Motown songs with biggest difference between single and album versions

[Optimal Saint]

Listening to my albums that include the singles as bonus tracks I always find that the singles are almost exactly the same as the album version, maybe it's 3 or 4 seconds shorter or, to my ears at least, whatever differences there are barely noticeable

Are there any songs where that is not the case? When you listen to the album version, you're like "Whoa, that's different?"

[reese]

The one that immediately comes to mind is JIMMY MACK by Martha and the Vandellas. The version on the WATCHOUT! album is completely different from the hit single version.

I believe there's also a difference between the vocals on the single of MY MISTAKE by Diana and Marvin, as opposed to those on the album.

[thanxal]

The one that immediately comes to mind is JIMMY MACK by Martha and the Vandellas. The version on the WATCHOUT! album is completely different from the hit single version.

I believe there's also a difference between the vocals on the single of MY MISTAKE by Diana and Marvin, as opposed to those on the album.

That has to be the biggest and most obvious one, I agree. Love is Like an Itching in My Heart has kazoos in the background for the LP stereo mix but not 45 or mono LP. There are others like the more pronounced transition from the guitar solo in In My Lonely Room and some others that are mostly editing, but nothing like Jimmy Mack.

[Motown Eddie]

The single and album versions of The Jackson 5's "Mama's Pearl" contain different vocal takes from Michael & Jermaine.

[Motown Eddie]

Smokey Robinson & The Miracles's "The Tears Of A Clown" not only has different mixes for the stereo LP version from 1967 and the single version from 1970, some overdubs were added to the single mix of the song as well.

[Boogiedown]

Later on .... big disco problem ...reason #12 that disco had to be killed... the remixes that would be done on a song but then wouldn't be on the already pressed original album which contained instead the as of yet unmixed version. Many LP returns with that complaint on various records.

Bonnie Pointer's disco hit started out on her album as :

[blackguy69]

You have the original version done in 64 and you have the re recorded single version done in late 66

The one that immediately comes to mind is JIMMY MACK by Martha and the Vandellas. The version on the WATCHOUT! album is completely different from the hit single version.

I believe there's also a difference between the vocals on the single of MY MISTAKE by Diana and Marvin, as opposed to those on the album.

[blackguy69]

You have the original 67 cut. The remix 1970 single version and you have the remix remix [[I know) version off the One Dozen Roses album in 1971

Smokey Robinson & The Miracles's "The Tears Of A Clown" not only has different mixes for the stereo LP version from 1967 and the single version from 1970, some overdubs were added to the single mix of the song as well.

[blackguy69]

You have the original 67 cut. The remix 1970 single version and you have the remix remix [[I know) version off the One Dozen Roses album in 1971

Smokey Robinson & The Miracles's "The Tears Of A Clown" not only has different mixes for the stereo LP version from 1967 and the single version from 1970, some overdubs were added to the single mix of the song as well.

[robb_k]

Miracles-Shop Around
Miracles-Way Over There

There were many Motown 45 issued songs from 1959-61 which had 2 or 3 vinyl issued recordings versions [[using local Detroit test releases) that were different from the national 45 release, and, or the recording used on the eventual LP issues.

I can't remember all of them, but most of them had some different vocals often using different song lyrics, and/or different instruments used, especially in their breaks, with the test versions generally being more inventive, and mostly not making it to a national release, but sometimes making an LP some months after, or ending up on later special hits artists anthology, or artist greatest hits compilation several, or many years later.

[noel181]

Marvin Gaye Pride and Joy on LP is completely different from the single issued.
Four Tops It's All In The Game on the single is completely different than the LP version.

[Sotosound]

Marvin Gaye Pride and Joy on LP is completely different from the single issued.
Four Tops It's All In The Game on the single is completely different than the LP version.

"It's All In The Game" is mixed differently [[and in mono) for the single and, in places, it has different bits of various lead vocal takes by Levi Stubbs on the two versions.

There are other minor differences between the two versions as well, but both versions have the same instrumental backing, and both have the same feel.

[Sotosound]

The original 1967 mono mix of "Tears Of A Clown" uses a different and inferior [[IMO) lead vocal take.

[Sotosound]

Although they use the same multitrack, the mono single and stereo album mixes of "Reach Out I'll Be There" by Four Tops are vastly different, and I'm left wondering why the stereo mix was allowed to be used at all. In short, IMO, it's awful.

The mono album mix, however, is the same as the single.

[Sotosound]

In the 1970s, many Motown singles were remixed edits of much longer album tracks. In fact, there are almost too many examples to list. "Keep On Truckin'", "Vitamin U", "Ain't No Mountain High Enough", any number of Whitfield-produced Temptations tracks etc. etc.

A notable example is "Take A Look Around" by The Temptations, which acquired a whole orchestra for the single release.

Another notable example is "What's Going On" by Marvin Gaye wherein [[IMO) the mono single mix is a big muddy mess, whereas the stereo album mix is clear as a bell and no less effective.

[thanxal]

Although they use the same multitrack, the mono single and stereo album mixes of "Reach Out I'll Be There" by Four Tops are vastly different, and I'm left wondering why the stereo mix was allowed to be used at all. In short, IMO, it's awful.

The mono album mix, however, is the same as the single.

Is it the reverb you don't like? I find the separation of backing vocals into the left track of the stereo LP pretty effective. But it is a bit echo-ey compared to the mono. [Thanks for pointing this out - I never really noticed how different these versions are so pulled out the 45, mono LP, and stereo LP and gave them all a close listen].

[Motown Eddie]

Mary Wells' "Bye Bye Baby"; the stereo version from her Greatest Hits LP loses the background vocals from the original single mix.

[Motown Eddie]

Although they use the same multitrack, the mono single and stereo album mixes of "Reach Out I'll Be There" by Four Tops are vastly different, and I'm left wondering why the stereo mix was allowed to be used at all. In short, IMO, it's awful.

The mono album mix, however, is the same as the single.

That's the way it went for a lot of stereo versions of songs from the '60s and Motown was no exception. Back then, mono was the dominate format and engineers ususally spent more time mixing songs for it and less time for the stereo mix [since stereo was considered an afterthought back then].

[mjdestiny]

What it is ? by Undisputed Truth
In these changing times by Four Tops

[Motown Eddie]

Another notable example is "What's Going On" by Marvin Gaye wherein [[IMO) the mono single mix is a big muddy mess, whereas the stereo album mix is clear as a bell and no less effective.

And speaking of "What's Going On", we can't forget the 'false fade' that was included on the mono single mix of the song.

[Motown Eddie]

Marvin Gaye's "God Is Love"; totally different versions of the song were issued on the What's Going On LP and the mono single mix on the B-Side of "What's Going On". I think the B-Side version of "God Is Love" is much better [and more fleshed out] than the LP version.

[BayouMotownMan]

I'm not aware of an alternate vocal on Diana and Marvin's My Mistake. Can someone enlighten me? I know there is an alternate vocal on Don't Knock My Love. The single mix of You're A Special Part Of Me is watered down a bit.

Aside from all the others listed, the stereo mix of the 4 Tops Something About You just doesn't match the explosive mono mix. Also, the single mix of Supremes Nothing But Heartaches is quite muddy.

The mix on the Supremes Everybody's Got The Right To Love is quite different from the stereo mix, with a short musical break before the final verse and an odd guitar quirk thrown in a couple of times.

Huge difference in the mono and stereo mix of the Miracles Give Me Just Another Day. The single is far more orchestrated and superb to the album mix.

Different mix of Eddie's Son of Sagittarius. Single mix throws in some handclaps halfway through.

The single mix of Supremes You're My Driving Wheel has never been issued on a CD. Yet! I keep hoping. It is a bit different from the lp mix.

Likewise single mix of 4 Tops Nature Planned It is a little more orchestrated and more backing vocals are included.

Single mix of High Inergy Don't Park Your Loving totally different than the lp mix. Either one works but I prefer the mono mix.

I know I will think of others but this is all for now.

[Stax_of_Motown]

The Marvelettes - The Boy From Crosstown + Keep Off No Trespassing
Single versions of these are much more dynamic / punchier, stereo LP versions are "softer".

Martha Reeves And The Vandellas - Sweet Darlin
Again single version more dynamic and lead guitar much more prominent.

[Motown Eddie]

Rare Earth's "Magic Key"; this song has different endings for it's mono/single mix as the B-Sides of the "Generation [Light Up The Sky]" & "Get Ready" singles and the stereo/LP mix for the Get Ready LP. A slightly entended 'psychedelic' ending with drums, piano & guitar effects is on the stereo version while the mono mix has a simple cold ending.

[gman]

Supremes 60's...I almost always prefer the single mix....exceptions Nothing But Heartaches and You Can't Hurry Love..my 1st Motown LP was the big blue 2 LP Hits set...everything was FAT mix on that...I started collecting the singles as well afterwards [[I was 8 in '68 when I became a fan around the time of Love Child/ TCB)
70's...Up The Ladder is entirely too compressed on the Right On LP...it loses its punch...same with Nathan Jones on Touch....and I like the single mixes of Stoned Love and River Deep much more than the LP versions...
It turns around in the mid decade issues....the singles were often BUTCHER JOBS..Love Hangover is wonderful on the full length LP...hate the single...it needs the extra time to go from vamp to disco....
The singles from High Energy and MS&S were pure butcher jobs. IGLMHDTW on the 70's Rare classic CD is exactly how I remember the dj's extending it at parties [[I wasn't a club guy...I liked to drink too much to wait that long for a drink...) You're My Driving Wheel on the LP is wonderful...that pounding acoustic piano, the hand percussion and Scherrie's catch up and fall behind vocal make it one of my favorites...
Lovin' Livin' & Givin' on the Ross LP may be my fav DR dance style cut...the other versions flat out stink....and I love the 12" mixes of What You Gave Me and Your Love is So Good For Me.
the LP version of Swept Away is in my top 5 DR favs...but here, the 12" mix has a bit too much going on for me...I'll take the LP version.

[noel181]

BayouMotownMan mentioned that he wasn't aware of an alternate mix of My Mistake. It is available on Diana Ross CD The Motown Anthology as well As Marvin Gaye CD Playlist + Plus which was previously unreleased. I believe Reese was saying there was a different between the single and the LP.

[rovereab]

Marvin's mono UK single of Too Busy Thinking 'Bout My Baby has louder strings during the intro to the album versions and the mono version on The Master box set.

Edwin Starr's War UK single is longer than the album versions and has a slightly different mix.

[Philles/Motown Gary]

The one that immediately comes to mind is JIMMY MACK by Martha and the Vandellas. The version on the WATCHOUT! album is completely different from the hit single version.

I believe there's also a difference between the vocals on the single of MY MISTAKE by Diana and Marvin, as opposed to those on the album.

Reese, the version of Martha & The Vandellas "Jimmy Mack" on the MONO version of their "Watchout" LP is the same as the 45 version. It's the Stereo version of "Watchout" that contains an earlier recording of "Jimmy Mack" -- far different than the happy, pounding, hit version.

[Philles/Motown Gary]

The MONO version of The Marvelettes' "Pink" album contains an extra verse of "The Hunter Gets Captured By The Game". The extra verse containing "Every day things change, and some old ideas give way to some new. Some new ideas are strange like the new idea of me being caught by you" occurs immediately after the harmonica/string-laden instrumental break. For some unknown reason, the Stereo LP version leaves out this special touch.

Extra-Verse Version:
https://youtu.be/mf4jzdnJ2pU?si=shE1DpmqNSuF2MXM

[Philles/Motown Gary]

The MONO version of Marvin Gaye's "Little Darling [[I Need You)" contains beautiful strings. The STEREO version, however, foolishly leaves them out.

MONO Version:
https://youtu.be/QukSGKn6RSM?si=_3qoql6H56HXhY4b

STEREO Version:
https://youtu.be/BMp_2fIaRHk?si=z8ZgGZbQwz8K8Ga5

[Philles/Motown Gary]

The MONO version of Marvin Gaye & Kim Weston's "What Good Am I Without You" has handicaps. The STEREO version, however, robs us of that special rhythmic touch.

MONO Version:
https://youtu.be/molcWp44Vzo?si=vnM0WraTW2VN8r0j

STEREO Version:
https://youtu.be/XFouoYa8aCY?si=BfcJYVzI_tPQ8V5w

[Philles/Motown Gary]

Back in the day, the MONO version of Mary Wells' "Vintage Stock" LP featured "Honey Boy" with handclaps. Unfortunately, the STEREO version deleted them.

MONO Version:
https://youtu.be/5ZxCf_kbDrs?si=GkBncfTY2sdcUgRa

STEREO Version:
https://youtu.be/HU8r1f-Awo0?si=z0mdGMSqQXpnthfM

NOTE: They've since added some of the handicaps to the Stereo version. When the Stereo version first came out, there were NO HANDCLAPS whatsoever.

[Philles/Motown Gary]

The Supremes' "Going Down For The Third Time" STEREO LP version is different from the MONO 45 B-Side version.

MONO 45 Version:
https://youtu.be/_K_HCYqk6Ms?si=ucP9Ydu1tCyYhvc-

STEREO LP Version:
https://youtu.be/zRmvBwCHZwQ?si=eM23JM9w4Z_-ZVEa

[Motown Eddie]

The Miracles' "I Gotta Dance To Keep From Crying" & "I Like It Like That". On "I Gotta Dance...", the point in the song where Smokey sings 'I think we're making a little too much noise' and the backing track fades out and comes back when The Miracles start singing 'just a little bit higher' is only on the mono single mix [and there's a longer fadeout as well]. The stereo mix's backing track isn't faded out [or back in] during that part of the song. On "I Like It Like That", the single & stereo mixes of feature different lead vocals from Smokey.

[Philles/Motown Gary]

Martha & The Vandellas' "Quicksand" MONO 45 version has a drum solo that is echoed and totally HOT! On the STEREO LP version,, however, there is no echo -- causing the drum solo to sound totally lame.

[Motown Eddie]

The Marvelettes' "Please Mr. Postman" has different lyrics between it's mono & stereo mixes. The mono/single mix has 'deliver de letter, the sooner the better' while the stereo/LP has 'don't pass me by, you see the tears in my eyes'. The extended stereo remix done for The Motown Box in 2005, corrects this by featuring both of these lines.

[Sotosound]

Is it the reverb you don't like? I find the separation of backing vocals into the left track of the stereo LP pretty effective. But it is a bit echo-ey compared to the mono. [Thanks for pointing this out - I never really noticed how different these versions are so pulled out the 45, mono LP, and stereo LP and gave them all a close listen].

The reverb everywhere, especially, for instance, when they fade up the tambourine.

"Here is the tambourine, clearly reproduced, and with some nice echo in the other channel so that you know that you are listening to a stereo recording."

The almost non-existent drums, hard-panned and buried when they are meant to be up front and driving the track.

"They're hard-panned because that's what stereo is all about, and they're faded down because we have to have the same peak readings from both channels' VU meters."

The way that the backing vocals are mixed. "Here are the boys shouting 'Ha!' and repeating half of each vocal line, but also hard-panned and given reverb so that you know that you are listening to a stereo recording."

Etc. Etc.

In short, the whole mix.

What should be a tight outfit of singers and musicians singing and playing together in close proximity to each other and to the audience in a way that will get people up on their feet [[the mono mix) ends up sounding like a load of players and singers lined up at the back of a very large, echoey space, but with the occasional player or vocalist allowed to step forward a little when their turn comes so as to emphasise an individual musical point. "Ha!"

The mono single mix might not be of audiophile quality, but that was deliberate. In mono, any audiophile pretence gets thrown in the bin, with the real focus being upon integration and effectiveness, especially on radio. The bass sound seems to focus upon the harmonic one octave up from the actual notes being played [[probably because the average mid-1960s radio wouldn't get anywhere near reproducing true bass sounds), the snare drum doesn't actually sound like a real snare drum but really kicks ass, and the Tops themselves plus the Andantes are one tightly integrated vocal unit.

The stereo mix, however, might better have been called "The Percy Faith Stereo Mix" inasmuch as it's more "Summer Place" than Motown, IMO.

Moreover, the track possibly doesn't really suit high quality stereo mixing at all since much of its effectiveness seems to stem from the engineering liberties taken when creating the mono mix; and when these liberties aren't taken the track loses much of its impact. I have three different stereo mixes in my collection [[original, Cooley High, and Motown Box) and none of them come close to the magic of the mono mix.

Dat's just a poissonal view, however.

[Sotosound]

Reese, the version of Martha & The Vandellas "Jimmy Mack" on the MONO version of their "Watchout" LP is the same as the 45 version. It's the Stereo version of "Watchout" that contains an earlier recording of "Jimmy Mack" -- far different than the happy, pounding, hit version.

My understanding is that the mono version of "Jimmy Mack" was recorded in March 1964 and embellished with some overdubs in January 1967 for single release, and that the stereo version [[arranged a la "How Sweet It Is [[To Be Loved By You)") was recorded in 1965 or thereabouts.

Other members may put me right.

[BayouMotownMan]

The stereo version of Jimmy Mack was the original version stored in the vault. When Gordy heard it later he said it was a hit but needed to be punched up. When Martha walked into the studio to redo the song in early 67 I think it was, Brian Holland was in the control room with headphones on jumping up and down on a board on the floor. This was used to produce those handclaps on the mono single mix. It was actually a copy of the single mix of Where Did Our Love Go, with 4/4 thunderclaps and 2/4 on top of them. This was the mix that was issued. This was the story Martha told me back in the 90s when she and her sisters were performing in Biloxi. I laughed out loud when she said "when I saw Brian Holland in the control booth I thought, 'oh God, this man has finally lost his mind.'"

[thanxal]

The 2005 PBS Motown box has a stereo remix of the single [mono] version of Jimmy Mack recorded 2/3/67. It indicates was a new stereo mix [for the box set]. I don't know how they got a "stereo" mix unless they just messed with the tracks. It isn't horribly reverb-y. It's a Tom Moulton remix and sounds pretty, pretty good to me.

[thanxal]

The reverb everywhere, especially, for instance, when they fade up the tambourine.

"Here is the tambourine, clearly reproduced, and with some nice echo in the other channel so that you know that you are listening to a stereo recording."

The almost non-existent drums, hard-panned and buried when they are meant to be up front and driving the track.

"They're hard-panned because that's what stereo is all about, and they're faded down because we have to have the same peak readings from both channels' VU meters."

The way that the backing vocals are mixed. "Here are the boys shouting 'Ha!' and repeating half of each vocal line, but also hard-panned and given reverb so that you know that you are listening to a stereo recording."

Etc. Etc.

In short, the whole mix.

What should be a tight outfit of singers and musicians singing and playing together in close proximity to each other and to the audience in a way that will get people up on their feet [[the mono mix) ends up sounding like a load of players and singers lined up at the back of a very large, echoey space, but with the occasional player or vocalist allowed to step forward a little when their turn comes so as to emphasise an individual musical point. "Ha!"

The mono single mix might not be of audiophile quality, but that was deliberate. In mono, any audiophile pretence gets thrown in the bin, with the real focus being upon integration and effectiveness, especially on radio. The bass sound seems to focus upon the harmonic one octave up from the actual notes being played [[probably because the average mid-1960s radio wouldn't get anywhere near reproducing true bass sounds), the snare drum doesn't actually sound like a real snare drum but really kicks ass, and the Tops themselves plus the Andantes are one tightly integrated vocal unit.

The stereo mix, however, might better have been called "The Percy Faith Stereo Mix" inasmuch as it's more "Summer Place" than Motown, IMO.

Moreover, the track possibly doesn't really suit high quality stereo mixing at all since much of its effectiveness seems to stem from the engineering liberties taken when creating the mono mix; and when these liberties aren't taken the track loses much of its impact. I have three different stereo mixes in my collection [[original, Cooley High, and Motown Box) and none of them come close to the magic of the mono mix.

Dat's just a poissonal view, however.

I agree about the reverb. I hate it on old jazz tracks that got remixed for vinyl reissues and it doesn't work well for Motown tracks either. That said, I strongly prefer stereo separation when I can get it [ I listen on a full home stereo system with distinct left and right channels].

[theboyfromxtown]

Night 'Fo Last [[Vocal) - Shorty Long

[gman]

I prefer the Going Down For The Third Time version without Save Me Save Me repeated....Love Is In Our Hearts I believe is 2 different lead vocals.

[tjl]

The one that always used to get me [[between dancing to it at clubs and hearing it on the radio) was "Mickey's Monkey" - the 45 single version has an edit that cuts right to "do the monkey" instead of the repeat in the coda the stereo and compilation stereo versions had. I asked Smokey about it one time, he didn't remember the edit - but must have forgotten as all the early lip-sync tv shows featured the mono 45 version with the Miracles performing to the edit. [[such as on Holywood A--Go-Go) and AMB.

On the Stereo Motown Box and the updated "Motown: Big Hits and More" we had access to the multi-tracks ans sessions before they became stems. "Would I Love You" was also a stereo alternate take from the 45 version which features a "yeah yeah yeah" ad-lib earlier in the song.

[Graham Jarvis]

"Mickey's Monkey" always makes me smile, Smokey & The Miracles was 6.33 minutes at the Motown Recording Olympia Music Hall in Paris April 1965. [I was never there and too young]

Stevie did same 6.06 minutes for Fingertips and the same in Paris April 1965.
Everyone loved them.

I love Music hall and any to see and hear live [from the old artists], however I would prefer 45's records as when playing them.

[brothadc]

The Supremes' "Going Down For The Third Time" STEREO LP version is different from the MONO 45 B-Side version.

MONO 45 Version:
https://youtu.be/_K_HCYqk6Ms?si=ucP9Ydu1tCyYhvc-

STEREO LP Version:
https://youtu.be/zRmvBwCHZwQ?si=eM23JM9w4Z_-ZVEa

The mono and stereo releases of "Going Down For The Third Time" aren't really two versions of the song, they're just two different mixes. Same lead vocal, same backgrounds by Mary and Florence, and the same instrumental track. The stereo mix just has additional backgrounds present in the mix. Diana's lead vocal is more prominent in the stereo mix. Now the mono and stereo album releases of "Jimmy Mack", that's two different versions.

[rovereab]

There's differences between the mono single and stereo album versions of 7 Rooms Of Gloom. Listen to the backing track where Levi sings "You took the dream I had for us, and turned that dream into dust", and the similar sections later in the song. The simple tambourine use on the mono single version is replaced by a clap like sound on the stereo Reach Out album version.

[rovereab]

The single mix of the Temptations’ Get Ready has a very lightweight sound overall when compared to the stereo album version. In particular the drums on the stereo mix are more prominent. On the single version the drum beat is very low in the mix and nigh on nonexistent during the fade-out stage.

[Sotosound]

There's differences between the mono single and stereo album versions of 7 Rooms Of Gloom. Listen to the backing track where Levi sings "You took the dream I had for us, and turned that dream into dust", and the similar sections later in the song. The simple tambourine use on the mono single version is replaced by a clap like sound on the stereo Reach Out album version.

What I hear in the stereo mix is a lot of focus on the skin of the tambourine being hit, and a load of reverb on the tambourine further emphasises this.

[rovereab]

What I hear in the stereo mix is a lot of focus on the skin of the tambourine being hit, and a load of reverb on the tambourine further emphasises this.

Strange that the skin sound wasn’t audible in the mono mix. Perhaps it was dubbed on?