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  1. #51
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    Quote Originally Posted by Bluebrock View Post
    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.

  2. #52
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    Quote Originally Posted by nomis View Post
    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.

  3. #53
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    Almighty Definitive Mix -
    https://youtu.be/WgD7gcCFrm8

  4. #54
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    Quote Originally Posted by thommg View Post
    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 !!



    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 ...

  5. #55
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    Quote Originally Posted by Ollie9 View Post
    On You Tube itís 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.

  6. #56
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    Quote Originally Posted by Bluebrock View Post
    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.

  7. #57
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    O
    Quote Originally Posted by Boogiedown View Post
    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.

  8. #58
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    Quote Originally Posted by Ollie9 View Post
    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.

    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:



    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.

  9. #59
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    Quote Originally Posted by Boogiedown View Post
    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:



    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.

  10. #60
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    Quote Originally Posted by Ollie9 View Post
    “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!

  11. #61
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    Quote Originally Posted by Bluebrock View Post
    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.

  12. #62
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    Quote Originally Posted by Ollie9 View Post
    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:

    Last edited by Boogiedown; 06-12-2021 at 11:46 AM.

  13. #63
    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 Hanginí 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.

  14. #64
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    Quote Originally Posted by kenneth View Post
    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!

    Last edited by Boogiedown; 06-20-2021 at 12:15 PM.

  15. #65
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    ^^^ Wish i'd heard that version first. Love it!

  16. #66
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    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:



    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:



    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 .....
    Last edited by Boogiedown; 06-28-2021 at 04:08 AM.

  17. #67
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    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.

  18. #68
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    Quote Originally Posted by sup_fan View Post
    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) Ė 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 ...[?]

  19. #69
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    Quote Originally Posted by Ollie9 View Post
    Iím pleased you like it as well. This really is the only remix of the song i enjoy.

    I have to second that emotion, Ollie9ÖÖ 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, itís not a whole lot better so Thank YOU!

  20. #70
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    Quote Originally Posted by TheMotownManiac View Post
    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.

  21. #71
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    Maybe they should have given it to Thelma Houston, and let Diana sing "Love Masterpiece".

  22. #72
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    Quote Originally Posted by 144man View Post
    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!!!


  23. #73
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    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.
    Last edited by Boogiedown; 07-04-2021 at 04:08 PM.

  24. #74
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    Quote Originally Posted by Boogiedown View Post
    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.

  25. #75
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    I guess fifty years late is not quite never!

    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 ....
    Last edited by Boogiedown; 07-06-2021 at 11:26 AM.

  26. #76
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    Quote Originally Posted by Boogiedown View Post
    I guess fifty years late is not quite never!

    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.

  27. #77
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    The reinvented Giorgio synthed remix , yes...

  28. #78
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    Quote Originally Posted by Boogiedown View Post
    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.

  29. #79
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    Quote Originally Posted by Ollie9 View Post
    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 ?
    Last edited by Boogiedown; 07-07-2021 at 01:55 AM.

  30. #80
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    Quote Originally Posted by Boogiedown View Post

    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 ?
    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.
    Last edited by lucky2012; 07-07-2021 at 08:00 AM.

  31. #81
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    Quote Originally Posted by lucky2012 View Post
    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.



    OK lets continue :

    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:



    French 45 version:




    .... who ??? extended it for this French pressing .....or, who??? shortened it for the TGIF pressing?
    Last edited by Boogiedown; 07-07-2021 at 12:50 PM.

  32. #82
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    and continuing with more! :


    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.
    Last edited by Boogiedown; 07-16-2021 at 12:57 PM.

  33. #83
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    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.

  34. #84
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    Quote Originally Posted by bluebrock View Post
    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 ❤️����������

  35. #85
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    Love it and the Almighty version is the best

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

    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.

  37. #87
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    Quote Originally Posted by Boogiedown View Post
    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

  38. #88
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    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

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    Quote Originally Posted by JLoveLamar View Post
    I'm HOLLERING! You mean high on life?? Hahahhahahaha
    hmmmm , something like that hee hee


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

  41. #91
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    after you:

    Quote Originally Posted by kenneth View Post
    . 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.

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    I understand they are two different versions

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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]
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And have Ads removed.