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  1. #1

    Touch recording dates

    I'm working on more of my timeline and ran across something interesting. Now it might be a typo and therefore irrelevant. but wanted to share and discuss

    We don't have a lot of recording date info for the Touch lp or for the song Touch. There are two dates floating around:

    3/17/71 - some sources say they did background vocals on this day. the website Don't Forget The Motor City says that's the day Frank completed the recording. but states the LP version

    7/20/71 - DFTMC website says this is the day Frank completed the 45 version of Touch. even though the lp had already been released in June

    the single would then be released in Sept.

    Now if this is accurate, then they were working to IMPROVE the lp version of the song. hmmmm not sure about the success of that lol. the 45 version seems a hot mess compared to the lp one

  2. #2
    Are the vocals different from album to 45? I can't tell a difference, though obviously the mixes are different. I wonder if the second date is Frank adding a few instrumental touches, perhaps? There are a few errors on DFTMC, although for my money, it's probably the most reliable recording info we have for Motown.

  3. #3
    i was wondering the same thing! i'm at my desk as work and so can't listen. while i'll admit i've not listened to the 45 version much (either on vinyl or cd), nothing ever struck me as different, in terms of vocals. doesn't appear to be different vocal takes. But as you said, very different mixes. so maybe as they started to explore the idea of using Touch as a single, Frank started toying around with it in the studio around this time and finished up in late July

    It's interesting that as wonderful as Frank is (was), i have to say he really missed with Everybody's Got The Right and Touch. IMO, none of the versions of EGTRTL are all that exciting. i guess it was fine enough as an lp track to at least give some variety in style and pace. but as a follow up to the marvelous Ladder?!?!? i'm shocked anyone could have thought it was a hit. again, my opinion

    and Touch lp track is fine enough. Within the context of the entire lp, it works well. Some reviewers have commented that Jean and mary's vocals are rather clashing. Jean is much more strained and piercing and, of course, Mary is soft and silky. as a single, i think Touch is a nightmare. especially the hideous mix we got. the intro (on both songs) is what i call "haunted house" lololol. it's rather eerie, with the strings and the solo snare drum. within the lp, it's coming after the bouncy Have I Lost You and the bombastic Time and Love. so it makes a bit more sense. but as a cold start to the 45, yikes. maybe if it was more of the lush, sweeping sound the song eventually reaches, it would have connected more

  4. #4
    I agree with your assessment of Touch intro - it’s a set up for failure and Mary cements it with the first two notes. I think it would gave fit better on NWBLS but it simply, with any edit or mix, is not radio friendly. It amazes me that Motown could be so clueless on that and IGIMTM, Bad Weather, Sleepin’ ........ as well as releasing albums with only one obvious single. I’d gave held that one back until FW cane up with a follow up for Nathan.

    PS: I enjoy your threads very much

  5. #5
    Well, I guess I must be the only person in the world who likes Everybody’s Got The Right To Love. I know even Mary thinks the mix killed it. Weird but for me it’s dynamic, slightly different in an intriguing way and certainly rocks along. Loved it when it came out and still love it now, couldn’t comprehend why it wasn’t a hit. I’ll just have to enjoy it on my own.

  6. #6
    Quote Originally Posted by BritishTony View Post
    Well, I guess I must be the only person in the world who likes Everybody’s Got The Right To Love. I know even Mary thinks the mix killed it. Weird but for me it’s dynamic, slightly different in an intriguing way and certainly rocks along. Loved it when it came out and still love it now, couldn’t comprehend why it wasn’t a hit. I’ll just have to enjoy it on my own.
    Tony - you go right on loving it! i really enjoy hearing all of the different viewpoints on here. For instance i think the FJ album was wonderful but many others felt it was too lightweight.

  7. #7
    Quote Originally Posted by sup_fan View Post
    i was wondering the same thing! i'm at my desk as work and so can't listen. while i'll admit i've not listened to the 45 version much (either on vinyl or cd), nothing ever struck me as different, in terms of vocals. doesn't appear to be different vocal takes. But as you said, very different mixes. so maybe as they started to explore the idea of using Touch as a single, Frank started toying around with it in the studio around this time and finished up in late July

    It's interesting that as wonderful as Frank is (was), i have to say he really missed with Everybody's Got The Right and Touch. IMO, none of the versions of EGTRTL are all that exciting. i guess it was fine enough as an lp track to at least give some variety in style and pace. but as a follow up to the marvelous Ladder?!?!? i'm shocked anyone could have thought it was a hit. again, my opinion

    and Touch lp track is fine enough. Within the context of the entire lp, it works well. Some reviewers have commented that Jean and mary's vocals are rather clashing. Jean is much more strained and piercing and, of course, Mary is soft and silky. as a single, i think Touch is a nightmare. especially the hideous mix we got. the intro (on both songs) is what i call "haunted house" lololol. it's rather eerie, with the strings and the solo snare drum. within the lp, it's coming after the bouncy Have I Lost You and the bombastic Time and Love. so it makes a bit more sense. but as a cold start to the 45, yikes. maybe if it was more of the lush, sweeping sound the song eventually reaches, it would have connected more
    I agree about "Everybody", as far as it's hit potential. I would love to know what the QC vote was on that one. It makes no sense. However, regarding the intro to "Touch", I love it. I've never thought of it as spooky.

    It wasn't until reading in the forum various opinions regarding the "clash" of voices on "Touch" that I started to have the same opinion. I think ultimately that's what killed "Touch". "Touch" is a pure through and through love song. "Floy Joy" works well with two different women singing. It's easy to imagine these two women singing their devotion to this playa. Even "Automatically Sunshine" works. It's essentially a love song too, but the tempo doesn't play it up. "Touch" is a sexy song. The arrangement, the lyrics, there's a sensuality element to the song. As a duet it was perfect for the Supremes with the Tops, or any female/male duo. If not going that route, the song should have just remained a solo. While Jean had a voice that was well suited to just about any type of song, when presented on "Touch" it contrasts sharply with Mary's silky smooth, sensual vocal. Could a Jean led "Touch" have done better than #71 and #28? Probably. But my money is on the song being much bigger with Mary on the total lead.

    Interesting note, but I don't think the J5's "Touch" works very well either, as far as the singers go. Mike's voice is perfect for the arrangement but then Jermaine follows Mike and the contrast is a complete let down. At least with the Supremes' version they started with the more "understated" voice before moving into the one that's supposed to take it up a notch. However, I think if Jean were going to sing lead on "Touch", the J5 arrangement would've been a much better fit. As is, this was Mary's song.

    Of course it'll be nice if we ever get confirmation on whether or not there exists a full Mary lead and a full Jean lead for "Touch". And if there is- and we're lucky enough to hear them- it'll be interesting to figure out what Frank was going for with the duet version. Was it always intended as a duet? Did Frank cut the song on one lady and decide he wanted to hear what it sounded like on the other, before settling on the best of both? Inquiring minds would like to know.

  8. #8
    Quote Originally Posted by BritishTony View Post
    Well, I guess I must be the only person in the world who likes Everybody’s Got The Right To Love. I know even Mary thinks the mix killed it. Weird but for me it’s dynamic, slightly different in an intriguing way and certainly rocks along. Loved it when it came out and still love it now, couldn’t comprehend why it wasn’t a hit. I’ll just have to enjoy it on my own.
    You're not alone Tony. I love "Everybody's Got the Right To Love". It's a beautiful vocal by Jean, Mary and Cindy. Nice arrangement, good lyrics. The only problem I have is that it doesn't scream "hit". The fact that it just missed the top 20 here and the top 10 r&b is probably testament to the Supremes still being a popular group and coming off the hills of a major hit. But to me it's one of those DRATS type releases. It's a very good song that makes it a perfect highlight for an album, but it didn't possess the elements that would make it a major record.

    But of course I don't base my likes and dislikes on whether or not a song had hit potential. So I play "Everybody's Got the Right To Love" often. And I love some of the live versions just as much, if not more.

  9. #9
    Quote Originally Posted by RanRan79 View Post
    I agree about "Everybody", as far as it's hit potential. I would love to know what the QC vote was on that one. It makes no sense. However, regarding the intro to "Touch", I love it. I've never thought of it as spooky.

    It wasn't until reading in the forum various opinions regarding the "clash" of voices on "Touch" that I started to have the same opinion. I think ultimately that's what killed "Touch". "Touch" is a pure through and through love song. "Floy Joy" works well with two different women singing. It's easy to imagine these two women singing their devotion to this playa. Even "Automatically Sunshine" works. It's essentially a love song too, but the tempo doesn't play it up. "Touch" is a sexy song. The arrangement, the lyrics, there's a sensuality element to the song. As a duet it was perfect for the Supremes with the Tops, or any female/male duo. If not going that route, the song should have just remained a solo. While Jean had a voice that was well suited to just about any type of song, when presented on "Touch" it contrasts sharply with Mary's silky smooth, sensual vocal. Could a Jean led "Touch" have done better than #71 and #28? Probably. But my money is on the song being much bigger with Mary on the total lead.

    Interesting note, but I don't think the J5's "Touch" works very well either, as far as the singers go. Mike's voice is perfect for the arrangement but then Jermaine follows Mike and the contrast is a complete let down. At least with the Supremes' version they started with the more "understated" voice before moving into the one that's supposed to take it up a notch. However, I think if Jean were going to sing lead on "Touch", the J5 arrangement would've been a much better fit. As is, this was Mary's song.

    Of course it'll be nice if we ever get confirmation on whether or not there exists a full Mary lead and a full Jean lead for "Touch". And if there is- and we're lucky enough to hear them- it'll be interesting to figure out what Frank was going for with the duet version. Was it always intended as a duet? Did Frank cut the song on one lady and decide he wanted to hear what it sounded like on the other, before settling on the best of both? Inquiring minds would like to know.
    i know! i love hypothesizing and guessing about this stuff too. as if you couldn't tell! lolol

    i agree that as a duet, it's a bit odd. The Billboard review of the song states that all 3 women get lead duties. and i guess that's "sort" of true. Cindy certainly has a more prominent part than on many other songs. but i'm not sure i'd consider her work on Touch as lead. i think MAYBE if all three had lead lines on verses it might have worked slightly better. at least the oddity of it would have been less.

    I think Touch and EGTRTL are cases where someone who's so close to the project is so wrapped up in it and not able to be objective. I don't know if QC was working at motown in 70 like it was back in 66. i don't think they had the weekly meetings like they used to and so maybe that explains it.

    George chimed in here a while ago about the Right On lp. there was an almost-final version of the album completed PRIOR to EGTRTL was finished. That track was wrapped up, literally, just days prior to the lp release. clearly they thought it was a big winner and immediately got it onto the lp.

    now here's a fun question!! if they had NOT gotten it on the lp, then what would the follow up single have been? i'm still rooting for Loving Country. i think if a single edit had been done, it woudl have been perfect follow up to Ladder

    for the record, George stated the earlier lineup for RO was

    Ladder
    then we can try again
    the day with come
    wait a minute
    you move me
    but i love you more

    i got hurt
    steppin on a dream
    take a closer look
    then i met you
    life beats
    loving country.

    **also interesting that Bill isn't on the lp!

  10. #10
    Quote Originally Posted by RanRan79 View Post
    You're not alone Tony. I love "Everybody's Got the Right To Love". It's a beautiful vocal by Jean, Mary and Cindy. Nice arrangement, good lyrics. The only problem I have is that it doesn't scream "hit". The fact that it just missed the top 20 here and the top 10 r&b is probably testament to the Supremes still being a popular group and coming off the hills of a major hit. But to me it's one of those DRATS type releases. It's a very good song that makes it a perfect highlight for an album, but it didn't possess the elements that would make it a major record.

    But of course I don't base my likes and dislikes on whether or not a song had hit potential. So I play "Everybody's Got the Right To Love" often. And I love some of the live versions just as much, if not more.
    i do prefer the alt lead version on Greatest Hits & Rare Classics. Jean's vocal has more energy and the backgrounds are bit more prominent. It's been mentioned before that there are multiple alt mixes of this song in the vault. wonder just how different some of them are?

    the live version is MUCH better. faster, more energy. C and M get spotlights

    After Ladder giving M and C some little lines, it's a bit surprising they didn't repeat that again. especially on a song called "everybody." what a perfect way to highlight them again and repeat a successful formula.

  11. #11
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    Today is the first time I am hearing the song Touch. Was it released as a single? The song is dreary, boring, and the song’s message is almost non existent. I think one could sing along with Jeans vocal, but NOT Mary’s. In general, Mary’s vocals are impossible to sing along with.

  12. #12
    Quote Originally Posted by sup_fan View Post
    i know! i love hypothesizing and guessing about this stuff too. as if you couldn't tell! lolol

    i agree that as a duet, it's a bit odd. The Billboard review of the song states that all 3 women get lead duties. and i guess that's "sort" of true. Cindy certainly has a more prominent part than on many other songs. but i'm not sure i'd consider her work on Touch as lead. i think MAYBE if all three had lead lines on verses it might have worked slightly better. at least the oddity of it would have been less.

    I think Touch and EGTRTL are cases where someone who's so close to the project is so wrapped up in it and not able to be objective. I don't know if QC was working at motown in 70 like it was back in 66. i don't think they had the weekly meetings like they used to and so maybe that explains it.

    George chimed in here a while ago about the Right On lp. there was an almost-final version of the album completed PRIOR to EGTRTL was finished. That track was wrapped up, literally, just days prior to the lp release. clearly they thought it was a big winner and immediately got it onto the lp.

    now here's a fun question!! if they had NOT gotten it on the lp, then what would the follow up single have been? i'm still rooting for Loving Country. i think if a single edit had been done, it woudl have been perfect follow up to Ladder

    for the record, George stated the earlier lineup for RO was

    Ladder
    then we can try again
    the day with come
    wait a minute
    you move me
    but i love you more

    i got hurt
    steppin on a dream
    take a closer look
    then i met you
    life beats
    loving country.

    **also interesting that Bill isn't on the lp!
    The Supremes are an interesting subject. Discussing their career, what ifs and all, is a nice way to pass the time. This is what people do with so many subjects, which is why I'm always left scratching my head when people say "move on" or especially how the person with the ironic screen name remarks about how often a particular chapter of Supremesdom has been discussed. I've found that even when an ad nauseam topic comes up, I sometimes learn something new or find that my opinion has changed in some way. Anyway, Sup I enjoy discussing this stuff with you and some of the others, regardless of whether or not we agree all the time.

    Of the original intended lineup of Right On, I actually think a number of those tunes- some with different mixes- would've made good follow ups to "Ladder". I think "The Day Will Come" would've been a hit. It kind of has a Junior Walker feel to it. I also think "Steppin" could've been big. I can't wait until a clean version is released. Those two would get my biggest votes. But I think "Wait", "Hurt", "Then We Can Try" and "Take A Closer Look" had definite possibilities.

    "You Move Me" and "Then I Met You" I'm on the fence about. I could see them doing something, but I could also see them missing the mark. I used to think "Life Beats" was perfect as a follow up, but I've since changed my opinion. I think it's an excellent album track, but as a single, not so much.

  13. #13
    yep - Touch was the 5th single (not counting the duets) released by the 70s Sups.

    Up the ladder
    everybody's got the right
    stoned love
    nathan jones
    touch

    IMO it's a precursor to Quiet Storm/Sexy soul love ballads. and i think the second half of the song is quite lovely. wonderfully rich strings, lush backing track, multi-layer vocals during the ending:

    Cindy singing her two note "Touuuuuch"
    trio singing in 3=part harmony "touch"
    then the whisper of "touch" on the downbeat of each measure
    trio/backing vocals singing the ooooos
    then mary and jean (and occasional cindy) singing lead lines

    but my prob is the intro and beginning and the duet concept. and frankly maybe it just wasn't the right sound for a single

  14. #14
    I could never describe "Touch" as boring. It's probably my favourite post Ross Supremes track, great to listen to on a warm summer's evening and one you can get lost in. Certainly takes you places that not many records can. Maybe not hit single material but a wonderful track in any case. The Supremes own it and I'm not big on the J5 version but don't forget that The Originals also recorded it too.
    Last edited by mysterysinger; 02-06-2020 at 05:22 PM.

  15. #15
    Everybodys Got The Right got tons of airplay on WABC....it wasn't till the internet I found out both EGTRTL and Remember Me weren't top 10 records....EGTRTL got played for more weeks, but Diana's single got a lot for awhile. I love the alt vers. of EGTRTL...the guitar flourishes are great (Dennis Coffey???)
    Touch is my fav overall Supremes LP...the fidelity on the single Nathan Jones is much greater than the "compressed" sounding LP mix...the phasing is the only thing that's clearer on the LP....UTLTTR on the Right On LP also suffers from a compressed "let the air out" sound, as does the LP vers of Stoned Love...the sharpness just isn't there.
    I like the song Touch...the single edit is a bit choppy...but Motown did "hatchet" jobs on tons of single edits in the 70's...I don't think it was a good choice for a single. HAVE I LOST YOU gets my vote for that...perhaps it would have worked better as a LP opener with a spoken intro, 3 leads and 2 brief spoken interludes...it is a gentle, caressing song.

  16. #16
    Quote Originally Posted by RanRan79 View Post
    The Supremes are an interesting subject. Discussing their career, what ifs and all, is a nice way to pass the time. This is what people do with so many subjects, which is why I'm always left scratching my head when people say "move on" or especially how the person with the ironic screen name remarks about how often a particular chapter of Supremesdom has been discussed. I've found that even when an ad nauseam topic comes up, I sometimes learn something new or find that my opinion has changed in some way. Anyway, Sup I enjoy discussing this stuff with you and some of the others, regardless of whether or not we agree all the time.

    Of the original intended lineup of Right On, I actually think a number of those tunes- some with different mixes- would've made good follow ups to "Ladder". I think "The Day Will Come" would've been a hit. It kind of has a Junior Walker feel to it. I also think "Steppin" could've been big. I can't wait until a clean version is released. Those two would get my biggest votes. But I think "Wait", "Hurt", "Then We Can Try" and "Take A Closer Look" had definite possibilities.

    "You Move Me" and "Then I Met You" I'm on the fence about. I could see them doing something, but I could also see them missing the mark. I used to think "Life Beats" was perfect as a follow up, but I've since changed my opinion. I think it's an excellent album track, but as a single, not so much.
    i've grown to like Life Beats more. i actually wonder if it might have worked better on New ways. Or perhaps Time and Love could have fit into New Ways - that one seems so out of place on Touch.

    Steppin is a solid song and i too would love a clean version of it. that and Mind Body and soul too

  17. #17
    I remember Frank Wilson stated he wanted to do a different mix on Everybody's got the right but ran out of time.
    When BG wanted it .he got it.whether it was done or not. I prefer Life Beats as a single. But Everybody got the Right was a good lp track.
    Touch.hmmm.would prefer the entire song sung by Mary and not a duet.this duet never made sense.
    Bring on Kevin Reeves.please

  18. #18
    There seems to be so much unreleased material. Treasure..
    Come on universal.

  19. #19
    "Darling just relax, you melt me like hot candle wax" literally has to be the $hittiest lyric of any Motown song.

  20. #20
    Quote Originally Posted by mysterysinger View Post
    I could never describe "Touch" as boring. It's probably my favourite post Ross Supremes track, great to listen to on a warm summer's evening and one you can get lost in. Certainly takes you places that not many records can. Maybe not hit single material but a wonderful track in any case. The Supremes own it and I'm not big on the J5 version but don't forget that The Originals also recorded it too.
    Yeah, I wouldn't say it's boring. It had the makings of something greater than it ended up, IMO.

  21. #21
    Quote Originally Posted by gman View Post
    Everybodys Got The Right got tons of airplay on WABC....it wasn't till the internet I found out both EGTRTL and Remember Me weren't top 10 records....EGTRTL got played for more weeks, but Diana's single got a lot for awhile. I love the alt vers. of EGTRTL...the guitar flourishes are great (Dennis Coffey???)
    Touch is my fav overall Supremes LP...the fidelity on the single Nathan Jones is much greater than the "compressed" sounding LP mix...the phasing is the only thing that's clearer on the LP....UTLTTR on the Right On LP also suffers from a compressed "let the air out" sound, as does the LP vers of Stoned Love...the sharpness just isn't there.
    I like the song Touch...the single edit is a bit choppy...but Motown did "hatchet" jobs on tons of single edits in the 70's...I don't think it was a good choice for a single. HAVE I LOST YOU gets my vote for that...perhaps it would have worked better as a LP opener with a spoken intro, 3 leads and 2 brief spoken interludes...it is a gentle, caressing song.
    Touch is my favorite 70s Supremes album, followed by Floy Joy.

    I love "Have I Lost You" but I don't know if I love it as a single. My vote is definitely for "Here Comes the Sunrise". I think that would've made a much better single than "Touch". I've also begun to wonder lately if "This Is the Story" could've been a single.

  22. #22
    Quote Originally Posted by marybrewster View Post
    "Darling just relax, you melt me like hot candle wax" literally has to be the $hittiest lyric of any Motown song.
    I got a jar of homemade jam here that says you're wrong.

  23. #23
    Quote Originally Posted by sup_fan View Post
    i've grown to like Life Beats more. i actually wonder if it might have worked better on New ways. Or perhaps Time and Love could have fit into New Ways - that one seems so out of place on Touch.

    Steppin is a solid song and i too would love a clean version of it. that and Mind Body and soul too
    "Life Beats" definitely has more of a New Ways feel to it. And "Time and Love" was a much better fit for New Ways than Touch. I'm not a big fan of "Mind Body and Soul". I believe "You Only Miss Me When You See Me" is from the Right On timeline, unless I'm mistaken. If I'm correct, it definitely has my vote for a single. It sounds like something one of the other more hip groups at another label would've recorded.

  24. #24
    Quote Originally Posted by marybrewster View Post
    "Darling just relax, you melt me like hot candle wax" literally has to be the $hittiest lyric of any Motown song.
    What's so shitty about that? Makes sense to me. "Melt" has always been used as a way of expressing strong feelings of love or lust, and a melting candle seems like as good an analogy as any. Would you rather the lyric had been written "Darling just relax, you make me wet, come lick my cat"?

    Besides, where shitty lyrics are concerned, you ever hear one about somebody's mama dying in the middle of making jam?

  25. #25
    Quote Originally Posted by sansradio View Post
    I got a jar of homemade jam here that says you're wrong.
    Yup!! Dumbest lyric...dumbest Supremes lyric, anyway.

    But more importantly Sans, is there something you want to tell us? It was never revealed just how mama died while making that jam. Just what are you doing with a jar???

  26. #26
    Quote Originally Posted by RanRan79 View Post
    Yup!! Dumbest lyric...dumbest Supremes lyric, anyway.

    But more importantly Sans, is there something you want to tell us? It was never revealed just how mama died while making that jam. Just what are you doing with a jar???
    To quote the fabulous Jason Holliday, "I'll never tell." *snaps in a circle*

  27. #27
    Quote Originally Posted by RanRan79 View Post
    Yup!! Dumbest lyric...dumbest Supremes lyric, anyway.

    But more importantly Sans, is there something you want to tell us? It was never revealed just how mama died while making that jam. Just what are you doing with a jar???
    If it had been written several years later, the lyrics could have been, "And then we got a fax, Mama passed away while she was making snacks".

  28. #28
    Quote Originally Posted by marybrewster View Post
    "Darling just relax, you melt me like hot candle wax" literally has to be the $hittiest lyric of any Motown song.
    lolol - some of friends have had the same reaction. although i think I'm living in shame and Where Is it i Belong are, by far, worse.

  29. #29
    Quote Originally Posted by RanRan79 View Post
    "Life Beats" definitely has more of a New Ways feel to it. And "Time and Love" was a much better fit for New Ways than Touch. I'm not a big fan of "Mind Body and Soul". I believe "You Only Miss Me When You See Me" is from the Right On timeline, unless I'm mistaken. If I'm correct, it definitely has my vote for a single. It sounds like something one of the other more hip groups at another label would've recorded.
    according to Wikipedia, there are quite a few more tracks from Right On that are still unreleased. most of these have been floating around on bootlegs but would love to hear clear, clean versions. Also would love to know who the producers are. were there more Frank Wilson productions prepared for RO but then not included because they wanted to test other producers and material?

    I think Na Na would have also worked well on RO. they started work on it in time for the lp but it was finished in June.

    "The Day Will Come Between Sunday and Monday" (eventually released on the Supremes box set)
    "Life Beats" (eventually released on The '70s Anthology)
    "Steppin' on a Dream"
    "That's How Much You Made Me Love You"
    "You Only Miss Me When You See Me"
    "Loneliness Is a Lonely Feeling"
    "Send Him to Me"
    "If You Let Me Baby"
    "Mind, Body and Soul"
    "How Long Has That Evening Train Been Gone"
    "Can't You Hear Me Knocking"
    "I Want to Go Back There Again"
    "You've Got to Pay the Price"

  30. #30
    Quote Originally Posted by sansradio View Post
    I got a jar of homemade jam here that says you're wrong.
    Alright. Okay. You win.

  31. #31
    Quote Originally Posted by marybrewster View Post
    "Darling just relax, you melt me like hot candle wax" literally has to be the $hittiest lyric of any Motown song.
    You have to be kidding me?! Those words sung by a gorgeous, sexy woman...."Darling just relax, you melt me like hot candle wax. One touch and my whole body melts....."
    It doesn't get any sexier than that!

    Now here is a dumb song with dumb lyrics (sorry Smoke..LOL1)

    He's My Sunny Boy

    Oh, Sunny boy
    Now let me tell you how much good
    You've done me boy
    Cause when I'm feeling alone
    You give me plenty joy
    Into each lives some rain must fall
    But with you here
    There's no rain at all

    Sunny boy
    Looks good in everything
    From silk to corduroy
    To see him I'd walk from Idaho to Illinois
    (Or anywhere)

    Do anything to be with him
    My sunshine when the world is dim
    It's sunny boy, sunny boy
    My pride and joy
    Sunny boy

    Sunny boy
    You made my life so sweet
    It's just like honey, boy
    And I love you so much till it ain't funny boy
    My cloudy days have been de-clouded
    Since you're here so keep on shining

    Sunny boy, sunny boy
    My pride and joy
    Hey, sunny boy
    My honey boy
    Now only your sweet lovin' can give me joy
    I'm trying to tell the world
    That you're my sunny boy

    For non-commercial use only.
    Data From: LyricFind
    Last edited by marv2; 02-09-2020 at 03:44 PM.

  32. #32
    Now I want an extended Right On....asap...damn you guys. A lot of left over gems....damn you guys at universal....we should be here by now.

    I like to hear the solo versions of Touch.

  33. #33
    Quote Originally Posted by 144man View Post
    If it had been written several years later, the lyrics could have been, "And then we got a fax, Mama passed away while she was making snacks".
    Homemade snacks, and I agree 144! LOL

  34. #34
    Quote Originally Posted by RanRan79 View Post
    Touch is my favorite 70s Supremes album, followed by Floy Joy.

    I love "Have I Lost You" but I don't know if I love it as a single. My vote is definitely for "Here Comes the Sunrise". I think that would've made a much better single than "Touch". I've also begun to wonder lately if "This Is the Story" could've been a single.
    Ran - in This is the Story, have you picked up that there's an edit? i think it's right about the 2:00 mark. And in the Touch interview lp i think they reference how TITS was shortened.

  35. #35
    Quote Originally Posted by sup_fan View Post
    Ran - in This is the Story, have you picked up that there's an edit? i think it's right about the 2:00 mark. And in the Touch interview lp i think they reference how TITS was shortened.
    No I don't hear it Sup but I wouldn't be surprised. "This Is the Story" is one of Jean's finest vocal performances IMO.

  36. #36
    Quote Originally Posted by RanRan79 View Post
    No I don't hear it Sup but I wouldn't be surprised. "This Is the Story" is one of Jean's finest vocal performances IMO.
    Agreed...the entire LP is one great moment after another one...except Time and Love. I would have rathered a remix or repeat of Shine on Me

  37. #37
    Quote Originally Posted by marybrewster View Post
    "Darling just relax, you melt me like hot candle wax" literally has to be the $hittiest lyric of any Motown song.
    That's funny. I like it a lot. It's probably the only line that always catches my attention, it's a great visual.

  38. #38
    There are plenty of bootlegs that have been floating around for a long time now of the "Right On"-era tracks and they are just BEGGGGGGGGGING for a "Right On: Expanded Edition" to come out officially from Universal (heck, we can't even get to 1968's "Reflections: EE" and I'm talking about 1970's "Right On: EE"?! But I digress...)

    Of the list mentioned above, however, there are clues and released material by other artists of the time that can give a glimpse into what The New Supremes were likely recording:

    "Steppin' on a Dream" - Although the completed version was unreleased, it was clearly intended for the "New" Supremes. Within a few months, Hank Cosby recut the track in a different key and recorded it on The Ruffin Brothers. YEARS ago, before I'd acquired the Sups' version on boot, I snagged a 45 of the Ruffin Brothers' version and got an aural glimpse into what it sounded like. I think it's a good tune on both.

    "Loneliness Is a Lonely Feeling" - Of course, Deke recorded this on Martha Reeves in late 1967/early 1968. That version is very much the LA version fo Classic Motown and (if he was the very likely producer of the Sups' version in 1970) he totally reimagined it for the new era of 70s Motown. You can listen to Martha's version (and you've gotta love it, IMO), but The Sups' version in '70 is a whole different ball of wax. It grows on ya!

    "Send Him to Me" - The boot with Mary's lead sounds very much unfinished and missing some instrumental overdubs, IMO. You can hear the original version (and more polished sounding than The Supremes' version from 1970) if you listen to Debbie Dean's version from late 1967/early 1968 that recently came out on "Motown Unreleased 1968 - Part 1." Like "Loneliness," the earlier version is going hard for the Classic Motown sound. Deke's work with The Supremes in 1970 is clearly reaching to put his songs into the new '70s Motown sound. With a proper mix, Mary's version from the vault might actually sound good and apropos of the RO era, but...for now, only having a Sups boot, I prefer to listen to Debbie Dean's previously unreleased version.

    "If You Let Me Baby" - Another Mary lead that has stayed in the can and the boot is kind of muddy (and/or it needs a proper mix) was originally recorded by Chris Clark in the early days of 1969 with Deke producing. He apparently decided to revisit it again with The Supremes in those early days of 1970. You can hear Jean singing background on The Supremes version ("Aaah-oooooh!" LOL). Would love to hear a clean, unvaulted mix on this one!

    "Mind, Body and Soul" - This track is likely the same one used by Syreeta in 1970 (see her "Rita Wright Years" CD). I'll bet it's the LA-based Blackberries backing Syreeta because 1) it's a Hal Davis/LA track, and 2) the same voices are behind Jean on the boot. I'm not sure this one by The Supremes for RO feels very...Supreme-ish to me, but...I'd still take a clean mix on it!

    "How Long Has That Evening Train Been Gone" - Jean kills this one. I recall it's been theorized that this track was one of the first Jean recorded after signing her contract with Motown/before she was officially added to The Supremes. Even though DRATS (read: Diana and The Andantes) recorded the song a year before, the new arrangement and Jean's passionate vocal make this one a winner, IMO. However, the background vocalists don't sound like Mary and Cindy to me. Maybe it's the Blackberries? Although, it kind of sounds like Brenda and Patrice Holloway. Go figure?! Anyway, I would've welcomed this as an album cut on RO because it just KICKS. Hope we'll get this on a RO:EE someday!

    "Can't You Hear Me Knocking" - This boot has been floating around for a long time. It doesn't sound very Supremes-ish...however, "Motown Unreleased: 1966" FINALLY explained why: The Supremes' version is a Brenda Holloway track from 1966 with wah-wah guitar overdubs (likely to help the 1966 track sound contemporary for 1970). There are different background vocals on The Supremes' version, but...it doesn't sound like JMC or just M/C. It is probably The Blackberries or...the Holloway Sisters...? Another track that is good, but...the blatant "this isn't The Supremes behind her" on the boot's mix make it feel like it would've been a bit out of place on RO.

    "I Want to Go Back There Again" - I've never heard a bootleg of this by The Supremes (though I'd LOVE to...anyone? Anyone?), but I'd bet that...once again...the same Hal Davis-produced track used by Syreeta was used for Jean. I wouldn't be surprised. Heck, the track was used a couple of years later for Diana's previously unreleased 1972 SOLO version of the song. Looking forward to hearing what it really was for The 70s Supremes.

    "You've Got to Pay the Price" - Just a comment on this last song. CLEARLY this is The Andantes backing Jean. This was another song initially cut in August 1969 during that time when Jean first started recording, but not yet with Mary and Cindy. By the time vocals were added to the track in January 1970, they certainly could've used Mary and Cindy (or the JMC background blend), but... this is pure Andantes. It could've been on RO, but...like a few of the other (GOOD) tracks on RO that are clearly Andantes in the background, it would've caught a fan's ear and prompted the question, "where are Mary and Cindy?"

  39. #39
    Quote Originally Posted by danman869 View Post
    There are plenty of bootlegs that have been floating around for a long time now of the "Right On"-era tracks and they are just BEGGGGGGGGGING for a "Right On: Expanded Edition" to come out officially from Universal (heck, we can't even get to 1968's "Reflections: EE" and I'm talking about 1970's "Right On: EE"?! But I digress...)

    Of the list mentioned above, however, there are clues and released material by other artists of the time that can give a glimpse into what The New Supremes were likely recording:

    "Steppin' on a Dream" - Although the completed version was unreleased, it was clearly intended for the "New" Supremes. Within a few months, Hank Cosby recut the track in a different key and recorded it on The Ruffin Brothers. YEARS ago, before I'd acquired the Sups' version on boot, I snagged a 45 of the Ruffin Brothers' version and got an aural glimpse into what it sounded like. I think it's a good tune on both.

    "Loneliness Is a Lonely Feeling" - Of course, Deke recorded this on Martha Reeves in late 1967/early 1968. That version is very much the LA version fo Classic Motown and (if he was the very likely producer of the Sups' version in 1970) he totally reimagined it for the new era of 70s Motown. You can listen to Martha's version (and you've gotta love it, IMO), but The Sups' version in '70 is a whole different ball of wax. It grows on ya!

    "Send Him to Me" - The boot with Mary's lead sounds very much unfinished and missing some instrumental overdubs, IMO. You can hear the original version (and more polished sounding than The Supremes' version from 1970) if you listen to Debbie Dean's version from late 1967/early 1968 that recently came out on "Motown Unreleased 1968 - Part 1." Like "Loneliness," the earlier version is going hard for the Classic Motown sound. Deke's work with The Supremes in 1970 is clearly reaching to put his songs into the new '70s Motown sound. With a proper mix, Mary's version from the vault might actually sound good and apropos of the RO era, but...for now, only having a Sups boot, I prefer to listen to Debbie Dean's previously unreleased version.

    "If You Let Me Baby" - Another Mary lead that has stayed in the can and the boot is kind of muddy (and/or it needs a proper mix) was originally recorded by Chris Clark in the early days of 1969 with Deke producing. He apparently decided to revisit it again with The Supremes in those early days of 1970. You can hear Jean singing background on The Supremes version ("Aaah-oooooh!" LOL). Would love to hear a clean, unvaulted mix on this one!

    "Mind, Body and Soul" - This track is likely the same one used by Syreeta in 1970 (see her "Rita Wright Years" CD). I'll bet it's the LA-based Blackberries backing Syreeta because 1) it's a Hal Davis/LA track, and 2) the same voices are behind Jean on the boot. I'm not sure this one by The Supremes for RO feels very...Supreme-ish to me, but...I'd still take a clean mix on it!

    "How Long Has That Evening Train Been Gone" - Jean kills this one. I recall it's been theorized that this track was one of the first Jean recorded after signing her contract with Motown/before she was officially added to The Supremes. Even though DRATS (read: Diana and The Andantes) recorded the song a year before, the new arrangement and Jean's passionate vocal make this one a winner, IMO. However, the background vocalists don't sound like Mary and Cindy to me. Maybe it's the Blackberries? Although, it kind of sounds like Brenda and Patrice Holloway. Go figure?! Anyway, I would've welcomed this as an album cut on RO because it just KICKS. Hope we'll get this on a RO:EE someday!

    "Can't You Hear Me Knocking" - This boot has been floating around for a long time. It doesn't sound very Supremes-ish...however, "Motown Unreleased: 1966" FINALLY explained why: The Supremes' version is a Brenda Holloway track from 1966 with wah-wah guitar overdubs (likely to help the 1966 track sound contemporary for 1970). There are different background vocals on The Supremes' version, but...it doesn't sound like JMC or just M/C. It is probably The Blackberries or...the Holloway Sisters...? Another track that is good, but...the blatant "this isn't The Supremes behind her" on the boot's mix make it feel like it would've been a bit out of place on RO.

    "I Want to Go Back There Again" - I've never heard a bootleg of this by The Supremes (though I'd LOVE to...anyone? Anyone?), but I'd bet that...once again...the same Hal Davis-produced track used by Syreeta was used for Jean. I wouldn't be surprised. Heck, the track was used a couple of years later for Diana's previously unreleased 1972 SOLO version of the song. Looking forward to hearing what it really was for The 70s Supremes.

    "You've Got to Pay the Price" - Just a comment on this last song. CLEARLY this is The Andantes backing Jean. This was another song initially cut in August 1969 during that time when Jean first started recording, but not yet with Mary and Cindy. By the time vocals were added to the track in January 1970, they certainly could've used Mary and Cindy (or the JMC background blend), but... this is pure Andantes. It could've been on RO, but...like a few of the other (GOOD) tracks on RO that are clearly Andantes in the background, it would've caught a fan's ear and prompted the question, "where are Mary and Cindy?"
    A lot of these titles sound reminscient of an old bootleg cassette I have of Jean-era material. I'll have to go back and dig it out.

    Re YOU'VE GOT TO PAY THE PRICE, it ended up being released on A CELLARFUL OF MOTOWN VOL. 2. And yeah, it doesn't sound like Mary and Cindy on background vocals. But if had been released on RIGHT ON, I don't think it would have caused much suspicion, at least not to me. For years, if the label said THE SUPREMES, that's who I thought it was. Sure there were times I thought there were additional vocalists but it was years before I figured out that there were times when they were outright replaced.
    Last edited by reese; 02-13-2020 at 10:27 AM.

  40. #40
    Quote Originally Posted by gman View Post
    Agreed...the entire LP is one great moment after another one...except Time and Love. I would have rathered a remix or repeat of Shine on Me
    Perhaps if "Time And Love" were re-cut with a different backing track instead of using the one left over from Diana's sessions with Bones, it may have worked better. The track gives the song a very pop, bouncy, perfect fit for Diana Ross vibe, which is not the way I would describe any other track on the Touch album. Labelle has a great version of "Time And Love". Maybe if the track had a similar style, or at least a sound that fit with the sound of the other songs on the album, I think the album would've had a perfect flow. As it is, I think "Time" is Touch's one hiccup. Without it, Touch is a perfect album IMO.

  41. #41
    I think TOUCH and PRODUCED AND ARRANGED BY JIMMY WEBB were the only 70s Supremes albums I bought without ever hearing any of the tracks beforehand. I bought both for $1.99 in the cut-out bin at Bradlee's.

    Re TOUCH, I do think it is a great album. I don't really think there is a dud on it, aside from the title track. But on first listen, I do recall thinking there was a weird edit on THIS IS THE STORY. TIME AND LOVE was noticeably different to me but being a kid, I attributed that to the use of additional vocalists and that it was a Tuna Fish publishing credit as opposed to Jobete. My faves ended up being NATHAN JONES, JOHNNY RAVEN, HAPPY (IS A BUMPY ROAD), and IT'S SO HARD FOR ME TO SAY GOODBYE.

    Now that I think about it, I did hear TOUCH when they performed it on the MODEL OF THE YEAR tv show. I didn't like it and eventually hearing the record didn't change my mind.

  42. #42
    Quote Originally Posted by danman869 View Post


    "How Long Has That Evening Train Been Gone" - Jean kills this one. I recall it's been theorized that this track was one of the first Jean recorded after signing her contract with Motown/before she was officially added to The Supremes. Even though DRATS (read: Diana and The Andantes) recorded the song a year before, the new arrangement and Jean's passionate vocal make this one a winner, IMO. However, the background vocalists don't sound like Mary and Cindy to me. Maybe it's the Blackberries? Although, it kind of sounds like Brenda and Patrice Holloway. Go figure?! Anyway, I would've welcomed this as an album cut on RO because it just KICKS. Hope we'll get this on a RO:EE someday!

    "Can't You Hear Me Knocking" - This boot has been floating around for a long time. It doesn't sound very Supremes-ish...however, "Motown Unreleased: 1966" FINALLY explained why: The Supremes' version is a Brenda Holloway track from 1966 with wah-wah guitar overdubs (likely to help the 1966 track sound contemporary for 1970). There are different background vocals on The Supremes' version, but...it doesn't sound like JMC or just M/C. It is probably The Blackberries or...the Holloway Sisters...? Another track that is good, but...the blatant "this isn't The Supremes behind her" on the boot's mix make it feel like it would've been a bit out of place on RO.
    I always figured "Evening Train" with Jean was some type of test recording. Jean claims that the rumors she was first signed to Motown as a solo artist are untrue. She was always brought onto the label to take Diana's place. I can't imagine there was ever a plan for the new grouping to re-record and release a version of a song they had recorded with Diana. Of course we know Diana re-recorded and released a song she recorded for Love Child also, so I guess it's not that much of a stretch. Jean does sound great though.

    I LOVE "Can't You Hear Me Knocking", but I always thought it sounded odd for the Supremes. It was indeed very interesting to learn of and hear it recorded (sans updated edit) as a 1966 piece. It doesn't fit the group, but I think it fits Jean. Does anyone else hear someone speaking quietly and inaudibly at the beginning of the song?

  43. #43
    Quote Originally Posted by reese View Post
    I think TOUCH and PRODUCED AND ARRANGED BY JIMMY WEBB were the only 70s Supremes albums I bought without ever hearing any of the tracks beforehand. I bought both for $1.99 in the cut-out bin at Bradlee's.

    Re TOUCH, I do think it is a great album. I don't really think there is a dud on it, aside from the title track. But on first listen, I do recall thinking there was a weird edit on THIS IS THE STORY. TIME AND LOVE was noticeably different to me but being a kid, I attributed that to the use of additional vocalists and that it was a Tuna Fish publishing credit as opposed to Jobete. My faves ended up being NATHAN JONES, JOHNNY RAVEN, HAPPY (IS A BUMPY ROAD), and IT'S SO HARD FOR ME TO SAY GOODBYE.

    Now that I think about it, I did hear TOUCH when they performed it on the MODEL OF THE YEAR tv show. I didn't like it and eventually hearing the record didn't change my mind.
    Did you attempt to get your 1.99 back for one of those Reese?

    I had (still have) a cassette copy of Touch that I bought in the 90s. I loved it upon first listen. I vaguely recall not being enamored with "This Is the Story", probably because of the depressing lyrics. Of course now, being of a mature (ha!) mind I listen to songs with a different ear than I did as a teen. Sometimes it takes a bit of living for a song to make sense, know what I mean? Anyway, I played "Sunrise", "Johnny", "Touch", and "Goodbye" the most. With the exception of "Touch", those are still the tracks I play the most, but including "This Is the Story" in place of "Touch".

  44. #44
    Don't forget "That's How Much You Made Me Love You", "You Only Miss Me When You See Me", and "Remote Control",

  45. #45
    Quote Originally Posted by danman869 View Post
    There are plenty of bootlegs that have been floating around for a long time now of the "Right On"-era tracks and they are just BEGGGGGGGGGING for a "Right On: Expanded Edition" to come out officially from Universal (heck, we can't even get to 1968's "Reflections: EE" and I'm talking about 1970's "Right On: EE"?! But I digress...)

    Of the list mentioned above, however, there are clues and released material by other artists of the time that can give a glimpse into what The New Supremes were likely recording:

    "Steppin' on a Dream" - Although the completed version was unreleased, it was clearly intended for the "New" Supremes. Within a few months, Hank Cosby recut the track in a different key and recorded it on The Ruffin Brothers. YEARS ago, before I'd acquired the Sups' version on boot, I snagged a 45 of the Ruffin Brothers' version and got an aural glimpse into what it sounded like. I think it's a good tune on both.

    "Loneliness Is a Lonely Feeling" - Of course, Deke recorded this on Martha Reeves in late 1967/early 1968. That version is very much the LA version fo Classic Motown and (if he was the very likely producer of the Sups' version in 1970) he totally reimagined it for the new era of 70s Motown. You can listen to Martha's version (and you've gotta love it, IMO), but The Sups' version in '70 is a whole different ball of wax. It grows on ya!

    "Send Him to Me" - The boot with Mary's lead sounds very much unfinished and missing some instrumental overdubs, IMO. You can hear the original version (and more polished sounding than The Supremes' version from 1970) if you listen to Debbie Dean's version from late 1967/early 1968 that recently came out on "Motown Unreleased 1968 - Part 1." Like "Loneliness," the earlier version is going hard for the Classic Motown sound. Deke's work with The Supremes in 1970 is clearly reaching to put his songs into the new '70s Motown sound. With a proper mix, Mary's version from the vault might actually sound good and apropos of the RO era, but...for now, only having a Sups boot, I prefer to listen to Debbie Dean's previously unreleased version.

    "If You Let Me Baby" - Another Mary lead that has stayed in the can and the boot is kind of muddy (and/or it needs a proper mix) was originally recorded by Chris Clark in the early days of 1969 with Deke producing. He apparently decided to revisit it again with The Supremes in those early days of 1970. You can hear Jean singing background on The Supremes version ("Aaah-oooooh!" LOL). Would love to hear a clean, unvaulted mix on this one!

    "Mind, Body and Soul" - This track is likely the same one used by Syreeta in 1970 (see her "Rita Wright Years" CD). I'll bet it's the LA-based Blackberries backing Syreeta because 1) it's a Hal Davis/LA track, and 2) the same voices are behind Jean on the boot. I'm not sure this one by The Supremes for RO feels very...Supreme-ish to me, but...I'd still take a clean mix on it!

    "How Long Has That Evening Train Been Gone" - Jean kills this one. I recall it's been theorized that this track was one of the first Jean recorded after signing her contract with Motown/before she was officially added to The Supremes. Even though DRATS (read: Diana and The Andantes) recorded the song a year before, the new arrangement and Jean's passionate vocal make this one a winner, IMO. However, the background vocalists don't sound like Mary and Cindy to me. Maybe it's the Blackberries? Although, it kind of sounds like Brenda and Patrice Holloway. Go figure?! Anyway, I would've welcomed this as an album cut on RO because it just KICKS. Hope we'll get this on a RO:EE someday!

    "Can't You Hear Me Knocking" - This boot has been floating around for a long time. It doesn't sound very Supremes-ish...however, "Motown Unreleased: 1966" FINALLY explained why: The Supremes' version is a Brenda Holloway track from 1966 with wah-wah guitar overdubs (likely to help the 1966 track sound contemporary for 1970). There are different background vocals on The Supremes' version, but...it doesn't sound like JMC or just M/C. It is probably The Blackberries or...the Holloway Sisters...? Another track that is good, but...the blatant "this isn't The Supremes behind her" on the boot's mix make it feel like it would've been a bit out of place on RO.

    "I Want to Go Back There Again" - I've never heard a bootleg of this by The Supremes (though I'd LOVE to...anyone? Anyone?), but I'd bet that...once again...the same Hal Davis-produced track used by Syreeta was used for Jean. I wouldn't be surprised. Heck, the track was used a couple of years later for Diana's previously unreleased 1972 SOLO version of the song. Looking forward to hearing what it really was for The 70s Supremes.

    "You've Got to Pay the Price" - Just a comment on this last song. CLEARLY this is The Andantes backing Jean. This was another song initially cut in August 1969 during that time when Jean first started recording, but not yet with Mary and Cindy. By the time vocals were added to the track in January 1970, they certainly could've used Mary and Cindy (or the JMC background blend), but... this is pure Andantes. It could've been on RO, but...like a few of the other (GOOD) tracks on RO that are clearly Andantes in the background, it would've caught a fan's ear and prompted the question, "where are Mary and Cindy?"
    great info Dan! glad to have you back on the boards

    i have most of these as bootlegs too and yeah, you treasure the boot simply cuz it's better than not having at all. mine is clearly about the 10,000th generation of a redub lol lots of hiss. but still a glimpse into the vault

    As for the RO lp, none of the released songs strike me as out of place. even Everybody's Got The Right. while i don't think it should have been a single i think it works well in the context of the lp. So even with all of the great material in the can, I don't think i'd make any edits to the RO lineup

    the same can't be said for NW or Touch. while i actually like most of the songs BETTER than the RO tracks, the lps are just 1 step away from perfect. on NW, i'd vote Na Na off. and i know some aren't fans of Come Together. Perhaps pull Baby Baby from RO and move Na Na back to that album. then cut CT and replace with Time and Love

    with T&L off of Touch, perhaps you could insert Mind Body and soul or maybe Life Beats. LB might also have worked on NW

  46. #46
    it's also very interesting that several of these cuts Dan shared are produced by Deke Richards or Hal Davis.

    the girls recorded with nearly every motown producer in late 69/early 70 - Frank, Clay, Al Roach, Johnny Bristol, Henry Cosby, Duke Browner, Al Kent. And even a couple duet tunes with A&S. but neither Deke nor Hal had shown up as of yet. based on the material that's been released so far

  47. #47
    Quote Originally Posted by RicanStruction View Post
    Don't forget "That's How Much You Made Me Love You", "You Only Miss Me When You See Me", and "Remote Control",
    I mentioned "You Only Miss Me" somewhere in this thread already. I really like "That's How Much", but not as much as I used to for some reason.

    Is "Remote Control" from the RO timeline? I thought it was from a later session. I think that New Ways foghorn thing is present, so maybe it's from New Ways?

    "Traveling Light" is another unreleased cut, but I think that's from the JML time period, although I could be mistaken.

    I suspect a lot of those RO unreleased cuts will end up on Motown Unreleased 1970.

  48. #48
    i thought someone once said Remote was a MJL track. as was traveling light. there's also a third Stevie song - BW, Soft Days and I'd wait a lifetime. frankly i think I'D Wait is the best of the three. every now and then it pops up on youtube but is always taken down quickly.

    fortunately one of the times i was able to download it

  49. #49
    Quote Originally Posted by sup_fan View Post
    i thought someone once said Remote was a MJL track. as was traveling light. there's also a third Stevie song - BW, Soft Days and I'd wait a lifetime. frankly i think I'D Wait is the best of the three. every now and then it pops up on youtube but is always taken down quickly.

    fortunately one of the times i was able to download it
    I did the same. Most of the stuff still unreleased from the Jean years I have had for years thanks to the fan circuit, before uploading songs to the net became a thing. I didn't have any of the Stevie unreleased stuff, so when I had the chance to catch "Soft Days" and "Lifetime" on Youtube, I didn't hesitate to download them. If the rumors are true that Stevie has a tight grip on this stuff and isn't interested in letting it go, I figure it's the only chance I'll have of hearing them.

    It's said that there's at least a couple more Stevie produced songs waiting for release. One is said to be a cut that both the Supremes and Aretha Franklin recorded. Another is rumored to be "Superstition". And then someone said Lynda confirmed that she recorded a couple of leads. Of course it's possible that the song that connects to Ree and "Superstition" are Lynda leads, so it's hard to assess how many recordings the group made with Stevie.

    Yeah, I thought I read somewhere "Remote" is a JML track, but listening to it, it really sounds like it might have been a New Ways era cut.

  50. #50
    to me, Lynda's got a very powerful and unique voice....I had the John Kydd 12" of Up The Ladder To The Roof he did with Jayne Edwards, Cindy, Scherrie and Lynda contributing vocals....it was the first time I heard Lynda sing lead, and she blows it thru the roof here.
    A few years later, one early beautiful summer morning, I was floating around very relaxed on a large tube on a lazy river water ride in Wildwood, NJ...they had music playing along the circuit, and I heard a voice that was unmistakenly Lynda. Although I didn't know the song at the time...it was the FLO'S "Hit & Miss" 12" single. Lynda is from Philly, which is close by and I guess the programmer was a fan

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