The Motown Sound: The Complete Albums, Singles & More

[144man]

HMV haven't received this from their supplier yet, so I won't get my copy by release date.

[motown_david]

I received my copy this morning from HMV. I've surprised myself by loving the CDs so much, as I have often found it difficult to connect emotionally with instrumental tracks but Earl is on top form here and I'm connecting instantly.

[144man]

I received my copy this morning from HMV. I've surprised myself by loving the CDs so much, as I have often found it difficult to connect emotionally with instrumental tracks but Earl is on top form here and I'm connecting instantly.

My order still says awaiting issues from supplier. I ordered mine on 26 Feb, when did you order yours? Are you in UK?

[motown_david]

Yes, I'm in the UK and I ordered my copy on 23rd February. I think that sometimes it's just down to the luck of the darw.

[kenneth]

It really is an awesome release, especially the rare and non-LP tracks. "The Flick" Parts 1, 2, 3 and 4 is a 12 minute opus! I wish they had recorded whole albums like this.

The "That Motown Sound" LP is great for Van Dyke's organ which is absolutely pulsating on top of the backing tracks but the mixes do have a pasted together quality which I think detracts from his brilliant work on the keyboard.

[144man]

Yes, I'm in the UK and I ordered my copy on 23rd February. I think that sometimes it's just down to the luck of the darw.

Thanks. Maybe it's first-come first-served. Hopefully I won't have to wait too long.

[booty]

My copy is on its way from Amazon Uk together with the Shorty Long set. Should be with me tomorrow ... can't wait!

[roger]

Just ordered mine from Amazon.co.uk, together with the SHORTY LONG release, and it should be here by next weekend

Roger

[Kamasu_Jr]

It really is an awesome release, especially the rare and non-LP tracks. "The Flick" Parts 1, 2, 3 and 4 is a 12 minute opus! I wish they had recorded whole albums like this.

The "That Motown Sound" LP is great for Van Dyke's organ which is absolutely pulsating on top of the backing tracks but the mixes do have a pasted together quality which I think detracts from his brilliant work on the keyboard.

I wish the Andantes had been featured on more of Earl Van Dyke's pop/soul tracks. And my ears tell me that Earl was not the only musician dubbed onto some of the early tracks on Tht Motown Sound. I hear different guitar and percussion parts. Was this done by Jack Ashford, Robert White, Joe Messina and Eddie Willis?? And Van Dyke's version of Come See About Me sounds very similar to the Supremes' Johnny & Joe.

[mysterysinger]

Mine has also arrived today, ordered from Amazon! Buzzing at the fing!

[Roger Polhill]

Got mine yesterday- absolutely brilliant especially the unreleased tracks.I`m disappointed that it takes forever to import tracks 24 & 25 and then they are distorted.I like to put unreleased tracks onto a separate disc and so I`m very frustrated. Same with the Marvelettes. Is peculiar only to Universal cds.

[Kamasu_Jr]

Anyone notice the skip in Mobile Lil?

[RossHolloway]

Mine doesn't skip

[Roger Polhill]

Mine doesn`t either. Is that Bob Babbitt on "Runaway Child..". Just love the new material.

[Kamasu_Jr]

Mine doesn't skip

Mine doesn't either. I checked it again. I guess it was a key change.

[booty]

Copy arrived last night. So far only read the in-depth liner notes - Just love the the final paragraph on the last page ... "Also available by The Funk Brothers: Just about every song recorded at Hitsville U.S.A. 1959-1972".
Sums up their contribution to the legacy that is Motown perfectly!

[theboyfromxtown]

I got my copy today from HMV. At last!

[RossHolloway]

I got my copy today from HMV. At last!

After you give it a listen or two, share with us what you think.

[theboyfromxtown]

I'm taking the cellophane off now!! *smile*

[theboyfromxtown]

Played side 1..so Ross Holloway - you asked me to share what I thought.

I'm used to the mono version of his first album but I like the stereo version better because you can hear more what is going on. The non album tracks are in mono. Hmmmmmm! Us Brits can get a stereo "I Can't Help Myself" on the album "STML 11200" but its one of the tracks that is merged with another track so it misses a bit of the intro...and it doesn't have that piano intro.

I love the pearls of wisdom found in the detail.....so I found it interesting that "Money" was assigned to the Vandellas, "Soul Stomp" to the Contours and I note that Tony Lawton was part of "Earl Van Dyke et son sextet" and they get a name check too...so no disputing who was there! [[see also the main forum). I also see "You Name It" was part of a live performance at the 20 Grand featuring the Temptations and Brenda Holloway...so I am assuming if we have EVD's performance, there might be some more from that concert for the future...bring it on Mr W.

I love "Mobile Lil" and also getting into Shorty Long's version on his ACE collection. Have never been a big lover of "The Flick" but this cd makes me re-discover it. Would have liked "6 By 6" and "There is No Greater Love" in stereo, especially since Hank Cosby solely produced them. Sadly "The Flick" and "There is No Greater Love" were not issued on 45's in the UK.

Special mention for "He Was Really Saying Something" even if it is only to mention the word VELVELETTES! *smile*

[theboyfromxtown]

I am really getting into the second cd of this collection. I remember the last tracks on each side of "Earl Of Funk" being my preferred selections and I still feel the same way. But it's the next bunch that I am preferring much more.

The three James Jamerson tracks are in a similar funky vein and are representative of the Motown Sound in the 1968/1969 period. Looking at the songwriters of the 3 songs all recorded at Golden World on 21 November 1968 suggests they might also include the musicians. So I found it surprising that Earl Van Dyke, the acknowledged leader, was not also listed in the credits. But hey, what do I know!

Loved hearing Ivy Jo on the count-in on "Up On Your Feet". His "Ode to Benny B" sounded like an Eivets Rednow track and I was surprised to see Pamela Sawyer listed as a co-songwriter on an instrumental song?

I have had the previously unissued "Too Busy Thinking About My Baby" and the great Temps cover "Runaway Child Running Wild" on heavy repetition today and I still can't get enough. This new version of "Too Busy...", in particular, is just magnificent - that was a great discovery.

I rate this 2 cd set highly and I'd recommend buying it before the price zooms upwards..as has ALWAYS been the case with Earl Van Dyke's releases since the 60's.

[dickiemint]

Not to sound too much like an old Diana song, but I'm still waiting for mine, come on Amazon what's the hold up!

[theboyfromxtown]

I've had mine from HMV for a good while now. That's tough Dickiemint, sorry to hear that

[nabob]

Hip-O releases usually are ordered from CD Wow due to a dispute over the sales tax rate with Hip-O's rude staff. Thanks to standing on principles, a notice was finally received just yesterday that the 23 March order has been dispatched. CD Wow receives its stash of materials long after the Hip-O ship date and the CDs are then shipped from Hong Kong. The wait is definitely worthwhile on at least two fronts.

[stopinthenameoflove]

Thank you John, I always love your take on releases.

After I was finished listening to the EVD set, I naturally moved on to STML 11200 'Motown Memories'! That reminded me - there's just one of the old Marginal Records CDs that I still use and hasn't been replaced with an official release, The San Remo [[Golden) Strings.

Do you think there is any chance of an official CD release for The San Remo sound? I know they were mainly Ric-Tic recordings, but they were re-released later on Gordy 923 with some new[[?) tracks, and then more on Gordy 928

I'm now on STML 11216 'Swing' - it's all good stuff, with lots of Funk Bros on it too

Maybe it's just me that loves this stuff? An official CD release would be 'Festival Time' in my house anyway ;o)

Played side 1..so Ross Holloway - you asked me to share what I thought.

I'm used to the mono version of his first album but I like the stereo version better because you can hear more what is going on. The non album tracks are in mono. Hmmmmmm! Us Brits can get a stereo "I Can't Help Myself" on the album "STML 11200" but its one of the tracks that is merged with another track so it misses a bit of the intro...and it doesn't have that piano intro.

I love the pearls of wisdom found in the detail.....so I found it interesting that "Money" was assigned to the Vandellas, "Soul Stomp" to the Contours and I note that Tony Lawton was part of "Earl Van Dyke et son sextet" and they get a name check too...so no disputing who was there! [[see also the main forum). I also see "You Name It" was part of a live performance at the 20 Grand featuring the Temptations and Brenda Holloway...so I am assuming if we have EVD's performance, there might be some more from that concert for the future...bring it on Mr W.

I love "Mobile Lil" and also getting into Shorty Long's version on his ACE collection. Have never been a big lover of "The Flick" but this cd makes me re-discover it. Would have liked "6 By 6" and "There is No Greater Love" in stereo, especially since Hank Cosby solely produced them. Sadly "The Flick" and "There is No Greater Love" were not issued on 45's in the UK.

Special mention for "He Was Really Saying Something" even if it is only to mention the word VELVELETTES! *smile*

[pj1]

[QUOTE=theboyfromxtown;105981]Loved hearing Ivy Jo on the count-in on "Up On Your Feet". His "Ode to Benny B" sounded like an Eivets Rednow track and I was surprised to see Pamela Sawyer listed as a co-songwriter on an instrumental song?

John,

I believe that the answer to your comment/question is to be found in 3 places:
[[pg.27) The credits for 'Ode To Benny B.' list a working title of 'Hey Lady' recorded on May 25, 1968 and assigned to the Four Tops... For Pamela Sawyer to receive credit, lyrics were likely written. Whether the Tops record the lyrics to that one, has not yet been revealed.
[[pg. 12) "Benny Benjamin, who died way too young on April 20, 1969."
[[pg.27) credits continue- reassigned to EVD and overdubs recorded May 10, 1969; additional overdubs recorded June 14 and August 26, 1969.

[theboyfromxtown]

Stop..Thank you. You're very kind. *smile* STML 11200 has a stereo version of I Cant Help Myself from EVD which does not have the piano intro. So don't get rid of that album yet!

There is still customer demand for the San Remo Golden Strings and I am aware that it has been muted a few times in the past but nothing yet...sadly. We can but hope. However, by raising the subject, on this Forum and elsewhere, there will be some readers who can make it happen. And whilst I am on that subject, I'm mentioning the Fantastic Four!

[ron]

Can I add my weight [[not that there's that much of it..) behind the 'request' for a San Remo release. I promised to behave myself or do whatever was necessary for an Eddie Holland release. That came good so what will I have to do for this one to come good as well??!!

I'm fairly certain I already have most of the San Remo tracks released in various forms. Being especially interested in alternates, I have two versions of both 'I'm satisfied' and 'Blueberry Hill'. Does anybody know of any others?
Hopefully an official release might fill in any gaps.

And while I'm on the subject, has anybody mentioned the Fantastic Four ??!!
[[Does this mean I'm going to have to be good for the rest of my life??)

[theboyfromxtown]

[QUOTE=pj1;106034]

Loved hearing Ivy Jo on the count-in on "Up On Your Feet". His "Ode to Benny B" sounded like an Eivets Rednow track and I was surprised to see Pamela Sawyer listed as a co-songwriter on an instrumental song?

John,

I believe that the answer to your comment/question is to be found in 3 places:
[[pg.27) The credits for 'Ode To Benny B.' list a working title of 'Hey Lady' recorded on May 25, 1968 and assigned to the Four Tops... For Pamela Sawyer to receive credit, lyrics were likely written. Whether the Tops record the lyrics to that one, has not yet been revealed.
[[pg. 12) "Benny Benjamin, who died way too young on April 20, 1969."
[[pg.27) credits continue- reassigned to EVD and overdubs recorded May 10, 1969; additional overdubs recorded June 14 and August 26, 1969.

Thank you Mike. If the Tops had recorded vocals, the track would have been included on their Lost And Found set as a significant piece in Motown history.

[pj1]

John,
Your response reminded me of a question I meant to ask either Harry Weinger or Keith Hughes.

I find some of the language used in the annotations for the EVD set confusing.
Taking the "that Motown Sound" album as a starting point, some tracks list 'recorded on [[date)' assigned to [[artist/group)'. Others list 'recorded on [[date), assigned to and completed by [[artist- here Marvin Gaye)'. Why the distinction? Tracks 1-10 were completed by the artists listed.
Track 12 seems to be the exception [[unless there is a completed version by the Vandellas ) and partially track 11 [[Vandellas -no, Contours- yes; again unless there is a Vandellas version in the vaults. )
What is even more confusing is that "Can I Get A Witness" does not receive an 'assigned to and completed by' designation, only an 'assigned to'.
As the cd progresses, several other tracks assigned to and completed by particular artists do not carry that notation.
Were there 2 different persons handling the annotations?

[bankhousedave]

My copy arrived from Amazon yesterday, and it is handsome to behold. Haven't had chance to play much of it yet, but did get up to the two tracks from the Paris Revue. The French MC's intro to Too Many Fish is the same as the album, but the track itself is certainly a different mix - I guess the stereo re-channeling described, although it sounds very different from the original. Oddly, the song is credited to Norman Whitfield alone although I thought it was a collaboration with Eddie Holland. The version of Soul Stomp that follows it is an absolute gem. Tony Newton's bass is brought out much better [[more like the second side of the original album, although the suggestion is that this follows from the much muddier Fish) and you can really hear his Jamerson-style chops. Also Soul Stomp is augmented by the French brass section that plays on the rest of the show, so this number benefits from additional saxes and trumpet, giving it more of a complete Motown sound.

The most curious thing for me has a bit of a story behind it. Back in the sixties I succeeded in getting hold of an EMI press release on Earl and the band to accompany the tour. I was interested in the musicians more than anything else and wanted to find out their individual names. I lost the release in a move, but recalled those names as Earl Van Dyke, Eli Fountain, Jack Ashford, Robert White, Bob Cousar and Lloyd Newton. When, much later, I discovered more, I decided I had misremembered Tony's and Eli's names and thought no more about it. Yet, lo and behold, when Earl introduces the band members between these two tracks, he refers to Tony as Lloyd Newton. I know it's a question to ask Tony himself, but I am temporarily pleased that my memory wasn't playing tricks on me.

[theboyfromxtown]

PJ1

That's really a question that is better dealt with by Keith.

I have to say that the earlier title of "Can you Whip It Like Me" for "Can You Jerk Like Me" amused me.

[bankhousedave]

Listened to the version of Too Many Fish on here again, and it is not the same as the one on the Motortown Revue album. Not sure what is going on, but there is no question that Eli's alto solo is different. Maybe it's from a different night. I believe they played three nights in Paris...

[RossHolloway]

John,
Your response reminded me of a question I meant to ask either Harry Weinger or Keith Hughes.

I find some of the language used in the annotations for the EVD set confusing.
Taking the "that Motown Sound" album as a starting point, some tracks list 'recorded on [[date)' assigned to [[artist/group)'. Others list 'recorded on [[date), assigned to and completed by [[artist- here Marvin Gaye)'. Why the distinction? Tracks 1-10 were completed by the artists listed.
Track 12 seems to be the exception [[unless there is a completed version by the Vandellas ) and partially track 11 [[Vandellas -no, Contours- yes; again unless there is a Vandellas version in the vaults. )
What is even more confusing is that "Can I Get A Witness" does not receive an 'assigned to and completed by' designation, only an 'assigned to'.
As the cd progresses, several other tracks assigned to and completed by particular artists do not carry that notation.
Were there 2 different persons handling the annotations?

PJ1 - I asked a very similar question in the Nightflight thread on EVD and HW answered my question. The long and the short of it is, that while a track may have been assigned to an artist, it does not necessarily mean an artist actually put vocals down. I bumped that thread up just now for reference. My specific question was in post #7. I would love to have heard a Martha and the Vandellas version of Money [[That's What I Want)

[pj1]

Hi RossHolloway,
Thank you for your response. However, that's not exactly what I'm asking. Tracks 1-5 and 6-10 were recorded and officially released as singles and album tracks by each of the named artists before EVD added his overdubs. Yet only 3 list that they were completed by the artist [[here being Marvin Gaye). There are 2 other Marvin Gaye tracks, #10 'Can I Get A Witness' that the annotation does not say was completed by Marvin Gaye, and #6 actually completed and vaulted by Marvin Gaye, then Jimmy Ruffin. Here the annotation is even more confusing- Marvin's version is either nameless or 'All For You'- yet the version eventually released has Marvin singing the 'Lucky, Lucky Me' lyrics. The annotation states that the song was retitled 'Lucky, Lucky Me' and given to Jimmy Ruffin.
Some I'm asking why were 2 different designations used for this release?

[theboyfromxtown]

It could be worse......a track is assigned to a group, they record it and then it's wiped!

I wonder who gets charged for the costs of the recording in that case!

[theboyfromxtown]

PJ1 - I asked a very similar question in the Nightflight thread on EVD and HW answered my question. The long and the short of it is, that while a track may have been assigned to an artist, it does not necessarily mean an artist actually put vocals down. I bumped that thread up just now for reference. My specific question was in post #7. I would love to have heard a Martha and the Vandellas version of Money [[That's What I Want)

RossHolloway.....I didn't see your comment on MJ's thread until you mentioned it here. I am pleased that we both had similar thoughts. I also agree that I would love to hear the original planned versions.

[RossHolloway]

Hi RossHolloway,
Thank you for your response. However, that's not exactly what I'm asking. Tracks 1-5 and 6-10 were recorded and officially released as singles and album tracks by each of the named artists before EVD added his overdubs. Yet only 3 list that they were completed by the artist [[here being Marvin Gaye). There are 2 other Marvin Gaye tracks, #10 'Can I Get A Witness' that the annotation does not say was completed by Marvin Gaye, and #6 actually completed and vaulted by Marvin Gaye, then Jimmy Ruffin. Here the annotation is even more confusing- Marvin's version is either nameless or 'All For You'- yet the version eventually released has Marvin singing the 'Lucky, Lucky Me' lyrics. The annotation states that the song was retitled 'Lucky, Lucky Me' and given to Jimmy Ruffin.
Some I'm asking why were 2 different designations used for this release?

PJ1 - The one difference on the album is that it seems like EVD just overdubbed onto the original backing track to those released songs [[Tracks 1-11), while track 12, is not the original backing track to Barrett Strong's hit song Money, but appears to have been recorded approximately 3 years after the original song was released. [[Unless my ears are deceiving me). That's the one thing that stands out to me. But that also opens the door to another question: did any artist/group record vocals to this updated track of Money? DFTMC [[while not complete) does not show any artist having re-recording the song in 1963 or '64, and the next artists listed as recording the song were Jr. Walker and the All Stars and The Supreme's, both in 1966, and both with new/different re-recorded band tracks.
Clarence Paul is listed as having produced the "basic tracks" to the song, and it wasn't uncommon for more than one artist/group to take a shot at recording a song, I just wonder who all Clarence was producing during this time period that may have laid down vocals...

I also note where some track annotations state "assigned to and completed by ______" and others are just listed as "assigned to _____", and I'm not sure what the difference between the two annotations truly are. Perhaps different instrumental mixes than the well known released versions.

[theboyfromxtown]

..and also for Soul Stomp.

[RossHolloway]

..and also for Soul Stomp.

I now seem to recall that HW may have said that there were no lyrics to Soul Stomp. But do not quote me on that. lol. Perhaps he will see this thread and chim in on our questions.

[theboyfromxtown]

'Tis true that no vocal version was recorded. However, Richard Street would know for sure if lyrics were ever written..if he can remember, that is!

[dickiemint]

It has finally arrived! Thank you Amazon for Keeping me hanging on ! When you pre order the products you don't think you'll be the last to get it, never mind I can listen to it all weekend.

[RossHolloway]

It has finally arrived! Thank you Amazon for Keeping me hanging on ! When you pre order the products you don't think you'll be the last to get it, never mind I can listen to it all weekend.

Glad that you've finally gotten your copy! It's too bad it took so long for it to get to you. I ordered mine from Amazon and received it in less than a week. Well give the set a couple of turns this weekend and let us all know what you think of the release!

[hwume]

Thank you EVERYONE, for their positive response to this collection. It was a labor of love that took several years to come to fruition.

In re to the puzzlement over the annotations...

Fair question, but let me be sure I got this straight - there is a hand raised about the "quirkiness" of the annotations in this set, specifically the songs on the first album that surely were recorded by vocalists but whose overdubs are not noted. If I got that right, here goes:

Anytime a basic track is recorded by one and then another artist, there is usually a long list of recording dates for each of their overdubs. That may be interesting for the history of that particular song - which for nearly every song in Motown's classic era is laid out on my colleague Keith Hughes' essential site, www.dftmc.info - but for this specific collection and this specific artist, I felt it best to focus on Earl's contributions, and not lose the story of "his" song under a barrage of info for the vocal version. Keith and I actually created a "full" set and, perhaps it's a decision down to taste or aesthetic, but they were hard to follow. Now, where it says "Track recorded xxxxx, assigned to and completed by xxxx," that means the track and the vocal were done the same day, same session; there is nothing in-between the band track date and Earl's subsequent overdub[[s).

OK?

[RossHolloway]

Thank you EVERYONE, for their positive response to this collection. It was a labor of love that took several years to come to fruition.

In re to the puzzlement over the annotations...

Fair question, but let me be sure I got this straight - there is a hand raised about the "quirkiness" of the annotations in this set, specifically the songs on the first album that surely were recorded by vocalists but whose overdubs are not noted. If I got that right, here goes:

Anytime a basic track is recorded by one and then another artist, there is usually a long list of recording dates for each of their overdubs. That may be interesting for the history of that particular song - which for nearly every song in Motown's classic era is laid out on my colleague Keith Hughes' essential site, www.dftmc.info - but for this specific collection and this specific artist, I felt it best to focus on Earl's contributions, and not lose the story of "his" song under a barrage of info for the vocal version. Keith and I actually created a "full" set and, perhaps it's a decision down to taste or aesthetic, but they were hard to follow. Now, where it says "Track recorded xxxxx, assigned to and completed by xxxx," that means the track and the vocal were done the same day, same session; there is nothing in-between the band track date and Earl's subsequent overdub[[s).

OK?

Harry-

Thanks for responding. Just out of curiosity, who was the re-recorded 1963 track to Money done for? Did anyone record vocals for this? The notes list it as being assigned to the Vandellas, and if I remember correctly you stated that the group never recorded vocals for the track, did any artist or group ever get around to putting their vocals down to this re-recorded track? Was this a fairly routine practice, where a producer does a instrumental track, but never gets around to an artist or group adding vocals?

[hwume]

"Money" was recorded on three-track, then sat in the can for nearly two years [[21 months) until it was "bumped up" to eight-track and guitar and organ were overdubbed. That became the version on the album. It was not used by anyone else.

Producers often recorded tracks to present to an artist or artists and they wouldn't return to them for one reason or another.

[jtf1972]

I FINALLY got mine [[finances have been a bit tight of late)

This whole set put a smile on my face. It sounds phenomenal!

The only question I would have is regarding the Earl of Funk album. I am guessing that the horrible fake applause that was added to the original could not be removed for this remastering. It's a pity, as it is the one thing that truly annoyed me about my original album. The canned applause really does a disservice to the music, as the nuances of the music that would effect the live audience cannot be replicated.

Still, even with not having a "clean" version of The Earl of Funk I am jamming this set!

[hwume]

I FINALLY got mine [[finances have been a bit tight of late)

This whole set put a smile on my face. It sounds phenomenal!

The only question I would have is regarding the Earl of Funk album. I am guessing that the horrible fake applause that was added to the original could not be removed for this remastering. It's a pity, as it is the one thing that truly annoyed me about my original album. The canned applause really does a disservice to the music, as the nuances of the music that would effect the live audience cannot be replicated.

Still, even with not having a "clean" version of The Earl of Funk I am jamming this set!

Glad you are enjoying the collection.

Regarding the live album: the first option, which we chose, was to present the album as it was released, to "document" it digitally - especially since it was appearing for the first time on CD. The second option, which was toyed with, was to mix the entire recording from scratch. It would have sounded great. But the time and money spent to arrive at something resembling the album - following the A&R decisions made by Henry Cosby as best as one can, albeit without the applause - would not have have served the release overall. Time and money was better spent taking care of the unreleased tracks. And if it had been remixed, I'd always feel, "hmmm, the original album has still yet to be reissued properly." But the performances, apart from an artifact of a commercial recorded product, would sound great[[er) if... some day...

[jtf1972]

some day...

Thanks Harry... Some day indeed! If only there would be additional material to include in a Volume II.

[Roger Polhill]

There must be more live tracks in the vaults. "Heartbreak" hasn`t been released on CD yet.