Motown Unreleased 1968

[MelodyMan]

Does anyone have information about MOTOWN UNRELEASED 1968?

We are already at the end of October and the end of the year is near.

[Fourtopsbiggestfan]

I'm definitely excited to have a track list. Usually we know in October.

[keith_hughes]

It's happening. Track list not finalised yet.

[Fourtopsbiggestfan]

It's happening. Track list not finalised yet.
Thank you for the great news. As always, thank you in advance.

[MelodyMan]

Thank you very much for the great information Keith.

[lakedistrictlad1]

I would love this to be a physical set - but I suspect we saw the first and last of those with the '66 set.

[144man]

Do you have any tantalizing teasers, Keith?

[Fullfillingnessfirstfinale]

Thank you very much Keith, for the information. Hope we have some unreleased Blinky stuff including.

[wedgeville]

Just bumping this up as it's sure getting close...

[keith_hughes]

I could risk a hint ... don't overspend on Christmas presents, Fullfillingness! List is currently at 100, but that number will likely go down as I'm not sure where we stand on clearances, and a few of them will need a LOT of repair at the mixing stage and may get abandoned. This project is one with a very hard deadline, obviously. But mixing is now underway.

[alanh]

Thanks for the update Keith.....looking forward to it!

[daviddh]

cool news glad we r getting new music

[danman869]

Anything new to share about the release date and possibly a tracking listing?

[snakepit]

Do these tracks have to be recorded in 1968 or can they be from any previous year but COMPLETED in 68?

[bradsupremes]

Do these tracks have to be recorded in 1968 or can they be from any previous year but COMPLETED in 68?

I thought it was when the track was completed. A track could have been cut in 1966 or 1967, but if vocals weren't added until 1968 which then qualifies it for Motown Unreleased 1968.

[snakepit]

Sounds reasonable.
Looking forward to this release , anything new is most welcome.

[keith_hughes]

The criterion is, it's tracks that were COMPLETED in 1968. Bradsupremes, you're right: some of these were indeed started in 66/67, and three are overdubs on 1965 tracks.

We're moving forward through the mixing, and as I feared we've lost a few due to being unable to fix poor or incomplete performances. But nothing has failed to clear yet, as far as I know, so fingers crossed ... I'll publish a track list somewhere as soon as it's finalised

[Roger Polhill]

Keith is there any way to obtain a copy of these imperfect tracks?

[keith_hughes]

If they aren't released by the current copyright holder within 25 years of recording, the copyright reverts to the artist[[s) - as I understand it. I suppose that means the artist could choose to release it himself. But they're being held back because we don't think the artist would WANT it to come out ... tho' I admit the artist [[or his heirs) isn't consulted in each case. There is quite a sizeable budget for these big annual releases, but it doesn't stretch that far!

[snakepit]

Blinky?
Utopians?
Am I warm Keith?

[keith_hughes]

Are you feeling warm, Snakepit? Maybe you should stay out of the kitchen while the chefs are at work! I'll let you know when dinner is ready ...

[JM27]

Please let there be some Stevie in there...

[Rjacks]

I hope that there are some Smokey releases in this set.

[nevertoolate]

Was wondering if there were still decent songs still in the vaults that would at least make
good album cuts, I was thinking by 1968, music was changing and Motown was starting to
decline and get away from the classic sound of 1965-66 as HDH left, riots in Detroit etc.

[Quinn]

Was wondering if there were still decent songs still in the vaults that would at least make
good album cuts, I was thinking by 1968, music was changing and Motown was starting to
decline and get away from the classic sound of 1965-66 as HDH left, riots in Detroit etc. This is the same concern I have. 1968 was the last great year at Motown as nearly all members of the first family had defected. Keith's job may be drastically harder from this point forward. I see him rejecting a massive number of tunes as quality will be harder to come by. Hope I'm wrong though.

[MelodyMan]

I hope that there will be some tracks by Gladys Knight & The Pips included.

[snakepit]

I think that by 1968 tracks were recorded over a long time frame. Completed in 1968 may actually mean started in 67 and, as Keith alluded to, before that. I'm sure there will be some good quality here as Motown needed to up it's game with HDH going. Presumably other producers and writers saw a chance to take over...let's hope so.

[alexstassi]

I know I'm leap frogging here but 1969 will be interesting with the amount of unreleased J5 tracks in the vaults.... but i dont think motown will miss a trick here.... im sure they'll bring out a seperate compilation for the 50th anniversary of I want you back.

[Fourtopsbiggestfan]

Please FOUR TOPS, please FOUR TOPS 💛☺️☺️👍

[jaorecords]

I know I'm leap frogging here but 1969 will be interesting with the amount of unreleased J5 tracks in the vaults.... but i dont think motown will miss a trick here.... im sure they'll bring out a seperate compilation for the 50th anniversary of I want you back.

I agree! I feel like it will be a separate release. Maybe THE BOBBY TAYLOR SESSIONS or something like that?

[snakepit]

I agree! I feel like it will be a separate release. Maybe THE BOBBY TAYLOR SESSIONS or something like that?


I assume you knowabout The Bobby Taylor Motown Anthology? Both albums and many unissued tracks on a double CD.

[mysterysinger]

I assume you knowabout The Bobby Taylor Motown Anthology? Both albums and many unissued tracks on a double CD.

I think jao was probably referring to any Bobby Taylor produced Jackson 5 material

[snakepit]

Ah I understand now.
Thanks

[RanRan79]

This is the same concern I have. 1968 was the last great year at Motown as nearly all members of the first family had defected. Keith's job may be drastically harder from this point forward. I see him rejecting a massive number of tunes as quality will be harder to come by. Hope I'm wrong though.

I would think any tracks left unused for the upcoming set and future sets of the series would be contingent on whether the fellas can get clearance or the actual track would be damaging to the legacy of the artist [[bad notes, etc). While the idea that Motown's quality began to diminish in the late 60s is a debatable one, I would think that Keith and the guys wouldn't use their own personal likes and dislikes to determine what's good or bad in order to decide what to release and what to withhold. I can't imagine that too many of the producers during the time frame would characterize their unreleased Motown tunes as so bad they aren't worthy for release even 50 years later.;)

[bradsupremes]

im sure they'll bring out a seperate compilation for the 50th anniversary of I want you back.

Good luck with that. Universal failed with Motown 50 and tons of other landmark anniversaries. Look at this year alone... 50th anniversaries of TCB, Love Child, I Heard It Through The Grapevine, Cloud Nine, etc and we saw nothing out of it. Next year is Motown 60 and I bet it will come and go without anyone noticing it.

[RanRan79]

Good luck with that. Universal failed with Motown 50 and tons of other landmark anniversaries. Look at this year alone... 50th anniversaries of TCB, Love Child, I Heard It Through The Grapevine, Cloud Nine, etc and we saw nothing out of it. Next year is Motown 60 and I bet it will come and go without anyone noticing it.

All good points, except the J5 are really something else entirely. As legendary as the Supremes, Tempts and Marvin are, Michael Jackson eclipses them all and Universal might see dollar signs in capitalizing off of the J5 50th than they have done with other golden anniversaries. One thing is almost a sure bet: Motown 60 will probably come and go without any Universal fanfare.

[snakepit]

The recent article on the Motown Museum [[ on this forum) hinted at 60th album special promotion...whatever that means!

[keith_hughes]

Final list looks to be 88, but glancing through the "I wish"es above I think Santa has pleased everyone. I would get on with posting the list to DFTMC, but I have another Motown digital product to get out on the same date, so it'll have to wait. Heigh ho, another chore for me, another teaser for you.

[lakedistrictlad1]

Final list looks to be 88, but glancing through the "I wish"es above I think Santa has pleased everyone. I would get on with posting the list to DFTMC, but I have another Motown digital product to get out on the same date, so it'll have to wait. Heigh ho, another chore for me, another teaser for you.

It's the Disney album isn't it? But digital only?. Noooooo!!!!��

[snakepit]

Disney album?
You could wish upon a star...

[keith_hughes]

Whoever would let ME loose on a Supremes issue?

Back in the real world: the other digital project is an Expanded Edition of "In Loving Memory". There are 34 tracks, 9 of them previously unreleased. The original album will be remastered from the original tape, won't be a[[nother) re-tread of the 1995 Polygram CD.

Motown Unreleased will be issued as two separate releases, amusingly subtitled Part 1 and Part 2, on Dec 14. Ritchie has the annotations to upload to the DFTMC site, but it won't happen overnight; he may wait till I send him the annos for In Loving Memory in the next couple of days.

I said "same date" for the other project; should have said, my deadline is same date, but the release date may be a day or week or two later. But this month.

[Quinn]

Thanks Keith. Surprised by the release date,we haven't gotten one of these collections early since MU1965. Even though I'm not a huge fan of "In Loving Memory" I'll probably get this too to support you guys. Proud that you're utilizing the original session tapes and not a second or third generation tape. Nevertheless I got my CD-R's ready to go and a little extra cash in case a physical MU1967 eases in. Thanks Brother Keith.

[Roger Polhill]

Keith is there any chance of you naming the songs that didn`t make it to the final list.
Please!

[DJMoch]

Fantastic, I can definitely wait a week for the latest Motown Unreleased. Can't wait to see what unearthed gems will be appearing. I too will support the release of In Loving Memory. I'm not a fan of gospel at all, but will definitely purchase it to hopefully continue these wonderful reissues. You guys are kings, and deserve every bit of support for the amazing work you do!

[keith_hughes]

Track lists now up at http://www.dftmc.info/bonus/b-08a.html and next page. It shows release date for both parts as 14 Dec, but I understand part 2 will follow a week later, on 21 Dec.

[Fourtopsbiggestfan]

Track lists now up at http://www.dftmc.info/bonus/b-08a.html and next page. It shows release date for both parts as 14 Dec, but I understand part 2 will follow a week later, on 21 Dec.

Fantastic. Thanks for all the hard work you all do 💜💚💙👍

[Fourtopsbiggestfan]

Oh my Lord. First version of YESTERDAY'S DREAMS. That's a dream come true. The Originals I'M IN A DIFFERENT WORLD live?! Incredible.

[simon.millar]

It doesn't disappoint.... :-) Thanks for sharing; bring on the 14th..

[snakepit]

Thanks to all involved..some good looking items here.

[rovereab]

Looking good and the mono masters have been used!

[JM27]

A good amount of Stevie stuff there!

[Fullfillingnessfirstfinale]

Track lists now up at http://www.dftmc.info/bonus/b-08a.html and next page. It shows release date for both parts as 14 Dec, but I understand part 2 will follow a week later, on 21 Dec.

Fantastic,incredible and amazing, from Germany a great thank you for that fantastic work !!!! 9 Blinky tracks, two Aretha Covers by Martha and The Vandellas, a version of "Drown in my own tears" by The Vancouvers and "Tears at the end of a love affair" as a duet and it´s so overhelmed to see a further duet of the graet Chuck Jackson with Yvonne.

[Quinn]

Looks interesting. Didn't know T&T actually recorded some songs. I see Stevie's team responded to the call[[wink) and fans can be happy with Blinky being emancipated. Good to see Berry Gordy had a little more time than usual to contribute in the studio. Thanks to Keith,Harry and everyone else at UMe for the hard work and dedication. I'll have it at midnight on Friday.

[luckyluckyme]

Looking forward to the set- especially Blinky, Stevie & Jr. Walker. I was surprised to see how much Paul Peterson had recorded.
It's interesting to see just how many non-Motown copyrighted songs performed live by Motown artists/groups have studio recorded versions in the vaults.

[danman869]

Thank you, Keith, for all of your hard work. This looks AMAZING! I did notice there aren’t any 1968 Supremes tracks, but I’m going to assume they have been earmarked for release on “Reflections: Expanded Edition,” “Love Child: Expanded Edition,” and “Let The Sunshine In: Expanded Edition” sets in the future. [[Hey, a guy can dream!)

[mysterysinger]

Wow they're fantastic. Plenty of Billy Eckstine and Blinky there. "Ode To The Supremes" by Bobby Taylor and The Vancouver's lol. "Now Is The Time For Love" on Paul Petersen. A few there by T&T [[eh?). Some really interesting stuff. Can't wait.

[rovereab]

I'm probably going to regret asking this as a long time Motown fan but who is T&T?

[johnny_raven]

I'm guessing it's Terry [[Johnson) and Teresa [[Botial) since Terry wrote 4 of the 5 tracks and Theresa [sic] wrote the 5th.

[jboy88]

T&T is Terry Johnson and some lady named Terri, a Tammi Terrell lookalike he was paired with for a duet project. Apparently Smokey Robinson wanted to cash in on the Marvin & Tammi concept. Terri’s jealous boyfriend caused Smokey to scrap the project!

[keith_hughes]

A quick note to say that Part 1 will be released this Friday, 14 Dec, and Part 2 next Friday, 21 Dec. At present both parts have the same date on the site. I have asked Ritchie to change the date of Part 2, but since you've all seen it "wrong" I thought I'd better put you wise. It'll take you a week to absorb the first 50 songs, I'm sure!

[snakepit]

Keith, thanks for a great mu68.
Delighted by the number of Stevie Wonder tracks. However, previous MU have not had many Stevie tracks on them....have previous years been exhausted or was he not recording as much in 66-67?

[Quinn]

Keith, thanks for a great mu68.
Delighted by the number of Stevie Wonder tracks. However, previous MU have not had many Stevie tracks on them....have previous years been exhausted or was he not recording as much in 66-67? It's all a matter of bad "timing" I guess I should say. There's quite a bit of material in the vaults on Stevie, much of it exceptional from what I've heard over the years. In fact a "Lost & Found" was planned years ago, but UMe scrapped the project [[like Gladys & The Pips) for reasons unknown to me. When it comes to this series though, the dilemma is Universal reaching out to Stevie and him not reaching back in time. Unfortunate for us because tracks were selected for inclusion on the past two collections. Better late than never though.

[marybrewster]

If I may ask 2 questions:

This set includes "Send Him to Me" by Debbie Dean, and "Send Her To Me" by the Four Tops. Both written by Lussier and Dean. Is this the same track with exchange of HIM and HER?

Also, looking at these two tracks[[ and perhaps there's more examples; this one just jumped out to me): is there a reason Lussier received top credit next to Dean on 14, and vice versa on 15? Is this, in general, common with writing partners? Or does this suggest Lussier contributed more to 14 and Dean contributed more to 15?

14. Send Him To Me - Debbie Dean
[[Dennis Lussier-Debbie Dean)
15. I Believe In Him - Debbie Dean
[[Debbie Dean-Dennis Lussier)

[Quinn]

I just noticed that there are no Norman Whitfield productions. I also see that the supposedly last two tracks by The "New" Mynah Birds "Masquerade" and "Fantasy" are also absent. What happened Brother Keith?

[Philles/Motown Gary]

Thanks so much, Harry, Keith & Company. You can count on me to buy both "MU1968 [[Vol. 1 & 2)" and "In Loving Memory [[Expanded)" as well as whatever else you make available. Looking forward to it!

[keith_hughes]

Masquerade and Fantasy have no vocals, Quinn.

Send Her/Him are the same song, Mary. Nothing significant in the order of the writers, either with this song or any other in DFTMC, except that the annotator is getting sloppy in his old age. Per the Library Of Congress entry for the Him version, both writers wrote both words and music; the Her version isn't listed separately.

[snakepit]

It's all a matter of bad "timing" I guess I should say. There's quite a bit of material in the vaults on Stevie, much of it exceptional from what I've heard over the years. In fact a "Lost & Found" was planned years ago, but UMe scrapped the project [[like Gladys & The Pips) for reasons unknown to me. When it comes to this series though, the dilemma is Universal reaching out to Stevie and him not reaching back in time. Unfortunate for us because tracks were selected for inclusion on the past two collections. Better late than never though.

So Stevie gave his approval to 1968, but not previous years. ? If so that's a shame if there were tracks from those years. One wonders [[ no pun intended) if we'll ever get them released now.

[Quinn]

So Stevie gave his approval to 1968, but not previous years. ? If so that's a shame if there were tracks from those years. One wonders [[ no pun intended) if we'll ever get them released now.
Y'know Snake, I wonder the same thing, but I don't think it's as bad as it may sound. By the '66-'67 tracks falling into the Public Domain they're not protected by U.S. Copyright law. So no permission is needed to use the songs if my memory serves me correctly. I don't believe all is lost, they can probably be released it's just that not much of a fight can be put up when someone is interested in releasing them. Maybe Keith or someone here who knows more about this can provide clarity, but I don't think we have too much to worry about.

[snakepit]

Ok Quinn thanks.
Sort Stevie out and then Smokey /Miracles :)

[greg jones]

Y'know Snake, I wonder the same thing, but I don't think it's as bad as it may sound. By the '66-'67 tracks falling into the Public Domain they're not protected by U.S. Copyright law. So no permission is needed to use the songs if my memory serves me correctly. I don't believe all is lost, they can probably be released it's just that not much of a fight can be put up when someone is interested in releasing them. Maybe Keith or someone here who knows more about this can provide clarity, but I don't think we have too much to worry about.

My understanding is that the reason for these digital only previously unreleased releases at 50 years is for European laws. That when the European law got changed to lengthen copyright, there was a clause for not released prior to certain date at 50 years they would need to be released to lengthen to 75 years or fall into public domain.

My understanding is that US copyright is already at 75 years whether released on unreleased.

As far as unreleased reverting back to the artist after a certain time, I believe is determined by what was in the artists original contracts.

[greg jones]

So Stevie gave his approval to 1968, but not previous years. ? If so that's a shame if there were tracks from those years. One wonders [[ no pun intended) if we'll ever get them released now.

I've always been under the impression that Stevie's catalog prior to 1971 when he renewed his contract with Motown was under Motown's jurisdiction and that from 1971 on, Stevie has the final word and has to be negotiated every single time.

[Roger Polhill]

This has plenty for everybody. Many thanks Keith and Team. I hope that you have reserved a few others for later Ace releases.

[copley]

Just downloaded both parts of Motown Unreleased 1968 from Amazon UK. BLINKY – ‘My World Is Crumbling’ is currently playing. I’m a happy boy :) More later.

https://www.amazon.co.uk/Motown-Unreleased-1968-Part-1/dp/B07L8R5T4C/ref=sr_1_2?ie=UTF8&qid=1544749931&sr=8-2&keywords=motown+unreleased+1968


https://www.amazon.co.uk/Motown-Unreleased-1968-Part-2/dp/B07LBB3GSZ/ref=sr_1_1?ie=UTF8&qid=1544749931&sr=8-1&keywords=motown+unreleased+1968

[Martin Byrne]

Hi there, just to let everyone know that BOTH volumes of Motown Unreleased 1968 are now available on Qobuz and 7Digital, where I am, at least [[Ireland). I've bought both in FLAC; Vol. 1 [[€32.49 on 7Digital, €34.99 on Qobuz) was nearly twice the price of Vol. 2, though [[€19.49 on 7Digital, €17.99 on Qobuz). A bit steep for Vol. 1, maybe? It only has 12 more tracks. Always glad to get these releases, though!

Edit: I see Copley got there before me!

[TomatoTom123]

I still think it's awesome that we get new Motown music being released in 2018. :)

[Philles/Motown Gary]

I still think it's awesome that we get new Motown music being released in 2018. :)

Me, too, Tom! It's like Motown is still alive and kicking to this day! I just checked out each of the tracks on Part 1. [[Thanks for the tracklist and 30-second audio samples, Copley!) However, I'm confused about something. Being a huge Andantes fan, as I am, I couldn't help but notice that they're conspicuously missing from these recordings. I'm left wondering who the back-up girls are on these songs. They're clearly not The Andantes -- or, at least, not my favorite combination of Louvain, Jackie, and Marlene. Their harmonic blend is definitely not the one featured on these MU1968 tracks. Does anyone have any idea who these girls are?

[bradsupremes]

I just listened to the samples. Here were some standouts to me:

Ain't It A Shame - Barbara McNair
Yesterday's Dreams [[Version 1) - Four Tops
Show Me The Way - Gladys & the Pips
Ooo Baby Baby - Blinky
Billy Buchanan - Blinky
Give Me All Of Your Lovin' - Stevie Wonder
I'm In A Different World [[live) - The Originals
By The Time I Get To Phoenix [[live) - Gladys & the Pips
You Met Your Match [[live) - Stevie Wonder
Hey Love [[live) - Stevie Wonder
It's A Bitter Pill To Swallow [[Version 1) - Marvin Gaye
Ode To The Supremes - Bobby Taylor
Can't Help But Love You - Gladys Knight & the Pips
All I Want Is A Little Bit Of Love - Stevie Wonder
Fuerte Amor - San Remo Strings
Now Is The Time For Love - Paul Petersen
Opportunity Knock [[For Me) - Four Tops
What The World Needs Now Is Love - Chris Clark
Feeling Good - Chris Clark
Sunny - Chris Clark
Sweet Soul Music - Martha & the Vandellas
I Can Feel The Pain - David Ruffin & Ivy Jo Hunter

[booty]

Downloaded Parts 1 & 2 …. 7digital.uk They we up just after midnight!

[bradburger]

https://www.youtube.com/watch?v=q1_Zy2WzO2s

WOW!

Cheers

Paul

[bradsupremes]

Can we talk about how amazing this is? I had predicted a few years ago that if a Motown version existed that it should mention the Motown artists. It looks like they did just that. This was the track meant for the Supremes. I wish they had added their vocals, but Martha tears it up.


https://www.youtube.com/watch?v=_c4TTu55Rcw

[marv2]

Bobby Taylor's tribute to The Supremes:


https://www.youtube.com/watch?v=S-4NumFIUOA

[Fourtopsbiggestfan]

Absolutely in love with the first version of YESTERDAY'S DREAMS, and OPPORTUNITY KNOCK FOR ME or should I say TRAPPED IN LOVE'S CORRIDOR. SEND HER TO ME is phenomenal.

[the sound of young america]

I like the sound of this one:

Nice to see another credit for Beatrice Verdi, a favourite of mine.

15. Can’t Help But Love You - Gladys Knight & The Pips
[[Harvey Fuqua-John Bristol-Beatrice Verdi)
Produced by Harvey Fuqua

[luckyluckyme]

The track for Blinky's 'I'll Be In Trouble" sounds as if it were being prepped for Barbara Randolph to record. [[Thank you, Paul Nixon for Barbara's magnificent U.K. collection of several years ago ). Any suggestion/paperwork that it was planned for Barbara to record?

[mysterysinger]

Not heard em yet but does "I'll Be In Trouble" use the same backing track as the Marvelettes version?

[keith_hughes]

Somehow this one just grabbed me during the prep phase and wouldn't let go. What do people think of these guys? Why are there no legit, mastered from tape, digital compilations of their work? Would you buy one if there were? [[I'm just asking out of interest, this isn't some kind of hidden announcement!)


https://www.youtube.com/watch?v=llTPhKVd23w&index=14&list=OLAK5uy_nDcMHJwt-_PcnsUci6BlTpGq09JM1xTus

[copley]

Not heard em yet but does "I'll Be In Trouble" use the same backing track as the Marvelettes version?

No it's not the same but it if it was it would the Marvelettes using the same backing track as Blinky.

[copley]

Somehow this one just grabbed me during the prep phase and wouldn't let go. What do people think of these guys? Why are there no legit, mastered from tape, digital compilations of their work? Would you buy one if there were? [[I'm just asking out of interest, this isn't some kind of hidden announcement!)


https://www.youtube.com/watch?v=llTPhKVd23w&index=14&list=OLAK5uy_nDcMHJwt-_PcnsUci6BlTpGq09JM1xTus

Spooky but I have just reached this track on Vol 2. The answer is YES I would buy a collection by them. I have about 30 or so tracks and love them.

[bradsupremes]

Somehow this one just grabbed me during the prep phase and wouldn't let go. What do people think of these guys? Why are there no legit, mastered from tape, digital compilations of their work? Would you buy one if there were? [[I'm just asking out of interest, this isn't some kind of hidden announcement!)


https://www.youtube.com/watch?v=llTPhKVd23w&index=14&list=OLAK5uy_nDcMHJwt-_PcnsUci6BlTpGq09JM1xTus

I really love this one, Keith. I noticed the piano in the beginning and wondered if it was added in for this version or if it is on the original track and muted on the Four Tops' version?

[mysterysinger]

Yes a SRGS set is long overdue - the bootleggers have had their own way for too long. I would have an official CD like a shot.

[snakepit]

Me too.
I'd love a collection of backing tracks just like this.

[snakepit]

Does the fact that The Originals sing I'm in a different world at the Fox imply that they actually recorded it and then it was given to the Four Tops?

[motown01]

Somehow this one just grabbed me during the prep phase and wouldn't let go. What do people think of these guys? Why are there no legit, mastered from tape, digital compilations of their work? Would you buy one if there were? [[I'm just asking out of interest, this isn't some kind of hidden announcement!)


https://www.youtube.com/watch?v=llTPhKVd23w&index=14&list=OLAK5uy_nDcMHJwt-_PcnsUci6BlTpGq09JM1xTus

Great version - very haunting. There's an instrumental version [[maybe a bootleg?) floating around of Shake Hands With A Dreamer by Jimmy Ruffin with what sounds like a more lush arrangment too - I'm now wondering if it's by the San Remo Golden Strings too?

[bradsupremes]

Does the fact that The Originals sing I'm in a different world at the Fox imply that they actually recorded it and then it was given to the Four Tops?

I wish there's a studio version by the Originals. "I'm In A Different World" was the last song HDH worked on before they left Motown. However it was incomplete when they left. Their last session was supervising the background vocals, but they were gone before Levi added his vocal. R. Dean Taylor supervised Levi's vocal as well as Diana's vocal on "Forever Came Today."

[booty]

Somehow this one just grabbed me during the prep phase and wouldn't let go. What do people think of these guys? Why are there no legit, mastered from tape, digital compilations of their work? Would you buy one if there were? [[I'm just asking out of interest, this isn't some kind of hidden announcement!)


https://www.youtube.com/watch?v=llTPhKVd23w&index=14&list=OLAK5uy_nDcMHJwt-_PcnsUci6BlTpGq09JM1xTus

Of course I would!

[Boogiedown]

Somehow this one just grabbed me during the prep phase and wouldn't let go. What do people think of these guys? Why are there no legit, mastered from tape, digital compilations of their work? Would you buy one if there were? [[I'm just asking out of interest, this isn't some kind of hidden announcement!)




https://www.youtube.com/watch?v=llTPhKVd23w&index=14&list=OLAK5uy_nDcMHJwt-_PcnsUci6BlTpGq09JM1xTus

Delightful. Makes me want to drive up Hwy 1 to Carmel with the top down!

[Quinn]

Somehow this one just grabbed me during the prep phase and wouldn't let go. What do people think of these guys? Why are there no legit, mastered from tape, digital compilations of their work? Would you buy one if there were? [[I'm just asking out of interest, this isn't some kind of hidden announcement!)


https://www.youtube.com/watch?v=llTPhKVd23w&index=14&list=OLAK5uy_nDcMHJwt-_PcnsUci6BlTpGq09JM1xTusYes,if you,Harry and Andrew could find all the tapes and convince the bean counters to get behind it. When Berry Gordy purchased Golden World he may have gotten all of the San Remo masters too,like The Reflections. Gold may be in those hills that you're basically the authority of so look into it. But only after your vacation[[ you deserve one if you're not on one already). This a beautiful tune and a great example of the Detroit sound with it's melancholy chords and sophisticated orchestration. The sound was too slick for even some Detroiters [[ Don Davis), but to me no other city could match it at that time. Wonderful.

[lakedistrictlad1]

Somehow this one just grabbed me during the prep phase and wouldn't let go. What do people think of these guys? Why are there no legit, mastered from tape, digital compilations of their work? Would you buy one if there were? [[I'm just asking out of interest, this isn't some kind of hidden announcement!)


https://www.youtube.com/watch?v=llTPhKVd23w&index=14&list=OLAK5uy_nDcMHJwt-_PcnsUci6BlTpGq09JM1xTus

Fantastic track. So very '60's! I would LOVE a legit CD on the SR Strings. It's long overdue.

[westgrandboulevard]

Fantastic track. So very '60's! I would LOVE a legit CD on the SR Strings. It's long overdue.

Me, too.

Also Keith, a series of Hitsville band tracks. We've had some, of course, but I for one would love more.

Sometimes it's just great to have the music and concentrate on that, and not the vocals. Also to sing with..and great to drive with.

Have you noticed how many Motown band tracks, or instrumental breaks from vocal recordings, are showing up in background of daytime TV programmes?

It's real music.....always was, always will be.:)

[luckyluckyme]

Me, too.

Also Keith, a series of Hitsville band tracks. We've had some, of course, but I for one would love more.....


It's real music.....always was, always will be.:)

And as Blinky Williams sang in 1969


https://www.youtube.com/watch?v=5s-uRN-V_PQ

[Philles/Motown Gary]

Somehow this one just grabbed me during the prep phase and wouldn't let go. What do people think of these guys? Why are there no legit, mastered from tape, digital compilations of their work? Would you buy one if there were? [[I'm just asking out of interest, this isn't some kind of hidden announcement!)


https://www.youtube.com/watch?v=llTPhKVd23w&index=14&list=OLAK5uy_nDcMHJwt-_PcnsUci6BlTpGq09JM1xTus

Yes, Sir! I sure would!!!

[Philles/Motown Gary]

And as Blinky Williams sang in 1969


https://www.youtube.com/watch?v=5s-uRN-V_PQ
The more I hear Blinky's "It's Gonna Be Always", the more I love it! It's pure Motown! And those strings! Imagine what a 45 release and some airplay could have done for this buried treasure.

[danman869]

My vote goes for an exhaustive collection of the San Remo Golden Strings' recordings! YES!

[luckyluckyme]

Can we talk about how amazing this is? I had predicted a few years ago that if a Motown version existed that it should mention the Motown artists. It looks like they did just that. This was the track meant for the Supremes. I wish they had added their vocals, but Martha tears it up.


https://www.youtube.com/watch?v=_c4TTu55Rcw

Quite interesting that the first Motown girl group to get a shout out here is the Marvelettes. At the end of the song Martha doesn't even mention her group, but only song titles she/they've recorded.
If I've heard correctly, shout-outs went to the Miracles [[Smokey)/Marvin Gaye/ Marvelettes/ 4 Tops/ Supremes/ Gladys Knight [[Pips)/Temptations/ Stevie Wonder/ Bobby Taylor/ Shorty Long/Jimmy Ruffin/Edwin Starr.

[Philles/Motown Gary]

Lucky, I, too, noticed that The Vandellas shout-out name was conspicuously missing. While listening the first time, I was sure Martha would save The Vandellas for last during the fade-out, but when all she got was a mention of her song titles, it seemed like a slap in the face to Martha -- not unlike her 30-second time allotment on Motown 25. Do we know who the producer was on "Sweet Soul Music"? And why he would prevent Martha from mentioning The Vandellas?

[theboyfromxtown]

Frank Wilson

[Philles/Motown Gary]

Frank Wilson

Thanks, boyfromcrosstown.

[TomBairdFan]

Somehow this one just grabbed me during the prep phase and wouldn't let go. What do people think of these guys? Why are there no legit, mastered from tape, digital compilations of their work? Would you buy one if there were? [[I'm just asking out of interest, this isn't some kind of hidden announcement!)


https://www.youtube.com/watch?v=llTPhKVd23w&index=14&list=OLAK5uy_nDcMHJwt-_PcnsUci6BlTpGq09JM1xTus

Keith, I would definitely buy a CD by the San Remo Strings! Out of all my Motown CD collection, I keep just one duplicate in a fireproof safe [[just in case!), and it's the San Remo Strings collection on Marginal because the 'Strings' are my absolute Motown [[OK, Ric-Tic!) favorites. I would never part with my three San Remo Strings albums. Yes, three: Hungry for Love [[Gordy 923), San Remo Strings Swing [[STML11216) and San Remo Golden Strings Swing [[Gordy 928). The two 'Swing' albums have different artist names and tracks. I wonder if there are enough fans out there to justify a release, but there is no doubt that it is superbly arranged music with definite 'crossover' potential. As has been pointed out, it's highly adaptable for use in various media as the San Remo Strings sound is so appealing and engaging and would grab the attention of lots of music lovers. I would buy two copies of any legitimate CD release: one for me and one for my safe!

[keith_hughes]

Thanks for all the positive replies on the San Remo Strings. I'd better dig around and see what there is, and find out whether there might be a slot for them in the Motown 60 schedule. Doubtful at this late stage, but you never know.

At least I know what I'm looking for now. On my first trip to New York to research for "The Complete Motown Singles", Harry asked me if I'd have a look through the computerised tape index to see what was available for the San Remo Strings. [[Someone must have applied to do a compilation, I guess.) I found no tracks. Harry told me to go back and look again, and this time instead of searching for "San Remo" I looked for just "Remo", and there they all were, indexed under REMO, SAM. Since then they've always been Sam and his boys, for me.

[aarondillon2011@gmail.com]

Thanks for all the positive replies on the San Remo Strings. I'd better dig around and see what there is, and find out whether there might be a slot for them in the Motown 60 schedule. Doubtful at this late stage, but you never know.

At least I know what I'm looking for now. On my first trip to New York to research for "The Complete Motown Singles", Harry asked me if I'd have a look through the computerised tape index to see what was available for the San Remo Strings. [[Someone must have applied to do a compilation, I guess.) I found no tracks. Harry told me to go back and look again, and this time instead of searching for "San Remo" I looked for just "Remo", and there they all were, indexed under REMO, SAM. Since then they've always been Sam and his boys, for me.

Hmmmm, Motown 60 schedule eh? Does this mean we are going to be getting some cds or digital releases next year? Or am I misreading that?

[Quinn]

Weighing what Keith said about Motown 60, it'll certainly be festive. My concern is what will the releases be?, rehashes we don't need newly remastered or a plethora of surprises?. UMe could learn alot from Craft/Concord and the way they're representing Stax for their 60th. They're doing a fantastic job with that and the important projects are tangible too. Universal has what is probably the greatest catalogue in music history,so they should be more than capable of matching or surpassing. No comparison,just perspective.

[Fourtopsbiggestfan]

We need physical CDs. Not digital. We should be acting as if digital doesn't exist. It takes away from people who want the music. Physical media should always be #1 priority.

[copley]

In this day and age such physical releases of old music, which has a niche market like ours, is not a viable proposition! Of course I would like a CD but I'm more than happy with downloads now as the alternative is nothing!

[Fullfillingnessfirstfinale]

I have a lot of question about the many new tracks and artists. I would like to know if there exists any pictures of T&T ? Were both artists black artists ? What where the plans by Motown? Create a new Marvin & Tammi thing?

"Tears at the end of a love affair" was an overdub with Marvin´s voice, right?

On the Martha & The Vandellas tracks, we have here the original vocals or just Martha?

"Opportunity knock for me" reminds me of "My heart" by Tammi Terrell, this track by the Tops is breathtaking and sophisticated !

IMHO Blinky´s best track here is "Mind" subrisingly this track reminds me of a Stax Kim Weston track called "You just don´t know". And I like it because it´s not the typical sound of Motown 68.

The further unreleased Chuck and Yvonne Duet could be the b-side of the unreleased single of "It must be love", maybe such a thing was planed ?

I´m very glad about the fact that Blinky sings "I´ll be in trouble" more like The Marvelettes [[Wanda) as The Temps, because my favorite is by Wanda.
But "Ooo Baby baby" she sings amazing.
A final question about Blinky, maybe Keith can give me a hint. I am very curious about her version of HLHTETBG, so Blinky used the backing track of the Supremes ? And will this track including in the forhtcoming Blinky Motown Collection ?

Thanks so much for any replies and answers !
All the best from Germany

[Quinn]

I have a lot of question about the many new tracks and artists. I would like to know if there exists any pictures of T&T ? Were both artists black artists ? What where the plans by Motown? Create a new Marvin & Tammi thing?

"Tears at the end of a love affair" was an overdub with Marvin´s voice, right?

On the Martha & The Vandellas tracks, we have here the original vocals or just Martha?

"Opportunity knock for me" reminds me of "My heart" by Tammi Terrell, this track by the Tops is breathtaking and sophisticated !

IMHO Blinky´s best track here is "Mind" subrisingly this track reminds me of a Stax Kim Weston track called "You just don´t know". And I like it because it´s not the typical sound of Motown 68.

The further unreleased Chuck and Yvonne Duet could be the b-side of the unreleased single of "It must be love", maybe such a thing was planed ?

I´m very glad about the fact that Blinky sings "I´ll be in trouble" more like The Marvelettes [[Wanda) as The Temps, because my favorite is by Wanda.
But "Ooo Baby baby" she sings amazing.
A final question about Blinky, maybe Keith can give me a hint. I am very curious about her version of HLHTETBG, so Blinky used the backing track of the Supremes ? And will this track including in the forhtcoming Blinky Motown Collection ?

Thanks so much for any replies and answers !
All the best from Germany T&T stands for Terry & Terri and it was originally intended as a replacement for Marvin & Tammi. With Tammi's unfortunate illness that slot needed to be filled. The guy in the duo is Terry "Buzzie" Johnson who used to be in a group called The Flamingo's who's also a great friend of Smokey Robinson. Terri was a singer from Philadelphia whose demanding boyfriend screwed up the deal before things could really get moving. I highly doubt if there are any photos due to the pairing coming and going so quickly.

"Tears At The End Of A Love Affair" is an overdub with Marvin. Quite clearly no one knew it existed for it never surfaced on 2001's "Complete Duets" and it wasn't mixed. Keith had to stumble upon that on a rundown reel. I don't particularly like the new mix either, the track is dreadfully low and is barely audible. Don't know if the tape has irreparable damage that Richard or Obie couldn't fix or what. Sound quality was a let down for me.

As for Chuck Jackson & Yvonne Fair, I don't believe anything was planned for them. Bristol & Fuqua just recorded what they felt was proper and waited to see. There also wasn't room for two vocal duo's at Motown, so those tracks were probably done to placate Chuck & Yvonne. They were doomed from the start in my opinion.

[bradsupremes]

Weighing what Keith said about Motown 60, it'll certainly be festive. My concern is what will the releases be?, rehashes we don't need newly remastered or a plethora of surprises?. UMe could learn alot from Craft/Concord and the way they're representing Stax for their 60th. They're doing a fantastic job with that and the important projects are tangible too. Universal has what is probably the greatest catalogue in music history,so they should be more than capable of matching or surpassing. No comparison,just perspective.

I hate to poo poo things, but Motown 50 was a far more important anniversary and it came and went like a fart in the wind. I'm not holding my breath when it comes to next year and these releases. I'm sure we'll see a release or two from Ace, but until it happens I don't see Universal issuing dozens of releases on CD next year. Maybe they learned from Motown 50, but I'm not going to believe it until I see it. I'm expecting major disappointment.

[rovereab]

"Tears At The End Of A Love Affair" is an overdub with Marvin. Quite clearly no one knew it existed for it never surfaced on 2001's "Complete Duets" and it wasn't mixed. Keith had to stumble upon that on a rundown reel. I don't particularly like the new mix either, the track is dreadfully low and is barely audible. Don't know if the tape has irreparable damage that Richard or Obie couldn't fix or what. Sound quality was a let down for me.



I don't understand what you are saying about the sound quality as it seems to be fine on iTunes? Please explain.

[Quinn]

I don't understand what you are saying about the sound quality as it seems to be fine on iTunes? Please explain. Bought it from ITunes too. There's no problem with Apple's presentation of the song, it's the mix itself. The first thing is the bass, it's too HOT and literally overpowers the track. The drums are audible only when there's a pause in the vocal performance and need to be turned up louder. There should be a better balance of those two. The piano is back too far and the vocals and orchestration are too loud,up too high. Another factor is the lack of treble,which was to me is what made Motown mixes so great. The clarity is always there unless the mix is just poor overall. Here it sounds like someone has what engineers call " A blanket over the music".

I'm not trying to be a butt plug, but as an audiophile I'm very critical when it comes to mixing and mastering. As a music lover nothing frustrates me more than listening to classic music remastered sub par or just plain bad. I'm grateful to have the tune, but a better balance could've been achieved unless it's something I don't know about the audio source. My honest evaluation.

[marybrewster]

Hmmmm, Motown 60 schedule eh? Does this mean we are going to be getting some cds or digital releases next year? Or am I misreading that?

I certainly hope 60 is celebrated with a little more fanfare than 50.

[marybrewster]

Lucky, I, too, noticed that The Vandellas shout-out name was conspicuously missing. While listening the first time, I was sure Martha would save The Vandellas for last during the fade-out, but when all she got was a mention of her song titles, it seemed like a slap in the face to Martha -- not unlike her 30-second time allotment on Motown 25. Do we know who the producer was on "Sweet Soul Music"? And why he would prevent Martha from mentioning The Vandellas?

A stab in the dark, but why mention the Vandellas when clearly they're absent from this track?

[Philles/Motown Gary]

Why not? Martha & The Vandellas were just as responsible for Motown's success as the other groups who were mentioned in the record. If the producer [[Frank Wilson) allowed Martha to name the Vandellas' hit records at the end during the fadeout, as he did, he should have allowed her to mention her group's name. Another Forum member noticed that the shout-out for The Vandellas name was conspicuously missing as well. As far as Betty and Rosalind's backup vocals not being included, I'm guessing they just hadn't gotten around to adding them yet. Who knows? If I were Martha, my first thought at the recording session would have been, "Hey, these new lyrics to "Sweet Soul Music" are cool by calling out the names of the various Motown groups! At what point in the record do I get to call out the name of MY GROUP -- The Vandellas? I just hope that Martha wasn't told that she couldn't mention them, as that would be cruel. But cruel things did happen at Motown, oftentimes to Martha. I wonder if she remembers that recording session and what the reason for omission was, if any?

[westgrandboulevard]

I'm wondering if these new lyrics to 'Sweet Soul Music' are just a try-out, being considered not for actual release, more for audience recognition and response for The Vandellas in their own stage show?

Perhaps also for some radio promo?

Name credit for The Vandellas probably was included in this recording, to complete the roster, but unheard simply because the track was longer, but faded out just before 3 mins?

It then stayed unfinished, probably because Martha was too big a name simply to be listing other Motown acts on any of her released recordings.

Had the original lyrics to 'Sweet Soul Music' been used and released, it would have been credited as usual to Martha Reeves and The Vandellas - but very unlikely ever to happen, because Martha would have been calling out the names of non-Motown acts?

[reese]

Martha could very well just be following the template of the original SWEET SOUL MUSIC by Arthur Conley, in that Arthur paid tribute to various acts but didn't mention himself. Calling out her own song titles was a nice touch that Arthur couldn't do since he had no hits before this one.

[WaitingWatchingLookingForAChance]

Martha could very well just be following the template of the original SWEET SOUL MUSIC by Arthur Conley, in that Arthur paid tribute to various acts but didn't mention himself. Calling out her own song titles was a nice touch that Arthur couldn't do since he had no hits before this one.

I was thinking along the same lines. It was Martha & The Vandellas singing the song, so it wouldn't be necessary to give a shout out to yourself. It would sound awkward to refer to yourself in the third person in song. That would be a bit like someone saying, I'd like to salute all the greats of this or that and then after listing all the people saying, " and MYSELF".

I'm also recalling another song where Marvin Gaye was name dropping various Motown singers but he didn't say his own name. Yet another song "Life Is A Rock [[But The Radio Rolled Me)" is basically a continuous name-dropping session of a lot of Top 40 artists, but again, the group does not mention themselves.

[Sharpmoves]

Exciting tracks, many are on Youtube already. Of course, one of the great unreleased recordings of 1968 remains Martha Reeves and the Vandellas Live at the Copa....https://soulfuldetroit.com/showthread.php?14937-Martha-amp-The-Vandellas-quot-Live-At-The-Copa-quot-Acetates

[kenneth]

Exciting tracks, many are on Youtube already. Of course, one of the great unreleased recordings of 1968 remains Martha Reeves and the Vandellas Live at the Copa....https://soulfuldetroit.com/showthread.php?14937-Martha-amp-The-Vandellas-quot-Live-At-The-Copa-quot-Acetates

I notice in the track listing for the new set it includes the Vandellas' studio recording of "Ode to Billie Joe." This song is so suited to Martha's voice and style. It's kind of a dark version of "Honey Chile," and her Southern roots really shine on this one. I've heard the live recording from a bootleg of the live at the Copa so always wondered if they actually recorded the song in the studio.

I'm anxious to hear what others think of Martha's recording of "Ode to Billie Joe" if you care to share.


https://www.youtube.com/watch?v=0o4t3sW8VZg

[Quinn]

I'm wondering if these new lyrics to 'Sweet Soul Music' are just a try-out, being considered not for actual release, more for audience recognition and response for The Vandellas in their own stage show?

Perhaps also for some radio promo?

Name credit for The Vandellas probably was included in this recording, to complete the roster, but unheard simply because the track was longer, but faded out just before 3 mins?

It then stayed unfinished, probably because Martha was too big a name simply to be listing other Motown acts on any of her released recordings.

Had the original lyrics to 'Sweet Soul Music' been used and released, it would have been credited as usual to Martha Reeves and The Vandellas - but very unlikely ever to happen, because Martha would have been calling out the names of non-Motown acts? I
See where you're coming from regarding this track. I just listened to it and I certainly believe that Frank Wilson intended on returning to this at some point. Martha's performance sounds like a scratch vocal and was probably only done once as opposed to multiple times. She needed more takes to grind her feet into it.

As for The Vandellas getting a name credit, I don't think it's there. Maybe had this been an original Mono mix, I would consider it, but the mix is brand new and done by Obie O'Brien. As you may know already, tunes had to be less than three minutes because DJ's could only play so many songs in an hour. In addition it was so many independent companies around then releasing several singles a month. Time was a critical factor. Today we don't have that problem, but I said that to say this West. Given that the mix is new it's made from the multi track which like anything else only runs so long. As we can see Obie faded out at 2:56 and considering that running time is not really a concern anymore, I can't see the song going more than fifteen seconds after the fade. Occasionally they let the songs go all the way to the end, but that's not the case here. I also paid close attention to the adlibs at the fade and there's no indication that more names would've been said. I think the gifts had been given.

As for release of it, I simply believe that Motown didn't want to give Frank the money for another crack at it. Wasn't worth it to them, didn't think enough of it to even mix it. The tune was brought up to a certain point and shelved as were many Motown recordings. Sometimes the company just moved on. My evaluation.

[Philles/Motown Gary]

Has anybody besides me noticed that the bass line on some of these Unreleased 1968 tracks kick ass like never before? I listened to all 50 tracks of 1968 Part 1 under my headphones which have great bass response. I couldn't believe how incredible it sounded. James Jamerson outdid himself this time around, for sure!

[alanh]

Gary, I've been listening in my car and have been thinking the same thing about the bass. I wonder whether it's also due to the mixing and mastering as well as the recordings themselves....but yes they really sound good.

[144man]

Bobby Taylor's tribute to The Supremes:


https://www.youtube.com/watch?v=S-4NumFIUOA

The version on the John Manship Acetate cassette was really bad. This is a great improvement.

[Philles/Motown Gary]

Gary, I've been listening in my car and have been thinking the same thing about the bass. I wonder whether it's also due to the mixing and mastering as well as the recordings themselves....but yes they really sound good.

It could be any of the above, Alan. Whatever the reason, that bass sure sounds HOT!

[lakedistrictlad1]

Does anyone know of a website where this is available to buy as FLAC rather than just mp3?

Thanks

[danman869]

Does anyone know of a website where this is available to buy as FLAC rather than just mp3?

Thanks

LDL, in the UK, you should try www.7digital.com. Good prices, IMO. [[US folks, go to us.7digital.com)

[mysterysinger]

I'm loving the Billy Eckstine tracks. He could have had 5 albums on Motown instead of 3. Also, what do you know, Paul Petersen could have had a Motown album back when. I love Terry Johnson's voice and all those vids of him fronting those Flamingos on revival shows are wonderful but I'm struggling to enjoy those T&T tracks

[lakedistrictlad1]

LDL, in the UK, you should try www.7digital.com. Good prices, IMO. [[US folks, go to us.7digital.com)

Thanks danman.

[danman869]

Thanks danman.

Youre welcome. Hope it is to your liking!

[DJMoch]

That's where I got my FLAC versions, only it was the Canadian 7digital store. I am so in love with this compilation you have no idea. You guys have outdid yourselves, yet again!

[JM27]

It totally amazes me that something as incredible as Stevie's "I'll Wait For You To Come Home" has been unreleased for so long - Stevie's voice at its best too.

Truly a crying shame if, as rumour has it, Stevie's unreleased recordings are destroyed when he passes.

[Quinn]

It totally amazes me that something as incredible as Stevie's "I'll Wait For You To Come Home" has been unreleased for so long - Stevie's voice at its best too.

Truly a crying shame if, as rumour has it, Stevie's unreleased recordings are destroyed when he passes. That is a very good song and the melody is undeniably Stevie, but I can see why it ended up staying in the can. When songs like this crossed the path of Quality Control I don't think they intended to hold on to them. Usually they would wait until the artist recorded some songs that could go around it/them and add it in the lineup. For Stevie that fortunate situation didn't come soon enough and everybody moved on. If possible listen to every album Motown released on him between 1968 and 1970 and try to put this song in with the rest or even replace something and see how it sounds. Most than likely it'll stick out like a sore thumb and throw that entire side completely off.

I learned a long time ago that when I hear these unheard gems, to think like a company employee as opposed to a fan. When you adopt these behaviors and become multi faceted you'll be surprised how the scales tip. To credit Billie Jean Brown, Richard Street and Norman Whitfield in the early days, they made few mistakes. "Jimmy Mack" was a rare exception, but they rarely failed even considering how much we like this stuff.

[WaitingWatchingLookingForAChance]

... Usually they would wait until the artist recorded some songs that could go around it/them and add it in the lineup. For Stevie that fortunate situation didn't come soon enough and everybody moved on. If possible listen to every album Motown released on him between 1968 and 1970 and try to put this song in with the rest or even replace something and see how it sounds. Most than likely it'll stick out like a sore thumb and throw that entire side completely off.

I learned a long time ago that when I hear these unheard gems, to think like a company employee as opposed to a fan. When you adopt these behaviors and become multi faceted you'll be surprised how the scales tip.

I never considered that aspect. Really. Those remarks you made are so very germane to the issue of some of these unreleased gems. There is another unreleased Stevie Wonder song, "Why Don't You Come Home" that blows my mind. I kept wondering how it was that it didn't see the light of day back then, but that song is staggeringly different, almost much more advanced in sound than anything else on "My Cherie Amour." Definitely, it would have not figured into the mix on that album.

Point well made. If I were in charge of coming up with the lineups for various Motown albums back then, I would have thought like a fan...and all of those albums would have tanked.

[JM27]

That is a very good song and the melody is undeniably Stevie, but I can see why it ended up staying in the can. When songs like this crossed the path of Quality Control I don't think they intended to hold on to them. Usually they would wait until the artist recorded some songs that could go around it/them and add it in the lineup. For Stevie that fortunate situation didn't come soon enough and everybody moved on. If possible listen to every album Motown released on him between 1968 and 1970 and try to put this song in with the rest or even replace something and see how it sounds. Most than likely it'll stick out like a sore thumb and throw that entire side completely off.

I learned a long time ago that when I hear these unheard gems, to think like a company employee as opposed to a fan. When you adopt these behaviors and become multi faceted you'll be surprised how the scales tip. To credit Billie Jean Brown, Richard Street and Norman Whitfield in the early days, they made few mistakes. "Jimmy Mack" was a rare exception, but they rarely failed even considering how much we like this stuff.
Some good points - I know where you're coming from. It's not dissimilar in its quirky compositional characteristics to "I'd Be A Fool Right Now" [[no accident that both feature Henry Cosby as a co-writer) and I'd say that latter song was more deserving of a place on the "For Once In My Life" album. But it's certainly a sign of things to come in terms of Stevie's writing, with its somewhat idiosyncratic use of harmonic changes that became a hallmark of his compositional style in the 70s.

[Otsiningo]

I love that we get yet another version of Martha singing the chorus to I Can't Dance To That Music You're Playin'. :o I'm surprised she wouldn't remember singing it at least THREE times.

[bradsupremes]

I love that we get yet another version of Martha singing the chorus to I Can't Dance To That Music You're Playin'. :o I'm surprised she wouldn't remember singing it at least THREE times.

I'm not sure why this first version of "I Can't Dance To That Music You're Playin'" was included in Motown Unreleased 1968. Other than it being a mono mix, it was already released on the Vandellas Singles Collection a few years ago in stereo.

[jboy88]

I'm loving the Billy Eckstine tracks. He could have had 5 albums on Motown instead of 3. Also, what do you know, Paul Petersen could have had a Motown album back when. I love Terry Johnson's voice and all those vids of him fronting those Flamingos on revival shows are wonderful but I'm struggling to enjoy those T&T tracks

There are things I like and dislike about the T&T track. What I like are the tracks, [[Jamerson always had a little extra on duets) and how well Terry and Terri intertwine in harmony. However, some of the lyrics sound too darn sappy. “Psychologically” to me sounds like something out of “Schoolhouse Rock’ or “The Electric Company”. All & All, the tracks aren’t the worst but not the best either.

[Quinn]

There are things I like and dislike about the T&T track. What I like are the tracks, [[Jamerson always had a little extra on duets) and have well Terry and Terri intertwine in harmony. However, some of the lyrics sound too darn sappy. “Psychologically” to me sounds like something out of “Schoolhouse Rock’ or “The Electric Company”. All & All, the tracks aren’t the worst but not the best either. I agree. I like these songs even though what we have could very well be their output in totality. Hearing those five tracks and evaluating them left much to be desired for me. I was left with a "What If ?" type of a feeling. We'll never know what greatness could have emanated from this duo as Smokey & Al Cleveland couldn't really grasp ahold to what was required to get that smash hit. I also feel that Smokey should've co written the songs with Terry Johnson as it would've made all the difference in the stories. I believe these tunes would end up in the can even if things had worked out because they have an experimental sound. Terry,Smokey and All were trying to put the puzzle together and see what would fit,but unfortunately Terri's beau screwed her golden opportunity. So much potential was there.

[bradsupremes]

Those T&T tracks are sub-par at best. They sound like demo singers especially the Terrie woman. Her voice doesn't have much energy or life to it. They're rather bland sounding. No soul. I can't imagine them having any kind of success. "What Happened To Love" and "The One Who Loves You" have great band tracks. It's a shame they weren't give some rewrites and given to other artists to record.

[mysterysinger]

I agree with all you guys say about the T&T tracks. I'm a little disappointed because I love Terry Johnson but these sound like demos at best. Nevertheless, I'm grateful we've got them because I'd rather have them than not - and maybe something will grow on me over time.

[WaitingWatchingLookingForAChance]

I'm not sure why this first version of "I Can't Dance To That Music You're Playin'" was included in Motown Unreleased 1968. Other than it being a mono mix, it was already released on the Vandellas Singles Collection a few years ago in stereo.

Maybe just pure "distribution." If you were one who didn't buy the Vandellas Singles Collection, you still have no idea that this exists. If you happen to buy this Unreleased collection, you're in for a great surprise. Lot of songs are discovered because they are "distributed" over a number of various collections; miss it here, find it there.

[WaitingWatchingLookingForAChance]

I agree. I like these songs even though what we have could very well be their output in totality. Hearing those five tracks and evaluating them left much to be desired for me. I was left with a "What If ?" type of a feeling. We'll never know what greatness could have emanated from this duo as Smokey & Al Cleveland couldn't really grasp ahold to what was required to get that smash hit. I also feel that Smokey should've co written the songs with Terry Johnson as it would've made all the difference in the stories. I believe these tunes would end up in the can even if things had worked out because they have an experimental sound. Terry,Smokey and All were trying to put the puzzle together and see what would fit,but unfortunately Terri's beau screwed her golden opportunity. So much potential was there.

[/QUOTE]
Those T&T tracks are sub-par at best. They sound like demo singers especially the Terrie woman. Her voice doesn't have much energy or life to it. They're rather bland sounding. No soul. I can't imagine them having any kind of success. "What Happened To Love" and "The One Who Loves You" have great band tracks. It's a shame they weren't give some rewrites and given to other artists to record. [/QUOTE]

I keep recalling a single post some years back when these vault collections started coming out. Someone said very simply that a lot of these should never have been released. That was odd, but he went on to say that some of these things were scratch vocals or demos or discarded ideas and we'd all end up making judgements not realizing which ones of these were works in progress.

I have to remember that when I hear something that sounds "not quite there..."

[144man]

I notice that the composers of Suzee Ikeda's "Tell Me How I'm Gonna Make It" are unknown.

Does anyone else think that it sounds like a Kay and Helen Lewis composition?

[motown01]

I notice that the composers of Suzee Ikeda's "Tell Me How I'm Gonna Make It" are unknown.

Does anyone else think that it sounds like a Kay and Helen Lewis composition?

I like her version - but wouldn't it sound great done by The Supremes at that time?

[Fullfillingnessfirstfinale]

IMHO the best of the 9 Blinky tracks is "Mind" ! It is an outstanding track, it sounds not tipical like a Motown Sound 1968, it reminds me more on the soulful side of Motown like Brenda Holloway and her Ed Cobb composition. Sadly the track is very short, but we have for a few seconds "The Blinky Supremes" at the end of the song, what a great idea, it sounds fantastic and amazing, simply Blinky have a great voice.

"Psychologically" is my favorite Terry Johnson and Theresa Botial track, maybe I asked this question the second time, was this an idea of Motown to continue with a Marvin and Tammi thing ? I know that Motown try it with Edwin Starr and Blinky, isn´t it ?

The Version of "I second that emotion" by the Utopians is very soulful, sadly to much soulful for Motown. When I hear the song it reminds me of Stax stuff or The Ikettes !
It´s a mixed vocal group, maybe someone can give me the names of the line-up again ?

Finally I like the duet with Chuck and Yvonne these voices sounded very amazing and breathless together, there are more duets in the faults or only these two ?
David Ruffin and Ivy Jo Hunter sounds very good together too, this track is for me personally The Motown Sound 1968 !

[Quinn]

It's a great deal of mystery around "I Can Feel The Pain". I'm sure no one expected it's discovery or inclusion. There's supposed to be a version by The Temptations that was completed in 1967,but didn't surface on MU1967. Surprisingly, it showed up here on David Ruffin with Ivy Jo in tow which makes it confusing. Is this a solo track mistaken as a Tempts track at a distance or what? I can't see Keith utilizing this version and passing on "the other one". Quite a few of us were expecting it, but didn't question why it didn't emerge.

[bradsupremes]

"Psychologically" is my favorite Terry Johnson and Theresa Botial track, maybe I asked this question the second time, was this an idea of Motown to continue with a Marvin and Tammi thing ? I know that Motown try it with Edwin Starr and Blinky, isn´t it ?

I thought I read that was their intention, but these recordings are proof nothing stellar came from these sessions or that anything could have been successful. None of those tracks could have charted. Theresa is a demo singer at best. Motown probably realized it wasn't worth investing in and moved on. They really should have focused in on Chuck Jackson and Yvonne Fair. I love their "It Must Be Love" track. There was something that was different from Marvin & Tammi, but had great energy.

[bradsupremes]

I like her version - but wouldn't it sound great done by The Supremes at that time?

Listening to it again, you're right! I can totally hear Diana singing this.

[paul_nixon]

It's a great deal of mystery around "I Can Feel The Pain". I'm sure no one expected it's discovery or inclusion. There's supposed to be a version by The Temptations that was completed in 1967,but didn't surface on MU1967. Surprisingly, it showed up here on David Ruffin with Ivy Jo in tow which makes it confusing. Is this a solo track mistaken as a Tempts track at a distance or what? I can't see Keith utilizing this version and passing on "the other one". Quite a few of us were expecting it, but didn't question why it didn't emerge.

I actually believe the IJH - Ruffin version to be the one documented as by the Temptations - surely it's more than likely that IJH was helping out here on a demo for the group and that DR nor the rest of the guys ever added a full vocal.

[Fourtopsbiggestfan]

I actually believe the IJH - Ruffin version to be the one documented as by the Temptations - surely it's more than likely that IJH was helping out here on a demo for the group and that DR nor the rest of the guys ever added a full vocal.
Ironically looks like David's vocal was recorded around 4 months after he left the group.

[144man]

It was a pleasant surprise that Martha's "Sweet Soul Music" is in stereo.