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 By that time, Edwards had been replaced by G.C. Cameron.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 āLalalaā in 1991.
That's What Girls Are Made For
The Spinners Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
To hug and to kiss
(That's what girls are made for)
To love and to miss
(That's what girls are made for)
You gotta hug 'em
Then you kiss 'em
(Kiss 'em)
You gotta love 'em
(Love 'em)
Then you miss them
Wo, oh oh oh oh
(Miss them)
That's what girls are made for
(That's what girls are made for)
To hold and to squeeze
(That's what girls are made for)
To scold and to please, yeah
(That's what girls are made for)
I said, you gotta hold 'em
(Hold 'em)
Then you squeeze 'em
(Squeeze 'em)
If you scold 'em
(Scold 'em)
You gotta please them
And I know, I know, I know
That's what girls are made for
Wo oh, wo oh, yeah
Some can be true
Yes, and then again, they'll make you doubt 'em
Wo oh oh, but ask me, ask me and I'm a here to tell you
That you just can't live without 'em
(That's what girls are made for)
To walk and hold hands with you
(That's what girls are made for)
You, you gotta make all of your plans with
(That's what girls are made for)
To walk with
(Walk)
And hold hand with
(Hands)
To make
(Make)
All of your plans with
Wo oh oh oh oh, yeah
That's what girls are made for
(That's what girls are made for)
I said, you gotta hug 'em
(Kiss 'em)
Sometimes you gotta kiss 'em too
(Love 'em)
Yes you know you gotta love 'em with all your might
(Kiss 'em)
And I'm here to tell you, I know you gotta miss them
(That's what girls are made for)
The Spinners' song "That's What Girls Are Made For" is a classic example of a Motown hit from the 1960s. The song features a cheerful and upbeat melody that contrasts with its lyrics, which paint a picture of love as complicated and sometimes difficult. The lyrics suggest that girls are made to be hugged, kissed, loved, and missed. The song makes the point that while relationships can be challenging, they are worth the effort.
The song opens with the statement that girls are made for hugging and kissing, and that these actions are part of what makes girls so lovable. The lyrics suggest that even when there are problems in a relationship, such as scolding, girls are worth pleasing. The chorus repeats the idea that girls are made to be loved and missed. The verses reinforce this idea by describing additional ways in which girls are valuable, such as being good companions for walking and holding hands with.
In conclusion, "That's What Girls Are Made For" is a catchy, upbeat song that touches on the complex nature of love and relationships. Although the lyrics suggest that there can be challenges and difficulties in relationships, the song emphasizes the importance and value of loving and appreciating girls.
Line by Line Meaning
To hug and to kiss
Girls are made for showing affection through hugging and kissing.
To love and to miss
Girls are made for loving and missing, the two go hand in hand.
You gotta hug 'em (Hug 'em) Then you kiss 'em (Kiss 'em)
Showing love and affection requires hugging and kissing.
You gotta love 'em (Love 'em) Then you miss them Wo, oh oh oh oh (Miss them)
If you love someone, you'll inevitably miss them when they're not around.
To hold and to squeeze (That's what girls are made for) To scold and to please, yeah (That's what girls are made for)
Girls were made to be held and squeezed, but also to be scolded and pleased when necessary.
I said, you gotta hold 'em (Hold 'em) Then you squeeze 'em (Squeeze 'em) If you scold 'em (Scold 'em) You gotta please them And I know, I know, I know
Handling love requires balance, as one should show both love and discipline as appropriate.
Some can be true Yes, and then again, they'll make you doubt 'em Wo oh oh, but ask me, ask me and I'm a here to tell you That you just can't live without 'em (That's what girls are made for)
Girls can be fickle, but ultimately, one cannot live without them.
To walk and hold hands with you (That's what girls are made for) You, you gotta make all of your plans with (That's what girls are made for)
Girls are also made to walk alongside you and make plans with you.
I said, you gotta hug 'em (Kiss 'em) Sometimes you gotta kiss 'em too (Love 'em) Yes you know you gotta love 'em with all your might (Kiss 'em) And I'm here to tell you, I know you gotta miss them (That's what girls are made for)
Affectionate actions should be shown to a loved one with all your might, and sometimes you just can't help but miss them.
Lyrics Ā© Sony/ATV Music Publishing LLC
Written by: GWENDOLYN GORDY FUQUA, HARVEY FUQUA
Lyrics Licensed & Provided by LyricFind
Jaylen E. Turner
Personnel:
Songwriters:
Harvey Fuqua
and
Gwen Gordy Fuqua
Lead vocals:
Bobby Smith
(Tenor)
āāāāāāāāā
Background vocals:
Henry Fambrough(First Tenor)
George Dixon(Second Tenor)
Billy Henderson(Baritone)
Pervis Jackson(Bass)
āāāāāāāāāāāāā
Instrumentation:
Marvin Gaye,
The Funk Brothers,
and other various musicians.
Arranger,Conductor,and Producer:
Harvey Fuqua
Year:
1961
Album:
The Spinners:Their Early Years
and
The Original Spinners.
selflessman
One of the most underrated groups in R&B
Rosaland Harris
Sounds like a Moonglows record. Spinners do deserve to be inducted in the Rock & Roll hall of Fame.
willcat
@Randall Miller Thatās true. It was THE MIRACLES whose success broke ground for EVERY Motown act that followed themā¦INCLUDING The Temptationsā¦for whom The Miracles wrote most of that groupās early hits for. But the Hall of Fame pulled Smokey out of the group, and inducted ed him SOLO, and just THREW the OTHER members awayā¦and just LEFT it that way, until the public outcry got so MASSIVE that the Hall of Fame HAD to do a 180ā¦and induct BOBBY , RON, PETE, CLAUDETTE, and MARV on the back end. Rock Hall CEO Terry Stewart told Claudette that he was getting no less than 900 emails per DAY demanding that The Miracles be inducted !! Just like you said, the TRUE PIONEERS of music rarely get their proper due
willcat
@Claude Praytor Nowhere NEAR similar. Do you know why? Because Paul Williams was demoted to 3rd LEAD in The Temptations. BOBBY SMITH was the MAIN LEAD in The Spinners from DAY ONEā¦and he REMAINED the main lead ā¦even AFTER Phillip Walker got there .
Doretha Smith
@willcat yep. I saw that videošš¾
Alfonso Gomez
Lot of people don't know, but this was the Spinners firs hit song back in '61 and that is the original Spinners!
willcat
The SPINNERS always had 4 out of 5 ORIGINAL MEMBERS:
Lead singer BOBBY SMITH, Tenor BILLY HENDERSON, Baritone HENRY FAMBROUGH, and Bass PERVIS JACKSON.these four remained with the group for decades without any changes.
It was only the FIFTH position in the group that was always a revolving door: from CP Spencer, to Edgar Edwards to GC Cameron to Phillip Walker to John Edwardsā¦but the four CORE members always stayed the SAME.
Alfonso Gomez
@williamg2552 Hey a real music man!!!
willcat
@Alfonso Gomez Yeah...and with BOBBY SMITH singing lead....there was NO PHILLIPPE in the group back then.
Ellen Reed
This is a awesome classic by the marvelous Bobby Smith as the bad ass lead, always loved this song.š remembering all the blue light grind them up parties from yester year, oh , all the ole school memories, thanks for the post.