Hot Productions Presents: DETROIT SOUL - Vol. 14

[Methuselah2]

Although this might be old news, I just ran across it and thought I'd pass it on--although the item is currently unavailable:

http://www.amazon.com/gp/product/B000QUAK40/ref=cm_cr_pr_pb_item

Click on 'Amazon.com Full Site' for more product info.

[westgrandboulevard]

Meth2, you might already know it, but those are recordings from Ian Levine's Motorcity label, operating from mid/late 80s to early/mid 90s.

IMO, quite a number of those recordings were, for their time, fine as they were - but most if not all would now benefit from matching the captured vocals from artists [[which are valuable as archive material, as many have now passed) with new sounds and arrangements.

[Methuselah2]

Thanks, WGB. No, I didn't know these were Ian Levine/Motorcity recordings. I'm glad you pointed that out. I was thinking they were lost recordings from the 60s, which I realize now was totally off-base.

[westgrandboulevard]

Meth2, if you're not too familiar with many or any of the Motorcity tracks, check out the listings of Hot Productions releases 'Cream of the Crop' Vols 1-3, then give a listen to any which might sound interesting.

Many Motown fans gave and continue to give the Motorcity releases the thumbs down [[I can quite understand the reasons) but I also think it's best not to compare them back to authentic Motown tracks, but to other 80s/90s tracks.

Vols 1 &2 replicate the original Motorcity releases, and Vol 3 was scheduled for release, but the record label folded before it became available.

The sets include 12" versions of what were considered to be the 'very best' of the Motorcity tracks at the time - although I could name more which were just as good, if not better.

[Methuselah2]

Thanks very much for the tip, WGB. I'm going to check them out. I'm familiar with just a few of Levine's very hi-energy versions of classics and enjoyed them, particularly for the chance to hear the artists again.

[westgrandboulevard]

Some were originally released on the Nightmare label, so you might check out those tracks, too.

The one thing that most people feel is the main detracting element to the Motorcity output is the fact that it's not possible for the listener to imagine musicians creating the music in the studio because, largely, there were none, although there are some authentic instrumental overdubs.

IMO, the drum machine sound, in particular, can be singled out for criticism [[as also on many other recordings from that time) - on some tracks it's fine [[usually when overlaid with other percussion - especially, as with original Motown tracks, when another slightly different drum sound is added), some are 'OK' - but, on some, just plain, flat out annoying [[!). Even then, it's best if possible to tune out any detracting sounds, and simply follow the vocals.

The typical Motorcity tracks, while generally lacking the spontaneous jazz feel of the original Motown tracks, have a big, booming sound, which probably would sound well in large discos and stadiums.

And many of them have been updated in the last ten years with, to my ears, remarkable results.

Perhaps you would post your findings here......

[Methuselah2]

I'll see what I can come up with.

Just an aside: The Supremes' version of THIS OLD HEART OF MINE [[IS WEAK FOR YOU) sounds like an Ian Levine production to me--years before it could have happened. But when I hear it now, it screams 'Ian Levine' to me. [[That recording didn't have a chance against the great Isley Bros.' version.)

[westgrandboulevard]

I think the same as you, probably because I'd say the rhythm track was recorded in Los Angeles. It's OK, but lacks that certain sparkle, and sounds 'flat'.

To me, the 'Motown Sound' on that track is all in the vocals, which I'd say were recorded in Detroit, but I might be wrong. Even if they were recorded there, they sound controlled and restrained - like a cover version by an act unconnected to Motown.

To be honest, if a Motown record didn't have that distinctive Hitsville sound, it detracted from my enjoyment of it. My favourite Brenda Holloway tracks are generally those with that particular, identifiable sound - not the ones recorded in LA.

If a rhythm track was recorded in Detroit, but the vocals were recorded elsewhere, that was fine with me [[sometimes it was better - for example, "I'll Keep Holding On" by The Marvelettes, as I think the tape was flown out to the girls while they were on tour. New York - ?) - but not the other way around, as then the record would sound similar to a release from just any other record label.

[Methuselah2]

It sounds so tinny and rinky-dink. Very sub-par for Motown at that point in time.

Now this Ian Levine work I like; in this video, the opportunity to hear and see Gladys just grabs me:

HOLDING ON WITH BOTH HANDS

http://www.youtube.com/watch?v=8TV9Gmrnmbo

[Methuselah2]

BREAKING DOWN THE WALLS OF HEARTACHE

There's a lot wrong with this version--except for the fact that Edwin Starr is front and center, and that makes it very right:

http://www.youtube.com/watch?v=F3Sw3da9QE4

[westgrandboulevard]

Oh yes, that was one real plus about the whole Motorcity project.

To be able to hear those marvellous voices again, but sounding more mature - and also to see them performing again - in some cases, for the first time.

I especially like it when Gladys fluffs [[but maybe you'd say flubs?!) a line, just smiles, and keeps going. [[And The Contours look on, trying to look cool, watching themselves on the above monitor, which always makes me smile...)

And that's the Andantes on background, I think.

As you know, Wanda does the vocal on the recorded version, but wasn't really in the position to perform it.

Of the Marvelettes Motorcity recordings, this could have done with more 'bottom' - it sounds a little on the 'thin' side. And I always feel it's based on 'My World Is Empty Without You'.

For me, one of the best of Gladys and Wanda's recordings for Ian Levine was Wanda's "Just in the nick of time". Brings out the vulnerability in Wanda's voice, especially when her voice doesn't quite match the beat at times - but that 'imperfection' gives the track a lot of charm IMO.

[Methuselah2]

The singing on this Elgins take is very good but nothing else about it is. It sounds just like many of the other Ian Levine productions.

HEADING AWAY FROM HEARTACHES

http://www.youtube.com/watch?v=GyVd2dn8VHE

[westgrandboulevard]

Edwin Starr had such a distinctive, powerful voice that it created a contrast to the formulaic Motorcity sound, and didn't always give him the best setting. Comes over as muzak.

Still, it did give him an opportunity to record his versions of old favourites, and some new songs, many of which he composed - and some of those were recorded by other artists at the same time.

[westgrandboulevard]

That Elgins track is a perfect [[imperfect??!) example of the drum/percussive sound that I don't like to hear on the Motorcity recordings. To me, it sounds as if someone is trying to hammer nails into steel. Not good at all.

Have you heard 'Don't Wait Around', especially the remakes?

A favourite of mine is their 'Take The Train' - which does away with the heavy drum sound altogether, and gives their performance a breezy, summer feel.

[Methuselah2]

Levine obviously loved these artists, and his bringing them back into the studio was a wonderful thing to do. But it's tempered by the material and the musicianship that went into it all, and it ends up working against itself. He certainly created a sound--a distinctive one--but one that doesn't seem to serve the artists. It serves the dance floor, and only to a certain extent.

[Methuselah2]

Kim really makes this one work. This one has real beauty in it because of Kim. And nothing else about it gets in her way--although it certainly is trying:

EMOTION

http://www.youtube.com/watch?v=ym33r4yrBro

[Methuselah2]

WGB - I totally agree with you about The Elgins' TAKE THE TRAIN. This was a new one to me--and it's a beaut! It really shows what could be done.

TAKE THE TRAIN

http://www.youtube.com/watch?v=b3_b5gQdsbw

P.S. I'm on the lookout for The Marvelettes' JUST IN THE NICK OF TIME.

[Methuselah2]

The Elgins' DON'T WAIT AROUND is, once again, good because of the singing. But the production is too much for me, frantic, relentless. The focus clearly was on creating dance music. And the artists have to fight it every step, every beat of the way.

DON'T WAIT AROUND

http://www.youtube.com/watch?v=WFs33aVQmAQ

[westgrandboulevard]

The bg vocals sound a little ragged on ' Don't Wait Around', which doesn't help.

The additional female voice[[s) on 'Take The Train' lighten the sound, and just sell it.

[R. Mark Desjardins]

Over the years Ian Levine has taken a real beating for his efforts, but the fact remains that many of the Motown groups he tried to bring back into the spotlight wouldn't have had much of a chance to record again if not for his Motorcity label. Some of the Marvelettes sides he recorded are very good. It's fantastic watching Gladys Horton performing "Holding On With Both Hands" with so many former Motown performers watching. A real "family" vibe. I think I even caught a glimpse of Mary Wells bobbing her head and clapping.