The Funk Brothers instrumental of the 1970 version of "Ain't No Mountain High Enough"

[midnightman]

Instrumentalists:
Carol Kaye [[during the verses and intro riff) and James Jamerson [[melody, bridge and closing): bass guitar
Earl Van Dyke: clavinet
Earl Palmer: drums
Robert White, Joe Messina and Chuck Willis: guitars
Jack Ashford: tambourine and vibes

Other instrumentalists: the Detroit Symphony Orchestra and the saxophonists/trumpeters/trombonists of the Funk Brothers. Additional vocals by Ashford & Simpson, Josie Armstead and Jackie Beavers.

ENJOY THE SOUND OF SOUL.

[RossHolloway]

Wow. That was really nice. That track really demonstrates the complexities of putting a song like that together.

[midnightman]

Exactly. Motown was NOT playing!

[vcq]

Are you guys familiar with YouTube user Jamersonshook? He has some amazing samples of Jamerson's bass on the same model of Fender [[1962 Fender Precision bass) that Jamerson used. Here's a clip from the Marvin / Tammi version of "Ain't No Mountain High Enough."



Check out his channel for more gems, including the awesomeness that is Bernadette.

[nomis]

Another single Berry didnt want put out..by '70 his instincts for a hit single had sure dimmed...

[skooldem1]

A masterpiece.

[midnightman]

Another single Berry didnt want put out..by '70 his instincts for a hit single had sure dimmed...

It sure did. It continued into the mid-1970s when Thelma Houston wanted to put out her version of Harold Melvin & the Blue Notes' "Don't Leave Me This Way". Thelma was sure the song would break through for her because she was struggling at the time. Berry kept saying it wouldn't but it was put out and slowly but surely Ms. Houston was the winner.

[stingbeelee]

Hi midnightman;
Are you sure that Carol Kaye played on this record? And from the complete motown singles 1970, they state that Uriel Jones and Andrew Smith played drums?

[jobeterob]

http://www.youtube.com/watch?v=ikmkG...eature=related

Nick and Valerie and Michael Macdonalds version.

The two previously posted ones are far more interesting.

[jtf1972]

The decline of Berry Gordy's judgment seems to coincide with his saying "Hey Detroit, thanks for making me rich and everything! Hollywood, here I come!"

[midnightman]

Hi midnightman;
Are you sure that Carol Kaye played on this record? And from the complete motown singles 1970, they state that Uriel Jones and Andrew Smith played drums?

Not really. I saw a video where someone credited Carol lol I thought Uriel played on it too but I heard other names too lol

[topdiva1]

soft sweet and brillant

[hwume]

The names of the musicians listed in the TCMS Vol. 10 notes are from a conversation with Valerie Simpson, who played piano and of course co-wrote and co-produced the track in Detroit and New York. The bare-bones version further illuminates the majesty conjured by the Funk Brothers core - a thrilling track even at its most basic, by just those few people together in one room.

[stingbeelee]

Thanks, Harry. I just was confused that even to this day, some articles still state that Carol Kaye, instead of James Jamerson played bass on many of the major Motown hits, including 'Bernadette', 'I was made to love her' and etc. After extensive and exaustive research, it has been proven beyond a shadow of a doubt that James Jamerson played bass on the Motown hits. Perhaps Carol Kaye did play on some Christmas albums, Broadway/Tin Pan Alley stuff, and perhaps on some of the Brenda Holloway records. I find it surprising that Carol would claim the Motown hits when her legacy is secure: she played on so many hit records on the West Coast she can't count them all. I just wanted to make sure that we know that the Funks played on the classic Motown hits.

[midnightman]

One video said both Carol and James played on "Ain't No Mountain High Enough". It was at the parts where the bass was "played softly" that was Carol's. =/ I don't know it's confusing. Anyone got that volume willing to share what Valerie said?

By the way, I didn't state James didn't play on it. OBVIOUSLY HE'S ON IT LMAO

[robbert]

Please, will someone who has TCMS vol. 10 make a scan out of the booklet of the Valerie Simpson quotes concerning who played bass guitar on ANMHE?

And post it here, I almost forgot to ask...

[midnightman]

She better had said James. I still don't trust her Tammi story lmao but let's not get into that...please?

[hwume]

Now that I go back to TCMS V10, I recall that the specific musicians are listed in the SITSOM deluxe, from which the YouTube audio was lifted, ahem. But here is the text from TCMS V10 anyway. Note that the strings and horns are not from the DSO and the Johnny Trudell Horns. Although the file was too big to upload the scan, this is copied and pasted from the original PDF file used for review of the text:

______________

Paul Riser added to the drama with sophisticated horns, strings and background vocals—Ashford, Simpson and Jo Armstead—recorded in New York. The Funk Brothers cut the rhythm track at Hitsville, with Simpson at the piano. Drummer Uriel Jones, whose sensitive-to-super-funky beats were augmented by teenaged prodigy Andrew Smith, said that Valerie “had the power. All that strength coming out of her was incredible.”
Gordy didn’t like it. Motown tradition placed hook-laden choruses up front. Ashford and Simpson’s chorus was climactic, taking up the last third of the track’s running time.
“[Berry] wanted us to take the chorus and put it up front,” Ashford said. “We told him we didn’t think it was going to work.”
Gordy insisted it would be a hit if they followed his suggestion.
“Mr. Gordy,” Ashford told him, “it’s like having an orgasm. You don’t come in front of foreplay.”
The boss played his ace: “I’m not releasing it unless you put the ending up in front.”
Both sides held firm. Radio disc jockeys played the track anyway and, needing it shortened for airplay, most of them created their own edits. Motown made an edit—just not the way Gordy wanted it. Russ Terrana mixed it, a change from Lawrence Miles, who mixed the 45 release of “Reach Out.”

[gordy_hunk]

I may be missing something very significant here, but has this track been made available commercially - or is it one that a private collector has modified in some way?

It's not often I hear a track and think "wow, I must get that" but this instrumental version has done that for me.

Thanks midnightman for bringing it to my ears.

[bankhousedave]

There's no way Carol Kaye is on that track. The reference to Chuck Willis is to Eddie 'Chank' Willis, which gives some idea of the accuracy of the info. This is a prime example of Jamerson's genius - and Uriel would have told us that he never worked with Ms Kaye. There is no plectrum bass on this track, even if it wasn't all immediately identifiable as JJ. Paul Riser could calrify who and what. The only confusion the ears got on first hearing the track separated was that Valerie rather than Earl was playing piano. She was channelling him like no other.

[drewschultz88]

That second disc of the Standing In The Shadows Of Motown soundtrack is absolutely amazing. There's nothing like hearing those parts fading in and out and really getting a sense of the "Pieces Of The Puzzle" [[excuse the pun). There's a mix of I Second That Emotion on that disc where at one point you hear just the three guitar parts, and man are they grooving!

[midnightman]

Now that I go back to TCMS V10, I recall that the specific musicians are listed in the SITSOM deluxe, from which the YouTube audio was lifted, ahem. But here is the text from TCMS V10 anyway. Note that the strings and horns are not from the DSO and the Johnny Trudell Horns. Although the file was too big to upload the scan, this is copied and pasted from the original PDF file used for review of the text:

______________

Paul Riser added to the drama with sophisticated horns, strings and background vocals—Ashford, Simpson and Jo Armstead—recorded in New York. The Funk Brothers cut the rhythm track at Hitsville, with Simpson at the piano. Drummer Uriel Jones, whose sensitive-to-super-funky beats were augmented by teenaged prodigy Andrew Smith, said that Valerie “had the power. All that strength coming out of her was incredible.”
Gordy didn’t like it. Motown tradition placed hook-laden choruses up front. Ashford and Simpson’s chorus was climactic, taking up the last third of the track’s running time.
“[Berry] wanted us to take the chorus and put it up front,” Ashford said. “We told him we didn’t think it was going to work.”
Gordy insisted it would be a hit if they followed his suggestion.
“Mr. Gordy,” Ashford told him, “it’s like having an orgasm. You don’t come in front of foreplay.”
The boss played his ace: “I’m not releasing it unless you put the ending up in front.”
Both sides held firm. Radio disc jockeys played the track anyway and, needing it shortened for airplay, most of them created their own edits. Motown made an edit—just not the way Gordy wanted it. Russ Terrana mixed it, a change from Lawrence Miles, who mixed the 45 release of “Reach Out.”

That doesn't say all of the musicians who played it though it confirms Uriel was on the track. I think it's clear James was on the full track though and not Carol. And it's not clear where the orchestra came from, it's not even stated where it came from. Motown just like to keeps us guessing, don't they? Like get to the effing point already.

[midnightman]

There's no way Carol Kaye is on that track. The reference to Chuck Willis is to Eddie 'Chank' Willis, which gives some idea of the accuracy of the info. This is a prime example of Jamerson's genius - and Uriel would have told us that he never worked with Ms Kaye. There is no plectrum bass on this track, even if it wasn't all immediately identifiable as JJ. Paul Riser could calrify who and what. The only confusion the ears got on first hearing the track separated was that Valerie rather than Earl was playing piano. She was channelling him like no other.

It don't take no rocket scientist to know that Valerie is tickling the ivories on this lmao

[midnightman]

I may be missing something very significant here, but has this track been made available commercially - or is it one that a private collector has modified in some way?

It's not often I hear a track and think "wow, I must get that" but this instrumental version has done that for me.

Thanks midnightman for bringing it to my ears.

You're welcome, sir.

[hwume]

That doesn't say all of the musicians who played it though it confirms Uriel was on the track. I think it's clear James was on the full track though and not Carol. And it's not clear where the orchestra came from, it's not even stated where it came from. Motown just like to keeps us guessing, don't they? Like get to the effing point already.

The complete list of musicians was, as the original post says, in the SITSOM DELUXE; the orchestra, including horns, was recorded in New York.

Finally found that text, below... these are more details from the track's original label copy for SITSOM DELUXE that went to the printer; note that the "three guitarists" are not specified because this excerpt follows several track annotations that do specify them: Eddie Willis, Joe Messina [quoted] and Robert White. Also, when it says A&S completed the track less than a week later, that refers to the New York recording date for the horns and orchestra on March 18, which followed the Hitsville sessions on March 13 [[basic track), March 14 [[all vocals):

“Valerie Simpson’s sessions used to scare the hell out of me,” says Joe Messina. “Her compositions and arrangements were challenging and always pushed us to our limits.” On this date, the Funk Brothers are pushed past their limits. The six-and-a-half minute journey through almost a dozen different musical sections and mood swings starts out with a trio: Jamerson, Johnny Griffith on celeste and Robert White on guitar. It ends in thrilling majesty, with the three guitarists, Earl Van Dyke on clavinet, Eddie Bongo, Jack Ashford on tambourine and Uriel Jones, aided by teenage drum prodigy Andrew Smith. Valerie Simpson pounds away at the piano.

"She was the closest we got to Earl in sound," says Uriel. "She had the power. All that strength coming out of her was incredible."

Inspired beyond his usual level, Jamerson explodes off the tape at the five-minute mark with a flurry of death-defying runs. Simpson and Nick Ashford completed the track less than a week later, building magnificence on top of magnificence. But re-tune your ears to hear the foundation. It may take your breath away.

[bankhousedave]

That's tickling the way Godzilla would understand it, Midnight.

I'm going to throw something in here. There's a big edit in the middle of this track anyway, but I believe the understated woodwind in the early build up section [[pre the drum and staccato move into the chorus) may have been done at the same time as the rhythm track - maybe by Henry Cosby and Dayna Hartwick. No evidence for this, except it just feels that way to me - more intimate a la snakepit than the big brass and orch goings on in part two.

[midnightman]

LOL @ "that's ticking the way Godzilla would understand it"

Y'all have a way with words, man. LOL For real LOL

[midnightman]

The complete list of musicians was, as the original post says, in the SITSOM DELUXE; the orchestra, including horns, was recorded in New York.

Finally found that text, below... these are more details from the track's original label copy for SITSOM DELUXE that went to the printer; note that the "three guitarists" are not specified because this excerpt follows several track annotations that do specify them: Eddie Willis, Joe Messina [quoted] and Robert White. Also, when it says A&S completed the track less than a week later, that refers to the New York recording date for the horns and orchestra on March 18, which followed the Hitsville sessions on March 13 [[basic track), March 14 [[all vocals):

“Valerie Simpson’s sessions used to scare the hell out of me,” says Joe Messina. “Her compositions and arrangements were challenging and always pushed us to our limits.” On this date, the Funk Brothers are pushed past their limits. The six-and-a-half minute journey through almost a dozen different musical sections and mood swings starts out with a trio: Jamerson, Johnny Griffith on celeste and Robert White on guitar. It ends in thrilling majesty, with the three guitarists, Earl Van Dyke on clavinet, Eddie Bongo, Jack Ashford on tambourine and Uriel Jones, aided by teenage drum prodigy Andrew Smith. Valerie Simpson pounds away at the piano.

"She was the closest we got to Earl in sound," says Uriel. "She had the power. All that strength coming out of her was incredible."

Inspired beyond his usual level, Jamerson explodes off the tape at the five-minute mark with a flurry of death-defying runs. Simpson and Nick Ashford completed the track less than a week later, building magnificence on top of magnificence. But re-tune your ears to hear the foundation. It may take your breath away.

That settles it. Thanks!

[midnightman]

Man to be a fly on the wall to see and hear what was going on in Hitsville!!!

[hwume]

That's tickling the way Godzilla would understand it, Midnight.

I'm going to throw something in here. There's a big edit in the middle of this track anyway, but I believe the understated woodwind in the early build up section [[pre the drum and staccato move into the chorus) may have been done at the same time as the rhythm track - maybe by Henry Cosby and Dayna Hartwick. No evidence for this, except it just feels that way to me - more intimate a la snakepit than the big brass and orch goings on in part two.

Dave - maybe, that is entirely possible. Except... Motown studio loggers from back then are extraordinarily specific about what was cut on what day, and for this track the "HORNS & STRINGS" are noted as "N.Y." followed by a session number that corresponds to the Match 18 date. The two previous sessions are noted as "A," meaning Studio A, meaning Hitsville a.k.a. the Snakepit. Your scenario, however, remains plausible.

But not sure where one may feel an edit occurs. Sounds like just great, on-point playing. During the SITSOM mixing, unless we worked off of an edited 2-inch master, there appeared to be no editing done after the session, except to excise the outtakes [[Motown while in Detroit for the most part only kept the master take). The original multi-track tape has no splices in it and is a match to the released LP version... yes, except for the instrumental's extended fade - which, by the way, was for the express purpose of showing Uriel and Jamerson doing their funky thang. If only that had gone on a little longer. The track falls apart with a second or two of that fade-out.

[midnightman]

I actually breathed a sigh of relief when Uriel and James were confirmed to have played on the track fully rather than having two drummers and two bassists lol

[bankhousedave]

Didn't recognise you immediately, H. I need to listen again. Haven't played it for many months, though it was on much of the time before that. I seem to think there's a tempo change, which I assumed was an edit. Totally agree about the coda; if only there was more of that. Mickey told me the guys would regularly go off like that. Once they got the groove, and knew it had worked, you couldn't stop them.

[bankhousedave]

OK. Just listened again, and can't find the edit. Just goes to show. Maybe I'm thinking of the single. I have in my head this sudden switch that fractionally changes tempo. Listening again, it seems more 'together' than I remember, although I would say there were three different layers if I didn't know better. Whoever made the list on YouTube of the musicians was guessing. Ms Kaye is not there. If Jack is there, he is only playing vibes. The person who is definitely there and not mentioned elsewhere is Eddie Bongo. I could happily live for some time in this track. It is another example of the genius of the songwriters and the players - and also the prodigious talents of Paul Riser, who seemed to be born knowing what to do and when to be quiet.

I still say the most surprising thing of all is that it is not the 22 stone Chunk of Funk [[Earl) who is bringing that piano to submission, but the reet petite Valerie. Nobody before or since was as dangerous to a piano as Earl, other than this lady - and I've tried, God knows. Respect to her, and all involved in this thing, which was a masterpiece, even before the divine Ms Ross even added her own genius.

[hwume]

Hi Dave. Bongo is mentioned.

[midnightman]

"Eddie Bongo"
Yep.

[edafan]

This track is great.

edafan

[jobeterob]

Amazing song; thanks; also amazing how much I miss Diana's voice on here and what it did to the song.

[jobeterob]

My order was bad there..........pg, 1, 3, 2.

Can someone tell me how to delete scans after I upload them? Doesn't seem to work for me.

[chidrummer]

To add to the rampant speculation here, do I hear edits at :54 and at 4:54?

The evidence for either two drummers or overdubs can be clearly heard at 2:09 and at 4:26 fills in the mix with out the main snare stopping at all and at two different levels.

Ashford is definitely all over this track. That distinctive, bouncy, half-shuffled tamborine really takes over after the 5:44 mark.

[midnightman]

^ Jack is banging that tambourine ain't he?! Marvelous sound.

[ExGuyParis]

The youtube version here is from the Standing In the Shadows of Motown 2-CD deluxe edition, on disc 2. There is a slightly shorter [[6:18), more "finished" instrumental version on the Motown Karaoke CD - that's the released long version with Diana's lead removed.