernon Guy and Horise O’Toole,
but in the line-up that did most of the recordings for the One-derful! label out
of Chicago in the mid-60s there were Herbert Reeves, who wasthe
lead singer, Benny, Vernon and Horise, who was replaced by Stacy Johnson in
1965. Their first small hit was a dancer called Do the 45 and it was
followed by a mid-tempo stomper named Tired of Being Lonely. With a
strong chi-sound influence in their mostly upbeat music, three more singles
were released in the latter half of the 1960s on One-derful! and Midas labels.
“At the time I
joined them, it was Benny, Vernon and Stacy. Herbert was murdered. I never
met him, and Vernon died years ago. I never met Horise, either.” Herbert
Reeves was shot in 1972 at the age of 25, and Vernon Guy passed in an
automobile accident in 1998. Stacy Johnson died in May 2017 at the age of 72, after
a long battle with cancer. In 1980, at the age of fifty, Benny Sharp turned to
religion and ten years later his main forum became the Refuge Temple in East
St. Louis. “Benny Sharp was the leader of the group. He was the one the group
was named after. He was a fantastic guitar player. In our shows the band
would come on and play and each one of us would go on stage as a soloist and
then on the second part of the show we would all come out and sing together.
We never sang any of the Sharpees’ old hits. We did cover songs.”
Stan and Vernon
not only sang together, but they also co-wrote at least one song, Friday’s
Child for Kenny Rice released on Nentu Records in 1977. On the
label the song is credited to Kenny Rice alone. “The lyrics were written by
me. I’m not listed on the record, which caused a rift between Kenny, Vern and
I. It was Vern that asked me to write them, because he wasn’t happy with the
way Kenny handled that.” Indeed, at BMI the song is today credited to Edward
Fisher, Stanley Mosley, Kenneth Rice and Phillip Westmoreland.
Stan Mosley performing at Porretta Soul, 2016
FREE SPIRIT with SHIRLEY BROWN
“I stayed with the
Sharpees for about a year and a half, and I also worked with Shirley Brown.
I was one of her background singers. I stayed with Shirley for long enough
to tour the south with her, but it was just for a season. It was in a group by
the name of Free Spirit, where Gus Thornton was the bass player, Oswald
Peters was the guitarist and John Redmond played drums. There was
also a keyboard player in the band.”
The bassist Gus
Thornton is one of East St. Louis’ music ambassadors. Starting out with Young
Disciples, he has - besides Shirley Brown - played with Oliver Sain, Stevie
Ray Vaughn, Johnnie Johnson, Katie Webster and - most importantly – with Albert
King for many years both on the road, and on Albert’s records.
“Shirley Brown
happened during the same period, when Woman to Woman came out (late
summer in 1974), and we were her actual band. It was actually during the same
time that I was still with the Sharpees. I was with the Sharpees and I was
with Free Spirit. Oliver Sain had his own band, and every now and then Bobby
McClure couldn’t make the gigs, so Oliver Sain used me. He gave me an
opportunity to work, when Bobby wasn’t able to make those gigs.” Oliver
(1932-2003) was not only a saxophonist, producer and composer, but a notable
bandleader in the St. Louis, Missouri, area. He worked with Little Milton and
his protégés included Fontella Bass, Bobby McClure and Larry Davis.
TINTED GLASS
“We lived in a big
beautiful house that was called The Queen Ann, and they only had about ten in
the city of Chicago, and my parents purchased that house back in the 50s. On
the house they had tinted glass to keep the sun out. One day we were sitting
around trying to come up with a name for the group and I looked up at the
tinted glass and said ‘there it is’!” (laughing).
In Stan’s next
group called Tinted Glass the other three members were Billy
Stevenson, Wardell Luvert and Albert Allison. “Billy was my
brother-in-law, Wardell was a barber and Albert is deceased now. We were
together probably for two years. We didn’t make any records - not one! - and I
was really disappointed, because we had a very unique sound.”
“I left St. Louis
in 1978 and went back home to Chicago. I worked there as a solo artist and I
was making a little noise, too. I even had the opportunity to work with the
Dellsas an opening act. I did not have one record, but I was very
popular for a while. I had a very good stage show, and people enjoyed coming
out to see me. I didn’t just do the neighbourhood clubs. I was working the
elite clubs.”
As a proof of
Stan’s popularity and showmanship, which appealed to people, there are two
Chicago Music Awards for the best male R&B vocalist hanging over his
fireplace. The first one covers the period of 1982 and ’83, and the second one
1983 and ’84. “Unfortunately I wasn’t making that type of money where I could
take care of my family, so I was in-between working and doing my music on
weekends.”
RAY BERRYHILL AND COMPANY
“Soon after that I
left the entertainment business and I began to work with a gospel group.
Actually it was a music ministry, Dr. Ray Allen Berryhill and Company. We had
some moderate success with a live recording we did - I would say in 1985-’86 -
titled simply Ray Berryhill and Company. It was an independent
production, and a wonderful album. It was in the vein of the Edwin Hawkins
Singers. We kind of patterned ourselves after them... or Thompson
Community Singers. We worked quite a bit with them.”
“We still stay in
contact right now. A lot of the members have passed on. That live album was
my very first recording. I had done a lot of demos, but nobody ever did
anything with them, I never had anyone to market them.”
“I stayed with Ray
Berryhill and Company for about two years, and after that I started singing
gospel by myself in churches, funerals and weddings. Then I got bit by the
entertainment bug again (laughing). It was in 1989 when my interest sparked
again about doing the R&B circuit. In 1992, I went back to East St. Louis with
Gus Thornton, the bass player. We had already worked together in Free Spirit,
and his wife and my wife were cousins.”
“We wrote
something like 15-16 songs together. I began to demo them, and I started
sending them out to different people and I started getting some good feedback.
Actually I was trying to get somebody else to record the songs, but Marvin
Junior (of the Dells) told me ‘no, Stan, you need to record the songs for
yourself.’ Gus did all the music and I wrote the lyrics. I took all the music
and came back to Chicago, where the music was re-arranged.”
STANDING TALL
“I formed my own
record label, Stand Up Records, and released three of those songs on my label,
but I had no way of getting the type of distribution that I needed to put the
record out there.” Stan’s debut solo CD, Standing Tall, was first issued
on his Stand Up label and re-released a year later on Butler Records out of
Alabama in 1995. Produced by Willie Ash and arranged by Ronnie Hicks,
on this EP Stan is vocally backed by Theresa Davis and Diane Madison
and instrumentally by Gus and Ronnie.
Ronnie Hicks has
been a well-known Chicago Blues & Soul Artist since the 1970s, and he has
worked tightly with Artie “Blues Boy” White and Cicero Blake. In
the early 1990s, Stan was also in close contact with Cicero. “I was an opening
act for Cicero. I was actually his valet. Cicero got out of the hospital
earlier this year and he’s doing alright. He’s a wonderful fellow. He and Otis
Clay were my buddies.”
The three songs on
the CD are all atmospheric, melodic numbers, which are based on Stan’s personal
relationships. Together Forever is a nice sax-spiced mid-tempo floater,
while Give Me a Chance is a more mellow soul ballad with some impressive
vocalization from Stan. The down-tempo Thank You relays a positive
message, and the instrumental track of the song closes the EP.
THE SOUL SINGER
Stan’s next album
was supposed to be released on the JML label out of Memphis, but due to the
fact that Stan didn’t receive any money from Butler Records for his debut set,
he decided to wait until he could get with a record company that could actually
develop his career. “I was finishing up the album that I was doing on my own
again with Floyd Hamberlin, Jr. and Michael Mayberry. When we
finished it up, I met a guy named Bill Payton, ‘Still Bill’ – who
co-wrote a song for Tyrone Davis called Freak – and he told me
‘Stan, this is really a good album, let me take it to Malaco.’ The three of us
– Floyd, Still Bill and myself – drove down there in a little bitty, two-door
black Saturn with no air conditioning (laughing)... eight or nine hundred miles
in a blazing heat. They took us in. Tommy Couch listened to the music
and said ‘let’s go to lunch’, and when we came back there were contracts.”
Floyd Hamberlin,
Jr. is a producer, musician and composer out of Chicago, who has worked with
Tyrone Davis, Lee Morris, Charles Wilson, Lee “Shot” Williams and
Nellie Tiger Travis, to name just a few. Michael Mayberry is CEO and music
producer at Da-Man Records in Chicago for the past 23 years.
Stan’s debut set
on Malaco in 1998 is aptly titled, The Soul Singer, and the majority of
the album was recorded at Malaco studios in Muscle Shoals... plus there’s
another quality factor on this record – “the majority of my album was done with
live musicians.” The opener is the thumping “Don’t Make Me Creep”. “Rich
Cason wrote it. As a matter of fact, it’s the last song that I recorded,
when I was in Jackson, Mississippi, and they released it as the first single
off the album.”
Other single
releases include a cover of Wilson Pickett’s # 1 single in 1971, “Don’t
Knock My Love”, and a floater titled “Rock Me”, which Mosley
& Johnson had recorded in 1987. “We slowed down “Don’t Knock My
Love” and funked it up. That was a song that I’ve always wanted to
record. First we did the song exactly like Wilson Pickett did. It sounded
just like him, so that didn’t make any sense. Rich Cason said ‘why don’t you
just slow it down, we’ll put a little funk to it, and you just do Stan Mosley’,
and that’s what we came up with. Mosley and Johnson came down to Muscle
Shoals, Alabama, and I did two of their songs, but Rock Me is the only one
that made it to this album. David Hood created a bass line on “Rock
Me” that is just classic, and Jimmy Johnson is on guitar. Until
today it’s my biggest record ever.”
Stan and Floyd
wrote a beautiful southern soul ballad called Makes You Wanna Cry, while
Rich Cason wrote the softer Why Can’t You Love Me. “It’s a very
beautiful song. As a matter of fact, Rich has four songs on the album. He’s
just a wonderful writer. He tailors the songs for the artist.” This Time
I’m Gonna Be Sweeter is another laid-back ballad. “That’s a really nice
song. It was written by Keith Stewart and Dick Fowler. They are
the members of the group out of Chicago called Heaven and Earth. They
did the background on it.”
SOULED OUT
As impressive as
Stan’s debut album on Malaco was, all the more disappointing it was to listen
to the follow-up, “Souled Out”, two years later. Now to a degree the
natural sound with live instruments had been replaced with urban street beat
tracks, as if they’d try to turn Stan into a hip teen idol. “The material that
Floyd Hamberlin and myself had was computerised, but it was supposed to have
been taken to Muscle Shoals and the Muscle Shoals Band – just like they
did with the first album. The first album was computer stuff too at first.
But once we took this second album to Muscle Shoals, it didn’t happen. Rich
Cason didn’t want anybody to change his music.”
Again, produced by
Charles Richard Cason and Floyd Hamberlin, Jr. and songs for the most part
written by Rich, Floyd and Stan, this time also Frederick Knight produced
andcomposed three songs, including a powerful soul ballad called I’m
Not the Man I Used to Be, co-written with David Camon. It was also
one of the single releases alongside three dancers - Anybody Seen My Boo, U
Can’t Keep Throwing Our Love Away and Ain’t No Woman. Ain’t No
Woman was also released on Lee Morris’ latest CD, produced by Floyd.
Besides I’m Not
the Man I Used to Be, three other ballads stand out: Don’t walk out,
I Got a Good Woman Now and a duet with Tonya Youngblood called Payback
Is a Mutha. “Rich Cason did that. He suggested a duet and I said ‘I ain’t
singing with Shirley Brown’, and he said ‘I got somebody for you’. He had
Tonya Youngblood.” Shirley Brown was also a Malaco recording artist those
days, and Tonya had released solo records in the 1990s and 2000s. She formed the
Juess Right Band and has been widely used as a background singer on many
southern soul CDs.
“Rich Cason was
one of the most wonderful, humble people that you will ever meet in your life.
Rich was a very soft-spoken gentleman; very low-key, but he was just so humble
and he was just full of knowledge.” Rich passed away in March 2007. “Floyd
Hamberlin is one of my best friends. We didn’t always see eye to eye on
things, but everything we did together, it always worked out. Every year he’s
at my family reunion picnic.”
DO RIGHT
The third Malaco
album, Do Right, in 2002 was a big improvement and a lot better than Souled
Out. “Wolf Stephenson actually produced this album and pretty much
on it there are live instruments. We did it once again in Muscle Shoals and I
thought it was one of my best albums. That’s the Muscle Shoals Band – Roger
Hawkins on drums, Clayton Ivey on keyboards, David Hoodon
bass and Reggie Young and Will McFarlane on guitar.”
Larry Addison wrote and co-produced with Wolf the two
opening tracks, pleasant mid-tempo numbers titled No Mistake and Kiss
and Tell. Wolf also produced the cover of Aretha Franklin’s 1967
single side, Do Right Man. George Jackson wrote and produced a
chugger named Perfect Timing, while Harrison Calloway’s and Rue
Davis’ song, Do You Wanna Dance, is actually a catchy little ditty
with a strong Caribbean flavour.
Rich Cason wrote
and produced half of this twelve-tracker, and among those six cuts there are
three melodic and soulful ballads that just stand out: I Can’t Stop Lovin’
You, Middle Man and Your Wife Is My Woman. “We did most of the
recording in Muscle Shoals, Alabama and also most of the vocals I did in Alabama.
When it came time to mix them, they would ship the masters back to Jackson,
Mississippi, and then I would just do the vocals there.”
GOOD STUFF
Do Right remained Stan’s last album on Malaco.
“Tommy Couch wanted another one from me, and I wasn’t prepared to do another
album with Malaco. I wanted to try something else. I was disenchanted. I
didn’t want to be there anymore.”
Stan’s next stop
was at the Louisiana-based Mardi Gras Records, run by Warren Hildebrand,
and his album titled Good Stuff was produced by Senator Jones. “Senator
was one of the record promoters for Malaco and he had an affiliation with
Warren Hildebrand. When he found out that I was leaving Malaco, the first
thing he did is call me and say ‘you need to come over here, because we have Sir
Charles Jones and the Love Doctor’, and they were pretty big at the
time.”
“I already had
the material that Floyd and I had recorded – a bunch of good songs – but they
were computer generated. Sir Charles was going to redo the music so, when I
sent the music to Senator Jones, he gave me the date to be down there to
record. That was in Bolton, Mississippi (Hep’ Me studios), which is about a thirty
minute drive from Jackson. When I arrived, Sir Charles wasn’t there. When I
called him, he said ‘Senator had released that album already. He wouldn’t let
me redo it.’ This was very disappointing, because he just released it the way
that it was. The production sounded terrible. All the songs were really,
really good songs. I had recorded my vocals in Chicago at Paradise, Floyd
Hamberlin’s and Michael Mayberry’s studio.”
All of the above
means that - in spite of the title – the music wasn’t “good stuff” after all.
The best elements are Stan’s soulful voice and delivery and potential songs, but
programming tends to overshadow them. All songs - with the exception of Marvin
Gaye’s Let’s Get it on – were written by Floyd Hamberlin and
arranged by Harrison Calloway. The three most soulful and touching ballads are
If I Were Your Man, Good Stuff and Beat Down, and overall Stan is
in a more laid-back and at times even erotic mood. The rest of the material
consists almost completely of mellow mid-tempo songs.
Senator Jones
passed away in November 2008. “He was a very nice guy. Senator Jones was a
businessman. I later found out that the reason he wanted me at Mardi Gras was
because Floyd Hildebrand was actually running things at Mardi Gras. Floyd
Hildebrand and Tommy Couch were best friends, and I had no idea I was jumping
out of the skillet into the frying pan.” Good Stuff remained Stan’s
only set on Mardi Gras Records.
STEPPIN’ OUT
As the title of
the next CD, Steppin’ out, suggests, Stan is no longer flirting with
southern blues soul labels but has formed his own company. “I had gotten fed
up with working for somebody else.” In my 2005 interview he told me that “the
CD was produced by Earl Powell, the same gentleman that produced Public
Announcement and so many other artists that are currently out there.
Double Duo Records is located both in Chicago, and Detroit, Michigan. I’m CEO
and I own 51 % of the company along with Chuck Young in Detroit and Emmett
Garner in Chicago. We also have other acts you’ll be hearing from in the
very near future.” However, we still haven’t heard from them. “When you don’t
have the resources to do those types of things, you just have to put them on
the back burner and continue doing what it is you have to do.”
Steppin’ Out is Stan’s best album thus far. “That’s
because I produced it and I sang what I wanted to sing, the way that I wanted
to sing it. All of the stuff they had me trying to do in other places I
appreciate the opportunity that was presented to me, but I was looking for a
more active role. But I didn’t do it. I just went along, because I was just
happy to be in a place, where I could record the stuff that they had. I wasn’t
thinking the way that I’m thinking now. I have hands on everything I do now.”
Floyd wrote a
catchy toe-tapper named You Gonna Make Me Cheat – cut also by Nellie
Travis at that point – and a powerful inspirational down-tempo song titled God
Is Alive. “The background singers on the project are Theresa Davis, Diane
Madison and JoAnn Graham. I know we sound like a choir on God Is
Alive, because that’s the way we recorded it, singing different parts over
and over until we got there.” God Is Alive was released also as a
single on Wind Chime Records in 2012.
The three songs
that Stan wrote with Gus Thornton for his debut EP, Standing Tall, were
lifted from there and re-released on Steppin’ Out. “I decided to add
the three songs, because I have a bigger audience now and they’ve never heard
those songs before.”
Stan co-wrote the
rest of the new songs on the set. “I wrote them with Earl Powell and Ace
Watkins. He’s one of the members of Public Announcement with R. Kelly.
Earl is a big producer. He produced Jennifer Hudson and myself. He’s
working with a lot of people.” The top notch tracks are a laid-back mid-pacer
called Let’s Fall in Love and a gentle floater named This Love Has
Power, plus two heartfelt ballads, I Want You and Can We Work it
out.
“The CD did pretty
good. As a matter of fact, I released it and was getting checks every week.”
Also in Japan they got excited about Stan’s music. “I didn’t know anybody in
Japan knew anything about me” (laughing).
MAN UP
The CD didn’t do
well enough for Stan to turn down an offer from an independent southern soul
label again. “I had recorded “I Want You” (on Steppin’ Out) and
Jennifer Hudson recorded it by another name. Then we did a duet together.
Earl Powell wrote the music and I wrote the lyrics. Dylann DeAnna picked
up on the song. He’s the editor of Blues Critic Media (https://www.soulbluesmusic.com) and he
had a label, CDS Records. I won ‘The Song of the Year’ Award that year with I
Want You. He sent me a message ‘are you signed with anybody? I have a
label. I love your music. Would you like to be a part of it?’ I said
‘sure!’.”
“So Floyd
Hamberlin and I did Man Up. That was my very first album with Dylann. Wonderful
songs once again... but they were computer generated. I wanted to use live
musicians, but he said ‘no, this will work fine like this.’ He put it out and
it was a moderate success. I wasn’t happy with it, because I like live
musicians. You cannot duplicate computerized music on stage.”
Released in early
2008, Man Up is almost like non-stop party music with one mid-tempo
track, Mr DJ, and only two ballads - the intense You & Me and
the mellow Bitter with the Sweet, which features horribly programmed
horns. All songs were written and produced by Floyd, and he has used Walter
Scott and Jim Simms on guitar, and the background vocalists are
JoAnn Graham and Michael Mayberry.
I’M COMIN’ BACK
The follow-up on
CDS, I’m Comin’ Back, was released in May 2009, and my review of the
record was published soon after its release, at www.soulexpress.net/deep309.htm#stanmosley.
Stan actually had some health problems those days. “Now I’m doing fine. They
shocked my heart back into the rhythm, because I had irregular heartbeats.
Once they put that electric thing in my heart, I haven’t had any problems since
then.”
“With I’m
Comin’ Back it was getting better. Most of the stuff was computer
generated, but we still had a live keyboard and a live guitar, because Carl
Marshall played on it. Unfortunately, there weren’t any hits off the
album.”
I LIKE IT!
Hot on the heels
of I’m Comin’ Back, they released the third CDS album, I Like It!,
and once more you can read my review at www.soulexpress.net/deep110.htm#stanmosley.
Four years later CDS Records still put out one twofer, consisting of Man Up and
I’m Comin’ Back, but by this time Stan was long gone. “They signed a
bunch of artists and became 50 % owner of everybody’s publishing, so they have
a library now.”
Last year Stan
himself released a compilation titled The Best of Stan Mosley. “I took
some of the music I did at Malaco and CDS, some that I put out on my own and
put them all on a compilation. I’m selling it myself.”
“The most
enjoyable time that I’ve had as an artist so far in my career has been the
experience I had in Porretta, Italy, and over in Spain right after that in 2016.
With live musicians on stage backing you up, you can’t beat that! Now I’ve
been working on this new album for the past two years. I work sporadically.
Sometimes I go out and do a show in Mississippi, a show in Alabama... I’m
working and staying alive, but my focus has been on completing this album.
Also the lady in my life, Sula Marie Stanfield, became my manager two
years ago, and everything has changed under her tutelage.”
(www.stanmosleysoul.com; interviews conducted
on February 10 and October 9 in 2018; acknowledgements to Stan and Sula Marie).
STANDING TALL (Stand
Up Records -> Butler’s Records, T.P.A. BR #1001) 1995
Together Forever /
Give Me A Chance / Thank You / Thank You (instr.)
THE SOUL SINGER
(Malaco, MCD 7490) 1998
Don’t Make Me
Creep / Why Can’t You Love Me / Don’t Knock My Love / I Can’t Wait To Get You
Alone / Makes You Wanna Cry / Hit It Or Quit It / Rock Me / This Time I’m Gonna
Be Sweeter / I Got Your Back / Little Bit Of Something
SOULED OUT (Malaco,
MCD 7498) 2000
He’s A Soulman
(intro) / We Be Keepin’ It Real / Anybody Seen My Boo / Payback Is A Mutha /
I’m Not The Man I Used To Be / Ain’t No Woman / I Just Wanna Thank You / Don’t
Walk Out / Tasty Love / Wiggle It / Who Is He / U Can’t Keep Throwing Our Love
Away / I Got A Good Woman Now
DO RIGHT (Malaco,
MCD 7509) 2002
No Mistake / Kiss
And Tell / Perfect Timing / Do Right Man / Jealous / I Can’t Stop Lovin’ You /
Pretty Lady Do You Wanna Dance / Can I Get Freaky With You / Middle Man / Your
Wife Is My Woman / You Bring Out The Dog In Me / How Would You Like It Tonight
GOOD STUFF (Mardi
Gras Rec., MG 1072) 2003
Good Stuff / Juke
Joint / If I Were Your Man / Beat Down / ‘Til The Cops Come Knockin’ / Ladies
Night / Rockin’ Slide / Let’s Get It On / Do Me / Sprung
STEPPIN’ OUT (Double
Duo Rec., DD 1002) 2005
Let’s Fall In Love
/ Dance Floor / Together 4 Ever / I Want You / This Love Has Power / Can We
Work It Out / Give Me A Chance / You Can Make Me Cheat / Thank You / God Is
Alive
MAN UP (CDS 1003)
2008
I Came To Party /
Man Up / Mr DJ / Backbone / Startin’ To Stop / You & Me / Crazy 4 U /
Bitter With The Sweet / Barstool Woman / Something U Got / Backbone (extended
mix) / I Came To Party (live)
I’M COMIN’ BACK (CDS
1017) 2009
Change (Family
Reunion) / I’m Comin’ Back / Why You Won’t Leave? (aka Misery & Pain) / Shake
It Off / I Can’t Live Without ‘Cha / So In Love / Love Touch-Up / Lockdown / I
Need To Fight You For Me / So-Called Friends / Don’t Give More Than You Feel / I
Don’t Know How You’re Gonna Move, But You Will
I LIKE IT! (CDC
1030) 2010
I Like It / Never
Gonna Give You Up / Reach Out (feat. Rue Davis, Carl Marshall, Little Buck and
Jamonte Black) / Barstool Woman (2010 remix) / Can This Be Real (feat.
Heaven & Earth) / She’s Not Yours No More (feat. Carl Marshall) / Man Up
(2010 remix) / Somethin’ U Got (2010 remix) / Misery & Pain / I Came To
Party (2010 remix) / Who Knows You / Change (Family Reunion) (Extended
Stepper’s version)
2 ON 1: MAN UP
& I’M COMIN’ BACK (CDS) 2014
Man Up (minus
tracks # 11 and 12) + I’m Comin’ Back (minus tracks 3 and 11)
THE BEST OF STAN
MOSLEY (2017)
Rock Me / Don’t
Make Me Creep / Anybody Seen My Boo / Dance Floor / I’m Not The Man That I Used
To Be / Lockdown / This Time I’m Gonna Be Sweeter / Tasty Love / Your Wife Is
My Woman // (Bonuses): My Problem / You Oughta Be Here With Me / Ain’t No
Stopping Us Now
Ain’t No Stoppin
Us (Extended remix) / You Oughta Be Here With Me / My Problem / Sentimental
Journey / Get It & Hit It / We’re Gonna Have A Good Time / If I Didn’t Have
You / People We Gotta Do Better / Tell Him The Way You Like Your Love / Ain’t
No Stoppin Us