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I値l Set You Free ........ What an absolutely awesome lead vocal and backup. Ross sounds like Ross at the top of her game! That song brought the young me so much sheer joy. Thank you Diana!
Who did the backup vocals?
btw, Baby Bollox just uploaded his extended version of the song.
to my ear that's M and C on the background. and they're quite forward in the mix too. This is classic motown sound and the group is great. my only concern with it is by late 1968 [[this was recorded in Sept), would this really have been something new enough to get fans excited? Love Child was truly ground breaking so it was an obvious choice. but had there been no LC, i don't know if this really moves the group forward
That's exactly the thing that I feel derailed the albums after "Sing HDH"- the need to constantly record music that was groundbreaking or a newer sound than the last hit. I get it, don't get me wrong, the Supremes and Diana in particular, were in an echelon far apart from nearly everyone else on the planet besides the Beatles. They couldn't just record good music. Everything, EVERYTHING had to be better than the last thing. One reason why I enjoy many of the other Motown albums from the mid-to-lower level groups post '67. With them, they didn't have to craft cutting edge material constantly, so you got to hear some fundamentally good music. "I'll Set You Free" may have been considered a very good single for most anyone else, but not progressive enough at this point for a Supremes single.Quote:
Originally Posted by sup_fan
M & C were really rocking. I would love to hear an instrumental version with only the background vocals. Diana’s vocal were young and fresh. Her Midwestern accent is still heard. At some point in her solo career, maybe Lady Sings, her enunciation became less Michigan and more sophisticated.
Yeah this is one of the few songs that Mary and Cindy did the backgrounds that I like. Usually not a fan of their softer sound but it works on here and Sunny Boy. I do think this was single worthy.
Great song indeed! Just from my observations, the production is much grittier than many of the other songs on the album, and places Diana's voice much more upfront and devoid of much special vocal processing. It is interesting to clearly hear the background voices. My opinion is if this had been released as a single, those background vocals might have been placed further back in the mix as not to distract from Diana's lead vocal. Again, I love the background vocals of Mary and Cindy, however, musically and aurally the background phrases tend to distract one's attention from the lead lyrics.
i agree. because of the Supremes' status and because they HAD been leading the industry, they had to keep up with themselves and their own legacy.Quote:
Originally Posted by WaitingWatchingLookingForAChance
Imagine if HDH had NOT left motown. what if Berry gave them some or all of what they wanted. Then imagine what an entire HDH produced Reflections album might have offered up. they did a little over half of the released lp and i think Bah Bah [[frank wilson) and I'm gonna make it [[Dennis Lussier aka Deke) were done a la Reflections. maybe because they were trying to replicate what HDH for the album due to their slow down/departure
Always been a fan of I'll set you free. It's a rarity to hear just the 3 on a song during the late 60's. I'm not sure if it would have worked as single but it's definitely one the stand outs for me on the Love Child album. I still rather have I'll set you free as a single than "The Composer".
I'm probably making it up but I'm sure I've read that this song might have been considered for single release because so many worked on it and the song was given a lot of attention in late '68.
The Supremes' LOST AND FOUND booklet says as much.Quote:
Originally Posted by TYK1986
I agree. First of all, this is one of my all time fav DRATS cuts. I have been playing the hell out of it since 1994 when I first acquired it. Everything about it is great, IMO. But was it great enough for a single release? I don't think so. I think it would've needed a serious remixing of the track. It doesn't have that Motown punch that "Love Child" or even "Shame" has. Do more to the track and I think it had a chance to be a winner. As is, it's just an A+ album track.Quote:
Originally Posted by WaitingWatchingLookingForAChance
Thanks! I had a quick look afterwards in the booklet.Quote:
Originally Posted by reese
I think the vocals of Diana, Mary and Cindy are very good but the instrumental track seems off and even irritates me at some point. Agree that the song definitely needed some remixing if released as single.
M and C are on the Love Child lp version but the Andantes and backing as well
Yeah I was gonna say there are certain parts of the song where it sounds like the Andantes are mixed in there like the "wonderful" parts in the beginning.Quote:
Originally Posted by BayouMotownMan
There is a part where the song goes into a bridge with just Mary and Cindy singing the chorus and into an instrumental section. I always thought for some odd reason, the music track seems to slightly lose its cohesion. It seems as if the producer didn't quite know where to go musically to get to the next part where Diana comes back in. But when she does, it's as if everyone found their groove again. The musicians really start ramping up the energy level and even Mary and Cindy seemed to have been revitalized, "I'll Set You Free WOOO!" It's that "WOOOO!" that I love; just a bit ahead of the beat, but so full of pure joy and youthful fun.Quote:
Originally Posted by RanRan79
Yes, an A+ album track and those are the ones that sometimes become more enjoyable than the hits.
Great track.bettee than Composer or Shame.
Gets my vote
To my ears if the Andantes are not in the mix. No 3 part harmony only two parts threw out the song. Generally when the Andantes are present there's 3 part harmony in the background. Back in the day I tested my theory by recreating the backing vocals to this song with 2 parts. I really close the the original sound