Bobby Taylor's tribute to The Supremes:
https://www.youtube.com/watch?v=S-4NumFIUOA
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Bobby Taylor's tribute to The Supremes:
https://www.youtube.com/watch?v=S-4NumFIUOA
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.
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
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?
Not heard em yet but does "I'll Be In Trouble" use the same backing track as the Marvelettes version?
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 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.
Me too.
I'd love a collection of backing tracks just like this.
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."
Yes,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.
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.:)
And as Blinky Williams sang in 1969
https://www.youtube.com/watch?v=5s-uRN-V_PQ
My vote goes for an exhaustive collection of the San Remo Golden Strings' recordings! YES!
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.
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?
Frank Wilson
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!
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.
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.
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.
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!
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 Marvinīs 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 Blinkyīs best track here is "Mind" subrisingly this track reminds me of a Stax Kim Weston track called "You just donīt know". And I like it because itīs 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 ?
Iīm very glad about the fact that Blinky sings "Iīll 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.
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.
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.