15 Best Falsettos Of Classic Soul And R&B That We Still Play

Growing up, my dad’s record collection was like a treasure chest, and soul music was the crown jewel. Among the smooth grooves and velvet melodies, one sound always made me stop in my tracks: the falsetto.

Those impossibly high, feather-light vocals that soared above the beat like they had wings. It wasn’t just singing—it was a heart calling out across the void. In soul and R&B, falsetto isn’t just a vocal trick; it’s pure emotion, raw and unfiltered, wrapped in silk.

It’s how singers say what regular notes can’t. Whether it was Smokey, Prince, or Maxwell, those notes hit you in the chest—and sometimes the tear ducts. These 15 falsetto performances aren’t just technically flawless (though they are); they’re spine-tingling, goosebump-generating bursts of soul that turn three-minute songs into timeless emotional journeys.

So buckle up and prepare to swoon—these voices are about to lift you off the ground.

1. Smokey Robinson’s Heartbreaking ‘Ooo Baby Baby’

The first time I heard Smokey Robinson hit those impossibly delicate high notes on ‘Ooo Baby Baby,’ I nearly fell out of my chair. His falsetto doesn’t just reach high – it conveys a vulnerability that cuts straight to your heart.

Released in 1965, this Miracles classic showcases why they called Robinson ‘The King of Falsetto.’ The way his voice glides and soars through those apologies to a heartbroken lover feels like watching an emotional tightrope walker.

My uncle used to say Smokey’s falsetto could make statues cry, and I believe it! What makes this performance timeless is how Robinson never uses his falsetto as a mere trick – it’s always in service of the emotion. When he pleads ‘I’m crying’ in that ethereal upper register, you don’t just hear the words – you feel the tears.

2. Eddie Kendricks Daydreaming in ‘Just My Imagination’

Talk about goosebump material! Eddie Kendricks’ falsetto on The Temptations’ ‘Just My Imagination (Running Away with Me)’ feels like floating on a cloud. His voice has this incredible lightness that perfectly captures the song’s daydream quality.

I remember playing this song during a road trip with friends, and everyone went silent, completely mesmerized. Kendricks’ falsetto here isn’t just technically brilliant – it tells the story of a man whose only relationship with his dream girl exists in his head.

Released in 1971 as one of Kendricks’ final songs with The Temptations, this track showcases his ability to convey both joy and sadness simultaneously. The control he demonstrates throughout is mind-blowing – never pushing too hard, always maintaining that silky smoothness even at the highest points. No wonder this song still stops listeners in their tracks fifty years later!

3. Curtis Mayfield’s Uplifting ‘People Get Ready’

Curtis Mayfield’s falsetto isn’t just singing – it’s preaching! His gentle yet powerful high register on ‘People Get Ready’ elevates this civil rights anthem into something truly spiritual. Unlike many falsetto specialists who focus on romance, Mayfield used his heavenly voice to deliver messages of social change.

I first discovered this song in college when a professor played it during a history class. The room fell silent as Mayfield’s falsetto floated above The Impressions’ gospel-tinged harmonies. Something about his voice makes you believe change is possible.

What makes Mayfield’s falsetto special is its unforced quality – it never sounds strained or showy. Instead, it feels like a natural extension of his speaking voice, just reaching up toward something higher. When he sings about faith and hope, his falsetto becomes the sound of possibility itself, lifting spirits as it lifts notes.

4. Al Green’s Seductive ‘Let’s Stay Together’

Nobody – and I mean nobody – uses falsetto quite like Al Green. His performance on ‘Let’s Stay Together’ isn’t just singing; it’s seduction in musical form! Green’s falsetto doesn’t stay in the upper register constantly – instead, he uses it for emotional punctuation, creating these incredible moments that make you hold your breath.

At a family wedding, my cousin chose this for her first dance, and I watched as every couple instinctively moved closer together when Green’s voice hit those high notes. There’s something about his falsetto that creates instant intimacy.

What makes Green’s approach unique is how he slides between his regular voice and falsetto so effortlessly. Those little falsetto flourishes feel like whispered secrets between lovers. The way he adds that high ‘let me say’ before diving back into his regular range is pure genius – a technique that countless singers have tried to copy but never quite matched.

5. Philip Bailey’s Stratospheric ‘Reasons’

Holy moly! The first time I heard Philip Bailey hit those stratospheric notes in Earth, Wind & Fire’s ‘Reasons,’ I honestly thought it was some kind of studio trickery. Then I saw a live performance and my jaw hit the floor! Bailey’s falsetto isn’t just high – it exists in a realm most singers can’t even comprehend.

Back in college, my roommate and I would embarrass ourselves trying to match those notes during late-night study breaks. Bailey’s voice on this track soars so high it seems to break free from earthly constraints, perfectly matching the cosmic vibe of Earth, Wind & Fire’s music.

What’s truly remarkable is the power he maintains even at those extreme heights. Unlike many falsetto singers who get breathier as they go higher, Bailey’s voice remains crystal clear and forceful. When he holds that incredible note near the end of ‘Reasons,’ it’s not just impressive – it’s downright otherworldly.

6. Prince’s Electric ‘Kiss’

C’mon, you didn’t think we’d talk falsetto without mentioning The Purple One, did you? Prince’s falsetto on ‘Kiss’ isn’t just singing – it’s a declaration of independence from musical conventions! His playful, funky approach to the upper register created a sound that’s impossible to confuse with anyone else.

I still remember dancing around my bedroom to this track as a teenager, trying (and failing miserably) to hit those notes. Prince’s falsetto has this incredible quality of being simultaneously delicate and powerful – it can sound vulnerable one moment and downright commanding the next.

What makes his falsetto on ‘Kiss’ so special is how he uses it percussively, almost like another instrument in the mix. Those little hiccups, squeals, and staccato phrases aren’t just showing off – they’re creating rhythm and texture. When he slides up to that iconic ‘You don’t have to be rich to be my girl,’ he’s not just singing notes – he’s rewriting the rules of what a voice can do.

7. Marvin Gaye’s Passionate ‘Mercy Mercy Me’

Sometimes a falsetto doesn’t need to reach the stratosphere to break your heart. Marvin Gaye’s gentle, soulful high notes on ‘Mercy Mercy Me (The Ecology)’ prove that point beautifully. His falsetto feels like a cry from the soul – urgent, plaintive, and impossible to ignore.

During a cross-country drive, this song came on the radio while I was passing through some beautiful natural scenery. The contrast between Gaye’s concerned falsetto and the landscape hit me hard. Unlike some of the more technical falsetto specialists, Gaye uses his upper register sparingly here, making each moment count.

What makes his approach special is how emotional rather than showy it feels. When he slides up to falsetto on lines about poison wind and fish full of mercury, you hear genuine concern for our planet – decades before climate change became a mainstream issue. His falsetto doesn’t just convey beauty; it carries warning and wisdom that feels more relevant with each passing year.

8. Russell Thompkins Jr.’s Silky ‘Betcha By Golly, Wow’

Let me tell you about the first time I heard The Stylistics’ ‘Betcha By Golly, Wow’ at my aunt’s house when I was just a kid. Russell Thompkins Jr.’s falsetto hit me like a revelation – I didn’t know a human voice could sound like that! His falsetto isn’t just high; it has this silky, ribbon-like quality that’s utterly distinctive.

Thompkins’ approach to falsetto differs from many others because it seems to be his natural voice rather than a special technique he employs occasionally. Throughout this Thom Bell-produced classic, his voice glides effortlessly through the melody like a figure skater on perfect ice.

What makes this performance so magical is the contrast between the sophisticated orchestration and Thompkins’ pure, almost childlike falsetto. When he sings about stars appearing and sprinkling stardust, his voice becomes the musical embodiment of that magic. Few falsetto performances in soul music have aged as gracefully as this one – it sounds just as enchanting today as it did in 1972.

9. Frankie Valli’s Pioneering ‘Sherry’

Before falsetto became a soul music staple, Frankie Valli was blowing minds with his stratospheric range on tracks like ‘Sherry.’ My grandfather still talks about how shocking it was to hear that sound coming from the radio in 1962! Valli’s falsetto has this bright, trumpet-like quality that cuts through any mix with laser precision.

What makes Valli’s falsetto revolutionary is how he used it as the centerpiece of The Four Seasons’ sound rather than just an occasional embellishment. When he launches into that iconic ‘She-e-e-e-ry baby’ hook, he’s not just showing off – he’s creating one of pop music’s most recognizable moments.

I’ve always loved how Valli’s falsetto conveys not just emotion but also personality. There’s something distinctly Jersey about his approach – a little bit scrappy, a little bit showy, and completely authentic. While later soul falsetto specialists would bring more subtlety and nuance, Valli deserves massive credit for helping establish the high male voice as something that could be both commercially successful and artistically valid.

10. Maxwell’s Modern Classic ‘Ascension (Don’t Ever Wonder)’

Maxwell didn’t just revive the classic soul falsetto in the 1990s – he reinvented it for a new generation! His performance on ‘Ascension (Don’t Ever Wonder)’ knocked me sideways the first time I heard it in college. His falsetto combines the technical precision of Philip Bailey with the emotional vulnerability of Curtis Mayfield, creating something that feels both nostalgic and completely fresh.

I remember a heated debate with friends about whether modern artists could match the soul legends. This track settled the argument! Maxwell’s falsetto feels like it’s constantly in motion – sliding, soaring, and exploring emotional terrain rather than just hitting impressive notes.

What makes his approach special is how he integrates his falsetto with his natural voice, creating a seamless vocal performance where the technique never overshadows the feeling. When he flies into that otherworldly chorus, the falsetto feels earned – the perfect expression of the song’s theme of transcendence. Maxwell proved that falsetto wasn’t just a relic of soul’s golden age but a technique that could still sound revolutionary in modern R&B.

11. Ronald Isley’s Sensual ‘Between the Sheets’

Some falsettos make you think, but Ronald Isley’s on ‘Between the Sheets’ makes you feel things that probably shouldn’t be discussed in polite company! His approach to the upper register isn’t about technical showboating – it’s pure seduction from start to finish.

At a friend’s wedding reception, this song came on and I watched as the dance floor suddenly filled with couples moving way closer together. Isley’s falsetto has this intimate quality that feels like he’s singing directly into your ear. Unlike some of the more acrobatic falsetto specialists, he uses his upper register with remarkable restraint – deploying it at precisely the right moments for maximum impact.

What makes this performance so special is how conversational it feels. His falsetto phrases sound like whispered sweet nothings rather than practiced vocal techniques. When he slides up to those high notes on the chorus, there’s a smoothness that can’t be taught – it’s just pure soul mastery. No wonder this 1983 classic remains a staple of romantic playlists four decades later!

12. Aaron Hall’s Raw ‘Don’t Be Afraid’

Aaron Hall of Guy brought a whole new energy to the falsetto game with ‘Don’t Be Afraid’ – rougher, rawer, and dripping with unfiltered emotion. First hearing this track as a teenager in the early 90s, I was struck by how different his approach was from the smooth soul falsettos I knew from my parents’ records.

Hall’s falsetto has this urgent, almost desperate quality that perfectly matches the song’s theme of reassurance. Unlike the more polished soul falsetto traditions, his upper register feels wonderfully imperfect – sometimes cracking with emotion in ways that only increase its authenticity.

What makes his performance so compelling is how he combines that vulnerability with unmistakable confidence. The way he transitions between his chest voice and falsetto creates this emotional rollercoaster that defined the New Jack Swing era. When he hits those high notes on the bridge, you don’t just hear a technique – you hear a man laying his soul bare. Hall proved that falsetto could be masculine, street-credible, and emotionally raw all at once.

13. Donny Hathaway’s Soulful ‘The Ghetto’

Donny Hathaway’s falsetto on ‘The Ghetto’ isn’t about showing off – it’s about testifying! Unlike many singers who use falsetto primarily for romance, Hathaway employs his upper register to convey the complex emotions of urban life. I discovered this track in a music appreciation class, and it completely changed my understanding of what falsetto could express.

Hathaway doesn’t stay in falsetto throughout – instead, he uses it as an exclamation point, punctuating the groove with soulful cries that feel like spontaneous expressions rather than planned vocal runs. There’s something almost gospel-like about his approach, connecting soul music to its church roots.

What makes his falsetto special is its raw authenticity. When he lets loose with those high notes over the percolating rhythm, you’re hearing a direct channel to his emotional state. Hathaway’s falsetto isn’t about technical perfection – it’s about emotional truth. Those momentary falsetto flights on ‘The Ghetto’ communicate more about the Black urban experience than pages of sociological text ever could.

14. Barry White’s Surprising ‘I’m Gonna Love You Just A Little More Baby’

Wait, Barry White in a falsetto list? You bet! While famous for his deep bass voice, Barry occasionally surprised everyone by floating into a gorgeous falsetto that few realize he possessed. I nearly spilled my drink the first time I noticed him hitting those high notes on ‘I’m Gonna Love You Just A Little More Baby’!

What makes White’s falsetto so fascinating is the dramatic contrast with his speaking and singing voice. When that mountain of a voice suddenly ascends to falsetto height, the effect is stunning. Unlike dedicated falsetto specialists, White uses his upper register sparingly – making those moments all the more impactful.

The genius of his approach is how he uses falsetto not as the main event but as a secret weapon deployed at precisely the right emotional moment. When he slides up to those high notes between his romantic proclamations, it creates this beautiful vulnerability that balances his otherwise commanding presence. It’s proof that even the deepest voices in soul music understood the emotional power of occasionally reaching for the stars.

15. Sam Smith’s Throwback ‘Stay With Me’

Sam Smith proved that classic soul falsetto could still dominate modern charts with their heartbreaking performance on ‘Stay With Me.’ The first time I heard this on the radio, I had to pull my car over – their falsetto hit me with the same emotional force as the soul legends I grew up with!

Smith’s falsetto connects directly to the gospel-influenced soul tradition, particularly recalling the vulnerable upper register of singers like Al Green. There’s a beautiful imperfection to their approach – slight cracks and breaks that communicate genuine emotion rather than technical perfection.

What makes their falsetto so effective is how it embodies the song’s theme of emotional vulnerability. When Smith’s voice ascends on that plea of ‘won’t you stay with me,’ you hear not just notes but naked emotional need. In an era of heavily processed vocals, their relatively unadorned falsetto felt like a breath of fresh air – proof that the soul falsetto tradition remains vital and emotionally resonant for new generations. Smith’s success showed that authentic soul expression still connects deeply with modern audiences.