I like "Shame, Shame, Shame." Hasn't anyone got an info on why those records sound so bad? I've got a few Moments albums that sound like they recorded in a tin can.
I've noticed about the All Platinum/Stang/Turbo setup, that although a few "major" label plants handled them over the years (RCA in 1967-68, Decca/MCA in 1971), not one of their albums or singles were pressed by Columbia. Heck, I don't even remember any of their album titles offered by Columbia House! (Or anything on Avco, for that matter.)
Also note that in the case of The Moments' "Love On A Two-Way Street," the only reason it sounded halfway decent was because of whatever EQ Bell Sound used on the mono. (I heard the stereo on 'CBS-FM, it sounded almost phase-shifty swishy.)
OK: I have one instrumental that I know at least one other thread participant likes besides me. Introducing, the new #1 Billboard R&B single: Express - B.T. Express March 8, 1975 One Week A word about the video: it was hard finding a decent-sounding 45 RPM single edit of the song, as just about all of them sound terrible. The album length versions all sound much better. I prefer the single edit.
I too have long enjoyed this number, and likewise prefer the 45 edit (this probably makes it three, unless I'm the one you're referring to). I seem to remember dancers moving to a version of this in a very early edition of Saturday Night Live on NBC.
Cool song. The intro reminds me of Fred & The New J.B.'s - (It's Not the Express) It's the J.B.'s Monaurail. And some parts sound like Kool & The Gang and that's not a bad thing.
Actually the New J.B.'s track was an "answer/response" to "Express" - and an example of just how slavishly James Brown and his enterprise were following trends by this point. But other than that analysis, same difference.
Yep, "Express" is my jam! I love every damn thing about it. The magnificent bass line, the badass horn section, the soaring strings, that cool as hell flute refrain, the vocal part ending with a resounding UHH! Funny thing, I didn't even know the tune until '79, when it was included in a grab bag of remainder 45s I got super cheap. We're barely in March and 1975 has already gone down as one of my favorite years ever for pop and R&B music.
The flute instrument would be part of several other 1975 hits by Smokey Robinson, Van McCoy & The Soul City Symphony, Herbie Mann, Syreeta, and The Blackbyrds. I'm not jumping ahead because i'm not mentioning the songs.
Next: Supernatural Thing-Pt. 1 - Ben E. King March 15, 1975 1wk @ #1. It was a huge hit in 1975, and I heard it back then, but it just didn't "hit" me until years later when I first got it on CD in the...90s! I finally bought the album about a decade ago, and it is excellent. This song was the state of R&B in the mid-70s, and it came from one of the greats. Who would have thought Ben E. King would have a second chance? Well, it happened for Neil Sedaka, so... Except for one collaboration in 1977, this was his last hurrah as a solo artist.
Singles like these are why the charts generally were uninteresting in the 70s - you had singles that basically came out of nowhere, it felt like the charts didn't represent the LP and we wouldn't see this again until... well, this decade.
A long way from Stand By Me, but this sure has a nice laid back groove. Perfect for drivin' around on a hot summer day checkin' out beautiful girls/women!
Co-produced by one of The Main Ingredient and their key arranger who also arranged this one. There also appeared to be an almost phase-shifty vibe to the record, which seems to fit the theme of this song - and which to untrained ears would sound like the whole thing was misaligned on tape machines. One of the writers is someone we'll likely be hearing from about a decade from this, per: (This was one of those "cusp" releases in Atlantic's canon; not long after this release, smaller rim print type was introduced along with the (\\`) bubble and "A Warner Communications Company" following it.) With this, Ben E. was one of a handful of artists to have recorded for both Atlantic and its Atco subsidiary. (Another was Bobby Darin; later on down the road, another group will have that distinction but I won't mention it here [unless I'm queried] because they weren't an R&B act.) As for me, I've certainly enjoyed this lo these many years; especially as the 45 edit of Part I. At least some lacquers were mastered by George Piros, a name familiar with many Forumites, with others cut by Dennis King, the other main mastering engineer at Atlantic.
If oldies stations were to play any Ben E. King today, it'd be "Supernatural Thing." Demographic changes have frozen out his earlier, classic hits.
Well, it's a matter of opinion why the charts were allegedly uninteresting. I, and everal of us, find the charts in the mid-70s exciting. In the case of "Supernatural Thing", the song fits right in with the rest of the album. It's one of my favorites.
My favorite Ben E. King song remains to be "Spanish Harlem". I was a baby, but I distinctly remember hearing it. Those vibes are unmistakable!
In light of the death last week of the "Queen of Soul," and with all due respect, my preference is to Aretha's version of that number. And it did deserve its turn at #1 on these charts back in late '71. As for Mr. King's other "early" hit, "Stand By Me," a few months from this John Lennon would issue a cover of that number as a single.
I've found that one of the great pleasures of getting older is the chance to show young folks how it's done, that you're not obsolete - so I take even more pleasure these days listening to Ben E. King's big comeback. He hadn't even been in the top 10 since 1962! Course he was only 36 at the time, so don't want to make him sound like a Gramps. Doesn't hurt that it's with a fantastic cut like "Supernatural Thang". Just a rock solid groove that lets Ben do his stuff. I had no idea Gwen Guthrie went back that early! Here's another hit of Ben's that Aretha took to the next level:
In singing in a higher register for "Supernatural Thing," Mr. King seemed to strain a bit on occasion. Yet he also proved he could "get down" with the best of 'em. I've certainly dug it lo these many years . . . "interplanetary, extraordinary" indeed. The conga track certainly percolates, for sure . . .
Oh yeah! This was a treat to hear on the radio back in 1970. Something about her piano intro with the kick drum that gets me. I hope the mono single mix makes it to a CD one of these days!
"Get down", or the variation "Git down"! I love that 70s Black slang! Say that today and you might meet with some hostility.
Catching up from the past couple of pages: I loved "Lady Marmalade" at the time. I didn't know what the French phrase was until a few years later when I took a semester of French in college, and thought to look it up. I still love hearing it on the 70's station or oldies radio, but I don't think I own a copy of it. (Of "Shame" didn't do much for me at the time; I like it a little better now. I didn't care too much for "Express" in '75. I played it today to remind me of it, and like it better now. "Supernatural Thing" didn't mean anything to me at the time--I didn't know who Ben E. King was, and that he was making a comeback. I like the backing to this, and his vocals are good, but the song itself isn't up my alley. JcS
And that would be a better way of hearing it; I'm sitting at my desk in the office, and it just didn't appeal too me too much today. JcS
