EARL VAN DYKE & SOUL BROS–THAT MOTOWN SOUND–V.RARE UK MOTOWN MONO LP–A1/B1-1965

	£		35
	$		46

EARL VAN DYKE & THE SOUL BROS–THAT MOTOWN SOUND–VERY RARE UK TAMLA MOTOWN MONO LP–A1/B1-1965

Earl Van Dyke and The Soul Brothers Album

“That Motown Sound”

MONO

Released on the Tamla Motown Label

E.M.I. Records

MADE IN GT. BRITAIN

(P) 1965

TML 11014

Matrix:

TML 11014 A – 1  G

TML 11014 B – 1  G

“In some respects this business of recording as applied to the pop sound of the day is a pretty serious thing.  It’s not just a question of listening and enjoying, at least not to some of us.  I would think that probably the predominant intellectual guessing game in this field for the past several years involves the search for answers to one question: what is “That Motown Sound”?

I guess the interest in this question and its answer primarily arises because of the outstanding commercial and popular success of whatever those ingredients are that make up “That Motown Sound”.

Somewhere in Detroit or at Motown Record Corporation or at Hitsville, U.S.A., if you pressed enough people hard enough you might be able to come up with the answer, although business being what it is, this probably is one of the most highly guarded trade secrets of the century.

As a critic, I have spent my share of time pondering this question and I really think I’ve got it figured out.  I may be wrong, but as I see it the answer is not one of acoustics, equipment, climate, or anything of the sort.  I am sure the answer can be summed up in one word – talent.  If you could have had the good fortune, as I have, to see what goes on at Motown, you would agree that the most impressive thing there, is that talent.  Whether it’s in the head office with Berry Gordy Jr., in the A. & R. Department with guys like Brian Holland and Lamont Dozier, Mickey Stevenson, Norman Whitfield; with gals like Ivy Hunter; and other; among the artists such as the Supremes, Marvin Gaye, Vandellas, Temptations, Miracles, Four Tops, Marvelettes, and Stevie wonder, or if it’s in the Arranging Department or among the audio engineers, you’ve got to be impressed by this one factor – talent.  Of course, talent by itself without good hard work and devotion will never but the ice.  I’m also sure that the “material” is a big factor in making up “That Motown Sound”.  Guys like Eddie Holland and some of the others mentioned above as A. & R. men are really tops as far as this ingredient is concerned.

You may think I have been remiss in leaving out Bill “Smokey” Robinson, but this young man is so talented and his abilities so diversified that there is no way you really can classify or categorise him.  He does it all – in top flight style.

What I’ve really been leading up to is this album, its contents and its performers.  For just as the others previously mentioned play their necessary part in “That Motown Sound” so do the musicians, for they are one of the final steps in that sound, they actually make the music.

Motown has had the good fortune, whether by coincidence, or as I’d rather believe, by good judgement and foresight, to come up consistently with top flight men to play the horns, strike the keys, pluck the strings and beat the drums.  Most often the artists, writers and producers get the main share of notoriety but with musicians as talented as Earl Van Dyke and The Soul Brothers, sooner or later (and now is obviously the time) they likewise will come into their own and share in the reception and the applause as well.  One of the talented and hard working people at Motown came up with the idea of taking some of their hits, presenting them in basically the same style as the hit vocal versions but as instrumentals, giving Earl Van Dyke and his rhythm side-kicks a chance to romp and roll and bring their talent to the forefront.  By doing this, we have also shed a little more light on the answer to the question we started with – What is “That Motown Sound”?

Earl Van Dyke and The Soul Brothers have for a long time added their talents to the combination of forces which have made up “That Motown Sound.”  Usually it’s in the background serving to make up the whole which produces the results achieved by Motown.  Here, however, they have, as soloists replaced the Marvelettes, for example, in Too Many Fish In The Sea; the Contours on Can You Jerk Like Me; the Temptations on My Girl, and The Way You Do The Things You Do; Martha and The Vandellas on Nowhere To Run;  the Supremes on Come See About Me; and Marvin Gaye on You’re A Wonderful One, Try It Baby, How Sweet It Is (To Be Loved By You), and Can I Get A Witness.

In their own way these are all hits with Earl and The Soul Brothers, because like the original version, they have got “THAT MOTOWN SOUND”.”

SCOTT ST. JAMES

The Track List is as follows:

SIDE ONE

                                                                           1.    NOWHERE TO RUN (Holland-Dozier-Holland)

                                                                           2.    COME SEE ABOUT ME (Holland-Dozier-Holland)

                                                                           3.    YOU’RE A WONDERFUL ONE (Holland-Dozier-Holland)

                                                                           4.    HOW SWEET IT IS (TO BE LOVED BY YOU) (Holland-Dozier-Holland)

                                                                           5.    MY GIRL (Robinson-White)

                                                                           6.    ALL FOR YOU (Stevenson-Cosby-Hunter)

SIDE TWO

                                                                           1.    TOO MANY FISH IN THE SEA (Holland-Whitfield)

                                                                           2.    TRY IT BABY (Gordy Jr.)

                                                                           3.    THE WAY YOU DO THE THINGS YOU DO (Robinson-Rogers)

                                                                           4.    CAN I GET A WITNESS (Holland-Dozier-Holland)

                                                                           5.    CAN YOU JERK LIKE ME (Stevenson-Hunter)

                                                                           6.    MONEY (THAT’S WHAT I WANT) (Bradford-Gordy)

Produced by STEVENSON, COSBY and FUQUA

The LP is in Good Condition with some surface marks and surface scratches and one deeper scratch.  It doesn’t jump at all and generally plays well

The Sleeve is in Very Good Condition with just a small amount of scuffing and laminate creasing

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