Try qobuz music. That is where I downloaded mine from. They offer this in various formats including WAV.
https://www.qobuz.com
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Try qobuz music. That is where I downloaded mine from. They offer this in various formats including WAV.
https://www.qobuz.com
This site is great for any of the Motown Unreleased sets and many other albums. So cheap too - the complete Motown Unreleased 1967 in mp3 for £9.16 and wav or flac for £12.49.
https://www.junodownload.com/search/?q[all][0]=motown+unreleased+1967
Interesting hearing people's thoughts on the Marvin tracks. I don't mind them, but so many in a row make the set slow down a bit. I had the idea of pulling the Marin tracks from 1966 - 67 and putting them into their own "lp". Certainly there is nothing bad about Marvin's standards recording during this period, until you hear what he does with them with some maturity and pain behind him. Then they pale. I think he was trying too hard to sound like a crooner and not trusting that his own Marvin-ness would add to the songs. That's what all the truly great singers do, bring themselves to the recordings. He just doesn't sound like he's truly found himself on these.
Only The Four Tops could pull off the standards. The other Motown artists are virtually unlistenable especially the puny Diana Ross.
Interesting. I wonder how many singers got lost in the shuffle because they didn't figure out how to own the music they were performing.
Would you name a couple of those Four Tops ones you are referring to? :cool:Quote:
Fourtopsbiggestfan
Only The Four Tops could pull off the standards. The other Motown artists are virtually unlistenable especially the puny Diana Ross
I don't know why it escaped me previously- but I just noticed that the lyrics on 'You Hit Me Where it Hurt Me' by the Underdogs vary from Kim Weston's version- Yet the composers are identical.
There are 3 dates listed for the recording of the Underdog's lead vocals. If all 3 attempts still exist on master tape, do all 3 utilize the same lyrics? Or are there variations among the 3?
Listening more closely, it appears that the Underdog's version might just be an answer-song version to Kim's. But if Kim's version went unreleased why the need for an answer-song?
And is the exclusion of the word 'Right' from the song title of the Underdog's version [[though still sung in the lyrics) a clue that it was designed to be a different [[i.e.answer) song?
Another question for Keith [[if & when he has a spare moment);
Concerning the 2 versions of Lost; Billy Eckstine/Barbara McNair;
both are produced by Frank Wilson. Barbara's track is recorded first but finished last. Billy's is an original Motown mix; Barbara's is mixed by Richard Hughes.
Did Mr. Hughes listen to Billy's take before he began work on Barbara's?
For my taste, the interplay of instrumention and vocals in Billy's version is well balanced. In Barbara's take, I found the immediate emphasis on the drums [[0:14), then the guitar [[1:36) rather distracting. My attentioin was quickly diverted away from Barbara's vocal and the lyrics. I'm assuming that was the way they were put to tape - or were they? Did Mr. Hughes mix it in that way to draw attention to those instruments?
In Billy's version, the drums do not receive emphasis until about 2:36. It appears to be the same drummer on both versions. Is my hearing correct?
I keep forgetting to mention, the prelude to 'Forever Came Today' contained in 'Dream Girl' at 1:13-1:19 caught my ear.
And the intro notes for Marvin' 'All The Way' that were later revived for the Supremes' 'My Favorite Things'.
One more question for Keith:
Is there an alternate recording/vocal of 'This Is Why [[I Gave My Love To You)' in the vaults in which Gladys does not break into falsetto?
thanks !
I couldn't find those on you tube , so here's:
https://www.youtube.com/watch?v=DLCXdK_sFi0
Very nice.
I sort of hear Johnny Mathis herein but with five times the power.
I just posted them.
https://youtu.be/IeE_0AJZJIg
Im bumping this thread up because....
1. This amazing and vast selection of tracks seems to have been issued with a whimper and hasn't received the attention it deserves. [[that's the power of download only music!)
2. I'm wondering if this will become a physical release, as the '66 box set. I hope so as I won't buy it as digital. Has anyone heard anything on the grapevine about this becoming a CD set?
I've definitely been waiting for a CD release. The CD release news has gone completely silent.
Keith when is this out in the UK?
No info on a physical release on MU67 at the moment. I did ask UMG about this quite recently. My guess is that the chances are good, but I stress that's my personal guess.
But it's more than a guess that there'll be another Ace/Motown CD in a few months' time, if that's any consolation ... I'm working on the essay at the moment ...
1967 CD much later in the year I suspect - around the same time as a digital unreleased 1968 if last year is anything to go by. Hmm Unreleased 1968 - now that's something to speculate on eh?
Would be great if the next ACE Boys release included the early mono versions of "The Tears Of A Clown" by Smokey Robinson & The Miracles and "Without The One You Love [[Life's Not Worthwhile)" from those Four Tops. But perhaps we're due a single artist set next. Can't wait either way.
Been worrying 'bout MU68.
About 75% of the Motown-mixed tracks that would be candidates for this release are mono. They were just intended for evaluation: if they'd been selected for LP release, they'd have been re-mixed to stereo. By 1968, Motown was releasing all albums in stereo [[though a few were also released as promos in mono).
If we get budget for mixing again, should we make the previously unmixed tracks mono or stereo?
Looking forward to some strongly expressed views ...
I'd say stereo Keith, given the points you make.
[[I'd love to have some of the unmixed tracks from previous compilations that were mixed to mono for the respective sets they were on in stereo - maybe that chance will come if they are ever issued on another compilation in the future).
And it's interesting to note that quite a few of the 45 mono mixes issued from mid to late 67 [[IIRC) where actually fold downs of the stereo mixes.
[[Of course, there were examples from before, but the DM codes never had the M or S included until about mid 1966).
Cheers
Paul
My preference has always been for stereo but the TCMS series and other more modern mono mixes have been excellent. Being greedy [[and especially since they'll be a download set initially), I'd really welcome both mono and stereo versions please. That is dependent on the quantity of 1968 Unreleased that may be available - I wouldn't want to miss anything by having both mixes. If there's only one option, yes I would go for stereo every time even if it turns out a bit dearer.
i always prefer the rawness of the mono mixes...the stereo mixes always seem to lack that Motown punch.
Keith, what are the cost implications if any of releasing mono versus stereo? Does it have any ramifications on the projected profitability and viability of the project?
regards
Mike
I love me some stereo! And although some of the early Motown stuff does sound a bit odd in stereo, by 1968 it's all good. In general I'd say stereo has a fuller, more engaging sound. Mono to me just makes the track feel and sound 'old'. :)
Don't forget though, the question of mono or stereo only applies to tracks earmarked for MUR 68 that have never been mixed, and exist only on the multitrack session tapes.
So, should they be mixed to mono [[as was the case for the previous volumes) or stereo for the up and coming 1968 release?
I say stereo!
Cheers
Paul
Thanks all so far. No cost difference in mono v stereo. There is a question of whether there's budget for doing ANY mixing ... but there has been for the last few years. And of course a q of whether it gets done at all! - it's not on any schedule yet, but that doesn't usually happen until Q3.
I think the Unreleased sets should stay mono until stereo becomes the norm [[early 70s) - and I mean "big centre" stereo, not "drums tucked away in one channel" wide 60s stereo.
As a regular listener via headphones, I dislike wide 1960s stereo in general but particularly for rhythmic, driving material. I also dislike when a set alternates between mono and stereo for material of the same era - it makes a fractured listening experience.
I believe the Brenda Holloway Unreleased tracks were in mono on the respective V/A sets and in stereo on the recent Brenda Holloway CD. I think that's a good compromise.
I was disappointed to find out that the recently announced Chuck Jackson "Best of the Wand Years" set that features mono mixes for all but two tracks will only be released on LP. It puts in perspective how lucky we are as Motown fans to have such choice - from single/double disc compilations, to boxsets, to expanded editions of classic albums - each type featuring mono and/or stereo mixes of beloved songs alongside previously unreleased tracks. We have the choice of multiple formats in many cases. I know many of us are grateful for that.
...a couple of years on, and...
has anything come to light in the intervening time to say definitively who the vocalist is on "nothing for nothing", as surely that is not Junior?