[REMOVE ADS]




Results 1 to 20 of 20
  1. #1
    Join Date
    Mar 2012
    Posts
    4,679
    Rep Power
    308

    About Aretha's UNTIL YOU COME BACK TO ME

    I've almost decided that UNTIL YOU COME BACK TO ME [[THAT'S WHAT I'M GONNA DO) is my all-time top favorite song by Aretha Franklin. I find her breezy delivery a wonderful exercise of restraint. She sails through it so seemingly effortlessly.
    I knew the song was written by Stevie Wonder , but I was under the impression he'd freshly written it for her at the time. I didn't realize he'd recorded it himself a full six years earlier but the song was shelved and never saw the light of day.
    Which begs the question, how did it lay dormant all those years only to eventually wind up in the hands of Aretha Franklin? Does anyone know how that came to be?

    Stevie's version was revealed on his LOOKING BACK LP four years after Aretha's #3 version that was recorded in 1973:



    I'm hearing it for the first time tonight and I'm finding it terrific, and all the moreso as a 1967 recording.
    Last edited by Boogiedown; 09-20-2018 at 03:56 AM.

  2. #2
    Join Date
    Aug 2010
    Posts
    2,749
    Rep Power
    211
    Quote Originally Posted by Boogiedown View Post
    I've almost decided that UNTIL YOU COME BACK TO ME [[THAT'S WHAT I'M GONNA DO) is my all-time top favorite song by Aretha Franklin. I find her breezy delivery a wonderful exercise of restraint. She sails through it so seemingly effortlessly.
    I knew the song was written by Stevie Wonder , but I was under the impression he'd freshly written it for her at the time. I didn't realize he'd recorded it himself a full six years earlier but the song was shelved and never saw the light of day.
    Which begs the question, how did it lay dormant all those years only to eventually wind up in the hands of Aretha Franklin? Does anyone know how that came to be?

    Stevie's version was revealed on his LOOKING BACK LP four years after Aretha's #3 version that was recorded in 1973:



    I'm hearing it for the first time tonight and I'm finding it terrific, and all the moreso as a 1967 recording.
    From Don't Forget The Motor City on the Stevie version:
    Recorded Hitsville-GW, completed 04-Apr-67 ; produced by Clarence Paul

    30-Nov-77; LP [[M): Motown M804LP3 Looking Back
    30-Jul-92; CD: Motown 530 047 2 Essential [UK]
    12-Oct-05; MP3: UMC Digital Release The Complete Stevie Wonder

    Written by Wonder, Paul and Morris Broadnax, it's a further example of the 'lesser' producers, such as Clarence Paul, not being able to get their product out [[also see All I Do Is Think About You, by Tammi Terrell, also from the Wonder-Paul-Broadnax writing team)

  3. #3
    Join Date
    Aug 2010
    Posts
    9,279
    Rep Power
    519

  4. #4
    Join Date
    Aug 2010
    Posts
    2,661
    Rep Power
    241
    I love both Stevie's and Aretha's recordings of this great song. Like soulwally I do wonder how it came to be recorded by Aretha.

    Also, I don't think anyone could improve on Tammi's version All I Do, but I wonder what Aretha might have done with this song.

  5. #5
    Join Date
    Apr 2015
    Posts
    1,281
    Rep Power
    168
    Quote Originally Posted by rovereab View Post
    I love both Stevie's and Aretha's recordings of this great song. Like soulwally I do wonder how it came to be recorded by Aretha.

    Also, I don't think anyone could improve on Tammi's version All I Do, but I wonder what Aretha might have done with this song.
    The following text is from the entry for Aretha's "Until You Come Back to Me", from Billboard's Book of #1 R&B Hits:

    Both were both raised in the Motor City; both blossomed young—he first recorded at age 11, she at 14—and both came to play towering roles in popular music, defining the form as much as reflecting it.

    Stevie Wonder and Aretha Franklin shared an eventful year in 1973. His ground-breaking album Innervisions was released then, just days before he nearly died in an auto accident; her bold experiment with producer Quincy Jones, Hey Now Hey [[The Other Side Of The Sky), was greeted with the lowest chart position of any of her Atlantic albums to date, just as her contract with the label was expiring.

    The song that was to connect the two artists was cut by Wonder in 1967. "First, I recorded it on Ste*vie," explains Clarence Paul, the Motown A&R stal*wart who helped develop the youngster's talent [see 24—"Blowin' in the Wind"]. He says co-author Morrris Broadnax may have played it to Aretha Franklin around that time. "Later, four or five years later, Ste*vie played it for her."

    Wonder wrote the melody of the song's chorus, according to Paul. "He would always start [compositions] and get almost through with them, then leave them alone," he says. 'Then I put a bridge in it, and did some of the lyrics; a lot of the lyrics were written by Morris. I did the structures and everything—what*ever was missing, I put in." Broadnax, Wonder, and Paul had previously collaborated; one of their hits was the Contours' "Just a Little Misunderstanding."

    Aretha Franklin taped her interpretation of "Until You Come Back to Me" on September 7, 1973. It was the one song she recorded that Friday in Atlantic's Manhattan studios, setting a melancholy mood with the piano introduction. The rest of the track featured the usual top-notch musicians, including Hugh McCracken on guitar, Donny Hathaway on electric piano, Richard Tee on organ, Chuck Rainey on bass, Bernard Purdie on drums, and Ken Bichel on synthesizer. Background vocalists were Ann Clark, Pat Smith, and Margaret Branch.

    Later, co-producer Arif Mardin overdubbed strings, horns, and Joe Farrell's flute solo. "I had a lot to do with that record," Mardin observes, "from Cornell's guitar hooks to the orchestral arrangement—of which I'm really proud. The harmonic structure of the song is jazzy; I don't even know whether Stevie sang it."

    Wonder had indeed done so, although four years passed before the recording was released commercially [[as part of his long-delayed Anthology set). "1 love Aretha's version," says Clarence Paul, who also cites the tune's staying power through versions by Deniece Williams and Johnny Mathis, Miki Howard, and Basia, among others. "I always figured it was a good song."

    And perhaps even a deal-closer. As "Until You Come Back to Me" climbed the pop and R&B charts towards the end of 1973, Aretha re-signed with Atlantic Records.
    Last edited by lockhartgary; 09-20-2018 at 10:58 AM.

  6. #6
    Join Date
    Aug 2010
    Posts
    2,749
    Rep Power
    211
    Quote Originally Posted by lockhartgary View Post
    The following text is from the entry for Aretha's "Until You Come Back to Me", from Billboard's Book of #1 R&B Hits:

    Both were both raised in the Motor City; both blos*somed young—he first recorded at age 11, she at 14—and both came to play towering roles in popular music, defining the form as much as reflecting it.

    Stevie Wonder and Aretha Franklin shared an eventful year in 1973. His ground-breaking album Innervisions was released then, just days before he nearly died in an auto accident; her bold experiment with producer Quincy Jones, Hey Now Hey [[The Other Side Of The Sky), was greeted with the lowest chart position of any of her Atlantic albums to date, just as her contract with the label was expiring.

    The song that was to connect the two artists was cut by Wonder in 1967. "First, I recorded it on Ste*vie," explains Clarence Paul, the Motown A&R stal*wart who helped develop the youngster's talent [see 24—"Blowin' in the Wind"]. He says co-author Mor*ris Broadnax may have played it to Aretha Franklin around that time. "Later, four or five years later, Ste*vie played it for her."

    Wonder wrote the melody of the song's chorus, according to Paul. "He would always start [composi*tions] and get almost through with them, then leave them alone," he says. 'Then I put a bridge in it, and did some of the lyrics; a lot of the lyrics were written by Morris. I did the structures and everything—what*ever was missing, I put in." Broadnax, Wonder, and Paul had previously collaborated; one of their hits was the Contours' "Just a Little Misunderstanding."

    Aretha Franklin taped her interpretation of "Until You Come Back to Me" on September 7, 1973. It was the one song she recorded that Friday in Atlantic's Manhattan studios, setting a melancholy mood with the piano introduction. The rest of the track featured the usual top-notch musicians, including Hugh McCracken on guitar, Donny Hathaway on electric piano, Richard Tee on organ, Chuck Rainey on bass, Bernard Purdie on drums, and Ken Bichel on synthe*sizer. Background vocalists were Ann Clark, Pat Smith, and Margaret Branch.

    Later, co-producer Arif Mardin overdubbed strings, horns, and Joe Farrell's flute solo. "I had a lot to do with that record," Mardin observes, "from Cornell's guitar hooks to the orchestral arrangement—of which I'm really proud. The harmonic structure of the song is jazzy; I don't even know whether Stevie sang it."

    Wonder had indeed done so, although four years passed before the recording was released commer*cially [[as part of his long-delayed Anthology set). "1 love Aretha's version," says Clarence Paul, who also cites the tune's staying power through versions by Deniece Williams and Johnny Mathis, Miki Howard, and Basia, among others. "I always figured it was a good song."

    And perhaps even a deal-closer. As "Until You Come Back to Me" climbed the pop and R&B charts towards the end of 1973, Aretha re-signed with Atlantic Records.
    Thanks for that. Interesting to see Clarence's comments

  7. #7
    Join Date
    Aug 2010
    Posts
    4,875
    Rep Power
    259
    Always wondered [[ no pun intended) if Stevie recorded JALM....that would be something from the vauts.

  8. #8
    Join Date
    Apr 2015
    Posts
    1,281
    Rep Power
    168
    Quote Originally Posted by soulwally View Post
    Thanks for that. Interesting to see Clarence's comments
    You are welcome.

  9. #9
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    Aretha's recording of "Until You Come Back to Me" was brilliant! This recording was issued just a few months ahead of it was just as brilliant, heck it was bombastic!



  10. #10
    Join Date
    Aug 2010
    Posts
    10,018
    Rep Power
    314
    Stevie said in an interview that he always intended it to be recorded by Aretha. Of course, the fact that artists couldn't work with others unless they were on the same label was an issue but somehow in '73, when Stevie began to be real massive, he finally got his way via his contract to not have Motown control his every move, hence why he FINALLY was able to give Ree the track. 1973-74 was one of Aretha's final periods where she was constantly scoring hit after hit with Atlantic. She had "Angel", "Master of Eyes" and "Until You Come Back to Me" at the end of '73, then followed up by "I'm in Love" and of course "Ain't Nothing Like the Real Thing". The beginning of the end of her good times with Atlantic. But she was already a legend at this point.

  11. #11
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    From Aretha's #1 album "Sparkle" in 1976.......her #1 single "Something He Can Feel"


  12. #12
    Join Date
    Aug 2010
    Posts
    3,983
    Rep Power
    351
    It is certainly one of my favourite Aretha tracks along with "I Say A Little Prayer".

  13. #13
    Join Date
    Aug 2010
    Posts
    11,248
    Rep Power
    291
    To be honest I never appreciated it until recent years. It wasn’t classic Aretha to me and I dismissed it as MOR. I was wrong!

  14. #14
    Join Date
    Apr 2015
    Posts
    1,281
    Rep Power
    168
    Quote Originally Posted by mysterysinger View Post
    It is certainly one of my favourite Aretha tracks along with "I Say A Little Prayer".
    Same here. Add "Call Me" to that list as well.

  15. #15
    Join Date
    Mar 2012
    Posts
    4,679
    Rep Power
    308
    thanks for all this input! especially typing all the info from the book of #1 R&B songs lockhartgary , and soulwally for the info from DONT FORGET THE MOTOR CITY.

    I'm still having a hard time understanding why Stevie sat on it for six years before turning Aretha on to it, especially if he had her in mind for it all along. Motown had such a stronghold over its people that it would rather let a song by one of them rot in the can rather than allow them to peddle it elsewhere?
    While Stevie certainly seems to have nailed it by hearing Aretha in it, did he never consider anyone else in the Motown camp to give the song a whirl? I could hear Jean Terrell doing it.
    Or why did Stevie not give it another round himself, before passing it on.

    It was obviously a song that was on his mind to pull it back out six years later like that.

  16. #16
    Join Date
    Aug 2010
    Posts
    9,279
    Rep Power
    519
    Quote Originally Posted by Boogiedown View Post
    thanks for all this input! especially typing all the info from the book of #1 R&B songs lockhartgary , and soulwally for the info from DONT FORGET THE MOTOR CITY.

    I'm still having a hard time understanding why Stevie sat on it for six years before turning Aretha on to it, especially if he had her in mind for it all along. Motown had such a stronghold over its people that it would rather let a song by one of them rot in the can rather than allow them to peddle it elsewhere?
    While Stevie certainly seems to have nailed it by hearing Aretha in it, did he never consider anyone else in the Motown camp to give the song a whirl? I could hear Jean Terrell doing it.
    Or why did Stevie not give it another round himself, before passing it on.

    It was obviously a song that was on his mind to pull it back out six years later like that.
    In the book THE SOULFUL DIVAS, they mention an exchange between Stevie and Gladys Knight when he presented she and the Pips with their Rhythm and Blues Foundation award. Gladys mentioned that while they were on the road together, Stevie was working on a song that he said was for them. That song turned out be UNTIL YOU COME BACK TO ME. Gladys has said the same in at least one other recent interview.

    It doesn't seem so far-fetched considering they were on the same label for seven years. It would be great if there was a version by Gladys and the Pips in the Motown vaults.

  17. #17
    Join Date
    Aug 2010
    Posts
    10,018
    Rep Power
    314
    I don't know, I think Gladys overexagerrated the story... I don't see this being a G&TP's song much like I didn't see Where Did Our Love Go going to the Marvelettes.

  18. #18
    Join Date
    Mar 2012
    Posts
    4,679
    Rep Power
    308
    good stuff Reese! I wonder who else Stevie might've presented this song to over the years? Did he not consider his new bride at the time , whom he was helping to establish a music career?

  19. #19
    Join Date
    Mar 2012
    Posts
    4,679
    Rep Power
    308
    Quote Originally Posted by lockhartgary View Post
    The following text is from the entry for Aretha's "Until You Come Back to Me", from Billboard's Book of #1 R&B Hits:

    Both were both raised in the Motor City; both blossomed young—he first recorded at age 11, she at 14—and both came to play towering roles in popular music, defining the form as much as reflecting it.

    Stevie Wonder and Aretha Franklin shared an eventful year in 1973. His ground-breaking album Innervisions was released then, just days before he nearly died in an auto accident; her bold experiment with producer Quincy Jones, Hey Now Hey [[The Other Side Of The Sky), was greeted with the lowest chart position of any of her Atlantic albums to date, just as her contract with the label was expiring.

    The song that was to connect the two artists was cut by Wonder in 1967. "First, I recorded it on Ste*vie," explains Clarence Paul, the Motown A&R stal*wart who helped develop the youngster's talent [see 24—"Blowin' in the Wind"]. He says co-author Morrris Broadnax may have played it to Aretha Franklin around that time. "Later, four or five years later, Ste*vie played it for her."

    Wonder wrote the melody of the song's chorus, according to Paul. "He would always start [compositions] and get almost through with them, then leave them alone," he says. 'Then I put a bridge in it, and did some of the lyrics; a lot of the lyrics were written by Morris. I did the structures and everything—what*ever was missing, I put in." Broadnax, Wonder, and Paul had previously collaborated; one of their hits was the Contours' "Just a Little Misunderstanding."

    Aretha Franklin taped her interpretation of "Until You Come Back to Me" on September 7, 1973. It was the one song she recorded that Friday in Atlantic's Manhattan studios, setting a melancholy mood with the piano introduction. The rest of the track featured the usual top-notch musicians, including Hugh McCracken on guitar, Donny Hathaway on electric piano, Richard Tee on organ, Chuck Rainey on bass, Bernard Purdie on drums, and Ken Bichel on synthesizer. Background vocalists were Ann Clark, Pat Smith, and Margaret Branch.

    Later, co-producer Arif Mardin overdubbed strings, horns, and Joe Farrell's flute solo. "I had a lot to do with that record," Mardin observes, "from Cornell's guitar hooks to the orchestral arrangement—of which I'm really proud. The harmonic structure of the song is jazzy; I don't even know whether Stevie sang it."

    Wonder had indeed done so, although four years passed before the recording was released commercially [[as part of his long-delayed Anthology set). "1 love Aretha's version," says Clarence Paul, who also cites the tune's staying power through versions by Deniece Williams and Johnny Mathis, Miki Howard, and Basia, among others. "I always figured it was a good song."

    And perhaps even a deal-closer. As "Until You Come Back to Me" climbed the pop and R&B charts towards the end of 1973, Aretha re-signed with Atlantic Records.
    This is where I'd hoped to eventually steer the conversation, because it was only recently that this introduction of the song jumped out at me. That beautiful piano solo intro, a touch surely by Aretha Franklin herself, and then the piano disappears never to be heard in the song again*. A brief piano intro that seems as crucial to the song's tone as anything else. Maybe moreso. Perfect.



    *to my ears anyway

  20. #20
    Join Date
    Aug 2010
    Posts
    11,552
    Rep Power
    295
    Arif Mardin did a fantastic job of turning this into a major hit for Aretha Franklin. It's one of my favorites.

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •  

[REMOVE ADS]

Ralph Terrana
MODERATOR

Welcome to Soulful Detroit! Kindly Consider Turning Off Your Ad BlockingX
Soulful Detroit is a free service that relies on revenue from ad display [regrettably] and donations. We notice that you are using an ad-blocking program that prevents us from earning revenue during your visit.
Ads are REMOVED for Members who donate to Soulful Detroit. [You must be logged in for ads to disappear]
DONATE HERE »
And have Ads removed.