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Bassist John Giblin meticulously recreated James Jamerson’s iconic "head-bob" bassline from the original Supremes recording.
Phil Collins ' cover of is widely considered one of the most successful Motown remakes in music history. Originally a #1 hit for The Supremes in 1966, Collins released his version in November 1982 as the second single from his sophomore solo album, Hello, I Must Be Going! . Chart Performance and Legacy
Collins made minor changes to the lyrics, such as changing "I need to find, find / Someone to call mine" to " find time / Someone to call mine". The Music Video
Collins noted that modern recording facilities in the 80s were almost "too sophisticated," making it difficult to replicate the gritty drum sound of the original.
The song was a massive commercial success, marking several milestones in Collins' solo career:
Unlike many covers that reinvent a song, Collins and co-producer Hugh Padgham aimed to the "rough" 1960s Motown sound.
It famously appeared as the very first track on the inaugural Now That’s What I Call Music! compilation in 1983. Creative Intent: A "Remake," Not an Interpretation
Bassist John Giblin meticulously recreated James Jamerson’s iconic "head-bob" bassline from the original Supremes recording.
Phil Collins ' cover of is widely considered one of the most successful Motown remakes in music history. Originally a #1 hit for The Supremes in 1966, Collins released his version in November 1982 as the second single from his sophomore solo album, Hello, I Must Be Going! . Chart Performance and Legacy Phil Collins - You Can't Hurry Love [Audio HQ] HD
Collins made minor changes to the lyrics, such as changing "I need to find, find / Someone to call mine" to " find time / Someone to call mine". The Music Video The song was a massive commercial success, marking
Collins noted that modern recording facilities in the 80s were almost "too sophisticated," making it difficult to replicate the gritty drum sound of the original. Creative Intent: A "Remake
The song was a massive commercial success, marking several milestones in Collins' solo career:
Unlike many covers that reinvent a song, Collins and co-producer Hugh Padgham aimed to the "rough" 1960s Motown sound.
It famously appeared as the very first track on the inaugural Now That’s What I Call Music! compilation in 1983. Creative Intent: A "Remake," Not an Interpretation
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