You know, I really do like Motown. I think it's become a little bit cooler these days among musicophiles to say you were really into the Atlantic artists or maybe the Stax / Volt crew, but you have to give it up for Motown, too. I love how Berry Gordy built an autonomous, top to bottom, minority owned and operated juggernaut. Word was he was an asshole, but he had an ear for a pop tune and could sniff out talent from miles away.
I also have some nostalgic feelings whenever I hear a Motown record, which of course makes no sense because they were recorded while my parents were negotiating middle school. I guess when I hear those songs, I imagine how someone that age (baby boomers, I mean) must feel when they hear them. And much of that comes from the incredible Funk Brothers, the instrumentalists who are more or less responsible for that Motown sound. As I said earlier, I love the idea of taking ubertalented artists and plugging them into the songwriting / performance machine you've set up and reeling off hit after hit after hit. You can hear that same sound in every song, but adding a David Ruffin, Michael Jackson, Stevie Wonder, or in this case, a Diana Ross over it just makes it unfair.
I did a little bit of digging on this song, and I found out an interesting fact - it was written by none other than Ashford & Simpson
Solid!
Of course, it was recorded originally by Marvin Gaye, then Diana Ross covered it in this version. I like this version better - it's slower, a bit more dramatic, and I love the intro, with the horn flares and the lovely melody. But you what's really cool about this version? The talking. Ross doesn't sing this song, save for the chorus - she speaks it. Why doesn't anyone do that any longer? In this case, it makes the song more intimate, and makes that awesome chorus more dramatic and effective by comparison. In fact, the structure of this song reminds me a lot of my favorite Supremes' song "Someday We'll Be Together". Listen to them one after the other and see what I mean.
The other secret weapon in this song and in the whole Motown arsenal is the bassist, James Jamerson. I know people make fun of the bass / tuba player always pimping the bass guy, but Jamerson is ridiculous. His lines are so clean on the Motown tracks, they pop right up out of the mix (no accident, I'm sure) and they are so rhythmic and innovative. Just try to imagine "I Want You Back" without him. Listen to this song and concentrate on the bass part. Just watch this white boy do it (he's doing the six minute version, too. And, no, that's not me)
Oh, and here's the song for you:
http://www.mediafire.com/?htyxtm1twpu
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3 comments:
Well well, I like the new setup you have here. I really like that you give the song to your blog readers. Lots of research and everything! I'll give you a B+ overall on this post because I wasn't impressed with the bass player and you mentioned tubas for pretty much no reason.
I find some of Motown (and this particular song) to be boring. Probably because my parents listened to it a good bit on some oldies station that played the same songs over and over. Guess I've just heard this song too much. Her speaking the lyrics makes me kinda grimace, as does the thought of a contemporary R & B singer trying to pull it off. I'm sure it could be done where I'd like it but I'd be impressed.
I have to admit I'm fascinated by Motown. Some of the best metal incorporates funk somewhere beneath the thrash. Diana Ross is okay, but I lean toward Dionne Warwick. I get lost in her nostrils every time.
Seriously, I went through an Isaac Hayes phase that still lingers in my collection and its bald head pops up every now and then. His funky instrumentals are infectious.
I rate this post an M+ for "Motown-a-licious."
Motown? 2 words.....Rockwell.
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