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Later in the year, it was featured on the soundtrack to the film Looking for Mr. The song peaked at number one on the disco chart.
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Houston's version topped the US soul singles chart and, nine weeks later, the Billboard Hot 100 for one week in April 1977. Originally assigned to Diana Ross, it was intended to be the follow-up to her single " Love Hangover", but was reassigned to Houston instead.įollowing the release of her fourth album Any Way You Like It, a Boston record pool unanimously reported positive audience response to "Don't Leave Me This Way" in discos, and the song was selected for release as a single. "Don't Leave Me This Way" was covered by American singer Thelma Houston in 1976. Thelma Houston version "Don't Leave Me This Way" The track was finally issued as a 12-inch single in the US in 1979, coupled with "Bad Luck".Ĭharts 1975 weekly chart performance for "Don't Leave Me This Way"ġ977 weekly chart performance for "Don't Leave Me This Way" It became the title track of a budget LP issued on the CBS Embassy label in the UK in 1978. The song proved to be the group's highest-peaking entry in the United Kingdom, reaching number five on the UK Singles Chart, when released there as a single in 1977. Though not issued as a single in the United States at the time, the Blue Notes' recording reached number three on the US Billboard Hot Disco Singles chart in the wake of Thelma Houston's version. Feel like picking a fight with one of the faction leaders while they’re deciding whether or not to hire you? Go right ahead, but be aware they’ll probably wipe the floor with you.The Blue Notes' original version of the song, featuring Teddy Pendergrass's lead vocals, was included on the group's 1975 album Wake Up Everybody. Don’t like the looks of the peasants who’re trying to save your life? Flash some steel and scare them away. And you can do it in nearly every cutscene, with or without provocation. Really, though, these pauses serve a purpose – they’re so that you can interrupt them by unsheathing your sword, an action that the game will constantly remind you is available by flashing a little drawn-sword icon onscreen.ĭrawing your sword won’t just be perceived as just a warning, either if you do it during a conversation, said conversation will immediately turn violent.
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This is mainly because they’re filled with long, seemingly meaningless pauses during which your samurai just stares blankly at the object of his attention after being asked a question. The cutscenes in Way of the Samurai 3 can be, at first glance, irritating as hell. However you decide to play, there are more than 15 endings to discover – and with Achievements and Trophies to be earned as you unlock them all, just seeing what happens isn’t your only incentive. The story is always fairly short, but that’s made up for by the fact that you can play through it repeatedly and experience a different outcome – and a completely different side of the story – every time. It’s that the games thrust you into a clockwork, Kurosawa-esque plot, which you can influence and dramatically alter, depending on your actions. If you’ve delved into either of the first two Way of the Samurai games, then you already know that their main selling point isn’t the fighting, the graphics or even the customization. But don’t let that fool you – underneath its ropey exterior lies a versatile, wildly customizable game that anyone who cares about story in games should at least try. And its standard sword-fighting action (while deceptively deep and a lot of fun) still feels like run-of-the-mill slash ‘em-up stuff, with enemies that insist on fighting you one at a time. A free-roaming, RPG-tinged adventure set in Japan’s warring-states period, Way of the Samurai 3 might seem a little dated, with chunky-looking graphics, stiff animations and dialogue relayed mostly through word bubbles.