I do love almost all of the main King-era Drifters singles, and I do think “There Goes My Baby” transcends merely pandering to white audiences (check out Otis Redding’s version of it if you haven’t, it’s great!). But you definitely are right about “Dance With Me” and “This Magic Moment” in particular. They both still sound pretty great today (and they have a gospel flair to them that would sometimes be lost by future proponents of that style), but even when hearing the Atlantic Rhythm and Blues comp, it is a jarring difference in sound from everything before it that does sound calculated. That sort of sound would curse the label’s reputation for at least a little while (and maybe that effect of selling out lingered into the 70s when the label’s reputation fell and fell).
Still, while I probably would have been a lot more positive about these songs, it’s hard to dispute the points you make about them (and you stick up for Clyde quite nobly, those singles deserve a lot more love!). Excellent review. As always, you are one of the few critics around who refuses to treat this stuff as merely museum pieces and inspires active engagement.
Also, I’m glad you went back and covered this one. I was confused that you didn’t review it and even left a comment about it on your previous Drifters review
Yes, I was thinking about just merging it together with the next Drifters' album but then I realized it would be too much stuff to cover for a single review. So I went back to it, and "Save The Last Dance For Me" is next on the list.
I do love almost all of the main King-era Drifters singles, and I do think “There Goes My Baby” transcends merely pandering to white audiences (check out Otis Redding’s version of it if you haven’t, it’s great!). But you definitely are right about “Dance With Me” and “This Magic Moment” in particular. They both still sound pretty great today (and they have a gospel flair to them that would sometimes be lost by future proponents of that style), but even when hearing the Atlantic Rhythm and Blues comp, it is a jarring difference in sound from everything before it that does sound calculated. That sort of sound would curse the label’s reputation for at least a little while (and maybe that effect of selling out lingered into the 70s when the label’s reputation fell and fell).
Still, while I probably would have been a lot more positive about these songs, it’s hard to dispute the points you make about them (and you stick up for Clyde quite nobly, those singles deserve a lot more love!). Excellent review. As always, you are one of the few critics around who refuses to treat this stuff as merely museum pieces and inspires active engagement.
Also, I’m glad you went back and covered this one. I was confused that you didn’t review it and even left a comment about it on your previous Drifters review
Yes, I was thinking about just merging it together with the next Drifters' album but then I realized it would be too much stuff to cover for a single review. So I went back to it, and "Save The Last Dance For Me" is next on the list.