The Ultimate Collection: Stand by Me/Best of Ben E. King/Ben E. King with the Drifters

The Ultimate Collection: Stand by Me/Best of Ben E. King/Ben E. King with the Drifters

by Ben E. King & The Drifters


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The Ultimate Collection: Stand by Me/Best of Ben E. King/Ben E. King with the Drifters

Available on cassette only, this brief set features some of Ben E. King's leads with the Drifters and a handful of solo efforts. Three solo monsters are included: the stalking "Stand by Me," fan favorite "Don't Play That Song," and the everlasting "Spanish Harlem." His stint with the Drifters is best represented by the popular "Save the Last Dance for Me" and the lilting "This Magic Moment." King's '70s smash "Supernatural Thing Pt. 1" is disappointing in this context because "Pt. 2" is omitted. Perfect for casual fans of Ben E. King and the Drifters who only need an appetizer. More serious fans should seek the many single- and double-disc sets for a better picture.

Product Details

Release Date: 10/25/1990
Label: East/West Records
UPC: 0075678021329
catalogNumber: 80213
Rank: 11964

Album Credits

Performance Credits

Ben E. King & The Drifters   Primary Artist
Drifters   Track Performer
Ben E. King   Guitar,Vocals

Technical Credits

Drifters   Contributor
Gwen Guthrie   Composer
Ben E. King   Composer
Mort Shuman   Composer
Jerry Leiber   Composer
Phil Spector   Composer
Bert Berns   Composer
Tom Dowd   Engineer
Ahmet Ertegun   Composer
Alan Jay Lerner   Composer
Doc Pomus   Composer
Carl Sigman   Composer
Mike Stoller   Composer
Jerry Wexler   Composer
Frederick Loewe   Composer
Gabriel Ruíz   Composer
Sunny Skylar   Composer
Charles Dawes   Composer
Carlo Donida   Composer
Betty Nelson   Composer
Ricardo Lopez Mendez   Composer
Mogol Audio 2   Composer
Patrick Grant   Composer

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The Ultimate Collection: Stand by Me/Best of Ben E. King/Ben E. King with the Drifters 5 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
In fairness to the reviewer, the review above seems as if it were written for another disc and put here by accident. First of all, this collection IS on CD. I have owned it in that form for years, and I saw a copy in a Barnes & Noble store a couple days ago. I have listened to this collection many, many times over the years, and I think it is a fine one. I am no expert on sound quality, but it sounds fine that way as well. Once the touching warmth of this man's singing and the songs he chose or was offered (many from the “Brill building,” I believe) sinks in, it is hard not to love and respect him as a great soul singer. There are touches of pop and jazz, as well as Mexican or Latin music here (perhaps the influence of Jerry Leiber and Mike Stoller?). This may not be the sort of variety that people who define rock and roll or even soul very narrowly are used to, but any open-eared, open-minded person is likely to grow fond of it all, united by the man’s rich voice and themes of love lost, found, or dreamed about. The songs and performances are catchy, and the covers work very well. For example, "Dream Lover" (originally by Bobby Darin, who wrote it) sounds natural, and "Will You Love Me Tomorrow is a great statement of (ironically male) vulnerability (the original, as most know, was by the Shirelles). While the reviewer suggests the disc is short, it clearly is not, and seems to be the longest greatest hits offered here at the moment. Again, every song is worthwhile, moving, catchy, and (that word again) warm. “I (Who Have Nothing)” is not just a poor boy regretting he can’t compete with a rich one for the girl, but indirect social commentary. “Young Boy Blues” is a performance that is heartbreaking. The selections with the Drifters are no more or less a delight than the most powerful solo songs. Of the solo ones, “Stand By Me” is the most famous, of course. The opening lines (and sound) send chills down the spine as they must have when first heard on the airwaves. It is music that is haunting in exposing the yearning, fear, and possibly salvation, of the human spirit and the human condition. It will be just a terrifying and beautiful a thousand years from now. In short, the only people who I can imagine not liking the music in this collection are those who are too jaded or too embarrassed to indulge in romantic, heart on your sleeve songs. If romantic songs make you sick, you are in the wrong place, and there may be moods when one finds the romantic aspect a little over the top, but to me, the substance and style never cross the line into sappy glop. We could use more heart, more romance, and more soul in music, and be unashamed to say so. Luckily, we have it preserved here. At first I thought “Supernatural thing sounded too out of place, with its 70’s disco-influenced feel, but the song is a good one, and the rhythmic nature of it, as well as the same romantic personality at work (if maybe slightly more carnal than usual), keeps it from clashing too much with the early sixties tracks. You wind up swept along, as usual. In any case, I think that Ben E. King's music is a treasure. Few singers have this sort of romantic warmth (Percy Sledge, Solomon Burke, perhaps Fats Domino and, more recently, Bruce Springsteen and Van Morrison, who has done “It’s All in the Game” also, come to mind). King's singing is completely unique, though. This is often overlooked (except for the most famous tracks) music that restores your faith in human nature and makes you more humane and, well, happy. How’s that for pop music? I hope everyone enjoys this recording half as much as I do.