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  1. Quote Originally Posted by sup_fan View Post
    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
    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.

  2. #52
    Quote Originally Posted by WaitingWatchingLookingForAChance View Post
    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.
    Ha! I would not call IHAS a 'bulldozer' but I can't argue with your logic! It does indeed capture the listener 'by sheer force' and Diana's iconic delivery.

  3. #53
    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.

  4. #54
    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.

  5. #55
    Quote Originally Posted by RanRan79 View Post
    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.

  6. #56
    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.

  7. #57
    Quote Originally Posted by sup_fan View Post
    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?

  8. #58
    Quote Originally Posted by floyjoy678 View Post
    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 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.

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