1. A soul group of the early '70s, creating a body of work that defined the lush, seductive sound of Philly soul. In the UK they were known as "The Detroit Spinners" to avoid confusion with British band The Spinners. The band's roots lay in Detroit, where they formed as a doo wop group during the late '50s. Throughout the '60s, the Spinners tried to land a hit by adapting to the shifting fashions of R&B and pop. By the mid-'60s, they had signed with Motown Records, but the label never gave the group much consideration. "It's a Shame" became a hit in 1970, but the label continued to ignore the group, and dropped the band two years later. Unsigned and featuring new lead singer Phillipe Wynne, the Spinners seemed destined to never break into the big leagues, but they managed to sign with Atlantic Records, where they began working with producer Thom Bell. With his assistance, the Spinners developed a distinctive sound, one that relied on Wynne's falsetto and the group's intricate vocal harmonies. Bell provided the group with an appropriately detailed production, creating a detailed web of horns, strings, backing vocals, and lightly funky rhythms. Between 1972 and 1977, the Spinners and Bell recorded a number of soul classics, including "I'll Be Around," "Could It Be I'm Fallin in Love," "Mighty Love," "Ghetto Child," "Then Came You," "Games People Play," and "The Rubberband Man." Wynne left in 1977 and the Spinners had hits for a few years after his departure, but the group will always be remembered for its classic mid-'70s work. Originally, called the Domingoes, the Spinners formed when the quintet were high school students in the Detroit suburb of Ferndale in 1957. At the time, the group featured Bobbie Smith, Pervis Jackson, George W. Dixon, Billy Henderson, and Henry Fambrough. Four years later, they came to the attention of producer Harvey Fuqua, who began recording the group -- who were now called the Spinners -- for his Tri-Phi Records. The band's first single, "That's What Girls Are Made For," became a Top Ten R&B hit upon its 1961 release and featured Smith on vocals. Following its release, Dixon was replaced by Edgar "Chico" Edwards. Over the next few years, the group released a series of failed singles, and when Tri-Phi was bought out by Motown in the mid-'60s, the Spinners became part of the larger company's roster. By that time, Edwards had been replaced by G.C. Cameron. Though the Spinners had some R&B hits at Motown during the late '60s, including "I'll Always Love You" and "Truly Yours," they didn't have a genuine crossover success until 1970, when Stevie Wonder gave the group "It's a Shame." Motown never concentrated on the Spinners, and they let the group go in 1972. Before the band signed with Atlantic Records, Phillipe Wynne replaced Cameron as the group's lead vocalist. Wynne had previously sung with Catfish and Bootsy Collins. At Atlantic Records, the Spinners worked with producer Thom Bell, who gave the group a lush, seductive sound, complete with sighing strings, a tight rhythm section, sultry horns, and a slight funk underpinning. Wynne quickly emerged as a first-rate soul singer, and the combination of the group's harmonies, Wynne's soaring leads, and Bell's meticulous production made the Spinners the most popular soul group of the '70s. Once the group signed with Atlantic, they became a veritable hit machine, topping the R&B and pop charts with songs like "I'll Be Around," "Could It Be I'm Falling in Love," "One of a Kind (Love Affair)," "Ghetto Child," "Rubberband Man," and "You're Throwing a Good Love Away." Not only were their singles hits, but their albums constantly went gold and charted in the Top 20. Wynne left the band to pursue a solo career in 1977; he was replaced by John Edwards. Though none of Wynne's solo records were big hits, his tours with Parliament-Funkadelic were well-received, as were his solo concerts. In October 1984, he died of a heart attack during a concert in Oakland, CA. The Spinners, meanwhile, had a number of minor hits in the late '70s, highlighted by their disco covers of "Working My Way Back to You" and the medley "Cupid/I've Loved You for a Long Time." During the early '80s, they had several minor hits before fading away from the charts and entering the oldies circuit, reprising their earlier material for 1999's new studio effort At Their Best. Long time founding members Billy Henderson and Pervis Jackson have since deceased.
2. The Spinners were a folk group from Liverpool, England, that formed in September 1958. The group was unusual for its time in having a multiracial membership.
They variously had four albums in the UK Albums Chart between September 1970 and April 1972. One of them, Spinners Live Performance (1971), spent three months in the listing and peaked at No. 14.
The band began as a skiffle group with a mainly American repertoire, until they were prompted by Redd Sullivan, a seaman, to include sea shanties and English folk songs. They started out as the Gin Mill Skiffle Group, which included guitarist Tony Davis and washboard player Mick Groves. The group played the Cavern Club, Liverpool for the first time on Friday 18 January 1957, with the Muskrat Jazz Band and the Liverpool University Jazz Band. They played there on a number of occasions on Friday 24 May; Sunday 26 May; Wednesday 5 June; Wednesday 3 July and Friday 16 August 1957. In September 1958 they became the Spinners. They founded a folk club in Liverpool, the 'Triton Club', but soon were performing in London at places such as 'the Troubadour'. Their first album, Songs Spun in Liverpool, was recorded by Bill Leader from live performances. In 1962 Peter Kennedy of the English Folk Dance & Song Society recorded an album with them called Quayside Songs Old & New. In 1963 Philips Records signed them, and they recorded eight more albums over the next eight years. They signed for EMI Records in the early 1970s.
They became popular by reviving some of the greatest folk music and singing new songs in the same vein. Although sounding like traditional English folk songs, some of their material was in fact composed by Jones, such as "The Ellan Vannin Tragedy" and "The Marco Polo". One of their best known songs, particularly in their native Liverpool, was "In My Liverpool Home", written by Peter McGovern in 1962. Cliff Hall also introduced traditional Jamaican songs to their repertoire. One of their albums was called Not Quite Folk.
They produced over forty albums, and made numerous concerts and TV appearances. In 1970, they were given their own television show on BBC One that ran for seven years. They also had their own show on BBC Radio 2. They retired in 1988, after thirty years together, although they led the community singing at the 1989 FA Cup Final and played some Christmas shows in the early 1990s. Members of the group still perform, although Cliff Hall retired to Australia, where he died in 2008.
Their version of the Ewan MacColl song, "Dirty Old Town", was included in the Terence Davies' 2008 memoir/documentary of Liverpool, Of Time and the City. A biography of the group 'Fried Bread and Brandy-O' (the title of their signature tune) was written by Liverpool journalist David Stuckey (with a foreword by Pete Seeger) to coincide with their 25th anniversary, and published by Robson Books.
In 2009 The Liverpool Barrow Boys from Songs Spun in Liverpool was included in Topic Records 70 year anniversary boxed set Three Score and Ten as track 19 on the 6th CD.
Band members
Tony Davis (born 24 August 1930, Blackburn, Lancashire, England, died 10 February 2017)
Mick Groves (born Salford, Lancashire, England)
Cliff Hall (born Clifford Samuel Hall, 11 September 1925, Oriente Province, Cuba, died 26 June 2008, Adelaide, South Australia)
Hughie Jones (born Liverpool, England)
3. The Spinners were a female punk band from Turkey, active in the late 80's and early 90's. They released a demo called “Lalala” in 1991.
Don
The Spinners Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You reach for love but life won't let ya know
That in the end, you'll still be lovin' her
But then shes gone, you're all alone
Sign of pain is on my face
Well, a heartbeat stops
But I won't take the blame, no no
My love was strong
Somethin' went wrong, no no
(It takes a fool to learn) yes sir
(That love don't love nobody) love, love, love, love, love, love
(It takes a fool to learn) yes it does, girl
(That love don't love no one)
(It takes a fool to learn) stop to think about it
(That love don't love nobody)
(It takes a fool to learn) when you're down and I
(That love don't love no one, no one) shout about it
(It takes a fool to learn)
(That love don't love no one)
(It takes a fool to learn) oh baby, it took me a long time to learn, to learn
(That love don't love no one)
(It takes a fool to learn) I was a fool, you were a fool
(That love don't love nobody)
(It takes a fool to learn)
The Spinners's song Love Don't Love Nobody talks about the pain and heartbreak that comes with falling in love with someone who doesn't reciprocate their feelings. The lyrics suggest that sometimes people may come and go in an individual's life, leaving behind a sense of loneliness and a yearning for the love that was once present. Despite this, the individual continues to love the person who has left them, even though they are aware that the love may not be returned.
The song highlights the pain that is often associated with unrequited love, as the person is left to deal with the aftermath of loving someone who didn't feel the same way. The repeating chorus emphasizes the message that love cannot be forced; it is something that cannot be controlled, and it may not always work out in the end. The lyrics also suggest that it takes a certain level of understanding or acceptance to come to terms with this reality, and it is not always easy.
Line by Line Meaning
Sometimes a girl will come and go
There are times when a girl will enter and exit your life
You reach for love but life won't let ya know
You try to find love, but life doesn't always make it clear
That in the end, you'll still be lovin' her
Despite everything, you'll still have feelings for her
But then shes gone, you're all alone
But when she leaves, you're left feeling alone
Sign of pain is on my face
My face shows the agony I'm feeling
Well, a heartbeat stops
My heart feels like it's stopped beating
But I won't take the blame, no no
I refuse to be the one at fault
I gave her all the love, I had within
I gave her all of the love that I had to offer
My love was strong
My love for her was intense
Somethin' went wrong, no no
Something happened that disrupted what we had
(It takes a fool to learn) yes sir
(It takes a foolish person to learn) indeed
(That love don't love nobody) love, love, love, love, love, love
(That love doesn't love anybody) love, love, love, love, love, love
(It takes a fool to learn) yes it does, girl
(It takes a foolish person to learn) yes, it does, girl
(That love don't love no one)
(That love doesn't love anyone)
(It takes a fool to learn) stop to think about it
(It takes a foolish person to learn) stop and consider it
(That love don't love nobody)
(That love doesn't love anybody)
(It takes a fool to learn) when you're down and I
(It takes a foolish person to learn) when you're feeling low and I
(That love don't love no one, no one) shout about it
(That love doesn't love anyone, anyone) talk about it loudly
(It takes a fool to learn)
(It takes a foolish person to learn)
(That love don't love no one)
(That love doesn't love anyone)
(It takes a fool to learn) oh baby, it took me a long time to learn, to learn
(It takes a foolish person to learn) oh baby, it took me a long time to realize, to realize
(That love don't love no one)
(That love doesn't love anyone)
(It takes a fool to learn) I was a fool, you were a fool
(It takes a foolish person to learn) I was foolish, you were foolish
(That love don't love nobody)
(That love doesn't love anybody)
(It takes a fool to learn)
(It takes a foolish person to learn)
Lyrics © Warner Chappell Music, Inc.
Written by: JOSEPH BANKS JEFFERSON, CHARLES B. SIMMONS
Lyrics Licensed & Provided by LyricFind
@charlesgold9016
The Spinners’ “Love Don’t Love Nobody” was one of the finest soul records of the 1970s, and still sounds to me like one of the greatest deep-soul ballads of all time. It was written by Charles Simmons and Joseph Jefferson, whose credits appeared on many Philadephia records of the era; the arrangement and production came from the extremely great Thom Bell, who moulded the hits of the Delfonics and the Stylistics as well those of the Spinners. It also has a lead vocal that shows what was lost to the art of soul singing when Philippé Wynne died in 1984 at the age of 43, after suffering a heart attack on stage in Oakland, Calfornia.
Wynne could decorate a song with wonderfully inventive ornamentation which, by contrast with the work of the narcissists of today’s so-called R&B, never called undue attention to itself but was always in the service of the song, the arrangement, and the production. In that respect he was the peer of Ronald Isley and Teddy Pendergrass. And he was at his exalted best on “Love Don’t Love Nobody”: seven minutes and 13 seconds of soul heaven.
The record begins with Bell’s piano, discreetly shadowed by a bass guitar and vibes, quietly commanding attention. There’s gospel in the cadences, but also a grave delicacy in Bell’s keyboard voicings and a pensive elegance in his touch. It’s the sound of introspection, even the sound of sadness itself, setting Wynne up for his entrance with that heart-rending opening verse: “Sometimes a girl will come and go / You reach for love, but life won’t let you know / That in the end you’ll still be loving her / But then she’s gone, you’re all alone…”
As the track builds, Wynne adds his characteristic inventions to the song but firmly resists the temptation to overdo it. He’s listening to Bell’s arrangement, so spare, so subtly sophisticated as it adds strings and backing voices, and he’s making himself a part of it, even when he jams over the long fade.
One other thing. I was doing some remixing at Sigma Sound in 1974 when I fell into conversation with an engineer, and asked him about Thom Bell. When I told him how much I admired “Love Don’t Love Nobody”, he said that he’d worked on that session a year or so earlier. He told me that the rhythm track had been done in a single take, and that Bell had finished it in tears. That knowledge doesn’t make me listen to it in a different way, but perhaps it does help to explain the very deep connection that it can make.
Richard Williams
@TheKnowledge88
I love being raised by ppl of this generation..when i cook dinner for my family i listen to these songs..and cry because i miss seeing my older aunts and uncles who are no longer here dance to these songs ..forever in my heart until the end of time 😢
@rosiekelly7916
Yes!!!! I totally feel you. .I do the same when cooking, They just don't make music like this no more
@ernestboykin3rd706
Appreciate it bruh it's a blessing real chop!!
@jamestunes3255
I feel you bro
@cashandtheecity
😓🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻❤
@williamperson5848
D. Lowery, l feel u
@sherreljones4828
If only.i had a man to appreciate me.a great lady.not a cheater.and trusting Jehovah to live the way he wants me too.❤❤❤❤.
@user-fc2bh8wy4x
I am studying to be a Jehovah's witness as well i will pray 🙏 for you my sister and may jehova bless you with the companion your looking for great love my sister. My name is Donny.
@prophetmonitaylor144thousand
Not a jehovah witness beloved, not religious, just a relationship with yahweh through yahshua @user-fc2bh8wy4x
@jayd7531
❤