And apart from dutiful wifey Lukia he Marv hasnt mattered in sixty years. LMAO
That was Berry Gordy and his "assembly line" mentality. I think they were turning them out [[especially albums), too fast in the sixties. Two, maybe three albums a yearj was a little too much. I remember in the late sixties it seems as if the Temptations had a new single every 2 months!
"I Hear a Symphony" is such a great masterpiece. With the exception of the "B" section [[or bridge) near the beginning of the song [["I'm lost in a world.....", the composition is structurally monotonous. This accounts for the lyrics being difficult to memorize [[as evidenced in the Mike Douglas live performance)...the same melody is being sung over and over but with different lyrics which don't really tell a story; however, just spouts out words of affection and love. HDH did make sure that the track modulated upwards in key to add intensity and interest to the song [[as sup_fan stated). Although, I can't imagine how this classic would have been any better, it still would be interesting, as sup_fan suggested, to experience some actual harmonies in the background vocals.
it is a very interesting song, from a structure perspective, within the supremes catalog. It's essentially 3 large verses. there's a bridge between verse 1 and 2 and then the modulations during 2 leads to 3. and you're right. there really isn't a story. more of a poem
Intro
You've given me a true love and ev'ry day I thank you love
For a feeling that's so new, so inviting, so exciting
Verse 1
Whenever you are near, I hear a symphony
A tender melody pulling me closer, closer to your arms
Then suddenly, oh, your lips are touching mine
A feeling so divine 'til I leave the past behind
[[leading into bridge) I'm lost in a world made for you and me
Verse 2
Whenever you are near I hear a symphony
play sweet and tenderly
Ev'ry time your lips meet mine my baby
Baby, baby, I feel a joy within
Don't let this feeling end
Let it go on and on and on now baby
Baby, baby, those tears that fill my eyes
I care not for myself but for those
Who've never felt the joy we've felt
Verse 3
Whenever you are near
I hear a symphony each time you speak to me
I hear a tender rhapsody of love, love
Baby, baby, as you stand up holding me
Whispering how much you care
A thousand violins fill the air now
Baby, baby, don't let this moment end
Keep standing close to me
Oh so close to me, baby, baby
[[ending) Baby, baby, I hear a symphony, a tender melody
Ah it goes on and on
i'd love the hear a version of Symphony with all of the music and instrument tracks unmuted. see what they might have pulled out at different points
for instance, there are the wonderful horn flourishes in verse 1 after the say I Hear A Symphony [[0:26) and again at 0:39. but then they don't appear later in the song
during verse 2 the piano is prominent
and during the live versions [[especially on TCB) the strings do these amazing runs during version 2.
https://www.youtube.com/watch?v=UmtvkBTTU2o
Same can be said about Reflections. I thought that song should've at least been #1 and if Mary and Marlene's voices were brought to the forefront in the version that was released, it would've been their 11th number one [[before Love Child and Someday).[/QUOTE]
That situation forced the listener to listen very careful to make out the background lyrics to the songs.
i agree that the backing vocals should have been higher on Reflections. especially on the chorus. the 3 part harmony is amazing on the track
This is what I call a "Bulldozer" song. Just what you described. A song that more or less repeats the same musical pattern with no deviations, no turns. Like a bulldozer, it just keeps rolling along, picking up a certain kind of momentum by sheer force. Chris Clark's "It Must Be Love" is another example.
I Hear a Symphony is just one of those chilling songs... HDH were at the heights of their songwriting powers with that one! Just like Michael Jackson used to say about "I'll Be There", I Hear a Symphony was the type of song that said "the Supremes are here to stay" even though they had already scored a bunch of hits before that. This type of song is what separated the Supremes from every other vocal group of the time.
I think "My World" really does work best with the backgrounds buried. It adds to the dark feel, as said previously. But I think most of the Flo singles have the background vocals perfectly audible and harmonizing. And there's a very important reason why the background mics are almost always turned down: because the backing vocals are not supposed to drown out or be on par with the lead vocal. There are times in various groups- including the Supremes- where the background mics were as loud as the lead and it could be a bit distracting or jarring. Lowering the backing mics is standard practice.
I agree that the backgrounds being low on "My World " works with the mood of the song, I do think they could have been turned up just a notch. After this, several of the songs had low backgrounds such as "You Can't Hurry Love" [[I wonder if this was done due to Flo allegedly not being there) and they were pretty low on "Love Is Here" too. Flo is quoted as to saying she was upset because the backgrounds were so low on "You Can't Hurry Love " but I think whoever quoted her mistook her for "You Keep Me Hanging On" which cuts about half of Mary and Flo's vocals out from what was originally recorded.
I've wondered that too about You Can't Hurry Love. according to the liner notes on A Go Go EE, the lead and background vocals were recorded on 7/5/66. on 7/4 M and D showed up to record and Flo didn't. They recorded What becomes of the broken hearted with D doing lead and then D and M doing background. I'm guessing that they had more songs lined up but simply decided to postpone the sessions until the next day when either 1) flo showed up or 2) they could get marlene in.
the notes state that on 7/5 they recorded YCHL with marlene
So i do wonder if they were a little nervous can kept the BG vocals low. but then again, they'd already added the A's to songs like Stop, the entire Xmas album and others. so i can't believe they were too scared of this.
as for YKMHO, i know that the BG vocals pretty much sing for the entire song. But that was also a common recording tactic - the producer would have someone perform the entire song and then only use the pieces as needed. like he might have a sax player do a solo for the entire song but then only use the performance on the bridge. I do think that the entire BG vocals on this song make it too much.
I thought they should have left in Mary and Flo's "set me free why don't ya babe"s at the end. I could understand muting them for the first chorus and verse. But muting them for the last verse and chorus again was a bit much. They were clearly trying to push Diana Ross, the solo star, on this one. In fact wasn't this potentially going to be the Supremes swan song?
I do think "Hurry"'s backing vocals are buried in the mix to possibly hide this difference in sound, but I don't think the background on "Love Is Here" is too low. To the contrary, I think Flo and Mary are integral parts of the entire production. The song doesn't work as well without their contribution. And "Hangin On" is one of the all time best examples of how fantastic Flo and Mary on the background of the singles. It's another one where I don't think the song would've worked as well without them.