Name: Spanish Harlem/Don't Play That Song
Brand: Collectables
SKU: 414073
Availability: OutOfStock

Spanish Harlem/Don't Play That Song

Rating

Album: Spanish Harlem/Don't Play That Song
#	Song Title	Time
1)	Amor
2)	Sway
3)	Come Closer to Me
4)	Perfidia
5)	Grenada
6)	Sweet and Gentle
7)	Quizas, Quizas, Quizas (Perhaps, Perhaps, Perhaps)
8)	Frenesi
9)	Souvenir of Mexico
10)	Besame Mucho
11)	Love Me, Love Me
12)	Spanish Harlem
13)	Don't Play That Song (You Lied)
14)	Ecstasy
15)	On the Horizon
16)	Show Me the Way
17)	Here Comes the Night
18)	First Taste of Love
19)	Stand by Me
20)	Yes
21)	Young Boy Blues
22)	Hermit of Misty Mountain, The
23)	I Promise Love
24)	Brace Yourself

Album: Spanish Harlem/Don't Play That Song
#	Song Title	Time
1)	Amor
2)	Sway
3)	Come Closer to Me
4)	Perfidia
5)	Grenada
6)	Sweet and Gentle
7)	Quizas, Quizas, Quizas (Perhaps, Perhaps, Perhaps)
8)	Frenesi
9)	Souvenir of Mexico
10)	Besame Mucho
11)	Love Me, Love Me
12)	Spanish Harlem
13)	Don't Play That Song (You Lied)
14)	Ecstasy
15)	On the Horizon
16)	Show Me the Way
17)	Here Comes the Night
18)	First Taste of Love
19)	Stand by Me
20)	Yes
21)	Young Boy Blues
22)	Hermit of Misty Mountain, The
23)	I Promise Love
24)	Brace Yourself

Performer Notes

2 LPs on 1 CD: SPANISH HARLEM (1961)/DON'T PLAY THAT SONG (1962).
Includes liner notes by Marv Goldberg.
Ben E. King may be best known by the average listener for his mega hit "Stand By Me." However, his influence on soul and R&B in the 1960's was quite significant. On these two albums--condensed onto one CD--we hear the range of King's abilities. For example, King sings fine renditions of many soul tunes on DON'T PLAY THAT SONG. His honeyed voice on the album's opening title track can induce goose bumps. He also really shines on the march-like "Here Comes the Night," and the light rock number "The Hermit of Misty Mountain."
On SPANISH HARLEM, we hear King in a Latin setting, crooning atop the Cuban percussion and sweeping strings. "Besame Mucho" may be the best known of these selections, but it is the Ruiz/Gimbel composition "Sway" that really stands out here. In general, both albums contain huge production numbers; full orchestras are employed on each record, including brass, harp, and woodwinds, as well as backing singers. This is typical of the Phil Spector "wall of sound" approach that cropped up often on the soul and R&B scene of the 1960's.