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both of these tunes were being finalized around the same time. the story goes that QC just insisted YCHL get the release first meanwhile HDH thought YKMHO was the hotter song
obviously both not only became huge hits but have endured as some of their best known songs
Love both songs and they certainly were worthy of release [as each reaching Pop #1 supports], but YKMHO gets the edge for me.
Don’t know if A Go Go was already planned, but YCHL fit the album concept better. I love both, alternating my favorite over time. YKMHO had the cutting edge in 1966, but both are true classics and hold up so well!
love both but YKMHO is one of my all time favorites
YCHL is a brilliant pop soul record. YKMHO is a brilliant pop rock soul record which has the edge for me.
Both are outstanding songs. I do wish Florence and Mary were mixed more prominently in the originally released version of YKMHO, like the Motown LP box set. Hearing them both with Diana makes the song more tuneful to my ears.
I agree. I prefer pretty much all of the other versions to the released single version which erased half of Mary and Flo's vocals [[which I believe I remember hearing Flo was pissed about). I really do love the #1's version the best though.Quote:
Originally Posted by rovereab
I love You Can't Hurry Love but I definitely listen to the other choice more.
YCHL is my all time favorite song, regardless of group or performer. I've made a playlist just of the different versions:
original mono
original stereo
unedited original stereo [[with the missing instrumental break, released on the reel to reel and i think on the Japan GH lp)
unedited alt vocal on L&F
the new EE remix
the alt mix w extended fade on The #1s
live on sullivan
live at Roostertail versions 1 and 2
live at The Copa
Phil Collins version lol
there might be a few more im forgetting. I know they sang it on the bootleg of Hollywood Bowl with cindy but i've not segmented that show by song/track. and of course it was in a few medleys like the one on Sullivan in the pink gowns, the final DMC medley on sullivan, that weird medley with the Temps.
what do people think about the edits made to the songs, especially YKMHO?
if i remember right, the cuts were 1) removing the backing vocals from the very beginning of the song 2) the extended middle section with the longer chorus 3) the edits of the backing vocals at the end and 4) the hard stop
with YCHL i think the only edit is the removal of the middle instrumental section
on both tracks, the backing vocals are mixed pretty far down in the track. especially on YCHL. I wonder if that was because this was the first one without Flo altogether. maybe they were worried the sound would be too different on an A-side single? sure they used the As on Stop! but that was in addition to M and F
For me, the various stereo mixes of YCHL aren't anywhere near as good as the mono single mix, whereas the two stereo mixes of YKMHO that I have are both gooduns, with no excessive reverb, and with the drums bang in the middle, which is where they should always be.
Sadly, apart from us Motown nerds, most record buyers wouldn't have noticed who the backing vocals were by. They would simply have decided whether or not they liked what they heard. They would, however, have recognised whether or not Diana Ross was out front.Quote:
Originally Posted by sup_fan
Regarding the edits, I suspect that HDH [[or Motown) got them right. An instrumental break in YCHL [[never heard it myself) would probably kill the energy of the track. [[HDH also figured this type of thing out regarding "Band Of Gold".) YKMHO is better with a fade IMHO, and the portion edited from the middle of the track could be viewed as needless repetition that would have risked making the track too long for some radio stations.
YMMV
once they released the #1 set, i'm surprised at just how much echo and reverb was on YCHL. if i were in the production booth, i think i would go for a happy medium between the two. i think the version on the #1 cd could use just a little reverb to give it a bit more life and make it ring more. but now listening to the original stereo version it's almost too much for me tooQuote:
Originally Posted by Sotosound
but between the mono and stereo original, i'm all for the stereo. for 1 reason, i do not like how the bass drops out of the second half of the intro, once Diana starts her vocals. and on the mono version the backing vocals of mary and marlene are almost nonexistent. at least on the stereo one you can sort of hear them on the choruses. but the oooo's on the verses are completely buried in with the orchestration on both versions
It's interesting how people have different preferences.
To my lugholes, Phil Collins based his version of YCHL on the stereo mix and I didn't like it as a result.
How do you feel about the Phil Collins version?
I think the backing vocals were mixed down because they were contemplating pushing Diana out solo in late '66 or preparing the public for "Diana Ross and the Supremes". It started with You Can't Hurry Love and continued until The Happening where they were mixed a bit louder. And I'm still not entirely convinced it's Mary and Marlene on backups lol. I've accepted they're the pair on Reflections but I've always been on the fence with it about for You Can't Hurry Love.
I find it a strange idea that Florence and Mary were given less volume because there were plans for Diana to go solo. At the time of all of these songs they were a group and that's what mattered. I don't recall Motown fading Eddie Kendricks out in the run up to him going solo.
i had hoped and hoped it was M and F on YCHL since that's my alltime fav. but given the dates and info in the EE booklet, it's definitely MarleneQuote:
Originally Posted by floyjoy678
in the Timelines section of the booklet, it says the girls were scheduled for a recording session on July 4. only D and M show up and they do What Becomes of the Broken Hearted. diana does her lead and then joins M and the two of them do the backing vocals. then on July 5, they're in the studio again but with marlene. they do Just A Little Misunderstanding, Slow Down, Come on and see me, misery makes it's home and then the text says "and others."
then if you go in the booklet into the track listing for the A go go album, they list out of the studio recording dates that are known. for You Can't Hurry Love it lists backing vocals recorded on July 5, 1966. so that means it's one of the "and others"
my guess is Andy and the team were trying to be subtle about this cuz they know us fans are crazy lol. to have blatantly listed YCHL in the timeline might have raised all sorts of fracas
YCHL is a really well thought out song for lead vs backing. the whole "momma" theme of the record is so memorable. the backing vocals are written to actually be the voice of momma. the chorus goes:
But momma said, you can't hurry love. No, you just have to wait. she said, love don't come easy. It's a game of give and take.
i've underlined the lyrics that only Diana sings. momma wouldn't necessarily refer to herself as "momma" nor would she say "she said." so Diana's role is the daughter and the backing vocals together become Momma.
it's a small touch but a brilliant way to divide the parts.
^^Excellent observation of how a certain thought out nuance in a song gives it the right flare.
and it gives importance to the supposed supremes presence beyond backing ooohs and ahhhhs.
He should have been charged with murderQuote:
Originally Posted by Sotosound
i can't take credit for identifying this. one of the Diana Ross books i got back in the day highlighted this and i was like "ah ha! that's right!"Quote:
Originally Posted by sup_fan
Best post I've read in a long time.Quote:
Originally Posted by florence
Made my day.
Many thanks.
lol i don't think Phil's remake is all that bad. it's so faithful to the original. it's better than others on YCHLQuote:
Originally Posted by Sotosound
For me it's You Can't Hurry Love all the way.
That doesn't mean I don't love You Keep Me Hangin' On - it'a brilliant song with it's hard rock edge to it but YCHL grabs you from the first chord, it bowls along at breakneck speed, is joyous, melodic and uplifting and has that feelgood factor, always makes me just glad to be alive.
Thankfully they didn't stick to the original take!
In the UK at release it was outsold by Baby Love, Where Did Our Love Go, Stoned Love, Reflections and Nathan Jones but since Downloading and Streaming it just smashes all the others.
It has been awarded a Platinum Certification for sales since 1994 alone - only Baby Love can come anywhere neari t but even that's less than two-thirds of its sales.
I agree with Quality Control's idea of releasing You Can't Hurry Love before You Keep Me Hangin' On. I don't feel the public was quite ready yet for our 'girls next door' to release such an aggressive, rockish production. H-D-H was quickly getting out of their predictable [[yet, very catchy) formula of writing and producing for the Tops and the Supremes around this time.
Of the two mentioned recordings, You Can't Hurry Love served as a segue piece bridging the previous HDH style with the more innovative productions that were to come.
Because I was introduced to the mono version back in the day, that version is my favorite. There's no discernible reverb in it making the lead and background voices sound as if they are in a room with you. The later versions, including the various stereo mixes, are good in that they tend to bring more 'light and atmosphere' to the songs. Even as a musician, I know those two adjectives are not really in my musical dictionary.
I like everything about "You Keep Me Hangin' On" especially that drum 'snap' just before Diana starts singing. Of course, this is probably in the top 5 of James Jamerson's bass accompaniments [[IMO). As others have stated, my favorite version was the one on that 4 [[or 5) set lp Motown collection.
I'm surprised by the amount of criticism regarding the audibleness of Flo and Mary on "Hangin". I've always thought they were integral to the sound -and popularity- of the record. The only singles during the Flo years where I felt the girls were essentially mixed "out of the group" is "My World" [[although, artistically speaking, I think it was a good decision") and the stereo version of "I Hear A Symphony". To me everything else, from "Where Did Our Love Go" [[minus Flo barely being audible) to "The Happening", sounds like the mixers thought being able to hear the backing vocals was important to the recording.
Flo specifically thanked HDH for You Keep Me Hangin On. Some have said it was almost a duet with Diana at one point in the song though I don’t really hear that.
Ranran it's not that they're not audible on it, the issue I have is half of their vocals were erased for the single version. They're mixed out in the first chorus and verse and the last verse at the end.Quote:
Originally Posted by RanRan79
And it isn't just a drum 'snap' as it changes to a roll. Brilliant stuff!Quote:
Originally Posted by jobucats
i think this is a talltale by Tony Turner. flo is not singing or duetting with Diana, that's a double tracked Diana. in the unedited version, there is considerably more background vocals though. m and f do their parts almost continuously throughout the entire track. the whole story about HDH not thinking diana was strong enough a vocalist and dubbing in Flo is just false.Quote:
Originally Posted by luke
as for her loving this song and pleased with HDH, that very well could be. i don't know which of their hits were Flo's favorite or what they thought of each. so she certainly could have really liked the new sound or the song. she might have also liked that the backing vocals were given more to do.
you're right about Symphony and My World, although as we've discussed My World seems to have been done for atmospheric purposes. but i'm not sure why they're do pulled back on Symphony. they're really pulled back on YCHL though. but with YKMHO, Love is here and Happening, the BG vocals are much more prominentQuote:
Originally Posted by RanRan79
true but if you listen to the entire unedited track, it becomes a bit overwhelming. supposedly HDH would have each of the key musicians play throughout the entire record. like the saxophone or something. but then during mixing, they'd pull things up or cut them out. but at least then they had all of this musical material to work with.Quote:
Originally Posted by floyjoy678
we hear the same thing with Smokey and the FJ tracks that were included on the Mary Wilson Anthology. or listen to the EE remix of Getting Ready For Love from the Baby it's Me set - those intro strings are amazing!!
of course this makes me want to hear the unedited track of all of the songs now!!!! lol