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Post title says it all.
Mine are:
1. Purple Raindrops - b side of Uptight.
2. Sylvia -b side of A Place in the Sun. Also an album cut from the Down to Earth album.
3. Knocks Me Off My Feet - b side of I Ain't Gonna Stand For It. Also an album cut from the Songs in the Key of Life album.
"Hold Me" is fabulous, also enjoy "Love A Go-Go".
Pearl - from My Cherie Amour album. Fantastic backing track.
Initial thoughts:
Angie Girl
Ain't That Asking For Trouble
You And I
"Tuesday Heartbreak"
"Summer Soft"
"Bird of Beauty"
"Black Man"
...just to name a few of dozens.
Hey Love, the B-side of Travelin Man.
Don't Wonder Why from the SSD album.
Hey Love is one of my all time favorites!! Never realized it was actually the b-side.Quote:
Originally Posted by SatansBlues
Sixties Stevie-"Angie Girl", "I Don't Know Why" [aka "Don't Know Why I Love You"], "Teach Me Tonight", "Love A Go-Go", "Hold Me", "Every Time I See You I Go Wild", "I Gotta Have A Song", "I'd Be A Fool Right Now", "Why Don't You Lead Me To Love".
Seventies Stevie-"Too High", "Knocks Me Off My Feet", "Summer Soft", "I Love Every Little Thing About You", "Golden Lady", "He's Mistra Know It All", "Looking For Another Pure Love".
With a child's heart...is a killer.
I absolutely love "Why Don't You Lead Me To Love". I just wish that it had been included on an album and released in stereo as well.
While "Why Don't You Lead Me To Love" has yet to be released on an LP [or mixed into stereo], it does show up on The Complete Motown Singles Vol. 8 1968 [and the digital release The Complete Stevie Wonder].Quote:
Originally Posted by brothadc
I Want My Baby Back
Ain't that asking for trouble
Angel Baby
Be Cool,Calm and keep yourself together
Love a Go Go
With A Child's Heart: Glad to see "arr&bee" pick that one, thanks
https://www.youtube.com/watch?v=Vg9Sq3xrxSo
"Love A Go Go" -- a massive club dance cut @ the 1st big UK mod / soul club I attended [[the King Mojo in Sheffield). It was played off Stevie's 'Uptight' album released in 66.
I got a copy of that LP, later picked up a French 7" EP that featured it & much later on it became a UK NS club play.
Attachment 20688
I'm More Than Happy [[I'm Satisfied)
Somebody Knows, Somebody Cares
Why Don't You Lead Me To Love
Every Time I See You I Go Wild
My Girl
Some great choices here - "I'd Be A Fool Right Now" is one of my favourite Stevie cuts.Quote:
Originally Posted by Motown Eddie
Hey Love is definitely the more popular track. Traveling Man only reached #32 pop and #31 R&B. Hey Love reached #90 pop, but went to #9 on the R&B chart.Quote:
Originally Posted by lockhartgary
Some good tracks there.
I always liked the feel and production of "I'm More Than Happy [[I'm Satisfied)" and, for half a century, I treasured the mono mix on the B-side of "Signed, Sealed, Delivered [[I'm Yours)".
This year, however, after close listening to the track in mono and stereo forms [[yet again), I decided to check out the DM number on a pic of the B-side of a US Tamla copy of the SSDIY single on fleabay only to find that the mono track is just a fold-down of the stereo master with excellent mastering. There goes 50 years!
"My Girl" is the B-side of "You Met Your Match", and I have this on an Indian Tamla Motown single, complete with the iconic black EMI Tamla Motown label. This is probably quite rare as it's hard to imagine an early example of Stevie's funky side achieving wide appeal in such a different cultural setting.
I checked that MONO of Signed Sealed Delivered and was too disappointed at what I discovered but they is no way that the 45 is a fold down of the stereo. The far superior mono version avoids those over the over the top drumming segments.Quote:
Originally Posted by Sotosound
You Met Your Match was played extensively on Tony Blackburn's Radio 1 morning show and I rushed home from school to buy it. Little did I know that I would also be getting my all time favourite version of My Girl on the flip side.
Life was good in those days.
Great track.Quote:
Originally Posted by JM27
As with the USA, the UK released this as the B-side of "Yester-Me, Yester-You, Yesterday" but, unlike in the USA, both tracks on the UK single were fold-downs with a touch of mastering magic whereas the US single included a dedicated mono mix of "I'd Be A Fool Right Now", and even "Yester-Everything" got a serious mono single master, albeit mastered from the stereo mix. Personally, I actually prefer our UK fold-down as it's less processed and fuller-range. It also came across fine on radio back in 1969.
Have you heard the rather different stereo mix of "I'd Be A Fool Right Now" on the "Looking Back" triple album?
"Don't Wonder Why" was the B-side of the UK release of "We Can Work It Out". Lovely track.Quote:
Originally Posted by SatansBlues
The US B-side, "Never Dreamed You'd Leave In Summer", was the next UK A-side, with "If You Really Love Me" as its B-side. That's what I call a great coupling, even if it sunk without a trace. :)
The mono single mix of SSDIY is an aggressive, Uriel Jones drum-driven mutha of a track. It's IMTHIS that's the fold-down. [[Just edited my original post.)Quote:
Originally Posted by theboyfromxtown
Stevie's "My Girl" is rather good, eh?
I don't remember if his original Until You Come Back To Me was a b-side but I can't get enough of it. Better than Aretha's version
Stevie Wonder's version of "Until You Come Back To Me [That's What I'm Gonna Do]"Quote:
Originally Posted by BayouMotownMan
was sent to 'the vaults' in 1967 and never released as a single. The song first came out on Stevie's Anthology [aka Looking Back] collection in 1977 and on his 1999 box set At The Close Of A Century.
My understanding is that "Don't Know Why I Love You" was actually the A-side, with "My Cherie Amour" dug out of the vaults as the B-side, triggering a mini-trend for Stevie single releases.Quote:
Originally Posted by Motown Eddie
It's true that Stevie's "Don't Know Why I Love You" was originally released as an A-Side [Stevie even performing it on The Hollywood Palace in March 1969]. However, it became the B-side once DJs started playing "My Cherie Amour" a few weeks after the record came out.Quote:
Originally Posted by Sotosound
There are two 45's of "Little Stevie's" that Berry pulled in 1964 & 65 before "Uptight" was issued and "Little Stevie" was no more. One 45 was never issued and the other reissued with a revised B side.
B side from Stevie's Paris Tour. Withdrawn by Berry, the 45 then reissued & replaced with "Music Talk" as the B side, Clarence Paul and Stevie recorded the song. Hard to find this first issue and few copies exist.
https://www.youtube.com/watch?v=nUWiRZ-Ose4
Ultra Rare 45 originally scheduled for Release in 1964, but pulled by Berry before release of the "Uptight" 45 & "Pretty"added to the later Album. Uptight was a complete shift in musical direction for Stevie, and therefore left the "Little Stevie" badge & prior musical style behind. [This one a favourite of Robb.K.]
https://www.youtube.com/watch?v=mEaDnrG37L8&t=12s
I far prefer Stevie's version too.Quote:
Originally Posted by BayouMotownMan
And I'm gonna third that - Stevie's "Until You Come Back To Me" is sublime - deffo a fave Stevie track. But why, oh why, was it vaulted!Quote:
Originally Posted by theboyfromxtown
Better yet why was his All I Do original on Tammi Terrell vaulted. That was a smashQuote:
Originally Posted by mysterysinger
Don't forget Brenda Holloway & The Jackson 5's versionsQuote:
Originally Posted by BayouMotownMan
I haven't! What kind of differences are there?Quote:
Originally Posted by Sotosound
B-sides
Ain't That Asking for Trouble
Every Time I See You I Go Wild
I much prefer "Don't Know Why I Love You" to "My Cherie Amour ", which is too MOR for me.
My favourite album track is Stevie's very different version of Marvin Gaye's "Baby Don't You Do It".
I'd also like to mention a couple of vaulted tracks I play a lot, "At the Go Go" and "I Gave Up Qualiy for Quantity".
Stevie's vocals have a kind of "arena" reverb. They're loud and reverb-y but not in an old-style echo way.Quote:
Originally Posted by JM27
The effect is similar to the reverb used in the single mix of "We Can Work It Out", but turned up several notches. Perhaps both mixes are of the same vintage.
DKWILY was my first ever Motown single. Imagine my surprise when it subsequently got flipped. I owned my first double A-side!Quote:
Originally Posted by 144man
DKWILY is still a killer track, especially in mono, and "My Cherie Amour" isn't too rough, either, [[again) especially in mono.
Also, DKWILY was cut so hot that poor little teenage me, who was used to British mastering of singles by British artists, took it back to the record shop and got given a fresh copy which, unsurprisingly, was just the same. I even wrote to EMI, who politely denied any fault.
Nowadays, I glory in the raw monster of a cut that it is.
A Stevie deep, but fantastic cut: A Seed's a Star A Star Is A Seed/Tree Medley. One of the few actual songs on JTTSLOP, but it's brilliant.
I'll Wait for You To Come Home from Motown Unreleased 1968 is one of the most sweetly beautiful songs Stevie has ever recorded and another puzzler as to why it stayed hidden.
Aside from those I'll second Bird of Beauty, and With A Child Heart [[which swings more than the Jackson 5 version, but I love the latter too for its gorgeous harmonies).
JTTSLOP has some of Stevie's most underrated songs in my opinion, such as Power Flower, The Secret Life Of Plants, Come Back As A Flower, Send One Your Love & Outside My Window.Quote:
Originally Posted by stupidactingsmart
I'll Wait For You To Come Home is indeed superb. Another "unreleased" gem is Start Out A New Day, full of those wonderful unexpected chord changes that the best Stevie songs are full of.
Let's face it, he's the best singular songwriting talent ever.
I remember when Tom Moulton and I had mixed "Purple Raindrops" in stereo for the first time at the suggestion of Harry Weinger.
It was a big deal at that time - we put it on "The Stereo Motown Box". People still request that song on my radios shows - they love the purity of the tune.