If I forget for a moment of Smokey Robinson & The Miracles, The Dells are my group favorite member of such groups ranging from doo wop to soul, say that embody vocal perfection as the Temptations. The Dells have on their full repertoire of jewelry, some arrangements worthy of Spector or Brian Wilson and two superb soloists, the baritone David Ruffin broken to Marvin Junior and Johnny Carter ultrasonic falsetto. Although like most industry groups, hard and sound fashion Philadelphia sat them fatal, his first recordings are magnificent. No change both soloist and the Temptations where the five had an opportunity to excel, but if more than the Miracles, Smokey was always where the soloist.
But the point, this "There Is" as good as "Sing Smokey " (1965) or " In a mellow mood " (1967), an album where they sing Broadway standards, no one has in mind and I love, the Temptations. Begins with the headline, printed piano rate supported by the ropes. With a way to use some of the modes of Motown to anticipate would employ as Isaac Hayes (with whose soul symphonic have any connomitancia) and Gamble & Huff. We also use Latin percussion mode The Dramatics (with those who come to record an album as a duo). A fucking classic where the broken voice of Marvin pushes the rest of the group and instruments. Another wonder, his classic "Stay in my corner" . Songs that record several times what Throughout his career, this being the best shot I managed. The verses are divided between flourishes, tenor and baritone, joining other voices. Marvin's voice could make sense reciting the phone book, let alone with a superb melody as he does here. And Johnny Carter shines in those long "stay " chorus, playing with metals. After two and a half minutes of exposure to song was released to a coda (to complete the six minutes that the song) by coral games with the chorus. While the instrumental accompaniment (subtle at the same superb attention to lyricism that prints the limpid guitar that sounds along the track) is going up or down in intensity, accompanied Marvin modulations.
And do not give us a break, sounds of Hawaiian steel us into "Wear it On Our Face" . Another fast number led by the incredible voice of Marvin. Do not sing with your head, heart or testicles, but letting the soul in every damn syllable rut (it is hard to understand a single word, but the best is that no matter, how that voice, who cares what they sing? .) It is difficult to realize at first what it is addictive and rhythmic song, but those string glissandos that seem to fade the song to start again, create an even greater sense of rhythmic emphasis. Not that resemble the arrangement of the couple who named at the beginning, but have a similar fine. While it bears some resemblance to those of Motown are more subtle.
"Please do not change me now" is a ballad comprises half Junior and Carter. Impressive that chorus half when Junior sings "'m ready, ready, ready " broken Junior passion and answers in the treble. The battery that was used in these records, by the way, has the same power as Ronnie Tutt (Elvis' drummer since his return to Memphis in the 69). Like him, but this playing a slow number, no doubt dramatically emphasize certain passages giving a knock on the drums which surprisingly does not split in two right there. "Show me" and "Higher & higher" (version unrecognizable, just respect the letter, of Jackie Wilson's hit) are the weakest of the disc, without being bad. Embedded in between, "The change you go trough" is another slow number with originality and dramatic melody that carries the battery (although there are some ropes in the background.) "Close your eyes" its classic atmosphere reminds me of Flamingos "I Only Have Eyes For You" . They have some of that sound reverberation and some blurred, as if suspended in ether and Carter's voice, giving the answer to Marvin, feels like a woman. And have a nice finish, with the accelerating rhythm section and Marvin compas bawling on the siren voice Carter.
"Run for Cover" is another song rhythmic, very similar to that which would enter into a disk of the Temptations or the Four Tops. And to face the final straight of the disc, not one but two classic ahead. "Love is so simple" is like the music of Brian Wilson, which is apparently simple and seduce the listener with no more and ends in an orgy of structural changes and / or rhythmic. And all in two minutes. A guitar riff, Junior singing the song title over and over again, while the lower serves as a mattress. Instruments begin to appear here and there: a piano, strings. The thing is taking drama. The battery starts to heat up and the group makes efforts to be heard. The central passage with that black painfully under Carter is superb. It keeps coming up with the irruption of a crouching Junior with a bellow of their own (attention to the chorus of this part, we must listen with headphones or stopping to listen without paying attention to the rest, but what a feeling of spaciousness to create) . And after "When I'm in your arms" . Good song, but of which I have nothing special to say, another year of symphonic soul: "Ooo I love you" . Start again that minimalist, a body that merely creates an atmospheric background for the recitation of the bass. The tenor chosen so that Carter can "double" in the chorus. Some slumps of male voices in counterpoint to the piano struggling done with a space. Then comes a sort of "drops" of tension sustained by metals and a piano that seems to touch autistic, from another dimension. And to return to the previous peak tension, nothing like a squall of Marvin. That voice crudest thing embedded in a song so romantic. This has more drama than a night at the opera. A song just perfect.
For a biography of the group, look here: http://home.att.net/ ~ marvart / Dells / dells.html
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