Motown covers that upstaged the original artists

[robbert]

The Isley's I Hear A Symphony was a VERY good version of the Supremes hit. The way the drums come in [[at an unexpected moment...) always gives me chills.

And as for ComeAndGetTheseMemories: it was really Mary Wilson & The Andantes... so no competition to the [[then) full group sound of Martha & The Vandellas.
Besides, Mary sounded sorta muffled... maybe even non interested or even scared, because at that time she didn't want to record a solo track at all, right? It would only provoke a certain lady.
Note that on all the Mary solos [[two or three?) in the DRATS period, there was NEVER Diana's voice in the background. Out of that lady's league, I suppose.

[Hotspurman]

Two points I'd like to make. The first is that some of us slightly younger members might not have heard the original version and therefore sometimes think of the version we heard in the 1970s or whenever to be the original. It's only later when we pick up older albums for our collection that we realise the version we've been into is not the original. You'll notice I say 'slightly younger' - as I'm in my mid-fifties I didn't get into Motown until the very end of the 1960s [[Ball Of Confusion by the Temptations being my first Motown purchase), so I missed the Supremes and Four Tops heyday. However, as someone who fully embraced disco and funk, I'm sure there are many tracks that I rate that will horrify the older members - You're My Driving Wheel by The Supremes is one of my favourite disco tracks of all time, for example. For that reason, I think Forever Came Today by the Jackson 5 is miles better than The Supremes original version. Now, if you'll excuse me, I feel the need to dive for cover....

[marv2]

I never thought I would say this but I like the Supremes version of Ill turn to Stone better than the Tops and that is the only Four Tops cover I like better.

That is impossible Stephanie! "I'll Turn to Stone" only sounds good when Levi and the Four Tops sing and perform it! "I would be like a statue in a park...cold and alone, a man with no heart"! Brilliant!

[luke]

Kim's version of Stop is soooooo annoying-Jill-Im suprised at you!

[roger]

Two points I'd like to make. The first is that some of us slightly younger members might not have heard the original version and therefore sometimes think of the version we heard in the 1970s or whenever to be the original. It's only later when we pick up older albums for our collection that we realise the version we've been into is not the original. You'll notice I say 'slightly younger' - as I'm in my mid-fifties I didn't get into Motown until the very end of the 1960s [[Ball Of Confusion by the Temptations being my first Motown purchase), so I missed the Supremes and Four Tops heyday. However, as someone who fully embraced disco and funk, I'm sure there are many tracks that I rate that will horrify the older members - You're My Driving Wheel by The Supremes is one of my favourite disco tracks of all time, for example. For that reason, I think Forever Came Today by the Jackson 5 is miles better than The Supremes original version. Now, if you'll excuse me, I feel the need to dive for cover....

Maybe I should be diving for cover too .. as I much prefer the JACKSON FIVE version of "Forever Came Today" as well ...

Roger

[jillfoster]

Well... Motown covers that upstaged the original... here is one of the biggest in my book:

[mowest]

Maybe I should be diving for cover too .. as I much prefer the JACKSON FIVE version of "Forever Came Today" as well ...

Roger

Even better, imo, is the Commodores' version of "Forever Came Today." Take a listen:

► 5:17► 5:17

www.youtube.com/watch?v=1QY5Jo0bv88

[arrr&bee]

Before i type this let me get out of the way of any objects that may get thrown at me[hehehe]now let me say that the marvelettes version of[what two can easily do]is just a tad better than mary wells brilliant version...hey put down those tar and feathers!!!

[motony]

lol arr & bee, the track is better because its 4 years newer & styles changed quickly at that time.

[kenneth]

Maybe I should be diving for cover too .. as I much prefer the JACKSON FIVE version of "Forever Came Today" as well ...

Roger

I agree as well regarding "Forever Came Today." The Sups' version is a bit too melodramatic, and Diane's vocal so stilted sounding. It's a good song but I like the way the J5 unleashed it from its origin and turned it into a great dance song.

And as much as I loved Gladys Knight's "Grapevine," I think Gaye's is even better...and it did outsell hers on the charts as well even though it was released [[2 years?) later.

Finally, although I like both versions, the Sups' charming version of "Breath Taking Guy" is too much in their early and anachronistic nearly-Doo Wop style and is far outranked by the Marvelettes' much later version which, to my ears, doesn't even sound dated today.

[bradsupremes]

I might be the only one here who hates the Jackson 5's version of "Forever Came Today." Their version was mediocre at best. Give me the Supremes' original anyday.

[motony]

I prefer the Supremes "Forever Came Today"...I think the track really wasn't completed by HDH because it seems like that was when they were leaving.

[skooldem1]

The Supremes version is the best. One of the Supremes best songs. Diana's vocal delivery gives it just the right amount of drama that the lyric calls for. I also love the version by the J5. Its basically the same structure but to a disco beat. I like them both equally, with a nod going to the original version. Funny that some think a cheap disco version of the song is better than the original. Go figure.

[kenneth]

The Supremes version is the best. Funny that some think a cheap disco version of the song is better than the original. Go figure.

Funny that some think theirs is the only valid opinion! Go figure!

[skooldem1]

Funny that some think theirs is the only valid opinion! Go figure!

Don't ge it twisted. I said I like both equally. It's just that to me, a cheap disco version of anything is RARELY better than the original. Of course there are exceptions. You are trying to start shit and I am not in the mood.

[bradsupremes]

I prefer the Supremes "Forever Came Today"...I think the track really wasn't completed by HDH because it seems like that was when they were leaving.

You're right, motony. The original track was cut in LA in April 1967 and assigned to the Miracles. Most likely HDH oversaw and produced the instrumental track. Some people have been led to believe in false claims that Mary and Florence originally did background vocals for the track around this time according to Tony Turner's book, but this is not true. The track sat in the can until December 1967 when Diana added her lead vocal. HDH just left Motown the month before, so chances are that someone else added Diana's and the Andantes' vocals to the track. I have a feeling it was R. Dean Taylor since he oversaw the vocals being added to the Four Tops' "I'm In A Different World." Both songs are very similar in tone, complexity, and lyrical content. I have a theory that HDH were going to advance the Supremes and Four Tops into a new level of song maturity had they stayed with Motown and had both songs turned out to be smash hits. Unfortunately, both songs were flops on the charts due to the songs being ahead of their time and too sophisticated for the pop market. Nonetheless, both songs are perfect examples of the shear brilliance of the songwriting of HDH. I think both songs are some of their best work.

Back to topic, I always felt the Temptations' version of "Everybody Needs Love" was the best of all versions recorded with Jimmy Ruffin being a close second.

[jobeterob]

Good research again Brad.

Opinions vary so much which makes it all so interesting. I love that.

I don't think anyone could have redone Grapevine and upstaged Gladys Knight; not Marvin or Creedence.

On the other hand, and now I'll duck for cover for attacking the sacred and the deceased...............but in terms of upstaging, you have to admit that Diana's "Mountain", while very different, upstaged the original, in every way.

[marv2]

Good research again Brad.

Opinions vary so much which makes it all so interesting. I love that.

I don't think anyone could have redone Grapevine and upstaged Gladys Knight; not Marvin or Creedence.

On the other hand, and now I'll duck for cover for attacking the sacred and the deceased...............but in terms of upstaging, you have to admit that Diana's "Mountain", while very different, upstaged the original, in every way.

Not hardly when you listen to what her actual contributions were to that recording.....it's hilarious! LOL!

http://www.youtube.com/watch?v=UFmPN97BzIc

[Hotspurman]

Cheap disco version? So is Thelma Houston's version of Don't Leave Me This Way to be ignored because it is a disco version of an already classic track? Motown did some great disco, and Forever Came Today by the Jackson 5 is just one of them.

[bradsupremes]

Cheap disco version? So is Thelma Houston's version of Don't Leave Me This Way to be ignored because it is a disco version of an already classic track? Motown did some great disco, and Forever Came Today by the Jackson 5 is just one of them.

I disagree. Some songs were written to be dance oriented. "Love Hangover" is one of those tracks. There's not much depth to it or lyrical poetry. The same can be said about the lack of lyrical content in "Don't Leave Me This Way." This is not a slam against these songs. That's just how these songs were written. Actually I think they are masterpieces of the disco era. "Forever Came Today" on the other hand is a different type of song. It is lyrically and musically motivated with a deeper complex structure and meaning. In essence, it's a very mature and sophisticated love song; thus the reason why it didn't do so well on the pop charts back in 1968. It went over people's heads and was ahead of its time, especially for it being a Motown song. Though it was not a hit when first released it has become an overlooked and underrated production. It fits beautifully with how the original production was recorded. Now, when you take a complex, mature and sophisticated song like "Forever Came Today" and try to squeeze into the dance/music mold, it doesn't always work. That's how I feel about the Jackson 5's version of "Forever Came Today." The disco vibe completely takes away from lyrical and musical content and truly cheapens the song. It doesn't have the same power and meaning to it. It becomes just another disco song. A successful attempt at the song was done by the Commodores in 1975. Their version emphasized the lyrical and musical content just the way the original was done, but adds a new element to it. People may disagree with me on all this, but "Forever Came Today" works best the way the original Supremes recording was done...as a love song.

Speaking of Motown's disco productions, take a listen to the Jackson 5's version of "Forever Came Today" and then compare it with Diana Ross' "Love Hangover." You'll hear an average-nothing spectacular disco track and then you'll hear a true disco masterpiece.

[144man]

Although I love Kim Weston, her original version of "Marionette" was pitchy at points. The Marvelettes handled it much better.

Rather than being pitchiness, isn't it more a case of the song having originally been written with a slightly different tune to the Marvelettes?

[mysterysinger]

Vikki Carr's version of "Ain't No Mountain High Enough" is pretty close to Diana's and is a great sound. The "B" side of the single featured "I've Never Been A Woman Before" - another lovely Jobete/Motown song BUT I'm not sure who recorded it at Motown.

Whilst talking of "Come and Get These Memories", Kim Weston's version is pretty awesome too.

[glencro]

I always liked Sister Sledge's remake of "My Guy" was stronger vocally than the original