Useless facts that come in handy when writing stuff like this. October 25th 2006, BBC Electric Proms to be more precise. More recently, Paul Weller and Amy Winehouse had a go at it. It was his first number 1 record, and Motown’s most sold single of the 60’s. Brooding, menacing and ideal music to sell jeans by. The trick obviously worked – Marvin’s is of course the definitive version. The song was written in a key slightly too high for Gaye, a trick the producers used to ensure his voice achieved that rasp and pained sound in the high notes. It took Marvin 2 months to record his version, which is a marathon compared to how quickly records were knocked out in those days. To be accurate, I suppose we should say that Marvin’s is more in keeping with Smokey’s, but a bit slower. Smokey’s version is more in keeping with Marvin’s, but is a touch faster. The album featured various Motown acts covering one another’s songs, with mixed results. Their’s never made it outside the studio until 10 or so years ago, when an album called ‘Motown Sings Motown Treasures’ appeared. Anybody know?īefore Gladys and co recorded it, the writers had tried out Smokey Robinson and The Miracles doing a version. I bet she does a great version of it somewhere. Faster and jazzier, it’s a call and response gospel-tinged belter. This version sounds nothing like Marvin Gaye’s. Written by Motown staffers Norman Whittfield and Barrett Strong (‘ Money’, ‘Papa Was a Rolling Stone’ amongst a ton of other big smash hits), it was first a hit in 1967 for Gladys Knight and the Pips. Not many people know, but Marvin Gaye’s version was actually the 2nd time the song was a hit. Woop woop a shobeedowop! Here‘s Marvin’s vocal-only track for starters. I particularly like the harmonising female backing singers track. Although how you can possibly improve on the finished article is beyond me.
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“ Drums in my ear….just what I need!” he says, and off he goes….Īs usual, download the tracks as one big file, open them up, insert them into Audacity and play God. It’s no wonder the musicians who played on the track were known as the Funk Brothers, as the funk drips from every bit of bassline, every hiss of the hi-hat and every falsetto’d note from Marvin’s sweet voice. The master tapes for Marvin Gaye‘s ‘I Heard It Through The Grapevine’. I have right here in my sweaty wee hands the master tapes for Marvin Gaye‘s ‘I Heard It Through The Grapevine’. I mean, who’d have thought these things would ever surface? And guess what? After a bit of poking about in all the right places I found them. …there were some Motown studio master tapes floating around on the internet.
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rar file.īonus track: Here‘s a nice wee alternate version of Bled White from the ‘XO’ album, complete with false start.
No individual tracks, the whole show is here as a. Not quite AC/DC rocking, but for Elliott it’s pretty full-on. It’s an ‘XO’-heavy show, complete with backing from the band Quasi and it’s rockingly good. Recorded at la Maison de Radio France on November 6th 1998, it was eventually broadcast on the 30th December at the end of the same year. Perhaps not surprisingly I’ve never seen the Elliot Smith one, but I now have the next best thing – a badly edited mp3 version of the concert. The Teenage Fanclub one recently went for funny money on eBay (get it here).
Usually there’s also 2500 promo CDs pressed up and distributed to the lucky few. Effectively the French equivalent of a John Peel session they go out live over the radio. Some of you may be familiar with the Black Sessions. Not surprisingly, my wee treasure hunt has turned up some good stuff, not least the following concert…. I’ve been playing all my outtakes stuff and gone a-diggin’ in the deepest corners of the fabulous internet. Currently going through a major reappraisal in the house of Plain Or Pan? at the moment is Elliott Smith.
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