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 By that time, Edwards had been replaced by G.C. Cameron.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.
Medley: Cupid/I've Loved You For A Long Time
The Spinners Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
(Cupid)
Yeah
(Cupid)
Girl, it's all right
(Cupid)
(Cupid)
Draw back your bow
And let your arrow go
Straight to my lover's heart for me, nobody but me
Cupid
Please hear my cry
And let your arrow fly
Straight to my lover's heart for me
(It's taking my love apart)
Now I don't mean to bother you but I'm in distress
There's danger of me losing all of my happiness
For I love a girl who doesn't know I exist
And this you can guess, oh
Cupid
Draw back your bow
And let your arrow go
Straight to my lover's heart for me
(It's taking my love apart)
Don't you hear me callin' you
(It's taking my love apart)
I feel the love getting stronger
(It's taking my love apart)
I've got to have it right now
(Cupid)
Don't you hear me callin' you
(Cupid)
I don't know what I'm gonna do, no, no
(Cupid)
Help me, please
(Cupid)
Cupid, won't you listen to me
Cupid
Draw back your bow
And let your arrow go
Straight to my lover's heart for me, nobody but me
Cupid
Please hear my cry
And let your arrow fly
Straight to my lover's heart for me
(It's taking my love apart)
Ooh
Now Cupid, if your arrow makes love strong for me
I promise I will love her until eternity
I know between the two of us her heart we can steal
(Help me if you will)
So Cupid
Draw back your bow
And let you arrow go
Straight to my lover's heart for me
(It's taking my love apart)
Don't you hear me callin'
(It's taking my love apart)
My tears keep fallin'
(It's taking my love apart)
I've got to have her love now, now
(Cupid)
Hey, listen to me
(Cupid)
I really, really need you
(Cupid)
Whoa... oh... ooh... oh... oh... ooh... oh...
(Cupid)
Yeah, look
I've loved you for a long time
Now it's time to make you my baby
I've loved you for a long time
Now it's time to make you my baby
I look at you (You turn away)
And I say to you (Please look my way)
But you say to me (Leave me alone)
Then I say I can't live without you
Hey, I've loved you for a long time
Now it's time to make you my baby
I've loved you for a long time
Now it's time to make you my baby
Girl, didn't you know that (My love for you)
That it hurts me so bad (I'm tellin' you)
Come on look at me walk (Try it again)
Can't you see I can't live without you
I've loved you for a long time
And now it's time to make you my baby
I've loved you for a long time
Now it's time to make you my baby, make you my baby
Cupid
Draw back your bow
And let your arrow go
Straight to my lover's heart for me
(It's taking my love apart)
Hear me callin' you
(It's taking my love apart)
I feel the love is gettin' stronger
(It's taking my love apart)
Whoa... oh... ooh... oh... oh... ooh... oh...
(Cupid)
Please, I need you
(Cupid)
I believe you can help me if you will
(Cupid)
All I've got to do is call you louder
(Cupid)
Whoa... Cupid
(Cupid)
Whoa... Cupid
(Cupid)
Whoa... Cupid
(Cupid)
The Spinners' song "Medley: Cupid/I've Loved You For A Long Time" is a combination of two distinct and different tracks. "Cupid," the first track, was originally recorded by Sam Cooke in 1961 and has been covered by numerous artists since then. The song is about an unrequited love, where the singer is pleading for Cupid, the god of love, to help him win over the heart of someone he loves. The song's iconic hook, "Cupid draw back your bow, and let your arrow go," has become a staple of Valentine's Day playlists and romantic movies.
The second track of the medley, "I've Loved You For A Long Time," is a Spinners' original that was released in 1970. The song is a slow-burning love ballad, where the singer expresses his feelings towards a woman he has loved for a long time. Initially, the woman is indifferent to his advances, but he hopes to change her mind and finally make her his own.
Despite having different themes and moods, the two tracks blend seamlessly into the "Medley: Cupid/I've Loved You For A Long Time," creating a unique and compelling listening experience.
Line by Line Meaning
Mmm... mmm...
The singer is making a noise to prepare for the song.
(Cupid)
The singer is invoking Cupid, the Roman god of love, as a theme for this song.
Yeah
The singer is showing enthusiasm for the song.
(Cupid)
The singer is reminding us that the song is about Cupid.
Girl, it's all right
The singer is reassuring someone, perhaps the woman he loves, that everything is okay.
(Cupid)
Again, the singer is invoking Cupid as a theme for the song.
Cupid
The singer is addressing Cupid directly.
Draw back your bow
The singer is instructing Cupid to do his job of shooting an arrow to cause love between himself and the woman he loves.
And let your arrow go
The singer is telling Cupid to release the arrow he has drawn.
Straight to my lover's heart for me, nobody but me
The singer is pleading with Cupid to aim the arrow specifically at his lover's heart, so that they can fall in love.
(It's taking my love apart)
The singer is acknowledging that the situation is causing him emotional pain.
Please hear my cry
The singer is imploring Cupid to listen and pay attention to his request for love.
And let your arrow fly
The singer is again urging Cupid to release the arrow to cause love between him and his lover.
Now I don't mean to bother you but I'm in distress
The singer is acknowledging that Cupid may be busy, but he really needs his help.
There's danger of me losing all of my happiness
The singer is telling Cupid that if he doesn't act, the singer may not be happy.
For I love a girl who doesn't know I exist
The singer is admitting that the woman he loves does not know about his feelings for her.
And this you can guess, oh
The singer is suggesting that this is a common experience, and Cupid should be sympathetic.
Don't you hear me callin' you
The singer is asking Cupid to listen to him.
I feel the love getting stronger
The singer is sensing that his feelings of love are becoming stronger.
I've got to have it right now
The singer is expressing the urgency of his desire for the woman he loves.
I don't know what I'm gonna do, no, no
The singer is expressing his uncertainty about the situation and his feelings.
Help me, please
The singer is asking Cupid for help.
Whoa... oh... ooh... oh... oh... ooh... oh...
This is a musical interlude.
Now it's time to make you my baby
The singer is expressing his desire to take the woman he loves as his own.
I look at you (You turn away)
The singer is describing the woman he loves turning away from him when he looks her in the eyes.
And I say to you (Please look my way)
The singer is asking the woman he loves to look back at him.
But you say to me (Leave me alone)
The woman he loves is rejecting his advances and telling him to go away.
Then I say I can't live without you
The singer is expressing his desperation and his feelings that he cannot live without the woman he loves.
Girl, didn't you know that (My love for you)
The singer is saying that the woman he loves should already know that he loves her.
That it hurts me so bad (I'm tellin' you)
The singer is expressing how much pain he feels because the woman he loves does not reciprocate his feelings.
Come on look at me walk (Try it again)
The singer is trying to get the woman he loves to pay attention to him and give him another chance.
Can't you see I can't live without you
The singer is again expressing his desperation and his belief that he cannot live without the woman he loves.
(My love for you)
A repetition of an earlier line to convey importance and emotion.
I believe you can help me if you will
The singer still believes in Cupid's power, but is also acknowledging that Cupid has free will and may decide not to help.
All I've got to do is call you louder
The singer is saying that he can keep asking Cupid for help, and that maybe he will hear him louder next time.
Whoa... Cupid
A musical interlude.
Contributed by Bella O. Suggest a correction in the comments below.