The Controllers
The Controllers are an American soul and R&B vocal group originally from Fairfield (near Birmingham), Alabama, best known for their smooth ballads and high-energy stage performances during the 1970s and 1980s.
The group began in high school as an eight-member gospel ensemble. By the time they entered junior high, the lineup was reduced to a quartet: Reginald McArthur (baritone lead), Ricky Lewis (tenor lead), Larry McArthur, and LeNard Brown.
Guided by Cleveland Eaton, the group—then known as The Soul Controllers—recorded their first regional hit, "Right On Brother, Right On," while still in high school.
The Juana Records Era (1976–1982): In 1976, they signed with Frederick Knight’s Juana label. Their 1977 debut album, In Control, featured the eight-minute ballad "Somebody's Gotta Win, Somebody's Gotta Lose," which peaked at No. 8 on the Billboard R&B chart. The track "Heaven Is Only One Step Away" reached No. 37 on the R&B charts.
The MCA and Capitol Years (1983–1989): Under manager Jimmy Bee, the group signed with MCA Records in 1983. Their first MCA single, "Crushed," featured Stevie Wonder on harmonica and reached No. 30 on the R&B charts. Their 1986 single "Stay" became their most successful chart entry, reaching No. 12 on the R&B charts.
In 1989, they moved to Capitol Records for the album Just In Time, which featured the moderate hit "Temporary Lovers". After a mid-90s hiatus, the group signed with Malaco Records in 1997, releasing the album Clear View.
he group's founding baritone lead, Reginald McArthur, died on April 19, 2018, at the age of 63. Members LeNard Brown and Reginald McArthur co-hosted the syndicated radio/talk show Inside the Juke Joint.
As of 2026, the group remains a legendary part of the soul music landscape, having achieved 18 Billboard charted records and five Soul Train Awards. In 2025, Tao Soprano joined the group's lineup.
Next In Line
Written-By – F. Knight
4:54
A2 We Don't
Written-By – J. Shamwell, T. Tate
4:55
A3 If Tears Were Pennies
Written-By – D. Camon
5:55
A4 I Can't Turn The Boogie Loose
Written-By – F. Knight, M. Ward
3:56
B1 Gunning For Love
Written-By – F. Knight, M. Ward, W. Thomas
4:30
B2 Ankle Chain
Written-By – F. Knight
3:55
B3 I Don't Know
Written-By – J. Shamwell, T. Tate
4:06
B4 Hurt Again By Love
Written-By – F. Knight, L. Addison, T. Armstrong
4:52
Label: Juana – 200,005
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul, Funk
Style: Seventies Soul, Disco
Released in 1979 under Juana Records and produced by Frederick Knight, Next In Line is often celebrated as a quintessential Southern soul and disco-funk record that showcases the group's vocal versatility.
The album maintains a high standing among soul enthusiasts, holding average ratings between 3.67 and 4.67 out of 5 across various Discogs listings.
Reviews highlight the group's "easy to sing" melodies and clear phrasing, making it a favorite for listeners who appreciate traditional soul harmonies.
It successfully balances late-'70s disco energy with the raw, emotional "stinging" soul typical of the Malaco/Juana label sound.
The album is noted for its consistency, with fans stating that "pretty much every track is good". Standout moments include:
"Let Me Entertain You": A high-energy disco-funk track known for its driving drum breaks and Frederick Knight's crisp production.
"If Tears Were Pennies": A showcase of the group's smoother, ballad-oriented soul capabilities.
"We Don't": Another fan favorite that reinforces the album's strong groove-heavy foundation.
The album is appreciated for its authentic 70s soul sound and, in some releases, includes longer running times for certain tracks.
Stay
Producer – Galen Senogles, Ralph Benatar
Written-By – G. Fuqua, M. Gaye, S. Greene
4:47
A2 Stay
Engineer [Assistant] – Toni Greene
Engineer [Remix] – Taavi Mote
Producer – Barry Eastmond
Remix – Louil Silas Jr.
Written-By – B. Eastmond, V.J. Smith
5:43
A3 So Glad
Producer – Barry Eastmond
Written-By – B. Eastmond, V.J. Smith
5:04
A4 Bad Bad Jama
Producer – Barry Eastmond
Written-By – B. Eastmond, V.J. Smith
4:48
B1 My Secret Fantasy
Producer – Galen Senogles, Ralph Benatar
Written-By – G. Senogles, K. Pinto, R. Benatar
4:36
B2 Break Out The Love
Producer – Barry Eastmond
Written-By – B. Eastmond, J. Skinner
4:50
B3 Deeper In Love
Producer – Barry Eastmond
Written-By – B. Eastmond, V.J. Smith
4:20
B4 Got A Thang
Producer – Barry Eastmond
Written By – K. Keys
Written-By – B. Eastmond, R.A. Brown
5:11
Label: MCA Records – MCA-5681
Format: Vinyl, LP, Album
Country: US
Released: 1986
Genre:R&B Soul
Style: Eighties Soul, Funk, Disco
The Controllers' 1986 album Stay is an 80s R&B/soul collection showcasing the group's smooth harmonies across electro-funk grooves like the title track "Stay," romantic mid-tempo jams such as "My Secret Fantasy," and soulful ballads, making it their most successful R&B album, peaking at #25 on the Black Albums chart with hit singles "Distant Lover" and "Stay".
Critics and listeners generally view the album as a solid representation of the "Minneapolis Sound" and 80s contemporary R&B. Produced by Barry J. Eastmond in collaboration with Galen Senogles and Ralph Benatar.
Reviewers frequently praise the group's lush, sentimental harmonies, which provide a coherent feel across varying styles. The album is noted for its "stupid fresh" and "best ever" use of the Roland TR-808 drum machine, specifically on the title track.
While some critics find parts of the album "highly generic" or "overstaying its welcome" due to weaker obligatory ballads, it is widely considered a "classic" for fans of 80s funk and soul.
Key Tracks:-
"Stay": The standout hit, praised for its electro-funk flavor and "awesome tune" status.
"Got a Thang": Highlighted as an excellent upbeat funk track.
"Break Out the Love" & "My Secret Fantasy": Romantic mid-tempo tracks that showcase the era's signature production details.
"Distant Lover": Noted as a significant track from the 1986 release.
In essence, Stay captured The Controllers at their commercial peak, delivering a polished R&B sound that resonated with 80s soul fans, even if it occasionally leaned into generic territory.