Was the LP From Broadway to Hollywood planned for 1966 release.?
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Was the LP From Broadway to Hollywood planned for 1966 release.?
I am downloading from ITunes right now .listening to MORE. always liked this from talk of the town. wow sounds great. I don't see recording dates?? did I misunderstand .
Somewhere is good as well.
At the foot of DFMC
http://www.dftmc.info/bonus/b-00.html
Having heard The Marvelettes "Sweet Talkin' Guy" I wish I hadn't bothered. I was looking forward to hearing it as well. As with the other "unreleased" sets, I probably won't bother downloading.
Does anybody know if user like me [[from Germany) can download the album on the U.S. site of Microsoft.com? https://www.microsoft.com/en-us/stor...6/8d6kgwx5xtss
Many thanks, Ingo
Attachment 12305
I listened to all four groupings of cuts. Only a few were really good quality. There was a good reason why the rest weren't released. There were also a couple cuts on which the recordings sound a fair amount older than 1966. I thing they could be from 1963 and 1964, and just made available with 1966, because they were just discovered recently, and Universal wants to keep ownership.
I don't think we can. I tried and it didn't work. We will have to wait until we get them I guess.
Wayne
https://www.facebook.com/groups/1735972560001093/
Still not available in UK 😤
I have always liked Michelle as a song.nice to hear it .Not a fan of the gospel tracks I've heard.
Were these tracks just uncovered. I thought the Supremes well was dry.
Although: -
02_09_I’m Losing You - Gladys Knight & The Pips
[[Harvey Fuqua)
Produced by Harvey Fuqua and Johnny Bristol
Original Tri-Phi Records session recorded for and by the Spinners, date[[s) and location unknown; vocals overdubbed by Gladys Knight & the Pips April 25, 1966
02_10_All These Things - Gladys Knight with The Spinners
[[Harvey Fuqua-Gwen Gordy Fuqua)
Produced by Harvey Fuqua and Johnny Bristol
Original Tri-Phi Records session recorded for and by the Spinners, date[[s) and location unknown; Gladys Knight lead vocal overdubbed April 26, 1966
02-18_You’re Gone [[But Always In My Heart) - Gladys Knight & The Pips
[[Brian Holland-Lamont Dozier-Edward Holland Jr.)
Produced by Brian Holland and Lamont Dozier
Working title: Always In My Heart
Track recorded December 19, 1963 and assigned to the Vandellas; re-assigned to Gladys Knight & the Pips and overdubs recorded April 21, 1966; lead vocal re-cut April 26; strings added May 13, 1966
Cheers
Paul
No, you're not reading it wrong copley!
Completion dates were indeed 1966, but the the band tracks for these three songs were recorded earlier, as thought to be the case by RobbK.
[[The two Tri-Phi session tracks most likely date from around 1962/63).
So he is correct in assessment that they were recorded earlier than 1966, but the vocal overdubs and tracks were completed that year, hence the inclusion in this set.
Cheers
Paul
Apologise for my ignorance..Is overdubbing.....Rerecording a vocal?
Essentially, it is david.
Of course the nomenclature can vary, but yes, recording or re-recording a vocal and/or other instruments to the contents already recorded on a multitrack tape.
In the case of Motown [[from about 1963 onward), the basic rhythm track would be recorded first, and then at a later date, the lead vocal would be recorded on a spare track of either the 3 or 8 track 'session' tape which contained the already recorded rhythm track. Then things like the strings and background vocals would be recorded or overdubbed to the remaining spare tracks, although not necessarily in this order.
[[The Hitsville session logs usually refer to this process as "dub ins").
Hope this helps.
Cheers
Paul
Attachment 12307
Thanks Paul! This proves that one should believe his ears!!! And also proves that 65 years of experience might be more trustworthy than even so-called "official" printed documents [[e.g. when the terms in those documents are not clearly defined). But, also, when younger people are compiling official data from what documents are "inherited" from the previous or even the original production company, information can get interpreted incorrectly, or transmitted with errors. So, experienced experts are a good back-up, in those situations.
Keith, thought with the release of Lost and Found , this collection cleaned up the vaults for the Supremes.
can you discuss when these tracks were found. seems to me they would fit on the I Hear A Symphony set . just curious if they were recently discovered.
L&F was almost 10 years ago. Of course they are going to find new tracks. Motown was very good at keeping their recording information straight, but sometimes tracks fall through the cracks where a session entry or a tape box is improperly marked. When you're recording practically 24/7, you're bound to forget something. If there's one thing we learned is that Motown is full of surprises. Discoveries will be made as they mine the vaults further. Does this mean we'll see another L&F set worth of unreleased tracks? No, but don't be surprised if you see a track or two pop up here or there that was never thought to have existed as it seems to be the case of these "Broadway to Hollywood" tracks.
Thanks Brad.
I assumed what you have confirmed for me. Nice to know we still may have a few gems left.
The Supremes' cuts were found by, ahem, me, listening to [[digital rundowns of) unmixed tapes, of which there are hundreds, possibly thousands, in the Vaults, while looking for good stuff for future Ace CDs. The 1966 Unreleased issue was a way of getting them out faster than Ace would be able to ... which is not to say we might not reprise them on CD at some later point. [[Or someone else might.)
I've found a number of unissued alt takes of Supremes tracks in my search, but most of them are so similar to the issued version that they aren't - in my opinion, and in view of the amount of "original" unissued material available by other artists - worth bothering about. I have found one alt version of a Supremes track featuring a different lead singer to the released version which I thought worth putting on one side for a future volume of "Motown Girls" ... if and when ... and unless Andy and George "scoop" me!
keith do you for see any possibility of a supremes 70s lost and found or do you think Go Go could be one of the last with the reluctance of universal
glad to know there are possibilities out there in the vaults. I'm sure its about the same for dianas solo work. hopefully there is a ross solo coming this year
With Motown you can never ever say never ;)
Keith thanks, glad there are other options regarding the release of this music.
I forgot to check the US iTunes Store for Motown Unreleased 1966, and having just done so [[and having listened to some of the tracks), I LOVE IT LOVE IT LOVE IT! I think there is a way of purchasing songs and albums from the US Store even in the UK [[think it involves iTunes vouchers) but I'm not sure. I will try it eventually but in the meantime I don't mind listening to 30-50 second previews, hehe... Anyways, a MASSIVE THANK YOU to Keith and everybody else involved in the release!!! :)
Attachment 12321
Didn't Tri-Phi/Harvey/HPC/Message record almost all their sessions in The Snake Pit?
So legend and memories have it, Robb, but in general Motown didn't log recordings when the studio was hired out to another company, and the Tri-Phi acts' recordings don't start appearing until mid-1963, which was presumably when Gordy acquired Tri-Phi. The Spinners' "All These Things" isn't logged, and the Tape Card just says the original source was a Tri-Phi tape.
I'm sure you know that the story goes that Ollie McLaughlin recorded "My Mama Told Me" on Barbara Lewis at the Snakepit, but that one isn't logged either.
Attachment 12325
So, then Gwen and Harvey were treated as any outsiders leasing the "Snakepit" for X number of hours, and paying for recording services, and, of course, these transactions weren't on the Motown company logs. But, the time leasing transaction with Tri-Phi Records should have been on Motown's Recording Studio's leasing log. But, the names of the artists and songs recorded probably would not be.
It's now on Amazon UK & iTunes UK :)
I looked and did not see this posted yet. Forgive me if i missed it --
https://theseconddisc.com/2017/01/ai...and-many-more/
I downloaded and listened to all the tracks in one session last night and I love most of the tracks, although I'm not keen on the standards as they don't have that Motown sound.
In my opinion, the Brenda Holloway and the Gladys Knight & the Pips tracks steal the show, and the writer/producers Weatherspoon/Dean, Fuqua/Bristol and Ivy Jo Hunter have the best work.
My favourite Isley Brothers Motown record is "Got To Have You Back", so a special mention for the less-harpsichord-dominated alternative version included here, which is outstanding.
"Don't Compare Me With Her" is also very good, but it doesn't quite send the same chills down my spine that Kim Weston's version did.