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  1. #201
    Quote Originally Posted by luckyluckyme View Post
    A subsequent question for which we shall likely never know the answer. Why the substitution for just that one word? Perhaps Ann did not hit it accurately; perhaps something happen with the tape for a split second, and if it did, when discovered, why not have Ann re-record the word and punch it in rather than substitute a male voice?
    I remember reading here at SD that Ann was living in Cleveland and had no interest in the music industry any longer. So it's unlikely she would answer the question even if she could remember things from that far back. Oh well, another Motown mystery (at least to me) !
    Well Ann B. did give an interview for the UNSUNG episode on the Marvelettes, so you never know.

  2. #202
    Quote Originally Posted by SatansBlues View Post
    Well Ann B. did give an interview for the UNSUNG episode on the Marvelettes, so you never know.
    Well, after a little research, I can now partly answer my original question. The Complete Motown Singles Collection Volume 5's write-up for Tammi's version of Hold Me Oh My Darling states that although first recorded by Ann, it was then dubbed as a duet by Ann & Harvey (Fuqua). I suppose there was a small glitch with that word in Ann's original recording, so Harvey may have simply spliced in that word from the duet version, assuming he sang that line in the duet performance.

  3. #203
    Quote Originally Posted by luckyluckyme View Post
    Well, after a little research, I can now partly answer my original question. The Complete Motown Singles Collection Volume 5's write-up for Tammi's version of Hold Me Oh My Darling states that although first recorded by Ann, it was then dubbed as a duet by Ann & Harvey (Fuqua). I suppose there was a small glitch with that word in Ann's original recording, so Harvey may have simply spliced in that word from the duet version, assuming he sang that line in the duet performance.
    Has anyone ever heard the Ann and Harvey version?

  4. #204
    I would think that one or more of the good fellows who produce the sets that we love have heard it.

  5. #205
    Quote Originally Posted by mysterysinger View Post
    Brenda Holloway's "You Got A Little Bit Of Everything" was written by The Lewis Sisters (and if you didn't know I think you might guess it's one of theirs). Seems a little odd that it was produced in Hitsville by Harvey Fuqua and Johnny Bristol. Was it maybe meant for another artist - Tammi Terrell perhaps?
    Nope paperwork only indicates Brenda - nice thought though

  6. #206
    Quote Originally Posted by SatansBlues View Post
    Has anyone ever heard the Ann and Harvey version?
    Well - I can say because I have heard it that Ann sings the word baby at 1.11 on the duet version and it sounds fine so why it would have been substituted on the solo version is a mystery - needs looking into further...

  7. #207
    Quote Originally Posted by paul_nixon View Post
    Well - I can say because I have heard it that Ann sings the word baby at 1.11 on the duet version and it sounds fine so why it would have been substituted on the solo version is a mystery - needs looking into further...
    I've been listening more carefully and I think Ann sings baby on the COM version it's just that she shifts the pitch of her voice to a very low place on that word and raises it again slowly on the rest of the phrase. I could be wrong but it's like that on all the tapes of the song.

  8. #208
    One of those interesting factors about life is that we can agree to disagree. I still not convinced that it is Ann singing the word 'baby' at 1:11. Listening with headphones, the voice is entirely different.

  9. #209
    Quote Originally Posted by paul_nixon View Post
    Need to investigate that not sure I've ever heard it
    I've heard the vetsion with male voice on the fade...might have it some where.

  10. #210
    My copy of A Cellarful of Motown, Vol. 5 arrived yesterday. One thing that I'm enjoying about this new collection (besides the songs) is the packaging. The notes for all the songs are easier to read in the booklet (and the additional recording info is on the inside covers). Thanks to Paul Nixon, Caroline, Motown/UMG and everyone else involved in putting this set together.

  11. #211
    I just opened my copy!!!

  12. #212
    I received mine yesterday and was immediately impressed with the presentation.And the musical content is wonderful with the new songs, new mixes and versions.A big thank you to Paul and the brilliant team and special thanks to Caroline for believing in it. Maybe Ivy Jo Hunter could be looked at some time.Doesn`t "Windmills of Your Mind" leave you wanting more!

  13. #213
    Quote Originally Posted by Roger Polhill View Post
    I received mine yesterday and was immediately impressed with the presentation.And the musical content is wonderful with the new songs, new mixes and versions.A big thank you to Paul and the brilliant team and special thanks to Caroline for believing in it. Maybe Ivy Jo Hunter could be looked at some time.Doesn`t "Windmills of Your Mind" leave you wanting more!
    All these messages are amazing and make up for the one bad review - I am glad you are liking it here's hoping that Caroline might think the figures are good enough to do another.

  14. #214
    Another question, I hear Oma Page with The Temptations in the backround, can somebody confirm this ?

  15. #215
    Finally ordered here in Holland at a nice price at Dodax.nl

  16. #216
    Just a word on my favourites- that stupendous Funk Bros band track for It’s All over, and the Eddie-led version of I’ve Gotta Find A Way... but I’m also loving the Sammy Turner track All I have left are memories, a superb Stevenson-Hunter song, but what a great voice he had, pity he didn’t do more at Motown. And he’s still with us, aged 88

  17. #217
    Well Iím still waiting for my copy that I ordered in September 9th, and now being told by amazon that I wonít receive it till December.

  18. #218
    Quote Originally Posted by WaitingWatchingLookingForAChance View Post
    I got mine today and am playing it at work. I honestly don't know what to make of that one infamous rant. I hear absolutely nothing wrong in the mastering or quality. I hear no problem with the stereo mixes. I had a feeling I may have understood where the complaint was coming from; I have bought albums and CDs where they had done that weird "electronically processed stereo" thing which was basically a flat, dry sound on one channel and a ghostly, otherworldly, echoey effect on the other. But now I've got my copy; I'm not hearing any gimmicky or underwhelming processing here, just good, clean mastering. Probably the best sounding of these compilations, actually.

    The sound on the cuts repeated from the 1966 Unreleased set is arguably miles sharper here that on that CD release. The one and only complaint I have is that everything is SO damn good, I'll need to take a day off from work to devote myself to thoroughly enjoying this set.

    I know there are people who are absolutely picky about sound, mastering and having authentic, unadulterated mixes. Audiophiles, I guess you call them. I play music. I mix music. I Live for music. I detest muddy-sounding mixes and tracks "spruced up" for today's ears. I ain't hearing ANY of that here anywhere. I bought one set. And now I'm going to buy another to keep in my work vehicle. I may buy 2 more. It's that good.

    Music to my ears

  19. #219
    I've had mine for nearly a week( Bought two), but figured I might as well leave my thoughts. For the most part I'm happy,even though it is not the greatest sonically. I don't know what the exact reason is for this issue, but it seems as though in any new mix of a Motown track,the drums are always barely audible. Don't know if it's the engineers who mix the tunes or the techies who transfer the audio information to them to mix, but it's a consistent problem. I've discussed this with Keith Hughes too. Seems as though everything can be adjusted, but the drums, they're always buried strangely. Without that heavy rockin' beat the songs don't take on the life that they should.

    I agree that Chris Alexander's mixing is sharper here. Richard Hughes mixes are good too, but have the tendency to be too even and modern sounding. Rich uses technology wholeheartedly,Chris utilizes only what's needed and lets the tapes breathe. The sound here is more true to what a clean, but fifty years old master tape(or multi track) should sound like. As for the content....

    I enjoyed hearing the extended fades of the stereo mixes and in some cases you can actually hear the Funk Brothers stop playing. Did you notice the remainder of the demo vocal at the end of the Jimmy Ruffin track????. Hearing the HDH backing tracks were a gas too and was a peek into how serious of a writer Eddie Holland was. He would only write to what he felt and even though these tracks are nice I can't argue with him for not providing lyrics. I'd also say that Lamont Dozier was probably the creator of the first two "Instrumentals" as they have a rhythmic quality. The R.Dean Taylor track and "Truth" is more Brian Holland's pretty melodic approach to my ears, but Lamont was so versatile who knows?. Didn't think I'd enjoy the Tommy Good track, but was pleasantly surprised...

    All in all, I'm happy to have it. Hopefully this will sell well enough to get Vol.6 in a couple of years(Nixon & Co. gives proper time to research). Let's give 'em a round!!!. Job well done.
    Last edited by Quinn; 10-09-2020 at 03:57 AM.

  20. #220
    Quinn, I have to agree with you about Eddie Holland's writing lyrics to the instrumentals tracks. Until I read the Holland Brothers book, I didn't realize that Eddie would take the track and then craft lyrics to fit the track at an off-site location. I always thought everything happened with the 3 of them in the writing room and studio. On the one hand I can appreciate not being able to complete these songs. On the other hand, I have much more of an appreciation for all of the gem's that were finished. And lets not forget that Eddie Holland's was still writing with Norman Whitfield at the time as well.

  21. #221
    Quote Originally Posted by Motown4Ever518 View Post
    Quinn, I have to agree with you about Eddie Holland's writing lyrics to the instrumentals tracks. Until I read the Holland Brothers book, I didn't realize that Eddie would take the track and then craft lyrics to fit the track at an off-site location. I always thought everything happened with the 3 of them in the writing room and studio. On the one hand I can appreciate not being able to complete these songs. On the other hand, I have much more of an appreciation for all of the gem's that were finished. And lets not forget that Eddie Holland's was still writing with Norman Whitfield at the time as well.
    I'm sure we all thought that songs took shape in a team orientated manner,then you realize it could take Eddie a month to write a single tune. He wasn't a fast writer at all. Another thing that stood out about the tracks,especially "True Fine Boy" and "It's All Over" is that they are very complex melody wise. The former is pure Detroit Soul and raw while the latter is more sentimental, but paint a picture of the process. Lamont wasn't a simple composer by a long shot in those days. He seemed to want to milk a melody for all it was worth with continual chord changes, but the chords wouldn't always connect. Brian with his intuitive ear would take Lamont's ideas and put them in order to make sense musically. "It's All Over" would give your best songwriter a run for their money because it's unpredictable and takes too many melodic detours. "True Fine Boy" just lacks an edge and actually is devoid of an intro. Brian was a great music director and could bring to fruition what would give some folks a hard time and/or a headache.

  22. Thanks for the inclusion of "Windmills of Your Mind." I just saw that movie recently and enjoyed the theme song. So it's incredible hearing a Motown version and sung so well by Chuck Jackson.

  23. #223
    Quote Originally Posted by WaitingWatchingLookingForAChance View Post
    Thanks for the inclusion of "Windmills of Your Mind." I just saw that movie recently and enjoyed the theme song. So it's incredible hearing a Motown version and sung so well by Chuck Jackson.
    And quite possibly the last new Motown Chuck Jackson track ....

  24. #224
    Quote Originally Posted by paul_nixon View Post
    And quite possibly the last new Motown Chuck Jackson track ....
    By coincidence I listened to "Barrett Strong: The Complete Motown Collection", only a couple of days ago. At the end of the booklet a certain Mr. Paul Nixon wrote:

    "While that seems to be it from the vaults as far as Barrett Strong is concerned, experience tells us that where Motown and the vaults are concerned "never" is a word that should be used lightly."

    Admittedly that was written in 2004 and as nothing new has been issued since then, it appears that this compilation was indeed complete as predicted. But until someone picks up that final tape in the vaults and listens to it, we will have to wait with bated breath!

    With hopefully the possible release in the future of a COM6, I'm wondering if Motown Unreleased will continue past 1972. If not, could there be a "Son of Motown Unreleased" going back to the beginning and a new series released picking up even more buried treasures not included in the first round?

    Unless I've missed it, a stereo version of Barrett Strong's "Money" has never been reissued digitally according to DFTMC so could this be a candidate for future inclusion in one series or another?

  25. #225
    Just curious as to whether anyone else here on SDF who may have e-mailed "appreciation" to Caroline Records for this clearly well-loved set has received any response? I e-mailed 12 days ago and never received even a cursory, "thank you for your e-mail."

    I have no idea what the sales have been so far (hey--I bought my 2 copies, so the numbers must be high! LOL) As much as we love it, I'm not sure if anyone yet knows how Caroline is viewing the success (or *gulp* failure?) of this release.

    I, for one, want to see Mr. Nixon continue to comb through the vaults to find us more goodies. I just wondered why Caroline Records doesn't seem to be reacting to...the reactions about the release?
    Last edited by danman869; 10-09-2020 at 08:49 AM. Reason: typo

  26. #226
    I haven't emailed yet, but I wouldn't expect a quick reply. There is a pandemic, you know.

  27. #227
    [QUOTE=danman869;592906]Just curious as to whether anyone else here on SDF who may have e-mailed "appreciation" to Caroline Records for this clearly well-loved set has received any response? I e-mailed 12 days ago and never received even a cursory, "thank you for your e-mail."

    I sent off an email to Caroline Records on 22 September, but haven't heard anything from them (I only bought a single copy, but I didn't tell them that!) I don't expect to get a reply, just hope that positive feedback filters up to those who make the decisions.

  28. #228
    You're not alone.
    Caroline haven't responded to any emails as far as I know.
    Seems like they don't want to connect with customers, just take your money.
    So I won't bother in future.

  29. #229
    Quote Originally Posted by snakepit View Post
    You're not alone.
    Caroline haven't responded to any emails as far as I know.
    Seems like they don't want to connect with customers, just take your money.
    So I won't bother in future.
    Just because Caroline Records has not responded does not mean they haven't been reading your feedback. As someone who has a background dealing with senior corporate management, I can tell you first hand that businesses do in fact read consumer emails and feedback (duh, why would you not?) and they also make policy and business decisions based on said feedback. So I would encourage everyone to send feedback to not just Caroline Records but to Universal and Universal/Motown.

  30. #230
    Is it beyond them to even send a pro-forma acknowledgement?
    Apparently so.

  31. #231
    I sent an email in September and never heard a thing..not that I expected to.

  32. #232
    Quote Originally Posted by snakepit View Post
    Is it beyond them to even send a pro-forma acknowledgement?
    Apparently so.
    I don't expect that they've been fullly staffed since lockdown and will have a backlog of tasks to do.Their main priority will be to get the product out to customers, and everything else will just have to wait its turn. To expect everything to function smoothly and efficiently in any line of business since the pandemic hit is just plain unreasonable.

  33. #233
    I've sent similar emails to other lincencees prior to the pandemic, and I've never received any reply or acknowledgement. So I wasn't expecting one, just replying to other posters with my experience.
    I'm not bothered...I can get a second hand copy of vol 6.
    Vol 1 sells for about £5...

  34. #234
    Quote Originally Posted by reachoutuk View Post

    Unless I've missed it, a stereo version of Barrett Strong's "Money" has never been reissued digitally according to DFTMC so could this be a candidate for future inclusion in one series or another?
    That's curious as the only stereo version listed on DFTMC is:
    Jan-69; LP (S): Gordy S936 Motown Winners' Circle - No. 1 Hits Vol. 2

    There are 2 enhanced stereo versions shown:
    Aug-66; LP (E): Motown S614 A Package Of 16 Original Big Hits
    Mar-71; LP (E): Motown MS727 The Motown Story Volume 1

    From a quick listed to the various ones I have I'm not convinced that the enhanced version is the one on the CD copy of A Package of 16 Big Hits but I could be wrong.

    However, the nearest thing to a stereo version (or a wide enhanced version perhaps) I have is on an odd CD
    NSPCD500 Various Artists - Motown Sings The Beatles.

  35. #235
    Quote Originally Posted by snakepit View Post
    I've sent similar emails to other lincencees prior to the pandemic, and I've never received any reply or acknowledgement. So I wasn't expecting one, just replying to other posters with my experience.
    I'm not bothered...I can get a second hand copy of vol 6.
    Vol 1 sells for about £5...
    Amazon sent me a free download of Volume 1 when I bought Volume 6 from them.

  36. #236
    Well down...bargain

  37. #237
    Quote Originally Posted by mysterysinger View Post
    That's curious as the only stereo version listed on DFTMC is:
    Jan-69; LP (S): Gordy S936 Motown Winners' Circle - No. 1 Hits Vol. 2

    There are 2 enhanced stereo versions shown:
    Aug-66; LP (E): Motown S614 A Package Of 16 Original Big Hits
    Mar-71; LP (E): Motown MS727 The Motown Story Volume 1

    From a quick listed to the various ones I have I'm not convinced that the enhanced version is the one on the CD copy of A Package of 16 Big Hits but I could be wrong.

    However, the nearest thing to a stereo version (or a wide enhanced version perhaps) I have is on an odd CD
    NSPCD500 Various Artists - Motown Sings The Beatles.
    Thank you mystersinger for checking this out for me. After looking at my database, it seems that I have numerous copies of this track, all on CD except for the single reissue that came with The Complete Motown Singles Vol.1 - and they are all mono.

    I did manage to find this recording which sounds (to my ears) in stereo as opposed to electronically reprocessed stereo. I wonder who Johnny T. is?

    https://www.youtube.com/watch?v=j_FuYB__AU8

  38. #238
    Here's another (more recent) stereo mix by Johnny T.




  39. #239
    Bought it. Waiting for delivery. Couldn't care less about the naysayers.

  40. #240
    COFM5 is a wonderful package and such a bargain too.

  41. #241
    I've signed up here just to give specific props to Paul Nixon for getting this volume out - I consider myself a big fan of Motown (though I'm strictly amateur after lurking and reading the posts here) and have bought a shedload of compilations, including the previous four volumes and the Motown Unreleased sets, but this totally passed me by. I saw it yesterday on Amazon when making an impulse purchase of The Velvelettes' anthology, and was delivered this morning, and playing now.

    I'm genuinely appreciative of the effort that was put into getting this gem out. It looks great, and sounds great, and is another window into a world that I consider part of my home, even if I physically live half a world away. Yesterday I got a lot of records for National Album Day (yeah, it's a new one on me too), and even though it included a lot of my non-Motown favourites (Forever Changes by Love, Kraftwerk, Dexys, Prefab Sprout, some recent ambient stuff), this was easily my most anticipated delivery and it's been on the hi-fi all day.

    You can be sure I'll be dropping an email to Caroline Records to voice my support for the series and my feedback at the great volume of unheard music. It's crazy to think that we're probably approaching the point where we've got as much 'new' music from the glory years of Motown as was released back then - long may it continue!

    On a side note, as a vinyl head (who has no problem with CDs and owns lots of them), some sort of best-of Cellarful release would be a prized item, were it ever to materialize...

  42. #242
    Quote Originally Posted by Motown45 View Post
    I've signed up here just to give specific props to Paul Nixon for getting this volume out - I consider myself a big fan of Motown (though I'm strictly amateur after lurking and reading the posts here) and have bought a shedload of compilations, including the previous four volumes and the Motown Unreleased sets, but this totally passed me by. I saw it yesterday on Amazon when making an impulse purchase of The Velvelettes' anthology, and was delivered this morning, and playing now.

    I'm genuinely appreciative of the effort that was put into getting this gem out. It looks great, and sounds great, and is another window into a world that I consider part of my home, even if I physically live half a world away. Yesterday I got a lot of records for National Album Day (yeah, it's a new one on me too), and even though it included a lot of my non-Motown favourites (Forever Changes by Love, Kraftwerk, Dexys, Prefab Sprout, some recent ambient stuff), this was easily my most anticipated delivery and it's been on the hi-fi all day.

    You can be sure I'll be dropping an email to Caroline Records to voice my support for the series and my feedback at the great volume of unheard music. It's crazy to think that we're probably approaching the point where we've got as much 'new' music from the glory years of Motown as was released back then - long may it continue!

    On a side note, as a vinyl head (who has no problem with CDs and owns lots of them), some sort of best-of Cellarful release would be a prized item, were it ever to materialize...
    Welcome to Soulful Detroit!

  43. #243
    I just ordered a copy for only $13.99 and canít wait to hear it. I was surprised to find it for that price on Amazon as I believe itís a double disc set.

    Now you guys who are miffed that the exec from that company didnít respond to your emails, please continue to support the product. We are lucky to have these coming out. As they say, donít throw away the baby with the bathwater!

  44. #244
    Kenneth
    I'm sure we will all support future projects.
    But we have been asked, requested, implored even to contact Caroline..to engage in a relationship to encourage future interest.
    Now....all these emails have been complimentary.
    Imagine if they had been critical....we would probably be ignored
    ....errr wait a minute????

  45. #245
    Quote Originally Posted by snakepit View Post
    Kenneth
    I'm sure we will all support future projects.
    But we have been asked, requested, implored even to contact Caroline..to engage in a relationship to encourage future interest.
    Now....all these emails have been complimentary.
    Imagine if they had been critical....we would probably be ignored
    ....errr wait a minute????
    I appreciate all you you guys and your efforts to support the release and to mail Caroline as part of the process. I am currently having a moan as to why you would not even get a 'thank you for you email' auto reply. As yet I to have had no answer - I just hope that the email address you so kindly wrote to on my behest is actually monitored - imagine if it wasn't. I'll get back to you when I get an answer but in the meantime keep up the support - please.

  46. #246
    Paul
    The project to get CFOM 5 has been succesful.
    We appreciate your efforts and we will all be right beyond any future efforts.
    It's not your area..so don't worry .
    Bring on vol 6...with more Tommy Good tracks...
    Never say never
    Thank you for vol 5

  47. #247
    My CFOM5 arrived today. Thank you Paul. Like the other volumes, I love it. I just sent an email to Caroline. Keep Ďem coming.

    -Jim

  48. #248
    Got mine yesterday. Loving it.

  49. #249
    Quote Originally Posted by luckyluckyme View Post
    Here's another (more recent) stereo mix by Johnny T.



    Thank you for this pointer. After a bit of research I think that this Johnny T. is a DJ, so maybe these recordings are not official versions.

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