"We're A Winner" (The Impressions)

Composer Curtis Mayfield's "We're A Winner" (released 1967, charted 1968) is one of the most positive songs in all of soul music.  That's why it's almost unfathomable today that many radio stations refused to play it; its message of empowerment was perceived as "too militant" by some in the wake of rioting in cities like Detroit and Newark.  (If you're familiar with his 1971 album Curtis/Live!, you'll recall that Mayfield addresses this in the middle of a live rendition of the song.)
But all it takes is listening to the track just once—I mean really listening, and it's evident that Mayfield was encouraging black Americans to keep on pushing against stereotypes and barriers, not against riot police.  In fact, it's implicit in the celebratory atmosphere of the track, which was recorded with a live audience at RCA Studios in Chicago, that it was time for victory, not violence.
In a 2013 article for Wax Poetics, journalist Michael Gonzales recounts a 1996 interview with Mayfield, in which he acknowledges the song was a turning point for him as a composer.
Said Mayfield, "That song came to me in a dream.  I ran down in the basement and put enough down that I would remember; that was one of the few times I knew I had a smash.  Maybe not a charted smash that would earn more money, but the lyrical content of equality and freedom needed for somebody to 'Say It Loud, I'm Black and I'm Proud.'  We needed to come from crying the blues to standing tall."
In addition to featuring some of Mayfield's best lyrics and one of his best melodies, the song has a rhythm track that's unstoppable.  Session drummer Billy Griffin sounds like he's coming right out of the speakers at you, especially on that instrumental break after the second chorus.  It's impossible not to move, clap, tap a toe, etc. to that groove.

"Keep On Pushing" (The Impressions)

"Keep On Pushing" (from the 1964 album of the same name) takes its cues from gospel and soul, walking that fine line between sacred and secular, musically, vocally, and thematically.  It was prolific songwriter Curtis Mayfield's first foray into addressing social issues—specifically, the Civil Rights movement—in a song.  But it wouldn't be his last.  Shining a light on societal and political topics became a hallmark of Mayfield's music for the rest of his life.
Few songs can match the spiritual positivity of this short track.  There's just something about that jazz waltz rhythm and the elemental falsetto harmonies of Mayfield, Sam Gooden, and Fred Cash that can brighten the cloudiest day.  
Also notable is Johnny Pate's horn arrangement: an understated fanfare that's as steadfast as it is inspirational.  Having the trombones double the bassline on the verses is an especially nice touch that gives the track just an extra dash of soul.  (Pate would continue to work with Mayfield in his solo career.  In fact, his arranging work is all over the Super Fly soundtrack.)