Yes Smokey does go over the top a bit on that stereo version. As for Gladys it's the version of ISHBM without the strings that I much prefer [[as per the UK single).
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Yes Smokey does go over the top a bit on that stereo version. As for Gladys it's the version of ISHBM without the strings that I much prefer [[as per the UK single).
Regarding the Pips version of ISHBM, just to jog our memories, the Greatest Hits stereo mix had the strings on it.
I have it on the mid 1990s Motown Master Series CD 'Anthology - The Best of': -
https://www.amazon.co.uk/Anthology-B...9365154&sr=8-1
I like Norman Whitfield's Mono single mix, but it's nice to have a stereo version with the strings not mixed out.
Edit [[Just heard the version Boogiedown posted and this is that mix!)
Cheers
Paul
If you fold down the version of "There's No Love Left" on that CD into mono you'll find that it is the mono mix. Ditto with TOHOM, wherein it appears in stereo on that CD in amongst a lot of mono tracks.
I don't quite know why, but both sides of the original TOHOM single actually consist of stereo mixes folded down and re-EQ'd etc. Having said that, these are not the standard stereo mixes either. I've never seen them anywhere else unless folded down.
Strange!!!
Paul, I didn't buy Gladys Knight & The Pips' "Anthology" CD because, to my knowledge at the time, I already had every track on it from GK&TP's other CDs. When Motown releases 3 or more mixes of the same song, they start to lose me. Unless a particular mix is really unique with a totally different musical arrangement, it becomes confusing and just too much of the same thing. But, if the version you're referring to is the one that Boogie attached [[above), I like that one! The only one I dislike is the Stereo version without strings from "Feeling Bluesy" LP/CD.
Yet another example of Motown's stereo version being different from the mono version is Diana Ross & The Supremes "Forever Came Today". The mono version contains back-up vocals from the very beginning of the first verse. As soon as Diana sings, "There you were....", the mono back-up vocals immediately chime in with, "Ooh-ooh-ooh-ooh-oooh. In the stereo version, however, the back-up vocals don't enter until the first chorus with Diana's "At last", followed immediately by the back-up "oooh, at last, at last".
The Temptations ALL I NEED. One version the background vocals come in when David does, the other, the vocals come in a couple lines later.
A number of late 60s hits with strings and chorus had one or both elements stripped back and introduced layer by layer for the mono mix. For instance “My Whole World Ended [[The Moment You Left Me)” by David Ruffin, “Ain’t Nothing Like The Real Thing” by Marvin and Tammi, and “For Once In My Life” by Stevie Wonder.
Often in these cases, once the full arrangement has been heard, the single mix can sound a little lacking to my ears.
The track that bucks this trend to my ears is “Who’s Loving You” by The Jackson Five. The full arrangement is over-the-top embellished to the point of ruin.