Well, I hear it quite plainly, and, it was admitted to in the booklet of their anthology CD set that I have. I don't know what you're listening to it on, but i'm hearing it on a good stereo system.
Little More Baby sounds like R and B to me, and "fresh". The subsequent singles were big string driven studio productions without the intriguing melody, designed to keep the streak alive, and sounded bloated to me. I'm sure a different aesthetic prevailed as soon as he realized he could make those things and sell them.
Nope. By this point, I was making money and buying albums. This was one of those albums. Congrats to all the new traffic lately. Maybe the 70s is the jumping on point for a lot of folks.
I don't know what to tell you guys that don't hear it. It's clearly there. Where? I'm not seeing it. As far as I see, I see the same old three or four of us posting.
I didn't say I don't hear it, I said I never noticed it. Does sound like the "f" word, though. StereoMan56 Drag Dog leshafunk These folks are relatively new, no? It's a baby step in the right direction.
I just got here and missed the golden age of human music, and have to settle for 1973 onward. I'm not happy. I would've loved to be here in the beginning. And I'm not getting the alerts.
Yeah, join the club.. The issue has already been addressed by Grant and all I can suggest is you follow his advice - scroll to the top and click on watched forums.
And after two hits in a row whose arrangements owed something to the Willie Mitchell/Al Green wing of "The Memphis Sound," here's one whose rhythmic arrangement was out of left field. Bum-bum-bum-BAM! in each bar. And matched perfectly what the song was about. On my copy, while the late Nimitr Sarikananda of Frankford/Wayne, as usual, cut the lacquers for this, the Atlantic master numbers were filled in within the deadwax by one of the mastering engineers for that label, George Piros (a name very familiar among Forumites due to his work not only there, but before that Fine Recording). Speaking of whom . . . it was also around this time that Atlantic put out the best-known (and ultimately, highly influential) hit of Manu Dibango's career viz the States, "Soul Makossa." And the lacquer on my copy of that (a bit higher on the bass end and a bit shaved off the high [treble] end compared to the original African 45 which I also have - the actual original French pressing, not the bootlegs that were circulated in this country before Atlantic snapped up the master), was cut by Mr. Piros (he and Dennis King, another Atlantic mastering engineer [he of the 'D.K.' initials] alternated cutting on this). The labels, as per usual in my collection viz Atlantic singles, are Specialty's:
One little thing I love about "golden" era Spinners are the interjections that Bobby and Phillippe add to their leads - like in "One of a Kind Love Affair", those "yes, sir" and "yes siree now" bits. Not to mention their phrasing, the spin (no pun intended) they put on certain words. Like in "I'll Be Around": "bow out gracefully - ee - ee". Just too good.
Nope. Taylor Swift is a real singer. The problem isn't with singers, but with the way music is produced today. The music is created and/or tweaked to the nines in a software program, then the singer is tweaked once for the best performance, then placed in various places within the song with Pro Tools or Cubase. Everything is calculated with mechanical precision, and there is no spontaneity.
And it does some singers no favors when you see them perform live and cringe at the flat or tuneless singing compared to what you hear on record.
Lol. I witnessed that and noticed the looks that were flitting across Stevie's face during that duet.
Also...the fact that Bobbie Smith and Phillipe Wynne sound exactly like each other. It was a long time before I caught on that there were two lead singers on "One Of A Kind Love Affair." And even longer when it hit me that this isn't a love song - the narrator's lady just left him, but the song sounds so happy that it doesn't really sink in.
Not to mention an artificiality that is utterly blatant in the way they're produced. But whoa, we're all going ahead at turbo speed here, aren't we?
That dichotomy seems to be what was mentioned by one poster about The Independents' "Leaving Me," no?
Isn't that up there with Chuck Berry's reaction to Yoko's bleating when she and John Lennon co-hosted The Mike Douglas Show for a week in '72?
It took me some practice to tell the two apart. Bobby is more smooth and steady and dips into a lower range, whereas Phillippe brings more fire and emotion.
I sense that the participants are bored with this era of R&B music. My guess is that some of them are younger and are more familiar with what comes later.
