Something’s you never get used to vocal

[Circa 1824]

One of Diana’s most thrilling vocals is on Somethings You Never Get Used To. It is overlooked by her bigger hits. I would love to see a video of her recording Somethings You Never …. That would be classic. I imagine it took a lot of energy to sing that song with all the drama she put into it. She was quite awesome during the Motown era.

[daviddh]

Great vocal
Song needs a remix but Diana rocks it

[Circa 1824]

From 0:30 Diana really kicks it up, and keeps on going.

I think the strange instrumental break in the song hurt it. Maybe another verse would have worked better ????

A&S could have come up with something better than that particular instrumental break.

[floyjoy678]

Agree circa. This is probably my favorite song of the DRATS period. Even more than Love Child which I also love. I love the build up throughout the song and Diana sounding more and more eager as it goes on. Ashford and Simpson sound great on backups and sound very Mary and Flo-ish which I think helps. I get why some people don't like it. It is a very frenetic sounding song but thats what I love about it.

[jobucats]

From 0:30 Diana really kicks it up, and keeps on going.

I think the strange instrumental break in the song hurt it. Maybe another verse would have worked better ????

A&S could have come up with something better than that particular instrumental break.

Wow...regarding the instrumental break. I consider the instrumental break to be one of the greatest and most brilliant of any of their recordings. Along with Diana's superior vocal interpretation, that break is my favorite part of the song. But, to each his own.
A side memory: I recall the first time I heard this was on Dick Clark's American Bandstand. For some reason, I believe that was the premier of the record to the public. I thought it was such a fresh and different recording. And I believe, this was the first single release of a non HDH production for the ladies since 1964.
My favorite vocal line, "Blindly I rush to touch your hand HUH!!!" She's really agitated, isn't she!

[Boogiedown]

OMG no wonder he left, the girl never shuts up ....lol!

That's why the break is so welcomed although too short

[Circa 1824]

“Now I’m trying to get out of the habit of calling your name first thing when I awake. Lookie here.”

[Boogiedown]

calling your name first thing when I awake

I rest my case

[Sotosound]

It's a far more sophisticated track than their previous singles and is perhaps better suited to being an album track as it lacks the kind of simplicity that one often associates with hit singles. There are possibly too many interesting musical changes for many singles buyers.

It starts in a different way, the instrumental break is unexpected but very uplifting [[I love it), the lyrics and the song in general are more like an intelligent and reflective conversation than just a pop song, and it's a million miles away from a lot of what DRATS had recorded before.

But we are talking about Ashford and Simpson, and they have a sophisticated but clear musical signature that stands out a mile, often prominently marked by Valerie Simpson's left hand on the piano. When you hear that you know that you're listening to a serious musician with a lot of musical ambition plus the vision and ability to match.

[Sotosound]

OMG no wonder he left, the girl never shuts up ....

That's why the break is so welcomed although too short

You might not like any Jim Steinman songs, then....

[milven]

Wow...regarding the instrumental break. I consider the instrumental break to be one of the greatest and most brilliant of any of their recordings. Along with Diana's superior vocal interpretation, that break is my favorite part of the song. But, to each his own.
A side memory: I recall the first time I heard this was on Dick Clark's American Bandstand. For some reason, I believe that was the premier of the record to the public. I thought it was such a fresh and different recording. And I believe, this was the first single release of a non HDH production for the ladies since 1964.
My favorite vocal line, "Blindly I rush to touch your hand HUH!!!" She's really agitated, isn't she!

I love the break too. In fact, I doubled the length of the break and used it as a ringtone for one of the contacts on my phone. Another favorite break of mine is on BE MY BABY by the Ronnettes

[marybrewster]

One thing interesting I've just noticed; I think this is one of the only Supremes singles, other than "Stop! In the Name of Love" that has a "cold open" and goes right into the song title. Every other [[maybe "Baby Love" is another exception, although it does start with "oooh") starts with that unmistakable Motown instrumental intro.

[Circa 1824]

Decades later, like today, I finally googled the lyrics of the second verse which cannot be understood by listening to the song.

“without the love that once was mine
Sometimes I think my heartaches come to an end.”

And

”blindly I rush”

maybe if those important lyrics could have easily been understood, the song might hv been a bigger hit. Perhaps that recording was rushed and quality control was a victim of circumstances.

[RanRan79]

It is definitely one of Diana's finest vocal performances during her time as a Supreme. The Funks kick butt on it as well. IMO one of the best songs from the DRATS era, period. However, I agree with Soto that it's a great album track, but I never hear it as single. Perhaps my opinion is biased by the knowledge of how poorly it performed, but I don't know that I would have voted for single release during a QC meeting. As fantastic of a song I think it is, it lacks a certain something that I can't quite place my finger on that would have given it hit potential. The fact that it did even worse on the R&B chart than it did on the pop gives some indication that the public really, really wasn't feeling this one. But it's become a fav of mine over the years.

[lucky2012]

I struggled with the lyrics, too. The song and record were a bit of a left turn for me in 1968, being the first non-HDH single. I learned to love it, though. It was sophisticated, mature and different. And who could not like/love Ashford & Simpson's work with Marvin & Tammi? Who knew this would be the harbinger of a great future in just two years?

[RanRan79]

Just checking out the chart history of the song, and I'm a bit surprised. So off the top of my head I knew the song hit 30 on the Hot 100 and 43 on the R&B. [[The group hadn't missed even the top 30 of the R&B chart since "A Breathtaking Guy" failed to chart back in 1963. Even "Run, Run, Run" barely missed the top 20 of the R&B chart!) However, on Cashbox's Top 100 and R&B chart "Somethings" were 22 and 26, respectively. In addition to that, on Record World's equivalent charts, the song was 21 and 17, respectively. I'm still confused on exactly how RW tabulated it's chartings. It's my understanding that Cashbox focused on sales, while Billboard focused on airplay, although both charts used both sales and airplay as determining data. Am I correct here? If so, it appears the public responded much better than radio did. But if that's the case, why? If the public wasn't as negative about the record as #30 and #43 might lead one to believe, why weren't DJs behind it? Or am I looking at this all wrong?

[RanRan79]

My favorite vocal line, "Blindly I rush to touch your hand HUH!!!" She's really agitated, isn't she!

And here I was all these years thinking it was "Blindly I rush to touch your hand...HOT...whoo!" I imagined her reaching out to touch this dude's hand and finding out that it was her imagination and she touched a hot stove and got burned. But I just played it, all set to correct you, but first wanting to make sure I'm 100 percent right, and I got my feelings hurt. Lol

Believe it or not, this knowledge takes some of the love away that I have for this song now.

[RanRan79]

One thing interesting I've just noticed; I think this is one of the only Supremes singles, other than "Stop! In the Name of Love" that has a "cold open" and goes right into the song title. Every other [[maybe "Baby Love" is another exception, although it does start with "oooh") starts with that unmistakable Motown instrumental intro.

Is "Stop" and "Somethings" true "cold opens" though? "Stop" begins with that organ[[?) and "Somethings" starts with that castanet sound. "Baby Love" is definitely not a cold open. That instrumental open is iconic [[along with Diana's "ooh") and IMO one of the best Motown intros.

[reese]

Is "Stop" and "Somethings" true "cold opens" though? "Stop" begins with that organ[[?) and "Somethings" starts with that castanet sound. "Baby Love" is definitely not a cold open. That instrumental open is iconic [[along with Diana's "ooh") and IMO one of the best Motown intros.

The only Supremes hits with cold opens are "Up the Ladder to the Roof," "Everybody's Got the Right to Love," and the single edit of "Stoned Love".

I think Marybrewster meant that singles like "Stop!" and "Some Things" actually have the title as the first line of the song.

[marybrewster]

The only Supremes hits with cold opens are "Up the Ladder to the Roof," "Everybody's Got the Right to Love," and the single edit of "Stoned Love".

I think Marybrewster meant that singles like "Stop!" and "Some Things" actually have the title as the first line of the song.

Yes, thank you for making sense of my madness. It punches right into the song title.

[jobucats]

I love the break too. In fact, I doubled the length of the break and used it as a ringtone for one of the contacts on my phone. Another favorite break of mine is on BE MY BABY by the Ronnettes

I love that idea of using that break for a ringtone. I've got to use that idea!

[jobucats]

And here I was all these years thinking it was "Blindly I rush to touch your hand...HOT...whoo!" I imagined her reaching out to touch this dude's hand and finding out that it was her imagination and she touched a hot stove and got burned. But I just played it, all set to correct you, but first wanting to make sure I'm 100 percent right, and I got my feelings hurt. Lol

Believe it or not, this knowledge takes some of the love away that I have for this song now.

I like the "Hot" that you heard. Works for me. Now I am going hear "hot" every time I listen to this song. Plus, I don't care if I am wrong; however, I still hear "See Berry on the hill" everytime I listen to the Supremes version of 'Lovers' Concerto.' Ha Ha

[reese]

I always liked "Some Things..." from the first time I heard it on their ANTHOLOGY album. There was that one line that I never understood "Sometimes I think my heartaches come to an end.” but it didn't lessen my enjoyment of the song.

My only complaint is that it is too short. But other A&S compositions from that era like "Ain't Nothing Like the Real Thing" and "Good Lovin' Ain't Easy to Come By" are short as well.

[sup_fan]

while i like the song and it's fun and highly spirited, it's a bit of a mess and all over the place. it's as if A&S grabbed every instrument from the supply closet and added it to the track. there is just no breathing room here and the lyrics aren't as tight or relatable as in other songs.

plus i just don't know that it's really different or unique enough to break through what was happening in summer 68. you had songs like Sittin on the Dock of the Bay, Harper Valley PTA, Mrs Robinson, Ain't Nothing Like the Real Thing.

looking at their other recordings at the time, maybe you could have gone with Beginning of the End of Love? there just isn't a ton of material that was high enough quality after the departure of HDH. Songs like Will This Be The Day, Discover Me and others just weren't done by late spring 68. they had started recording the duets with the Temps and something new, fresh and different like that would have been amazing at this time. but again, not ready for release yet

[Boogiedown]

while i like the song and it's fun and highly spirited, it's a bit of a mess and all over the place. it's as if A&S grabbed every instrument from the supply closet and added it to the track. there is just no breathing room here and the lyrics aren't as tight or relatable as in other songs.

plus i just don't know that it's really different or unique enough to break through what was happening in summer 68. you had songs like Sittin on the Dock of the Bay, Harper Valley PTA, Mrs Robinson, Ain't Nothing Like the Real Thing.

looking at their other recordings at the time, maybe you could have gone with Beginning of the End of Love? there just isn't a ton of material that was high enough quality after the departure of HDH. Songs like Will This Be The Day, Discover Me and others just weren't done by late spring 68. they had started recording the duets with the Temps and something new, fresh and different like that would have been amazing at this time. but again, not ready for release yet

I'm wondering what those "familiar sounds" he'd make that she got used to, were ? ...
.....farts???... burps?? .... both ??

Listening again, just realized what partly makes this lamenting sound like its going on a bit much.... a two and half minute song with nine lines starting with "and" .

Its certainly nothing terrible .... just a fun lively upbeat song .....being sung by someone who's emotionally incapacitated, on the edge, and possibly suicidal: Diana in her needy pre- "I will survive" days. ....

.... one of those times when some snappy castanets help...


Seriously though its not a bad record .... but then how do you go wrong with castanets ! [and I'm a sucker for harps.] Don't care for the back-up singers, the break is the highlight , imo, but sounds inserted and if removed to be used on its own , I think an even better song could've been built upon it.








Some things you never get used to
It's the same routine, of getting up every morning
And putting on a smile
But underneath, there's another person
Who can't find a reason to make living worthwhile

Oh, another day to get through
Without the love that once was mine
Sometimes, I think my heartaches come to an end
And then something brings them all back again

Like wanting you
And not having you
I'll never get used to

I've gotten used to not listenin' for familiar sounds
You used to make [[you used to make)
Now I'm trying to get out of the habit
Of calling your name first thing when I awake

Look a-here
It's like a child's first steps
I had to learn to walk all, all over again
'Cause you were always there
If I should fall
And now there's nobody else that I can call

It's like wanting you
And not having you
I'll never get used to

Lost in a crowd
I think I caught a glimpse of you
Blindly, I rushed
To touch your head, huh
To discover
It's my mind playing tricks on me again [[tricks on me again)

Some things you never get used to
Sometimes, I think my heartaches come to an end
And then something brings them all back again

Like wanting you [[wanting you)
And not having you
I'll never get used to

Baby, baby, it's wanting you [[wanting you)
And not having you
I'll never get used to

Look a-here, oh
I'm wanting you [[wanting you)
And not having you
I'll never get used to



Source: Musixmatch

[sup_fan]

just one minor edit to the lyrics.

i think the actual lyrics are:

Look a-here
It's like a child's first steps
I had to learn to walk on, all over again
'Cause you were always there
If I should fall

Another issue maybe is that it doesn't tell a story. maybe if there was more of an actual story arc rather than just being where she's at after the breakup?

also the chorus [[or what there is i guess of one) is very brief. "it's like wanting you and not having you. that i'll never get used to" the choruses of their big hits are longer and much more memorable. so even if you don't know all of the words to the verses, the chorus is a really strong hook. one you sing along with.

[sup_fan]

timing might also be a problem with the song. it come just a little over a month after MLK's assassination. the girls really didn't have any significant tv appearances for quite a while. they did the Tonight Show following the assassination and then Sullivan in early May prior to the release of Some Things. this was the Irving Berlin bday episode of Sullivan.

in June they were also over in Germany for a brief tour. and then to Vegas. so those aren't really places where teens and kids would go to see them and there wouldn't have been local radio promos or ads hyping up the appearance and the new tune.

the song was released 5/21/68. entered the charts just a couple weeks later on 6/8. that's early as most songs take about a month from release date to entering the charts. but it did just nothing on Billboard. 63-56-45-42-30-30-30. that's an even shorter chart run of only 7 week. here are songs that ran 8 weeks - Forever Came Today, Your heart belongs to me, Breathtaking Guy, Your wonderful Sweet sweet love

[Boogiedown]

you just gave me another thought.... what happened to the constant burper is never explained ..... did he leave.... did he die ?

In the midst of Vietnam this loud approach concerning a lost loved one, with the castanets, seems a bit off ....

[Spreadinglove21]

The lost in a Crowd part of the song is the best part of the song, for me.

I wonder if another reason why the song didn't too great on the charts was due to it being released shortly after the MLK assassination and then in early June RFK was shot and killed? This song is certainly not political, but the title may have hit a wrong note given what was going on in the US.

[captainjames]

I think it would be interesting to hear Valerie Simpson take on this song and what was going on for her and Nick to write and compose it. I always like hearing her take on the A & S songs. I am sure she had to express to Diana and The Supremes what she was goin fo on this song.

[jobucats]

Musically 'Some Things' is so fresh and innovative. Valerie really uses some unique chord progressions from "It's the same routine..." as the the song seems to go through a pseudo-modulation to another key. There is an abrupt key change during the instrumental break; then another abrupt key change ushering in "Lost in a crowd". Then there is another modulation leading back to the "Some things you never get used to" phrase. Also it is interesting in Valerie's use of synchopation in the instrumental part as Diana sings "Who can't find a reason to make living worthwhile." I would also love to hear Valerie analyze this song.

After thoughts: I am coming back to my own analysis of the music structure of the song, at least to my ears, to say that maybe the reason this song was not one of their 'hits' is that there was just too much going on in a short amount of time. It's a song that might have kept the listener on edge because it's so sporadic.

I used to think that the reason some of HDH's productions with the Four Tops were not as successful on the charts is because the songs were too different and 'ahead of their time.' Musically, songs such as "7 Rooms of Gloom" and "You Keep Running Away" and "Different World" were so, in my opinion, so much more sophisticated and eclectic than the Tops' other output at the time. As much as I love "You Keep Me Hangin' On", I also thought at the time, "Wow! That's a sound I didn't ever think I'd hear from the dainty, sweet Supremes."

Back to "Some Things," the Supremes, at that time without HDH to fall back on, needed something fresh sounding that was distinctive to their previous catalogue. I thought "Some Things" would have caught on; it didn't.

[RanRan79]

I still hear "See Berry on the hill" everytime I listen to the Supremes version of 'Lovers' Concerto.' Ha Ha

Now that's funny!

Due to my adolescent immaturity, when I acquired the 25th Anniversary set, I would make myself laugh by singing "It's all your fart". There are times now when I listen to "It's All Your Fault" [[one of my favorite Supremes songs ever) and I have to force myself to hear "Fault" and not "Fart".

[RanRan79]

Musically 'Some Things' is so fresh and innovative. Valerie really uses some unique chord progressions from "It's the same routine..." as the the song seems to go through a pseudo-modulation to another key. There is an abrupt key change during the instrumental break; then another abrupt key change ushering in "Lost in a crowd". Then there is another modulation leading back to the "Some things you never get used to" phrase. Also it is interesting in Valerie's use of synchopation in the instrumental part as Diana sings "Who can't find a reason to make living worthwhile." I would also love to hear Valerie analyze this song.

After thoughts: I am coming back to my own analysis of the music structure of the song, at least to my ears, to say that maybe the reason this song was not one of their 'hits' is that there was just too much going on in a short amount of time. It's a song that might have kept the listener on edge because it's so sporadic.

I used to think that the reason some of HDH's productions with the Four Tops were not as successful on the charts is because the songs were too different and 'ahead of their time.' Musically, songs such as "7 Rooms of Gloom" and "You Keep Running Away" and "Different World" were so, in my opinion, so much more sophisticated and eclectic than the Tops' other output at the time. As much as I love "You Keep Me Hangin' On", I also thought at the time, "Wow! That's a sound I didn't ever think I'd hear from the dainty, sweet Supremes."

Back to "Some Things," the Supremes, at that time without HDH to fall back on, needed something fresh sounding that was distinctive to their previous catalogue. I thought "Some Things" would have caught on; it didn't.

Truthfully, there really doesn't seem to be any rhyme or reason why songs hit and miss with the public. It's really hard to predict how well a song will do or won't do.

It was definitely a progression of sound for the group. "My World" took the group to a new level of sound, "Itchin", although about eight months old, still seemed to keep the feeling going, "Hurry", "Hangin", "Love Is Here", they all seemed to progress the group forward. I don't think "The Happening" was as progressive as those songs, but I don't think the song moved the group backwards either. "Reflections" was definitely a move ahead. "In and Out" took them a step back. "Forever Came Today" and "Somethings" were back to a really progressive "wow, this is new" sound, the songs just lacked a certain something that moved the public.

But Val and Nick's production comes across as though the label was really trying with DRATS, unlike when "The Composer" was chosen as a single later on.

[RanRan79]

Did anyone ever hear "Somethings You Never Get Used To" on the radio?

With everything going on with the song, the fast pace and all, it seems like this would have been a perfect choice for someone to cover in the disco era. Might have been interesting for Val and Nick to revisit the song with Diana during the disco era.

[johnjeb]

Of course, as a devoted fan, I loved every Supremes’ single at the time of release - up through “Reflections”, that is. Most of the singles in the DRATS error took some effort to fully appreciate, as the chart numbers indicate. Again, as a fan I loved them, but I was fully aware of the ambivalence of my peers to embrace some of these singles.

In hindsight, “Some Things…”, although enjoyable, is way down my list of favored singles or even album cuts.

I think the song title and opening are the biggest, maybe the only, problems with this record. I never liked the opening of this song. The loud castanets and the song title screamed at the beginning of the song are jarring. Signaling to anyone who didn’t care for the song to change the station quickly! [I feel the same about the opening to No Matter What Sign You Are.]

Starting the song with Diana singing would have been a more melodic and radio-friendly approach. Saving the castanets and song title chorus for the middle of the song, as it is currently placed, would have been a surprise rather than just a repetition of an unpleasant opening. I like the musical bridge. I have always wondered why this song has never received a dance mix.

The phrase “wanting you and not having you” is repeated several times during the song. This might have been a more appealing title. It is a more relatable feeling than the vague “some things you never get used to”.

Checking my Joel Whitburn charts and other references it seems that if a Supremes single didn’t make it to the teens by the third week it was dead in the water. [YKMHO hit #1 in its fourth week.] During the months FCT and “Some Things…” charted there were usually about 6-8 other Motown songs on the charts. A few made it to the lower half of the Top 10 for a week or two and then dropped fairly quickly. Interestingly, “Yester Love” by SR & The Miracles had similar chart numbers to “Some Things”, peaking at #31, compared to Some Things…” at #30. Fortunately, Motown would have an historic domination of the Hot 100 later this same year of 1968.

[brothadc]

just one minor edit to the lyrics.

i think the actual lyrics are:

Look a-here
It's like a child's first steps
I had to learn to walk on, all over again
'Cause you were always there
If I should fall

Another issue maybe is that it doesn't tell a story. maybe if there was more of an actual story arc rather than just being where she's at after the breakup?

also the chorus [[or what there is i guess of one) is very brief. "it's like wanting you and not having you. that i'll never get used to" the choruses of their big hits are longer and much more memorable. so even if you don't know all of the words to the verses, the chorus is a really strong hook. one you sing along with.

Nope, the lyrics from Musixmatch are correct, the lyrics are "... I had to learn to walk ALL, all over again...". Diana very clearly pronounces the "ll" in the first "all". That's one of the oldest lyric tricks in the book, to repeat a word for rhythmic or phrasing purposes.

[johnjeb]

Did anyone ever hear "Somethings You Never Get Used To" on the radio?

With everything going on with the song, the fast pace and all, it seems like this would have been a perfect choice for someone to cover in the disco era. Might have been interesting for Val and Nick to revisit the song with Diana during the disco era.

RanRan, you posted while I was typing my post. I also had always wondered why ST has never received a dance mix in all these years.

Yes, I heard ST on the radio. As a matter of fact, I was being driven home after having taken a Spanish final, in my first year of college. We both had flunked and were moaning about whether grades would be scaled [which they were]. In the midst of our anguish all of a sudden the DJ announced a new Supremes single, of which I had no knowledge, and he played it. [I read Billboard at the newsstand weekly and usually learned about a release before I heard it on the radio.]

As luck would have it we were about a half mile from my favorite record store. I asked my friend to pull over and let me out. She was perplexed since she had agreed to drive me to my home. I told her I had to buy the Supremes record we just heard. So, it was a "STOP THE CAR!" moment...lol. I assume the radio stations played the record in regular rotation, at least initially, but probably not as much as I played it at home.

[sup_fan]

i think the comparison between Some Things and Forever are fair. some concepts just don't work within the confines of 2 minutes and 45 seconds. some songs need to be part of a larger collection of tunes in order to grasp their appeal, being part of a cohesive album gives them their power.

during the mid 60s, artists and producers were starting to experiment with longer songs on an album. while we all seem to thing Forever and Some Things are good album tracks, maybe their real magic would have been being extended a bit on an lp, opened up more. playing around with different structures. and if you're not trying to wedge it all into 2:45, you have the ability to allow those creative ideas to grow.

[sup_fan]

there's also the need to stick with your brand. like with the early Sups records, many of them were decent songs. sure they're not #1s but i think you could argue that a song like Let Me Go The Right Way or Breathtaking Guy should have performed better than they did. if songs like Beechwood 4-5789, You Beat Me To the Punch, Strange I Know, Come And Get These Memories and others could make the Top 40, so should both of these Sups tunes.

but the songs just weren't the "supremes brand" as we would eventually learn with the songs, sound and style that emerged starting with WDOLG. maybe another artist might have had more success with some of these underperforming DRATS tunes. maybe they just weren't "supremes brand"

[Boogiedown]

I keep listening as this is a song I have zero memory of. I agree with Circa's original proposition that Diana does a great job with singing this. She has a way in her passion that elevates even the most drek of lyrics, which these aren't but are approaching such.
[all we know specifically of this ex-roommate or whoever that's torturing her to this point of obsession is her missing the special sounds he makes ]

I wonder why this song was stubbed to just two and a half minutes ? ... although as I've said, imo, even at this length , it seems like she makes a narrow point for way too long...[ and that's the last time I'll say that so as to not be accused of the same thing]

But why not at least construct a nicer intro ??
I don't understand the point of shouting shrilly: "Some things you never get USED TO !!!" & especially raising their voices at the end like that? clarification: that added emphasis is reserved for later in the song

johnjeb:

I think the song title and opening are the biggest, maybe the only, problems with this record. I never liked the opening of this song. The loud castanets and the song title screamed at the beginning of the song are jarring. Signaling to anyone who didn’t care for the song to change the station quickly! [I feel the same about the opening to No Matter What Sign You Are.]

That's exactly what I was thinking , as soon as I hear that opening line , I'd be changing the station.


Added point : If you're going to open a Diana Ross & the Supremes song by featuring some shouting by Diana Ross and The Supremes ....for crying out loud .... use the actual Supremes ....

[bradsupremes]

I'm not quite sure the lack of a story is the reason why the song didn't chart well. There are PLENTY of songs that came out in the 60s that lacked a story, a lot of dumb ones that did well on the charts. "Come Together," "Surfin' Bird," "Sugar, Sugar," "Yummy Yummy Yummy" are good examples. And I'm not even sure the title, song's tempo, or even Diana's delivery had anything to do with it either. Who knows why the public didn't grab onto the song? I ask the same with "I'm Still Waiting." Why was it a number one hit in the UK, but didn't even crack the top 40 here? I do think there are factors as to why a song doesn't chart higher. The fact "Some Things" had no promotion whatsoever on TV, their first single since "Where Did Our Love Go" not to be introduced/featured on a TV program, likely kept it from going higher than it would have. It was briefly in their live act in the summer of 1968 but they weren't doing any TV during the summer.

One thing that has always perplexed me is that song's chartings in the different trades. It went to #43 in Billboard's R&B chart, but went to #17 in Record World's R&B. That's a 26 spot difference - a huge one. Looking at the regional markets, the song actually did better than where it placed in Billboard. In most markets, it charted in the 20s, but places like LA [[KHJ) and Chicago [[WLS) it went to #18, #15 in Philadelphia [[WFIL), and actually went to #5 in Portland [[KISN). Regionally the song was at least getting some traction. So then why did Billboard have it be so much lower and seen as such a failure of a single?

[jim aka jtigre99]

Diana's vocals on Some Things is great but the song goes nowhere and really doesn't have a catchy hook to draw you in at all. If strong vocals were a reason to go high on the charts than "Remember Me" should have been #1. Stiil, I'm Still Waiting really stood out and at the time I thought it was the song on that album. The UK got that one right, just like how Stoned Love was #3 there but only managed to #7 here even though it was a big seller here.
I think if you look at what did sell for DRATS, you see Love Child, I'm Gonna Make You Love Me, Livin in Shame as opposed to those that didn't do as well-Somethings, The Composer, No Matter What Sign You Are and you can see a distinct difference. They were too frantic, the sound of the group seemed to changed a bit much, no instant hook to draw you in. The Composer, like Some things, seemed too frantic in its approach with nothing to draw you in. You can't say that about Sugar, Sugar or Yummy Yummy Yummy even if they were ridiculous, you could sing along with the nonsense which isn't something you could do with Some Things. Losing HDH and Florence along with Mary and Cindy not being featured really made their identity struggle for a bit on the charts. By 1970, both Diana and the Supremes had changed with Ashford & Simpson getting a hold on Diana and Frank Wilson revitalizing the Supremes.
Sorry, but Some Things was great album song but not so much as a single at the time.

[lucky2012]

Did anyone ever hear "Somethings You Never Get Used To" on the radio?

With everything going on with the song, the fast pace and all, it seems like this would have been a perfect choice for someone to cover in the disco era. Might have been interesting for Val and Nick to revisit the song with Diana during the disco era.

Ranran, Somethings was played on the Top 40 stations I listened to in LA. I did recall it reaching the Top Twenty here, too. It being so different, I didn't think it would go Top Ten. I think it was played as much as Forever. The Composer and No Matter What Sign were also played, but not as much. I even heard The Young Folks played in the summer of 1969 and the DJ commenting he thought it was a much better record than the last one [[No Matter).

Bradsupremes, The chart rankings really are puzzling. Sometimes I wonder about Billboard. I seem to agree with Cashbox most often.

[QUOTEbradsupremes
Senior Member

One thing that has always perplexed me is that song's chartings in the different trades. It went to #43 in Billboard's R&B chart, but went to #17 in Record World's R&B. That's a 26 spot difference - a huge one. Looking at the regional markets, the song actually did better than where it placed in Billboard. In most markets, it charted in the 20s, but places like LA [[KHJ) and Chicago [[WLS) it went to #18, #15 in Philadelphia [[WFIL), and actually went to #5 in Portland [[KISN). Regionally the song was at least getting some traction. So then why did Billboard have it be so much lower and seen as such a failure of a single?][/QUOTE]

[sup_fan]

brad you've mentioned other oddities like Auto Sunshine and how it charted very well in some cities but not others. and in randy's book, George's appendix with all the details on the sup and DR releases states that sometimes a song charts but at different times in different areas. maybe it's late to chart in City A but already high on a chart in City B. City A might eventually get a high ranking but because of the lack of timing and coordination, the overall national chart is dragged down

maybe it could also be a situation of inventory. if there are hiccups or challenges with the supply chain, it could mean that orders or re-orders of a record are negatively impacted. and if people can't buy the record, they might start to forget about it

[Spreadinglove21]

So what were the two songs just above Some Things the week it peaked on Billboard? And the two songs just directly below it? Be interesting to compare--did the others go higher? Or hit the same area as Some Things?

[bradsupremes]

So what were the two songs just above Some Things the week it peaked on Billboard? And the two songs just directly below it? Be interesting to compare--did the others go higher? Or hit the same area as Some Things?

"Some Things" stalled at #30 on Billboard for three weeks before it completely disappeared out of the Top 100.

Week 1 at #30 [[July 6, 1968)
#28 - "The Good, The Bad And The Ugly" - Hugo Montenegro
#29 - "Sky Pilot" - Eric Burdon & the Animals
#31 - "Yester Love" - Smokey Robinson & the Miracles
#32 - "Folsom Prison Blues" - Johnny Cash

"The Good, The Bad And The Ugly" peaked at #2, "Sky Pilot" peaked at #14, "Yester Love" peaked at #31, "Folsom Prison Blues" peaked at #32.

Week 2 at #30 [[July 13, 1968)
#28 - "Sky Pilot" - Eric Burdon & the Animals
#29 - "Classical Gas" - Mason Williams
#31 - "How'd We Ever Get This Way" - Andy Kim
#32 - "Folsom Prison Blues" - Johnny Cash

"Classical Gas" peaked at #2 and "How'd We Ever Get This Way" peaked at #21.

Week 3 at #30 [[July 20, 1968)
#28 - "I'm A Midnight Mover" - Wilson Pickett
#29 - "Mrs. Robinson" - Simon & Garfunkel
#31 - "D.W. Washburn" - The Monkees
#32 - "Folsom Prison Blues" - Johnny Cash

"I'm A Midnight Mover" peaked at #24 and "D.W. Washburn" peaked at #19.

By July 27, "Some Things" was completely out of the top 100. I'm assuming Motown yanked all promotion after week 3 when it looked like it wasn't going to move any further.

[Spreadinglove21]

"Some Things" stalled at #30 on Billboard for three weeks before it completely disappeared out of the Top 100.

Week 1 at #30 [[July 6, 1968)
#28 - "The Good, The Bad And The Ugly" - Hugo Montenegro
#29 - "Sky Pilot" - Eric Burdon & the Animals
#31 - "Yester Love" - Smokey Robinson & the Miracles
#32 - "Folsom Prison Blues" - Johnny Cash

"The Good, The Bad And The Ugly" peaked at #2, "Sky Pilot" peaked at #14, "Yester Love" peaked at #31, "Folsom Prison Blues" peaked at #32.

Week 2 at #30 [[July 13, 1968)
#28 - "Sky Pilot" - Eric Burdon & the Animals
#29 - "Classical Gas" - Mason Williams
#31 - "How'd We Ever Get This Way" - Andy Kim
#32 - "Folsom Prison Blues" - Johnny Cash

"Classical Gas" peaked at #2 and "How'd We Ever Get This Way" peaked at #21.

Week 3 at #30 [[July 20, 1968)
#28 - "I'm A Midnight Mover" - Wilson Pickett
#29 - "Mrs. Robinson" - Simon & Garfunkel
#31 - "D.W. Washburn" - The Monkees
#32 - "Folsom Prison Blues" - Johnny Cash

"I'm A Midnight Mover" peaked at #24 and "D.W. Washburn" peaked at #19.

By July 27, "Some Things" was completely out of the top 100. I'm assuming Motown yanked all promotion after week 3 when it looked like it wasn't going to move any further.

Thanks for the info. A few of them went on to become classics, including Folsom Prison Blues. Shows how eclectic the charts can be with such a variety of songs in various genres.

[Glenpwood]

I just want to point out that during the period being examined, the top 50 of the Billboard Hot 100 was compiled from sales only. This began the week Forever Came Today stalled at #28 and lasted until June 1973 when the chart went back to a sales/airplay mix. Oddly, it was that change that finally got Bad Weather onto the chart after bubbling under it for weeks on end. Any single between those two bookends your talking about sales not radio airplay. Hence this is why a lot of them peaked better in Cash Box or Record World.

I do remember in a book about KHJ Boss Radio one of the jocks had a quote saying "we played the last 16 Supremes singles so of course we're gonna play the new one" which is what I think got most of most of the drought singles like this exposed enough that folks at least bought them off the DRATS brand name alone. Speaking of that station, I noticed that STYNGUT at least got to #18 on their survey. The Composer stalled at #20 and NMWSYA managed #16. The only singles they skipped playing were the Temps collab The Weight and flipping Sign over to play The Young Folks.

[lucky2012]

I just want to point out that during the period being examined, the top 50 of the Billboard Hot 100 was compiled from sales only. This began the week Forever Came Today stalled at #28 and lasted until June 1973 when the chart went back to a sales/airplay mix. Oddly, it was that change that finally got Bad Weather onto the chart after bubbling under it for weeks on end. Any single between those two bookends your talking about sales not radio airplay. Hence this is why a lot of them peaked better in Cash Box or Record World.

I do remember in a book about KHJ Boss Radio one of the jocks had a quote saying "we played the last 16 Supremes singles so of course we're gonna play the new one" which is what I think got most of most of the drought singles like this exposed enough that folks at least bought them off the DRATS brand name alone. Speaking of that station, I noticed that STYNGUT at least got to #18 on their survey. The Composer stalled at #20 and NMWSYA managed #16. The only singles they skipped playing were the Temps collab The Weight and flipping Sign over to play The Young Folks.

Thanks for this info, Glenpwood. This confirms my memories of hearing the DRATS singles on the LA Top 40 stations, particularly KHJ Boss Radio, and my perception that they were all at least Top Twenty in LA. I was shocked to later discover the much lower chart positions they achieved on Billboard and other national charts. [They were indeed relative flops!] Do you know the KHJ chart position reached by Forever Came Today?
I do remember hearing The Young Folks once or twice on the radio but doubt it ever charted. Someday We'll Be Together was a very welcome #1 for this young Supremes fan.

[bradsupremes]

Thanks for this info, Glenpwood. This confirms my memories of hearing the DRATS singles on the LA Top 40 stations, particularly KHJ Boss Radio, and my perception that they were all at least Top Twenty in LA. I was shocked to later discover the much lower chart positions they achieved on Billboard and other national charts. [They were indeed relative flops!] Do you know the KHJ chart position reached by Forever Came Today?
I do remember hearing The Young Folks once or twice on the radio but doubt it ever charted. Someday We'll Be Together was a very welcome #1 for this young Supremes fan.

"Forever Came Today" went to #11 on KHJ.