Those Special Little Effects

[jobucats]

This morning, as I was listening to the Four Tops' "Bernadette" with not only the Andante's "Ahhhhssss" between each section and Levi coming back in with his "Bernadette" after what seemed to be the final 'ahhhh', I began to reflect on those slight little effects/innovations that Motown was adding to some of the output. I am focusing more on the output prior to 1968 or so because after that year, it was not uncommon to find very innovative effects being used such as on the Four Tops' Changing Times lp.

Other innovative effects come to mind:

"Reflections"; Supremes ...with that introduction and those spattered 'beep beeps' throughout the song.

"My Baby Must be a Magician";Marvelettes...using Melvin Franklin's "You are under my power...it is the power of love" along with the swooshing guitar.

"Your Wonderful Sweet Love"; Supremes...Sounds like a spoken voice through an old fashioned megaphone

"Papa Was a Rolling Stone"; Temptations...maybe not the same kind of innovation as the others; however that introduction is a masterpiece!

"Nathan Jones"; Supremes...the phasing effect

Honorable mentioned:
"Tears of a Clown"; Smokey Robinson & the Miracles...the introduction using an arrangement and instruments that mimic a circus

"Shotgun"; Jr. Walker & the All Stars"...the gun shot

"My Girl"; Temptations...man, that classic introduction and the string arrangement throughout the song

Do any others stand out to you that demonstrate just how creative and innovative the writers and the arrangers at Motown were?

[Motown Eddie]

Yes; the guitar intro to The Supremes' "You Keep Me Hanging On". H-D-H said that it was based on the type of sound of a telegraph from an old movie.

[Motown Eddie]

The intro to The Miracles' "Mickey's Monkey" is another example of special effects with it's classic intro consisting of various Motown stars [along with The Miracles] kicking off the song after Smokey says "alright now is everybody ready?".

And the intro to The Temptations' "I Can't Get Next To You" is another good example of 'special little effects'. It starts off with a few seconds of a group of people at a party before a voice says "hold it, hold it, listen". Then we get a few seconds of a piano solo before the record kicks off.

[jobucats]

Yes; the guitar intro to The Supremes' "You Keep Me Hanging On". H-D-H said that it was based on the type of sound of a telegraph from an old movie.

Absolutely! I found myself, in initial post, listing too many Supremes' songs and didn't include that one.

[ralpht]

The phasiing effect on "Nathan Jones" and the beeping on "Reflections" was the work of Russ Terrana

[lockhartgary]

The chains used in Martha and the Vandellas "Nowhere to Run".

[Philles/Motown Gary]

The fake audience response in the studio version of Rare Earth's "Get Ready".

[WaitingWatchingLookingForAChance]

The fake audience response in the studio version of Rare Earth's "Get Ready".

Funny you mentioned this! My uncle had this album and I played it [[only because I knew it was Motown related). I don't think I was any older than 10 and still I thought there was something about that audience sound but I couldn't put my finger [[or ear) on it! It sounded cool and exciting, yet...

[Sotosound]

The party noises dubbed onto "How Sweet It Is [[To Be Loved By You)" by Junior Walker and The All Stars.

Also, on that same track, and unless my ears deceive me, the drums are slightly out of phase on the stereo mix, which adds a nice live 'in the room with the band' feel to the track. Best heard in its stereo form IMO.

[Motown Eddie]

R. Dean Taylor's "Gotta See Jane" & "Indiana Wants Me" employed sound effects that gave both songs a 'man on the lam' feel. "Jane" features Taylor's voice filtered through a Leslie amplifier, the sound of screeching tires and a harpsicord playing a chord delayed & reversed. "Indiana" begins with police sirens and ends with cops talking through their megaphones and gun shots.

[Stax_of_Motown]

The classical style intro to The Isley's "Behind A Painted Smile" and also the solo drum roll at the end.

[Philles/Motown Gary]

Funny you mentioned this! My uncle had this album and I played it [[only because I knew it was Motown related). I don't think I was any older than 10 and still I thought there was something about that audience sound but I couldn't put my finger [[or ear) on it! It sounded cool and exciting, yet...

Yeah, Waiting - The audience sounded real, but Pete Rivera and the guys' performance was too perfect to be a live-on-stage performance. It was clearly an audience-enhanced studio recording, but it sure sounds good, doesn't it! The "audience" effects are in all the right places!

[Philles/Motown Gary]

The new Supremes' "Bridge Over Troubled Water" which contains the sound of a horn on a big ship.

[Philles/Motown Gary]

The U.S. Army-type trumpet used on the intro of Martha Reeves & The Vandellas' "Forget Me Not".

[Philles/Motown Gary]

The dooms-day angels' voices on the ending of Marvin Gaye's "Mercy Mercy Me [[The Ecology)".

[jobucats]

The dooms-day angels' voices on the ending of Marvin Gaye's "Mercy Mercy Me [[The Ecology)".

Oh, yes!!!

[Philles/Motown Gary]

The sound of seagulls and ocean waves lapping at the shore on the intro of Stevie Wonder's "Castles In The Sand".

[Philles/Motown Gary]

Oh, yes!!!

This is a fun game you thought of, Job! It's amazing how many special effects Motown utilized over the years. I had no idea there were so many.

[Philles/Motown Gary]

Foot-stomping on the intro of The Supremes' "Where Did Our Love Go".

[mysterysinger]

The U.S. Army-type trumpet used on the intro of Martha Reeves & The Vandellas' "Forget Me Not".

Always thought it was trying to imitate Scottish bagpipes.


https://www.google.com/search?client=opera&q=scottish+bagpipes+skirl&sourceid=opera&ie=UTF-8&oe=UTF-8#fpstate=ive&vld=cid:52d6f522,vid:LIATgcUgYQo,st:0

[Philles/Motown Gary]

The town cryer shouting, "Here ye! Here ye! Here comes the judge! Here comes the judge!" on Shorty Long's "Here Comes The Judge".

[Philles/Motown Gary]

Always thought it was trying to imitate Scottish bagpipes.


https://www.google.com/search?client=opera&q=scottish+bagpipes+skirl&sourceid=opera&ie=UTF-8&oe=UTF-8#fpstate=ive&vld=cid:52d6f522,vid:LIATgcUgYQo,st:0

You know, mystery, now that I compare both Martha's record and your video, I think Motown was representing both trumpets AND bagpipes.

[mysterysinger]

Tom Clay's "What The World Needs Now".

Weird sounds on DRATS "Forever Came Today".

Shorty Long's "Stranded In The Jungle"

The almost singing like sounds on Lewis Sisters records.

[Philles/Motown Gary]

Party-crowd voices on Jr. Walker's "Hip City [[Pt. 2)".

[mysterysinger]

You know, mystery, now that I compare both Martha's record and your video, I think Motown was representing both trumpets AND bagpipes.

Always loved it - was a hit here in the UK when re-issued as follow up to the "Jimmy Mack" re-release.

[Philles/Motown Gary]

Fake and ANNOYINGLY unrealistic audience whistling and cheering throughout the entire track of David Ruffin's "Superstar [[Remember How You Got Where You Are").

[mysterysinger]

Fake and ANNOYINGLY unrealistic audience whistling and cheering throughout the entire track of David Ruffin's "Superstar [[Remember How You Got Where You Are").

Absolutely agree - which is why I posted to no-audience version to YouTube.

[Philles/Motown Gary]

Always loved it - was a hit here in the UK when re-issued as follow up to the "Jimmy Mack" re-release.

I know. You guys always seem to get the best of Motown's releases. We at least have "Forget Me Not" on Martha/Vandellas" "Ridin' High" album, but I think it would have sold just as well here as a single. It couldn't have been timed more perfectly considering the Viet Nam War. Every mother, father, sister, brother, and lover could identify with it.

[[I forgot that "Forget Me Not" was released as the 45 B-side to "I Promise To Wait My Love". Still, it should have been promoted as the A-side, as "Promise" didn't do crap on the charts here.

[Motown Eddie]

Pete Rivera's echoplexed vocal intro [and outro] to the single version of Rare Earth's "[I Know] I'm Losing You" is a great example of a special effect used well.

[Philles/Motown Gary]

Absolutely agree - which is why I posted to no-audience version to YouTube.

Are you saying that a non-audience version exists? If there is, I would buy it. The way that fake audience is carrying on, you would have sworn they were at a Beatles show.

[Philles/Motown Gary]

Extreme echo used on the lead vocals of The Tempts' "Take A Stroll Through Your Mind" -- all of which is accentuated by a wild, Jimmy Hendrix-type guitar to imply a drug trip.

[Philles/Motown Gary]

Sounds of the ocean used on The New Supremes' "'Til The Boat Sails Away" from their "High Energy" album.

[rovereab]

I love the intro to Diana & Marvin's You Are Everything. To me it's a swirling and dreamy piece of instrumentation with Diana hitting notes that can give me shivers down my spine.

The intros to Marvin's I Heard It Through The Grapevine and That's The Way Love Is sound a bit "dark and sinister" to me, absolutely classic though LOL.

Plastic Man by the Temptations has a gentle intro then BANG with the brass instruments.

[BayouMotownMan]

I can add the phasing sound effects behind the Temptations on the mono single version of Psychedelic Shack. It was very effective. It's not as obvious on the stereo mix.

The ticking clock between tracks of the Four Tops Changing Times I can do without.

Also on their excellent Nature Planned It lp, connecting some of the tracks is a turned down echo version of the title track. This just didn't work for me.

The psychedelic mix of the Supremes Come Together is a bit annoying to me as well.

The computer phase used on Nathan Jones was repeated a few months later during the instrumental break on P.J.'s excellent Tender Loving Care single, and was effective again.

Another curious effect was the Temptations "HOLD IT, HOLD IT, LISTEN" which was used a couple times. Don't get that one either

[Philles/Motown Gary]

Classical composer Felix Mendelssohn's "Wedding March" being played on the organ & piano intro of Marvin & Tammi's "Sad Wedding" .

[paul_nixon]

Classical composer Felix Mendelssohn's "Wedding March" being played on the organ & piano intro of Marvin & Tammi's "Sad Wedding" .

Not forgetting the majority of Chris Clark Rides Again

[paul_nixon]

And Miss Ross's kneecaps knocking at the beginning of Some Things

[pj1]

And Miss Ross's kneecaps knocking at the beginning of Some Things

Are there such things as 'time-out chairs' in the U.K? If so, Mr. Nixon spend a few seconds there for the naughtily clever post.

[jobucats]

This is a fun game you thought of, Job! It's amazing how many special effects Motown utilized over the years. I had no idea there were so many.

Gary...I am loving reading all of the responses and even going back to review/listen to some of those great songs!

[jobucats]

And Miss Ross's kneecaps knocking at the beginning of Some Things

Paul, In my initial post, that song did come across as one to add. I am glad I didn't because we would have all missed your eloquent wording regarding Some Things introduction. LOL love it

[pj1]

Paul, In my initial post, that song did come across as one to add. I am glad I didn't because we would have all missed your eloquent wording regarding Some Things introduction. LOL love it

But the question remains: Were Diana's kneecaps knocking naturally or were Nick & Val on their knees manually manipulating Diana's kneecaps in order to produce the desired effect? And more importantly, how many takes were recorded and is the final effect a cut and paste of several takes? Inquiring Motown minds want to know.

[mysterysinger]

Are you saying that a non-audience version exists? If there is, I would buy it. The way that fake audience is carrying on, you would have sworn they were at a Beatles show.

Actually, I'm not sure now - because I got confused with "I Just Want To Celebrate" on which the audience noise was horrible - and on which a non-audience version does exist. So I gave you a bum steer.

[SatansBlues]

The seagulls on I Wish It Would Rain.

[jobucats]

The seagulls on I Wish It Would Rain.

Oh yes! That's a great one!

[lockhartgary]

No actually an effect per se but I love the panning handclaps at the beginning and end of the stereo version of the Supremes' "Where Did Our Love Go?"

[pj1]

The seagulls on I Wish It Would Rain.

Of course there's this thunderous alternate vesion:


https://www.youtube.com/watch?v=XXtep12nQK8

[WaitingWatchingLookingForAChance]

Of course there's this thunderous alternate vesion:


https://www.youtube.com/watch?v=XXtep12nQK8

Sometimes I wish the YouTube posters would give a little backstory on these things. I'd love to know where this alternate version came from and the story behind it. Plus, none of the commenters seem to even realize the total absence of the seagulls at the beginning. The only thing that seemed to stand out to anyone was that David seemed to be "singing much higher than the original version."

[Philles/Motown Gary]

Gary...I am loving reading all of the responses and even going back to review/listen to some of those great songs!

Yeah, this is fun, Job! At last, a game I'm good at! I'm not done yet. Already got a couple more up my sleeve.

[Philles/Motown Gary]

Sometimes I wish the YouTube posters would give a little backstory on these things. I'd love to know where this alternate version came from and the story behind it. Plus, none of the commenters seem to even realize the total absence of the seagulls at the beginning. The only thing that seemed to stand out to anyone was that David seemed to be "singing much higher than the original version."

Holy crap, Waiting! That version is so different from the released version. Horns are in the wrong place; strings aren't where they're supposed to be; David's phrasing is different; and the whole thing is way too wierd. UGH! I couldn't listen to any more than half of the first verse. [[Not real big on alternate versions for the above reasons.)

[Philles/Motown Gary]

Actually, I'm not sure now - because I got confused with "I Just Want To Celebrate" on which the audience noise was horrible - and on which a non-audience version does exist. So I gave you a bum steer.

No problem, Mystery. One thing is for sure. David's otherwise HOT version of "Superstar" is nearly ruined by the incessant hollering and screaming.

[Philles/Motown Gary]

And Miss Ross's kneecaps knocking at the beginning of Some Things

Thanks a lot, Paul! I love "Some Things." Now, every time I play it and hear those castanets, I'm gonna have to picture Diana's knees crackin'! Ha!

[Philles/Motown Gary]

Okay, Motowners! I've had my glass of Scotch for the night while listening to my new Kelley Hunt CD which arrived today. I'm ready to get back down to brass tacks, er, Motown tracks containing special effects.

Four Tops - "Lost In A Pool Of Red" from the album "Soul Spin". The chords are dark and eerie, like a drug trip gone horribly wrong. The bridge of the song with The Andantes sounds like the same dooms-day angels that haunted Marvin's "Mercy Mercy Me".

"Lost In A Pool Of Red"
https://youtu.be/p3jTqfAR2lg?si=dMCqH-6-bgtyK5R9

[rovereab]

Thanks a lot, Paul! I love "Some Things." Now, every time I play it and hear those castanets, I'm gonna have to picture Diana's knees crackin'! Ha!

I can picture a set of those wind up clockwork sets of gums and teeth leaping around the studio :)

[Philles/Motown Gary]

Four Tops - "Reflections". The unidentifiable instrument in the intro sounds like the beginning of yet another -- you guessed it -- drug trip! Levi sings his heart out with an urgency that matches the song's intensity.

[Philles/Motown Gary]

I can picture a set of those wind up clockwork sets of gums and teeth leaping around the studio :)

Oh, you mean those mechanical false teeth that dentists of old kept in their office for future toothless patients?!!!

[Philles/Motown Gary]

Syreeta's "Spinnin' & Spinnin'" which contains underlying carousel effects which come out full force during the song's ending.

[Philles/Motown Gary]

XIT - "Plight Of The Red Man" album [[Rare Earth label)

Special effects start with an Explosion [[Thunder? Dynamite?) Followed by Wind. And then authentic American Indian instrumentation making up one of Motown's most daring and beautiful productions.

BEGINNING - At Peace Title 1 & 2
https://youtu.be/GEKnZb11CpQ?si=JW8HwJmCgBWdaaFZ

Someday - End Title 7 & 8
https://youtu.be/xS9IFXWDQwc?si=JBNJ6x-XzUDCes5D

[[If I recall correctly, Ralph was a part of this amazing Motown recording session.)

[rovereab]

Oh, you mean those mechanical false teeth that dentists of old kept in their office for future toothless patients?!!!

These lol:

21015

[Philles/Motown Gary]

These lol:

21015

OMG! YES!!! LOL!!! Where did you ever find them? Still LOL!!!

[Philles/Motown Gary]

Smokey Robinson's "Just My Soul Responding" is pure American Indian through and through -- thanks to the Native American instrumentation and especially the older Indian gentleman who sings "Hi ya Hi ya Hi ya Hi ya Hi ya." One of Smokey's finest tracks.

[Philles/Motown Gary]

Edwin Starr - "25 Miles". Foot-stomping effects on and off throughout.

[Philles/Motown Gary]

Edwin Starr - "Time" -- clock effect in the intro.

https://youtu.be/PrfKav059Fk?si=nCStJT-43C16uRUb

[thanxal]

No one has mentioned the kazoo in the stereo mix of Love is Like an Itching in My Heart. Just noticeable enough to give the stereo version a little extra spice.

[ralpht]

Yes Gary, I was a co-producer on "Plight of the Red Man" and once again Brother Russ was responsible for various sounds.

[Philles/Motown Gary]

Shorty Long's "Nite Fo' Last" [[American mix). Party-goers having fun and encouraging gramps to "Go Grandpa" during the instrumental break.

[Philles/Motown Gary]

Yes Gary, I was a co-producer on "Plight of the Red Man" and once again Brother Russ was responsible for various sounds.

You guys sure created a masterpiece, Ralph. Should be required listening for all Americans -- both musically and lyrically.

[rovereab]

OMG! YES!!! LOL!!! Where did you ever find them? Still LOL!!!

Amazon sells them :)

[ralpht]

Gary, unfortunately, the album didn't sell all that well but I did get wonderful letters from school teachers praising the album and using it in their classes as a teaching aid. When we did Michael's heartfelt speech at the end things didn't go all that well at first. After several takes it wasn't happening. Tommy Bee, the band's manager looked at me and said "Fire water.". Yes we got the boy drunk and the lad lit it up. We fell out in the control room, knowing we had the ending. Of course Dave Van De Pitt's amazing string arrangements definitely set the mood. The auxiliary drums you hear throughout the album, along with bells are authentic brought in from New Mexico. Also it was necessary to teach Telma Hopkins and the girls a little Navajo for the background vocals.

The seeds of the album were sown when Mike Valvano and I would fly to New Mexico to meet the band. Where they lived was like a set straight out of Bonanza, horses and all. The ranch house had a huge living room with a picture window looking out at the Sandia Mountains which was the band's rehearsal room. It was there that we would go over their songs and hammer out the outline for recording an album. Not a bad place to work.

[jobucats]

No one has mentioned the kazoo in the stereo mix of Love is Like an Itching in My Heart. Just noticeable enough to give the stereo version a little extra spice.

BINGO!!! Oh, by the way, did you know that on "Reflections" there is an accordion featured quite prominently? I used to think the sound was solely violas or cellos; however, even HDH said it was an accordion, of all things!!! Maybe the accordion was mixed in with the strings.

[jobucats]

Four Tops - "Lost In A Pool Of Red" from the album "Soul Spin". The chords are dark and eerie, like a drug trip gone horribly wrong. The bridge of the song with The Andantes sounds like the same dooms-day angels that haunted Marvin's "Mercy Mercy Me".

"Lost In A Pool Of Red"
https://youtu.be/p3jTqfAR2lg?si=dMCqH-6-bgtyK5R9

This album took a while for me to 'take to'; however, now, I consider that it has some of the greatest productions of the Tops which are so different than their HDH work. It definitely showed them moving towards another direction while focusing in on the social ills of the time.

[ralpht]

Gary, Smoky did use XIT on come sessions

[Motown Eddie]

The Temptations version of "Friendship Train" [from Psychedelic Shack] gets interrupted by the sound of a railroad train at the 4:37 mark.

Smokey Robinson's "Quiet Storm" features the sound of a gentle breeze [along with synthesizer] at the beginning and end of the song.

[Motown Eddie]

More Motown Classics with party sounds-

The Miracles-"I Gotta Dance To Keep From Crying", "I Like It Like That"
Marvin Gaye-"What's Going On" [also features a 'false ending' on the original single version of the song].
The Jackson 5-"ABC"

[gman]

I believe Jean Terrell's voice is electronically treated on a few lines in Love It Came To Me This Time from the Touch LP...

[tjl]

The bells on The Supremes "Everything Is Good About You" are sublime

[Philles/Motown Gary]

This album took a while for me to 'take to'; however, now, I consider that it has some of the greatest productions of the Tops which are so different than their HDH work. It definitely showed them moving towards another direction while focusing in on the social ills of the time.

I agree, Job. I, too, love that album. It's a shame that it pretty much crashed & burned without notice. If memory serves, I don't recall there even being a single released from it, was there?

[Philles/Motown Gary]

Gary, unfortunately, the album didn't sell all that well but I did get wonderful letters from school teachers praising the album and using it in their classes as a teaching aid. When we did Michael's heartfelt speech at the end things didn't go all that well at first. After several takes it wasn't happening. Tommy Bee, the band's manager looked at me and said "Fire water.". Yes we got the boy drunk and the lad lit it up. We fell out in the control room, knowing we had the ending. Of course Dave Van De Pitt's amazing string arrangements definitely set the mood. The auxiliary drums you hear throughout the album, along with bells are authentic brought in from New Mexico. Also it was necessary to teach Telma Hopkins and the girls a little Navajo for the background vocals.

The seeds of the album were sown when Mike Valvano and I would fly to New Mexico to meet the band. Where they lived was like a set straight out of Bonanza, horses and all. The ranch house had a huge living room with a picture window looking out at the Sandia Mountains which was the band's rehearsal room. It was there that we would go over their songs and hammer out the outline for recording an album. Not a bad place to work.

Ralph, I love your behind-the-scenes Motown stories. Always have and always will. Hearing that you had to get Michael liquored up before he could do his speech is a hoot! [[Funny how that's the magical potion for a lot of things!)

An array of surprisingly good music was recorded on Motown's Rare Earth label. You didn't necessarily have to be a rock fan to enjoy that music. It's a shame that Berry let those album releases die on the vine. Sure, he was neck-deep in Diana's "Lady" movie, but he could have had Harry promote the Rare Earth releases in the meantime. I fell in love with XIT's "Plight" album from the very first hearing of the first track. I never knew the first thing about Native American music, but it -- combined with the Motown magic of David's strings playing that heartbreaking melody -- captured me and made me love it from start to finish.

I was wondering about the back-up girls. Since it was recorded in 1972, I thought there was a possibility that they might still be The Andantes [[just before Motown's big move out West). But, if Telma Hopkins was a part of it, then it was probably post-Motown's move which would be The Blackberries, correct?

I need to get out both of my XIT Motown CDs again for another listen. They really are beautifully done.

[Philles/Motown Gary]

Gary, Smoky did use XIT on come sessions

Ah! That explains Smokey's Native Indian masterpiece, "Just My Soul Responding", and also "A Tattoo". I wonder if Smokey has an album's worth of Native American recordings in the Motown vaults? If he does, I would sure love to hear them.

[gman]

Jean Terrell's voice is electronically treated during some lines of LOVE IT CAME TO ME THIS TIME from the TOUCH album...[[my fav. Supremes LP)

I think those are Castanets in the beginning of STYNGUT.

and lets not forget Mickey Mouse singing How Do You Do It on the Supremes A BIT OF LIVERPOOL [[only kidding but hey...it's pretty awful...)

[Philles/Motown Gary]

Gman, you can say that again! I actually hate that track with a passion. Diana's voice trying to be "cutesy" only makes it worse. To think that Motown was capable of letting this piece of crap slip through, but relegated "Are You Sure Love Is The Name Of This Game" to the vaults, is mind numbing. Somebody in Motown's Quality Control surely had their head and their ears up their butt.

[jsmith]

Lots of posts to get through on this thread ... BUT I don't think any have asked [[or really answered) the bigger question ....
groups like the Beatles [[& their producer) were pushing technology to get 'new sounds' from the mid 60's ... other pop & rock acts were doing likewise. Vanilla Fudge comes to mind instantly.
Soul producers seemed to lag behind a bit when it came to pushing musical boundaries in the 60's / early 70's. Sly Stone got in on the act, George & Funkadelic likewise and of course Stevie W was experimenting with new instruments from the end of the 60's.
Norman Whitfield ploughed a new furrow but then seemed to get stuck in it.
'What's Going On' had a different sound to help capture the theme of the album & it's songs, but that didn't seem to be taken any further.
Apart from what I mention above, was anyone at Motown experimenting with sound effects / new instruments / new production techniques to come up with innovative recordings ... OR ... was the old way of doing things through the 60's so successful, that the tried & tested sound / methods were retained even when they had started to fall out of fashion.
Of course, the 60's Motown sound did fall out of favour & from that point, a new sound identity was sought by Motown in the 70's, not altogether successfully though [[in the main).
I would guess Ralph is the guy to answer my query in depth.

[ralpht]

Gary, the back up singers on Plight was Telma Hopkins, and Joyce Vincent{ before Dawn} and Joyce's sister Pam.

[ralpht]

JSmith, Not sure what you want me to address. probably the biggest "stretch" I made at that time was when Russ, Tom Baird and I were producing the ill fated My Friends project. The big song on the album was a song called "Revolution" penned by band member Ken Rich. Probably one of the most haunting songs of dissent of the hippie era. I came up with the idea of intoning the Preamble to the Constitution at a point mid-song. Tom took it a step further and we did the Preramble in a Gregorian Chant. It was incredible, probably as ground breaking as anything in the 70s to date. Unfortunately dissension with the band and producers resulted in the band leaving Motown and the incompleted song never released.

[Sotosound]

The dooms-day angels' voices on the ending of Marvin Gaye's "Mercy Mercy Me [[The Ecology)".
Mellotron?

[Motown Eddie]

Lots of posts to get through on this thread ... BUT I don't think any have asked [[or really answered) the bigger question ....
groups like the Beatles [[& their producer) were pushing technology to get 'new sounds' from the mid 60's ... other pop & rock acts were doing likewise. Vanilla Fudge comes to mind instantly.
Soul producers seemed to lag behind a bit when it came to pushing musical boundaries in the 60's / early 70's. Sly Stone got in on the act, George & Funkadelic likewise and of course Stevie W was experimenting with new instruments from the end of the 60's.
Norman Whitfield ploughed a new furrow but then seemed to get stuck in it.
'What's Going On' had a different sound to help capture the theme of the album & it's songs, but that didn't seem to be taken any further.


I believe this is because Soul Music took a while to embrace psychedelic sounds and special effects. Before the rise of Sly Stone & George Clinton, Soul Music [and songs looking to get played on Soul Music Radio stations] tended to keep things basic & honest. Motown would slowly break the ice in the late '60s with songs by The Temptations, The Supremes [and others] incorporating some psychedelic effects.

[Philles/Motown Gary]

Mellotron?

Sotosound, I had to Google what a mellotron is. Then I went onto YouTube and found the perfect answer! Your suggestion is right on the mark!

https://youtube.com/shorts/PDvIBImf13s?si=c6sTf_Cn-0NVM2Np

[Philles/Motown Gary]

Gary, the back up singers on Plight was Telma Hopkins, and Joyce Vincent{ before Dawn} and Joyce's sister Pam.

I love their voices, Ralph. They should have stuck around Motown as a group.

[Sotosound]

Sotosound, I had to Google what a mellotron is. Then I went onto YouTube and found the perfect answer! Your suggestion is right on the mark!

https://youtube.com/shorts/PDvIBImf13s?si=c6sTf_Cn-0NVM2Np

The use of Mellotron at the end of MMM[[TE) is hauntingly doom-laden.

[Stax_of_Motown]

The muted, echoey, bits of track between tracks on The Four Tops "Nature Planned It" album. Always wondered why they did this. Don't think it adds anything worthwhile.

[Boogiedown]

Lots of posts to get through on this thread ... BUT I don't think any have asked [[or really answered) the bigger question ....
groups like the Beatles [[& their producer) were pushing technology to get 'new sounds' from the mid 60's ... other pop & rock acts were doing likewise. Vanilla Fudge comes to mind instantly.
Soul producers seemed to lag behind a bit when it came to pushing musical boundaries in the 60's / early 70's. Sly Stone got in on the act, George & Funkadelic likewise and of course Stevie W was experimenting with new instruments from the end of the 60's.
Norman Whitfield ploughed a new furrow but then seemed to get stuck in it.
'What's Going On' had a different sound to help capture the theme of the album & it's songs, but that didn't seem to be taken any further.
Apart from what I mention above, was anyone at Motown experimenting with sound effects / new instruments / new production techniques to come up with innovative recordings ... OR ... was the old way of doing things through the 60's so successful, that the tried & tested sound / methods were retained even when they had started to fall out of fashion.
Of course, the 60's Motown sound did fall out of favour & from that point, a new sound identity was sought by Motown in the 70's, not altogether successfully though [[in the main).
I would guess Ralph is the guy to answer my query in depth.

When Brian Wilson stayed behind while The Beach Boys toured and instead spent hours fiddling with musical technology, the result was the revolutionary PET SOUNDS and John Lennon was in such awe of it that he committed himself to studio experimentation as well. Paul was more the rocker/performer of the two wanting to take the band on the road and do live shows, Lennon would rather dedicate his time creating inside a studio.

[Philles/Motown Gary]

The use of Mellotron at the end of MMM[[TE) is hauntingly doom-laden.

It sure is, Soto. It's surprising how an early-day computer can bring such impressive drama to a recording. Those [[Andantes) angels on Marvin's "MMM" are downright scary!

[Spreadinglove21]

How about "Come Into My Life" by The Supremes where Susaye Greene sings this high note and then the synthesizer takes over the note.

[gman]

the swirling sound and the camel trot percussion on the DRATS Shadows of Society from Cream of the Crop.

[jobucats]

I am enjoying and learning so much from reading these examples. When I initially started this thread, I was focusing more on the productions up until around 1968 because I know that beyond that point, there were many innovative ideas added to the Motown recordings. This may have been mentioned before, however, I thought the 'horse galloping' sound effect on the Temptations' "I Could Never Love Another" and the Four Tops' "Reach Out" were rather 'cool.'...or groovy. LOL

[gman]

Gman, you can say that again! I actually hate that track with a passion. Diana's voice trying to be "cutesy" only makes it worse. To think that Motown was capable of letting this piece of crap slip through, but relegated "Are You Sure Love Is The Name Of This Game" to the vaults, is mind numbing. Somebody in Motown's Quality Control surely had their head and their ears up their butt.

the A BIT OF LIVERPOOL LP was never in stock in my local stores when I became a fan in '68...neither was Sam Cooke or CW&P [[which I fortunately found in a cut out bin around '69...mono close out!) I managed to get ABOL on 8 track in '75 in the big cardboard box cover...I paid $20 for a very used mono copy in a pricey NYC collectors store in 1978...a lot of people consider the LP to be one of the least popular...at the time of its release in time for the 1964 big holiday buying season, it was the 2nd biggest seller for the label...behind WDOLG?
there is some excellent harmony work on the LP [[and CW&P and Sam Cooke!) ... I only knew A HARD DAYS NIGHT from the Anthology...loved it! I like most of Liverpool...don't like How Do You Do It or I Want To Hold Your Hand...and I hate the song Can't Buy Me Love period...World Without Love, You Can't Do That, House of The Rising Sun, Because are my favs...I like Do You Love Me? but wish they had done a more Miracles styled version of You've Really Got A Hold On Me...and it took me years to notice For Sentimental Reasons is part of the Copa Medley but not on the Sam Cooke LP...