Gladys Knight - It Hurt Me So Bad (1973) Vinyl LP •PLAY-GRADED•

Catalog Number:

Musical Styles:

Sleeve Grade:

Record Grade:

Condition Details:

Still in ORIGINAL SHRINK-WRAP (opened). Vinyl plays nicely on side 2; however side 1 has some scratches which cause a few skips during the first song and some crackles during the second song(play-graded). Cover looks okay, light scuffing, creasing and surface impressions (front/back); shrink has come off on back near top right. Front bottom right corner has significant wear. Spine has damage near center - tears, creasing and abrasion (front/back). Inner-sleeve is original (generic white); heavy damage to one side. Spine is somewhat readable with significant wear. Minor shelf-wear along top/bottom-edge. Some wear to corners. Opening shows signs of use. (Bottom-right corner is cut.)

Tracks:

1. It Hurt Me So Bad
2. What Will Become Of Me
3. A Love Like Mine
4. Darling
5. Come See About Me
6. Queen Of Tears
7. Linda
8. To Whom It May Concern
9. Bless The One
10. Walking In Circles

About The Record:

Pre-Motown Gladys Knight & the Pips, repackaged and released to capitalize on their Motown success, this features the Pips dominating the mic on the last four tracks. Gladys sings the teary title track like a pro, even though she wasn't even old enough to buy beer at the time. A Love Like Mine, with its marching beat, displays the Pips' harmonies flowing above the rhythm and Gladys' tough vocal knifing through. On the slow Darling, the Pips are in the foreground, and one shares the lead with Gladys. Come See About Me is not the Supremes song, but the message is the same; it's a slow floater, with Supremes-like backing vocals and the Pips nowhere to be found. Queen of Tears is a good beat ballad that Gladys, again, sings with a conviction that belies her age. The Pips take over the last four tunes. On Linda, they sing the lead lines in three-part harmony over a bouncy, finger-snapping beat. To Whom It May Concern starts slowly, with the lead lines sung in unison and a mournful falsetto riding above to kick the blend up a notch. One of the Pips leads Bless the One, with that wailing falsetto reappearing to provide backing flavor. Walking in Circles finds the Pips singing the lead lines in unison over a choppy beat.