Lovin', Livin' And Givin'

[after you]

This 1978 psychedelic classic is something out of this world love it to the end of the world🖤🤍💙

[TomatoTom123]

A tune indeed


https://www.youtube.com/watch?v=qJE-K20IvdY

[Bluebrock]

This 1978 psychedelic classic is something out of this world love it to the end of the world🖤🤍💙

Never cared for it personally. It never really got going in my opinion.
So many mixes of it, but i have yet to hear a good one.

[nathanj06]

Always liked this one. Has a cool, mysterious feel to it. Good memories too.

[Ollie9]

I always thought it an ok song as in nothing that special.
Having said that, The Almighty Definitive Mix was for me a revelation. It breaths new life into the song, transforming it into a potential mega hit single. Even today it remains one of my very favourite Diana remixes.

[Bluebrock]

I always thought it an ok song as in nothing that special.
Having said that, The Almighty Definitive Mix was for me a revelation. It breaths new life into the song, transforming it into a potential mega hit single. Even today it remains one of my very favourite Diana remixes.

Not sure if i have heard that version. I shall check it out.

[jobucats]

I thought of it as just being OK. It appeared to me that the moving bass line and the rhythmic pattern of the percussion instruments didn't quite fit the tempo...awkward as if the song was a tad bit too fast. A tad would be about 3 bpm. I agree with nathan06 about the mysterious, almost hypnotic, feel to it.

[captainjames]

Always love all versions of the song but for some reason I just knew it was not going to hit.

[nomis]

Always loved this song the synth and bass sound great on loud speakers

[jim aka jtigre99]

I never did care for this song very much, it felt like a bland imitation of Donna Summer's I Feel Love. It just didn't move me like most of Ross' songs do. Fortunately, next year she came back with The Boss.

[Boogiedown]

Quiz::confused:

According to this song ,

what is Diana Ross' favorite instrument?

[Ollie9]

Quiz::confused:

According to this song ,

what is Diana Ross' favorite instrument?

Musical or anatomical?. :confused:

[Boogiedown]

Musical or anatomical?. :confused:


Oh dear! For this discussion, let's keep it musical.:eek:

[after you]

This song sounds nothing like I feel love ❤️ I prefer this better it’s got a futuristic feel to it I played it so many times

[JohnnyB]

Musical or anatomical?. :confused:

LOL - The Saxophone

[Bluebrock]

This song sounds nothing like I feel love ❤️ I prefer this better it’s got a futuristic feel to it I played it so many times

It reminds me a little of I feel love especially the introduction, but the record itself is nowhere near as memorable or iconic.

[kenneth]

This was one of the first songs where I learned there were different versions of the same song that were floating around. I remember buying the original soundtrack of “thank God it’s Friday“, and the song at that time and in the early pressings of the album is called “livin’, lovin’, givin’“. For some reason I had to exchange that album for another copy, I think it skipped on one side, and when I got the newer copy of the album the song had been re-titled to The name we all know it as, “Lovin’, Livin’ and Givin’“ and the track had been replaced with a fuller, longer and more lush mix. I went from not liking the song at all on the first album to really liking it a lot on the second one. I also realized that there were such things as alternate mixes of songs and you didn’t always know which one you were getting!

i’m just wondering if anyone else knew that album had changed its track inclusion for that one song. I don’t recall any of the other tracks being changed.

[Boogiedown]

This was one of the first songs where I learned there were different versions of the same song that were floating around. I remember buying the original soundtrack of “thank God it’s Friday“, and the song at that time and in the early pressings of the album is called “livin’, lovin’, givin’“. For some reason I had to exchange that album for another copy, I think it skipped on one side, and when I got the newer copy of the album the song had been re-titled to The name we all know it as, “Lovin’, Livin’ and Givin’“ and the track had been replaced with a fuller, longer and more lush mix. I went from not liking the song at all on the first album to really liking it a lot on the second one. I also realized that there were such things as alternate mixes of songs and you didn’t always know which one you were getting!

i’m just wondering if anyone else knew that album had changed its track inclusion for that one song. I don’t recall any of the other tracks being changed.


If there's any one Diana Ross song I'd most like to hear the backstory on THIS ONE IS IT! [help reese!] For starters why the bizarre title that's never sung as a phrase in the song, should've been SINCE YOU CAME.[you're right Kenneth they couldn't even get it right on the labeling and later changed it , but did it really matter]

When did Diana sing this? [sounds dug up]
Who Giorgio Morodered it? Perhaps him?

Did Casablanca advise Motown , "As a disco song for a disco album , this sucks!!!" and then they [who?] pulled it , stripped it and reinserted it??

How did Hal Davis feel about the Donna Summering of his work??

Compared to current diva, Donna Summer's home run contribution , was Diana mortified?

Reese !!!?:eek:

[sansradio]

The song title is sung at the fade. And the lyric is "since you came".

[Boogiedown]

ah thank you Sans , I'm in hurry this morning .....changed it . Is it sung by the back-up singers? And who are they ??

[copley]

Loved it from day one :)

[Atasteofhoney]

I love it as well. I wish it would be played out loud in a night club. I, for sure, would dance like there was no tomorrow.

[TheMotownManiac]

As an album track it’s perfectly fine, any more than that: it’s ridiculous. I cannot understand why they were putting out stuff like that that had no commercial chance whatsoever Of getting support from radio. I sure wish they had their shit together in the 70s like they did in the 60s, there were a lot of miss opportunities for the Supremes and diana ross and I don’t see any reason why it had to be that way except for laziness and perhaps lack of vision or talent or both or all three are all three and five other reasons no one has mentioned yet.

[PeaceNHarmony]

I, too, loved/love LLG. A dancer, to be sure. I think it was produced by Giorgio Moroder?

[sansradio]

I, too, loved/love LLG. A dancer, to be sure. I think it was produced by Giorgio Moroder?

Hal Davis.

[PeaceNHarmony]

Hal Davis.Interesting; it has a Moroder-ish sound.

[Boogiedown]

So [[[WHO]]] stripped it to the bone and remixed it ?? I'm sure Hal Davis did not do that to his own finished arrangement. My money is on Casablanca and Musicland Studios. VERY odd that no credit was given to whoever 'remixed ' it, which was the common practice, or a 'synthesizer by' credit somewhere along the way in reissues...

Sans, I cracked myself up by misstating the line as since you're gone ... I think that had that line instead been the actual sentiment , it alone improves the song double fold .....since you're gone I fell like living again , since you're gone I feel like etc...

It becomes a song of liberation... she could've gotten a jump on her beloved I WILL SURVIVE !lol!

[Boogiedown]

The original version as constructed by Hal Davis and Art Wright is not bad, it just wasn't disco enough for an album whose purpose was specifically that. Word on the street , or when club tested, it must've sunk like a rock so as to decide to go to all the trouble to pull it, reconstruct it, repress the record, and reshape it as nothing like originally designed .

Many disco songs got some pretty radical remixes in the hands of imaginative mixers like Walter Gibbons, but this one takes the cake. From a being sung while skipping to school type sound to euro disco!

Who did this one time treatment ever of a Motown song???


I still don't hear the title anywhere in the final synth version [?] , in the original I do once @ 1:48 Diana ends her line feel like lovin' with the word lovin',: then the two/three mystery back-ups sing livin' ,givin'.


https://www.youtube.com/watch?v=xK27jzYXBkc

best part between 2:12- 2:26 beautiful actually.

[144man]

This song sounds nothing like I feel love ❤️ I prefer this better it’s got a futuristic feel to it I played it so many times

When this came out, everyone I knew thought it sounded like "I Feel Love".

[144man]

Whenever I play this, I always play Thelma Houston's "Love Masterpiece" as well, as it's also from TGIF.

[daviddh]

Always loved this song and the new remix was great.
Motown released as a single then pulled it .it was like the left hand didn't know what the right hand was doing.
Hopefully one day before I retire we might get an expanded edition

[nomis]

I'm confused by the talk of mixes ! I have the version on the 1986 anthology cd which one is that ?

[sansradio]

I'm confused by the talk of mixes ! I have the version on the 1986 anthology cd which one is that ?

It's the same as on the Ross album, IIRC. Here's the original unedited mix, which is more or less the same as the one from Thank God It's Friday:


https://www.youtube.com/watch?v=1rp9WwlLjsc

[nomis]

It's the same as on the Ross album, IIRC. Here's the original unedited mix, which is more or less the same as the one from Thank God It's Friday:


https://www.youtube.com/watch?v=1rp9WwlLjsc

Thank you sansradio

[jim aka jtigre99]

It's the same as on the Ross album, IIRC. Here's the original unedited mix, which is more or less the same as the one from Thank God It's Friday:


https://www.youtube.com/watch?v=1rp9WwlLjsc
I prefer this version much more to the other I am familiar with. I thought it was a very pale imitation of I Feel Love. This version, the singing seems to shine through in the mix. I don't think it is single material, though, from someone who gave us the classic Love Hangover, but it is pleasant enough.

[kenneth]

When this came out, everyone I knew thought it sounded like "I Feel Love".

I agree. I think it definitely has a lot of influence from the earlier Donna Summer song. The opening sort of staccato background and the music during the break is very evocative of “I Feel Love.” In turn, Moroder and company were very influenced by Kraftwerk and you hear a lot of them in their output, especially “I Feel Love.”

[Boogiedown]

When this came out, everyone I knew thought it sounded like "I Feel Love".
This did not help Diana Ross' standing with the fickle disco devotees who were quick to drop you like a bad dollar if they sensed "a been there done that" quality to your release. [their unpredictable freshness is part of what made each of Donna Summer's outputs so successful, She sounded reinvented every time, and always with a sound ahead of the curve ]
Putting out something that sounded like something Donna Summer had already done made Diana look like she was chasing after her, trying to be like her, playing catch-up. The disco 'community' didn't like that , they already had their Donna Summer, who they worshiped . They wanted Diana to be Diana.
"we already did I FEEL LOVE last summer " was the general response to LLG.



kenneth:
I agree. I think it definitely has a lot of influence from the earlier Donna Summer song. The opening sort of staccato background and the music during the break is very evocative of “I Feel Love.” In turn, Moroder and company were very influenced by Kraftwerk and you hear a lot of them in their output, especially “I Feel Love.

I've always regarded I FEEL LOVE as a stand alone unprecedented musical revolution. What Kraftwerk song compares to it? I guess AUTOBAHN to a degree...others that are moreso?

[Sotosound]

Here is how a couple of very clever guys viewed disco in 1979.

https://www.youtube.com/watch?v=Vp-qVbQTMzw

[Boogiedown]

---To fuel the situation, once the actual intended original version of the song got quickly whisked away , all that was known was the 'Giorgio' I FEEL LOVE knock-off.
Adding to the almost entirely synth sound of it, was Diana's repeating of the word 'feel'... I feel like livin' again etc.... over and over .....as in I FEEL love and then the line, Since you came, seemed to have been influenced by Donna's habit of using 'come/cum' references in several of her songs . This added to the sense of this being a Donna Summer imitation.

It was quite surprising to learn decades later that the original composition of the song with these nuances was miles away from trying to sound like I FEEL LOVE and that Diana Ross had nothing to do with it being finalized to sound that way [?], and certainly not originally as she recorded it.

[144man]

As "I Feel Love" was supposed to represent music of the future on Donna Summer's album, logically it would have been neccessary to have that sound recaptured at a later date to make its prophetic nature come true.

[Boogiedown]

As "I Feel Love" was supposed to represent music of the future on Donna Summer's album, logically it would have been neccessary to have that sound recaptured at a later date to make its prophetic nature come true.

Exactly right and the disco/dance music of the last thirty five years has been almost entirely dominated by EDM ....electronic dance music first heard on the entirely synthesized sound of I FEEL LOVE .

I think Diana going techno would've been OK , had it not been so similar in feeling to I FEEL LOVE, although having said that , I'd say Gloria Gaynor was wise to steer clear of any semblance of Donna Summer imitating .

Exploring this sound of the future didn't have to mean winding up sounding as duplicating as this :


https://www.youtube.com/watch?v=YzjYKqdqp3o

i.e. with results like this:


https://www.youtube.com/watch?v=Ih40OWLrFqo

[kenneth]

@boogie,

I wouldn’t have been able to pick out a specific Kraftwerk song from memory that influenced the Donna Summer/ Giorgio Moroder track, but this interesting article points to one particular track and I think if it was sped up a little it could almost have been the backing track to “I feel love.“

https://pitchfork.com/features/article/song-from-the-future-the-story-of-donna-summer-and-giorgio-moroders-i-feel-love/


https://youtu.be/i_85fUIRlmU

[Levi Stubbs Tears]

If this song had come out straight after 'Love Hangover' I think it might be better regarded.

Diana chopped and changed between so many styles between 75 & 80, it was probably hard for anyone - especially record-buying kids - not already a fan - to latch on to her music.

[Boogiedown]

Thanks Kenneth!

Also mystifying why in the world did Motown submit a song to this disco project that was edited to 3:21 in length !? What DJ is going to play that?


https://www.youtube.com/watch?v=xK27jzYXBkc

Hal Davis certainly knew better having already created LOVE HANGOVER as well as DON'T LEAVE ME THIS WAY, both pressed in disco appropriate long 12" versions. I remain convinced Hal Davis wasn't aiming for a disco tune with this outing of LLG , and never designed it for THANK GOD ITS FRIDAY. Motown just grabbed what they had, and this was it.

[Boogiedown]

I don't know when this longer version was revealed? It wasn't available back then, but since it existed I'm surprised Motown didn't at least submit that longer running time for the soundtrack . But in this case it doesn't make the tune any more disco, it isn't longer because of a break or two in the middle, it just runs on longer with refrains and some 'ad lib' and the way it continues it more so calls attention to the fact it isn't quite disco. While it isn't unheard of, a saxophone solo is more associated with rock 'n roll. As for the ad libs , they sound inserted , and I'm not sure why they want Diana Ross mispronouncing "instrument" on there ??


https://www.youtube.com/watch?v=1rp9WwlLjsc

[nomis]

I don't know when this longer version was revealed? It wasn't available back then, but since it existed I'm surprised Motown didn't at least submit that longer running time for the soundtrack . But in this case it doesn't make the tune any more disco, it isn't longer because of a break or two in the middle, it just runs on longer with refrains and some 'ad lib' and the way it continues it more so calls attention to the fact it isn't quite disco. While it isn't unheard of, a saxophone solo is more associated with rock 'n roll. As for the ad libs , they sound inserted , and I'm not sure why they want Diana Ross mispronouncing "instrument" on there ??


https://www.youtube.com/watch?v=1rp9WwlLjsc

Boogie - this version was released on the 2001 Ross Motown Anthology cd

[Boogiedown]

Boogie - this version was released on the 2001 Ross Motown Anthology cd
Thank you Nomis .... are there liner notes with this anthology? Anything new divulged about LLG? Was this full rendition artificially created/updated or is it pressed as found in the vault??


-----

We haven't even mentioned the original drumming on this song. Classic disco's rudiment has a constant four on the floor driving beat, and despite being prominent , its presence isn't featured . It is mostly assisted by the tiss tiss of the high hat, and rarely are crashing cymbals heard.
LOVIN' is far from that formula with stop and go drumming with lots of rolls and and an over abundance of cymbal crashes :


https://www.youtube.com/watch?v=xK27jzYXBkc

This drumming has more of a galloping quality and I have no idea why every time Diana sings "feel" and "came" it requires an accompanying cymbol crash?

[nomis]

Boogie I don't think the cd booklet gave details but that Is the original mix from the vaults from what I understand

[Ollie9]

Boogie - this version was released on the 2001 Ross Motown Anthology cd

I think this version nice enough if a little tame. The song was screaming out for hot remix. The Almighty remix is the ultimate for me.

[Bluebrock]

I think this version nice enough if a little tame. The song was screaming out for hot remix. The Almighty remix is the ultimate for me.

I still haven't got around to listening to that version.

[Ollie9]

I still haven't got around to listening to that version.

On You Tube it’s the Almighty Definitive Mix. They have added everything but the kitchen sink lol. I love it.

[kenneth]

Boogie I don't think the cd booklet gave details but that Is the original mix from the vaults from what I understand

I think from the length of the track and the sound of it, it seems like the original version from the first issues of the soundtrack album. Also if the video is to be trusted, the album pictured has the wrong title on the cover, as did the initial pressings of the album, though it has the correct title on the reproduction of the record label itself. But I remember the second version being somewhat longer than the first, so I tend to think this mix is the one that appeared on the first issues of the album.

[thommg]

Almighty Definitive Mix -
https://youtu.be/WgD7gcCFrm8

[Boogiedown]

Almighty Definitive Mix -
https://youtu.be/WgD7gcCFrm8

interesting but not as arresting for me as you Ollie. Maybe if I were as high as a kite on the dance floor ... all that swirling, phasing synth stuff....lol! Missed opportunity imo, Almighty could've tapped into the original and brought in some of all that was dumped on the mysterious redo. That saxophone for instance . Especially when she says "play it now " @ 4:31 but nothing comes of it. Lots of tiss tiss high hat added though !!


https://www.youtube.com/watch?v=WgD7gcCFrm8

There's a plodding along [the only word I can come up with] sound to the tune that just doesn't do it for me . Its not wrong ...just a matter of what one finds appealing ...:)

[Bluebrock]

On You Tube it’s the Almighty Definitive Mix. They have added everything but the kitchen sink lol. I love it.

I have just taken a listen, and i have to agree with your summary.
It does take the song to new heights. I always found it to be a very average song at best. None of the previous mixes have awoken me from my slumber, but finally i am hearing a glimpse of why some people actually rate this song.
I still don't think it to be anything special, but finally i am hearing a decent version of an indifferent song.
Thank you Ollie.

[Ollie9]

I have just taken a listen, and i have to agree with your summary.
It does take the song to new heights. I always found it to be a very average song at best. None of the previous mixes have awoken me from my slumber, but finally i am hearing a glimpse of why some people actually rate this song.
I still don't think it to be anything special, but finally i am hearing a decent version of an indifferent song.
Thank you Ollie.

I’m pleased you like it as well. This really is the only remix of the song i enjoy.

[Ollie9]

O
interesting but not as arresting for me as you Ollie. Maybe if I were as high as a kite on the dance floor ... all that swirling, phasing synth stuff....lol!

There's a plodding along [the only word I can come up with] sound to the tune that just doesn't do it for me . Its not wrong ...just a matter of what one finds appealing ...:)

I compare the remix to an exciting train ride. If you do ever find yourself on a dance floor, high as a kite with this remix blasting out of the speakers stop what your doing and just listen. It takes me to a different place every time. :D

[Boogiedown]

O

I compare the remix to an exciting train ride. If you do ever find yourself on a dance floor, high as a kite with this remix blasting out of the speakers stop what your doing and just listen. It takes me to a different place every time. :D


Did someone mention a train ride?--well let's GET ON THE FUNK TRAIN , released by Giorgio Moroder at the same time in '77 as LLG /THANK GOD ITS FRIDAY:


https://www.youtube.com/watch?v=AsJ5bxEN8Gg

Oh Ollie, The Almighty mix is quite well done , I enjoyed it in the car. I concur its an improved version. Disappointing ending though , probably could've ended cold on an up note, at the 6:30 mark.

[Ollie9]

Did someone mention a train ride?--well let's GET ON THE FUNK TRAIN , released by Giorgio Moroder at the same time in '77 as LLG /THANK GOD ITS FRIDAY:


https://www.youtube.com/watch?v=AsJ5bxEN8Gg

Oh Ollie, The Almighty mix is quite well done , I enjoyed it in the car. I concur its an improved version. Disappointing ending though , probably could've ended cold on an up note, at the 6:30 mark.

“Funk Train” sounds a solid disco classic. I wish i had been old enough to boogie on down to this one.
The Almighty mix of “LLG” is an electro synth masterpiece. Would have gone at least top 20 had it been the original single release. It’s everything the song could/should have been.

[Bluebrock]

“Funk Train” sounds a solid disco classic. I wish i had been old enough to boogie on down to this one.
The Almighty mix of “LLG” is an electro synth masterpiece. Would have gone at least top 20 had it been the original single release. It’s everything the song could/should have been.
Sadly the Almighty Mix was created around 40 years too late!

[Ollie9]

Sadly the Almighty Mix was created around 40 years too late!

30 years to late, though I think it a problem that could have been worked around. ;)

[Boogiedown]

30 years to late, though I think it a problem that could have been worked around. ;)

I don't think Moroder or [[?) put a whole lot of effort in their synthing of LLG. Why would they? They certainly weren't out to create something to upstage Donna. If Motown wanted to try , that was on them, Casablanca had their own roster to put work into.

I'm still betting it was the Musicland studio that did this redo. Where would Motown have gotten the synth set -up to do this .....once in their history?

It sounds like the Moroder team pulled an all-nighter just to make LLG more acceptable for the project and nothing more . The Almighty mix offers the evidence that with a bit of studio wizardry, something better could've been achieved.

Moroder was hit and miss. He had some stinkers.

This Donna Summer synth tune was also on the TGIF soundtrack and it was an overall club flop too:


https://www.youtube.com/watch?v=ze4xu6GfVuw

[Deepdishus2001]

I won a promo copy of the We Love Diana Ross Remix Collection from Almighty Records in a contest that they were having at the time of its release. Still play the collection to this day. I used the third CD bonus mega mix of all the tracks for the drudgery of the tread mill to keep me going. Lol I then collected all the other various Almighty collections that had different remixes and/or edits of the various tracks including the full versions of the remixes that they did for Love Child and You Keep Me Hangin’ On for the No. 1s collection. I also believe they did a remix of Stoned Love. Still hoping, probably hopelessly at this point, that it will receive an official release from Universal.

I was so happy that they did a remix of I Thought It Took a Little Time. When Gloria Estefan released her dance album Gloria! in the 90s, one of the maxi CD single releases for one of the tracks included a bonus medley of 70s disco hits and she included I Thought in it. It was surprising and wonderful to here.

[Boogiedown]

I think from the length of the track and the sound of it, it seems like the original version from the first issues of the soundtrack album. Also if the video is to be trusted, the album pictured has the wrong title on the cover, as did the initial pressings of the album, though it has the correct title on the reproduction of the record label itself. But I remember the second version being somewhat longer than the first, so I tend to think this mix is the one that appeared on the first issues of the album.

Regarding this original version and its longer 4:48 length:

Kenneth the liner notes of the Motown Anthology from 2003 that Nomis referenced states :
"Previously unreleased unedited original mix
[edited version was originally issued on the first pressings of the soundtrack album THANK GOD ITS FRIDAY."

THANK GOD ITS FRIDAY [afaik] always listed the song as being 3:30 in length [the edited shorter version of the original], even after they inserted the Giorgio remix which was longer. Apparently they, Casablanca, were willing to change the actual record's pressing to accommodate the Giorgio/synth version , but not willing to reprint all the packaging to reflect the change.

Very cool that this full length Hal Davis original , the saxophoned version, [as I'll call it] emerged after 25 years of suppression!


https://www.youtube.com/watch?v=1rp9WwlLjsc&t=10s

[144man]

^^^ Wish i'd heard that version first. Love it!

[Boogiedown]

So ...... first we have the 3:21 version as created by Hal Davis/Art Wright that got stuck on the original pressings of THANK GOD ITS FRIDAY:


https://www.youtube.com/watch?v=xK27jzYXBkc

They quickly took that version off of the soundtrack and that version was buried .....forever.

But in 2001, on the Diana Ross Motown Anthology , surfaced a surprise --- a longer version [4:50] of this original forgotten version appeared:


https://www.youtube.com/watch?v=1rp9WwlLjsc

these two versions are exactly identical until the 3:07 mark, then on the 4:50 version Diana actually sings for the only time in the song, its title: lovin', livin', givin', [what a significant part of the song to have oddly edited out of the released 3:21 version!!] Diana repeats it and then she comments on the guitar and then introduces her favorite inta-mint, the saxophone ...which is followed by an odd blast of noise ---???--- Diana growling like a sax , a sax blaring? both?? - Then we get a full minute of the saxophone prominently joining in.... as opposed to the briefer more recessed inclusion of a sax at the end the 3:21 version.

So that's a summation of the original intended Hal Davis version.

Then we have what appears to be two versions of the redone synthed 'Giorgio' version... first for the THANK GOD ITS FRIDAY package, replacing the brief original , and next a follow-up remix of it ...which I haven't sorted out the differences of these two yet .....

[sup_fan]

copied from Wikipedia

Detailed info on track "Lovin', Livin' and Givin'"
The version of "Lovin', Livin' and Givin'" in the 1978 American musical disco comedy film Thank God It's Friday is almost an instrumental used as a background for dialogue.

The different versions of the song are as following:

1. On the LP Ross [[1978) and later as a B-side on the 12" "The Boss" [[1979) – 5:10 [[with its own disco break).
2. On the MCA re-issue I'm Coming Out and on the CD Anthology from 1986 [[the 5:10 version edited to 3:30 with a progressive synthesizer intro but without the disco break).
3. On the European 7" and the US movie soundtrack [[4:40 with a 50-second disco break different from the album version break). This version is the one available on the CD Thank God It's Friday [[on both the single CD edition and the 2-CD set).
4. On the 1983 double LP Anthology [[4:00, same as #3 without the progressive synth intro).
5. On the original Thank God It's Friday European LP [[3:15, with a different arrangement, less synth).
6. On the CD The Motown Anthology [[same as #5 but longer, 4:40). This one is usually referred to as the film mix, which it isn't. The mostly instrumental version heard in the film would in fact be #7.

[Boogiedown]

copied from Wikipedia

Detailed info on track "Lovin', Livin' and Givin'"
The version of "Lovin', Livin' and Givin'" in the 1978 American musical disco comedy film Thank God It's Friday is almost an instrumental used as a background for dialogue.

The different versions of the song are as following:

1. On the LP Ross [[1978) and later as a B-side on the 12" "The Boss" [[1979) – 5:10 [[with its own disco break).
2. On the MCA re-issue I'm Coming Out and on the CD Anthology from 1986 [[the 5:10 version edited to 3:30 with a progressive synthesizer intro but without the disco break).
3. On the European 7" and the US movie soundtrack [[4:40 with a 50-second disco break different from the album version break). This version is the one available on the CD Thank God It's Friday [[on both the single CD edition and the 2-CD set).
4. On the 1983 double LP Anthology [[4:00, same as #3 without the progressive synth intro).
5. On the original Thank God It's Friday European LP [[3:15, with a different arrangement, less synth).
6. On the CD The Motown Anthology [[same as #5 but longer, 4:40). This one is usually referred to as the film mix, which it isn't. The mostly instrumental version heard in the film would in fact be #7.


Those breakdowns from wiki are helpful. I'm going to listen to those Giorgio synth versions to learn what their actual differences are sound/content wise. Right off I disagree with the assertion that the original Hal Davis creation had "less synth"... I would say it has NO synth , at least as I hear it ...[?]

[TheMotownManiac]

I’m pleased you like it as well. This really is the only remix of the song i enjoy.


I have to second that emotion, Ollie9…… This track has always left me limp and the sweet Lord knows I wanted to love it. Now I almost do, or maybe even I do, but either way, it’s not a whole lot better so Thank YOU!

[Ollie9]

I have to second that emotion, Ollie9…… This track has always left me limp and the sweet Lord knows I wanted to love it. Now I almost do, or maybe even I do, but either way, it’s not a whole lot better so Thank YOU!

Your more then welcome. Almighty take a rather unspectacular, nothing special little disco number and transform it into something fresh, new and exciting. My fave Almighty mix by far.

[144man]

Maybe they should have given it to Thelma Houston, and let Diana sing "Love Masterpiece".

[Boogiedown]

Maybe they should have given it to Thelma Houston, and let Diana sing "Love Masterpiece".

Ha HA ! Do we really want to get started on that one as well.

I have a feeling Hal Davis had Diana and Thelma booked to march in to the studio one right after the other. Same terrible drummer. Except instead of those repetitive crashing cymbals whenever Diana sang came and feel, this time for Thelma it was the word love lol!!!


https://www.youtube.com/watch?v=ld1UqPRDKPg

[Boogiedown]

Both LOVE MASTERPIECE and LLG were songs that were stragglers , the results of half-hearted sessions with Hal Davis that were apparently abandoned... [imo]... and then dredged out for submission for this project when product was needed. [imo]

LOVE MASTERPIECE was not released as an American single ....not even as the movie TGIF was in the theaters as a tie-in when opportunity for possible success was at its best.
No 12" version or special pressings were provided to disco clubs.

And the tune never found its way onto a Thelma Houston LP.

[Bluebrock]

Both LOVE MASTERPIECE and LLG were songs that were stragglers , the results of half-hearted sessions with Hal Davis that were apparently abandoned... [imo]... and then dredged out for submission for this project when product was needed. [imo]

LOVE MASTERPIECE was not released as an American single ....not even as the movie TGIF was in the theaters as a tie-in when opportunity for possible success was at its best.
No 12" version or special pressings were provided to disco clubs.

And the tune never found its way onto a Thelma Houston LP.

A version of it was included on a soulmusic.com 4 albums on a 2 cd reissue a few years ago.

[Boogiedown]

I guess fifty years late is not quite never! :p

Still the point being made is , Motown saw such little value in this recording that it didn't warrant a spot on Thelma's current LP releases at the time. It, like the original version of LLG was OK for the silly soundtrack for a silly movie and little more . Use them there and poof gone !

...
and

just as curious were Motown's decisions regarding The Commodores' involvement with TGIF ....

[Ollie9]

I guess fifty years late is not quite never! :p

Still the point being made is , Motown saw such little value in this recording that it didn't warrant a spot on Thelma's current LP releases at the time. It, like the original version of LLG was OK for the silly soundtrack for a silly movie and nothing more . Use them there and poof gone !

...
and

just as interesting were Motown's decisions regarding was The Commodores' involvement with TGIF ....

I seem to Remember “Lovin, Livin And Givin” being well promoted in the music press.

[Boogiedown]

The reinvented Giorgio synthed remix , yes...

[Ollie9]

The reinvented Giorgio synthed remix , yes...

Sorry Boog, just realised you were referring to the original version. I don’t think that version was worthy of doing much with to be quite honest.

[Boogiedown]

Sorry Boog, just realised you were referring to the original version. I don’t think that version was worthy of doing much with to be quite honest.

No sorry needed Ollie, and thanks for backing up what I'm asserting!
Those original versions were not worthy of doing much with ..... exactly.... and exactly the way Motown felt about them .

What is still curious to me is why both of those songs, LOVE MASTERPIECE and LLG were given titles ftom lyrics that you have to dig deep into the songs to find ??

Thelma's should have been called, YOU'VE GOT ME HYPNOTIZED BY YOUR LOVE or IT'S SO WONDERFUL

Diana's should have been called SINCE YOU CAME or I FEEL LIKE LOVIN' AGAIN .

Anyone care to try explain why the rare lyric lines were the title choices ? :confused:

[lucky2012]

Diana's should have been called SINCE YOU CAME or I FEEL LIKE LOVIN' AGAIN .

Anyone care to try explain why the rare lyric lines were the title choices ? :confused:

I've always titled the song Since You Came on my Ross playlists. I like I Feel Like Lovin' Again even if it is similar [[or maybe because it is similar) to I Feel Love.

[Boogiedown]

I've always titled the song Since You Came on my Ross playlists. I like I Feel Like Lovin' Again even if it is similar [[or maybe because it is similar) to I Feel Love.
:cool::)


OK lets continue :p:

IT'S SO WONDERFUL [aka for some reason , LOVE MASTERPIECE] was submitted to the TGIF ST with a 4:01 length . Stingy for disco play , DJs prefer about 5 minutes minimum.

Just recently realized by me , there was a French 45 pressing of the song as an extended version of 6:01. Two full minutes missing from TGIF. Very curious !!
Most of the song is the same ... changes two/thirds in where
this longer version contains the songs best part, where Thelma is allowed to vamp and do her classic note holding when she sings woonderfuuuuuuul.

The song becomes even less disco , all that drumming and the back up singers squawking , sounding perhaps too theatrical, crazy piano work, but a whole lot more fun, including a sudden ending with the piano wind up.

Very nice and a shame those that bought TGIF weren't treated to it.


TGIF version:


https://www.youtube.com/watch?v=_o87kApKB0w

French 45 version:


https://www.youtube.com/watch?v=mGHop3yd5LA


.... who ??? extended it for this French pressing .....or, who??? shortened it for the TGIF pressing?

[Boogiedown]

and continuing with more! :p:


Hal Davis had a command of disco.

He brought that to both Diana Ross and Thelma Houston with LOVE HANGOVER and DON'T LEAVE ME THIS WAY, giving them both #1 disco songs.

Hal just as well knew how to not do disco, as he did with both SINCE YOU CAME [LLG] and IT'S SO WONDERFUL [LOVE MASTERPIECE].

Disco records by and large have a tempo , Beats Per Minute of from 115 to 135.
LOVE HANGOVER'S BPM was 117 , DON'T LEAVE ME THIS WAY was 120 BPMs.
Sometimes they can be even slower, LOVE TO LOVE YOU BABY is 97, but 70's disco was never above 140 bpms [as an exception: Ami Stewart's KNOCK ON WOOD: 140 BPM]. Just surveyed discomusic.com's top 500 disco songs list which shows bpms for each of the 500, with the seventies tunes all being under 140 [except less than a handful @140, all in 1979] . Later, the High Energy branch of disco music in the eighties, sped the BPMs up a bit,
but in 1977 no disco hits were of that speed.
LLG was ultra fast at 140BPM and LOVE MASTERPIECE was a whopping 148. They are the two fastest cuts on the THANK GOD soundtrack.

Donna Summer's LAST DANCE is 120 BPM as is The Commodores TOO HOT TO TROT


I have a theory as to why Hal Davis did this.

[Bluebrock]

Considering it is widely regarded as such a mediocre song this thread is certainly proving to be rather popular.
It often turns out to be the case that we spend more time discussing mediocre songs as we do classic songs, and i for one appreciate the diversity of these threads.

[TheMotownManiac]

considering it is widely regarded as such a mediocre song this thread is certainly proving to be rather popular.
It often turns out to be the case that we spend more time discussing mediocre songs as we do classic songs, and i for one appreciate the diversity of these threads.

lol ❤️����������

[daviddh]

Love it and the Almighty version is the best

[Boogiedown]

And so we continue to delve into this mysterious release that is so beloved in the Diana Ross repertoire.:p

How did SINCE YOU CAME [LLG] and ITS SO WONDERFUL [LOVE MASTERPIECE] find their way to the TGIF ST?? Neither are stellar disco tunes tailor made for a movie specifically about 'disco'.

In reading about TGIF apparently Motown had pitched an interest to Columbia about producing such a movie , but it somehow got granted to Casablanca instead , with a stipulation of Motown involvement.

At one level I imagine Neil Bogart had concerns about Diana Ross out performing the movie's star attraction: Donna Summer. But on the other hand [the more powerful one] Neil recognized the potential sales power that a hit from Ross could add to the project. Her name on the LP jacket alone would guarantee additional sales.

Somehow once it wasn't their baby , Motown seems to have lost interest. They were having a series of less than stellar movie releases, and it seems all eyes went to making THE WIZ a success.....especially as it meant maintaining their main star, Diana Ross.

Did they go into the studio with Diana Ross or Thelma Houston to record with TGIF in mind??
For reasons already mentioned , it seems unlikely. Even the song material itself is not addressing the theme at hand ...shouldn't the songs have been created to fit into the story line [[admittedly as thin as it was]. Taking a cue from The Bee Gees...at least material about clubbing , dancing, partying .... neither Thelma's nor Diana's address this theme...iow, it doesn't seem either were written specifically for the film.

Both tunes being from Hal Davis also strikes me as odd. Did Motown call him in and say '"Hey Hal we need a couple of songs for the TGIF soundtrack , put a couple together and haul in Diana and Thelma to record them."
Did he then parade the two ladies into the studio for sessions in which each would record a single song for TGIF. That strikes me as highly unlikely. Possible though, but not with these two songs, or these two people, I would submit.

[JLoveLamar]

interesting but not as arresting for me as you Ollie. Maybe if I were as high as a kite on the dance floor ... all that swirling, phasing synth stuff....lol!

I'm HOLLERING! You mean high on life?? Hahahhahahaha

[daviddh]

For years ,Diana had recorded and had hits with mostly love songs.
Love hangover, was the first song Diana recorded out of her usual genre.
Lovin' living giving also was another musical move that moved Diana into main stream music and widened her appeal. The boss and Diana albums were a few years away.
Loved this track

[Boogiedown]

I'm HOLLERING! You mean high on life?? Hahahhahahaha
hmmmm , something like that :ohee hee


https://www.youtube.com/watch?v=JKAJZvN1haM

[after you]

Could some one post the other version of this song , Do you like the other version called livin lovin and givin ??? I like both

[Boogiedown]

after you:


. I remember buying the original soundtrack of “thank God it’s Friday“, and the song at that time and in the early pressings of the album is called “livin’, lovin’, givin’“. .

Yes so invested were the two labels in this contribution to the soundtrack that neither noticed they'd mucked up the title in the initial pressing.

Hmmm, maybe this in part aided in the dialogue to redo the entire thing.

[after you]

I understand they are two different versions