Showing posts with label Motown. Show all posts
Showing posts with label Motown. Show all posts

Monday, 8 June 2026

Get Ready

Cover version of the month #121
Ella Fitzgerald and Ash cover The Temptations

Released on Motown Records in 1966, The Temptations Get Ready, written by Smokey Robinson, is a sub 3-minute gem, with horns, bass, strings and drums creating a driving energetic riff from the off. 

I never met a girl that makes me feel the way that you do (you're alright)

The relentless bassline is the engine for the song, with Eddie Kendriks taking lead vocals, instead of David Ruffin. Kendricks soaring falsetto is exceptional, soaring effortlessly above the collision of brass, strings and the driving beat.

There is an urgency to the song, exemplified by the title and the kiss off hook in the chorus get ready, cause here I come. The lift into the chorus is sublime. Get Ready is the sound of young America at its most vibrant, sounding full of confidence ... unstoppable.

And I'm bringing you a love that's true

So get ready, so get ready

I'm gonna try to make you love me too

So get ready, so get ready

Cause here I come, I'm on my way


Fast forward three years and Ella Fitzgerald is recording a rip roaring version at Olympic Studios in London for her 1969 album Ella. It's an absolute revelation! Driven by Brian Bennett on drums, this is a sweat soaked funk jazz romp, with Fitzgerald sounding like she is having the time of her life. The Temptations original has urgency, but Fitzgerald really does ramp it up a notch or two.

The backing vocals are glorious, understated in the mix, still leaving plenty of room for Fitzgerald - as if she was gonna have it any other way! Her vocal performance is fantastic, fire-y and fierce. The horns help to anchor everything. The riff is just played with a little extra oomph. It's a glorious cover version.

Ash - Goldfinger 
Get Ready was a b-side

Fast forward again, this time almost 30-years and Ash, a trio of teenagers from Northern Ireland, are making a name for themselves with a string of singles. Goldfinger, in April 1996, was the final single to be released, leading to 1977, their debut album, the following month. One of the b-sides was Get Ready - previously released as a limited fan-club 7-inch.

Ash’s version of Get Ready sounds exactly like what it is: three mates in a sweaty studio with Tim Wheeler's fuzzed guitar cranked up to eleven. It's delicious raw garage rock/pop. You can't mess with a melody or riff as strong as the ones Smokey Robinson created. So Ash just put their own spin of teenage exuberance on it. Fuzz, distortion, crashing beats and Tim Wheeler's glorious bubblegum pop delivery. Punk pop perfection.

I am currently in love with this song, particularly the Ella Fitzgerald version, which prompted this blog. Somewhere in my loft is the CD single by Ash. While researching, I also discovered a 21-minute + cover version from 1968 by a band called Rare Earth. It's ... OK ... not as cool as a 20-minute version could be. It begins with a lazy jam before they head into the song, then off on a bass heavy jam to begin with. The beat and bass are probably ripe to be sampled. Organ kicks in and away they go. It's too long for me. Give me the Creedence take on I Heard It Through The Grapevine any day of the week. Rare Earth also released an edited single version, under 3-minutes long. 

The Temptations original and both the Ella Fitzgerald and Ash versions are added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE

Previous covers of the month blogs

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola
82. Drop
87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire
92. Valerie
101. Shout!
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Saturday, 5 November 2022

Ain't No Mountain High Enough

Cover version of the month #81

Diana Ross covers Marvin Gaye & Tammi Terrell


What can you say about Marvin Gaye and Tammi Terrell's impeccable Ain't No Mountain High Enough?

Well, it's one of those songs where I tend to say that music really doesn't get much better. It's absolutely perfect in every single way. The emotion, the imagery, the soul and love that pours out of the song.

Written by Nickolas Ashford and Valerie Simpson, Gaye and Terrell released the song in April 1967, perfect timing for it to be played through the Summer of Love.

Apparently Dusty Springfield wanted to record the song, but Ashford & Simpson were dead set on it being a Motown record. They were right to hold it back.

I find out a lot of surprising things when researching for blog articles. My biggest surprise here is that Terrell recorded her vocals first and Marvin added his at a later date! They sound so perfectly entwined that I have always imagined them singing together in a booth. I'll hold on to that image though.

Ashford & Simpson wrote more gems for the duo, including You're All I Need To Get By and Ain't Nothing Like The Real Thing. Wow! What a trio of songs.

When I really fell in love with music at the age of 15 and got my first Hi-Fi with a turntable, I remember raiding my parents rather small record collection. I still have a Marvin & Tammi's compilation, complete with my Mum's name written in pencil. I devoured it. 

God those innocent days seem so long ago. You treasured exploring records, stuck with them, poured over sleeve notes, showed off when friends came round; 'hey listen to this'. Friends would have to come round to listen, unless you made them a mixtape.

Nowadays I'm guilty as charged. Friends and I will exchange songs on WhatsApp by posting Spotify or YouTube links. Sometimes I'll take days to check a link, sometimes the chat will go on and I'll forget. 

The teenage me would be appalled. But sometimes (all of the time) it's just too easy to access music. You can check out songs, albums or entire back catalogues on a whim. And I do ... if in the mood. But I also miss the days of saving for albums, or going to HMV every Monday, or Missing Records before catching the train back to Carluke, or having friends round and playing CD's or records. I miss taking a chance on an album because of a cover.

Anyway, back to Ain't No Mountain High Enough.

It's precisely 2.5-minutes of Motown pop perfection. Gaye & Terrell backed by The Funk Brothers and the Detroit Symphony Orchestra. 

Beginning with a rumbling bass and Marvin Gaye's passionate vocal, Tammi Terrell and strings come in, before everything takes off at 30-seconds as they hit the chorus together. Terrell's voice soaring, Gaye's just sitting under it beautifully.

And what a chorus! 

Gaye & Terrell are so in love that nothing will keep them from each other; mountain, valley or river.

Then we have Terrell singing over pounding drums; No wind, no rain, or winters cold, can't stop me baby

Things are really flying now as Gaye ad libs a no, no, baby before coming in at 100 mph if you're ever in trouble, I'll be there on the double, just send for me.

Marvin Gaye sounds like he is really in the zone, enjoying himself, letting out a little haah and wooo as the duo keep flying through the song. Terrell singing possibly my favourite line - my love is alive, way down in my heart, even though we're miles apart.

The Motown beat is pounding furiously, beautifully, like the sound of Gaye & Terrell's hearts as they sing for all their worth. The bass keeps grooving and the strings sound majestic.

What a song! Utterly brilliant.

Diana Ross originally recorded a version with The Supremes & The Temptations in 1968, remaining true to the original. Ross, at the bequest of Ashford & Simpson, revisited the song in 1970 as a solo artist, working with the songwriters and others to completely rework the song.

The single version is 3 minutes 32 seconds long, but it is the album version, stretched to a glorious 6 minutes and 18 seconds, that really floors me.

A slow, teasing classical intro leads to Ross singing the melody over Motown beats, strings and piano. At 1 minute 20 seconds Diana speaks directly to her love, seductively, openly and true for 40-seconds until the melody from the chorus and stronger beats kick in again.

Ross' version cleverly adds new lyrics to the original and interestingly takes an age to actually get to the words Ain't No Mountain High Enough. It's at 4-minutes 18 seconds that it kicks in, Ross is squealing with delight as her backing singers (very much at the fore for a while) sing in unison. 

Then at 4-minutes 36 seconds the song builds to another level. At 4 mins 55 it reaches for the stars, strings, horns, beats and stunning piano, then the vocals again. This is simply divine. Heavenly. 

The 6-minute version is incredible, but it still leaves you wanting more, we get that in Martin Martorell 8.5 minute version. There are more delightful squeals, Ross' voice is incredible as she urges one more time and pushes herself even further. 

This is incredible. Music really doesn't get much better.

Marvin & Tammi official video

Diana Ross - single edit

Diana Ross - 6-minute version

Diana Ross - extended 8.5 minute version

All previous cover version of the month blogs are listed below. To listen, search for Everything Flows Cool Cover Versions playlist, featuring all of the songs below, on Spotify or CLICK HERE

Previous covers of the month

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola
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Wednesday, 8 November 2017

Baby I Need Your Loving


Motown Monthly #2


How good a song is this? The urgency is immediate, you get a sense of it from the title alone. This isn't someone dreaming, wishing, wanting or longing for a love. This is someone needing it, someone who has got to have it all.

I've always loved this song but it took on a whole new meaning for me when I heard it at the Glasgow Barrowland Ballroom at the annual Barraloadasoul event a couple of years ago. It came blasting out of the speakers in mid-evening after an impassioned intro from the DJ. He raised his hands in the air singing a-long and the crowd responded accordingly.

Research has just told me that this is in fact the debut single by The Four Tops. In that case it is surely one of the best debut singles of all time!

It is a Holland-Dozier-Holland special and the group formed a special affinity with the master songwriters thanks to their love of lead singer Levi Stubbs incredible vocal range. They deliberately wrote for him to push his vocals to the extreme and between 1964-1967 they crafted gems like Reach Out I'll Be There, Bernadette and Standing In The Shadows Of Love.

In under 3-minutes H-D-H create the ultimate plea for love. This song has everything, the musicianship is impeccable and it turns out that H-D-H had the music before the words. And oh what words, simple but devastatingly effective. And oh with those lead vocals and the sensational backing vocals.... the impact is quite incredible.

Just listen to the oooh backing vocals during the last verse that then change to i need you and i want you baby. And when the four voices combine it just sounds so soulful and sublime.

Lonely nights echo your name
Oh sometimes I wonder
Will I ever be the same
You know things have gotten worse
Any smile you might see has all been rehearsed
Darling I can't go on without you
This emptiness won't let me live without you
This loneliness inside darling
Makes me feel half alive

Baby I need your lovin'
Got to have all your lovin'




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Tuesday, 24 October 2017

I Wish It Would Rain


Motown Monthly 1


I've been digging into the extensive catalogue of Tamla Motown with relish and joy recently. Without wanting to mention Spotify again, they really have made it easy and addictable to explore albums, b-sides, demos and rarities.

I became acquainted with Motown at an early age courtesy of some records my Mum owned; a Marvin Gaye and Tammi Terrell duets album with Sheila Easton in pencil on the back sleeve just in case anyone borrowed (and forgot) or picked up the wrong copy at a party back in the Sixties or Seventies.

So I'm going to start a monthly Motown blog on certain songs, singles, artists or times. And I'm going to begin with a song by The Temptations called I Wish It Would Rain.

A short piano and bass intro leads to the piano being dropped and singer David Ruffin singing with real heartbreaking soul that wishes the sunshine and blue skies would go away cause he has lost his love.

Sunshine, blue skies, please go away
My girl has found another, and gone away
With her went my future, my life is filled with gloom
So day after day, I stay locked up in my room
I know to you it might sound strange
But I wish it would rain

It is an incredible opening verse that sets the scene and the second verse takes it a step further and at one point Ruffin sounds lost for words after stating listen, I got to cry, the ooooh before he explains that crying eases the pain is sublimely soulful and tugs on the heart strings.

Cause so badly I wanna go outside (such a lovely day)
Everyone knows that a man ain't supposed to cry
Listen, i got to cry, 'cause crying
Eases the pain, oh yeah

It just gets better, yet there is even more pain and self therapy with Ruffin singing that he longs for rain so he can go outside and hide his tears in the rain. There is no holding back the pain in the song.

Lyricist Rodger Penzabene penned the song just after learning that his wife was cheating on him. He would commit suicide barely a week after the single's release.

I need rain to disguise the tears in my eyes
I'm a man I got my pride
'til it rains I'm gonna stay inside

Producer Norman Whitfield created much of the musical structure to accompany Penzabene's heartbreaking poetry, with Barret Strong composing the piano intro on a piano with only ten working keys! The music is perfect for the song, there is real melancholic heartbreak in this record, it is stunning.

I Wish It Would Rain reached number 4 on the Billboard Hot 100 for 3-weeks and later be covered by Percy Sledge, Gladys Knight and the Pips and also by Marvin Gaye on the b-side of Lets Get It On.

Many, many Motown songs are about guys/girls longing for a lost love but I Wish It Would Rain may well be the most heartbreaking of the lot. It is a gem.


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Thursday, 27 July 2017

I Heard It Through The Grapevine

Cover version of the month #27

Marvin Gaye, Gladys Knight, Creedence Clearwater Revival and The Slits
cover I Heard It Through The Grapevine



I Heard It Through The Grapevine is one of the most famous and loved songs ever to be released by the legendary Motown Records.

3 of their biggest stars recorded and released the song between September 1967 and October 1968; beginning with Gladys Knight and the Pips. The song became an instant hit, reaching number 2 in the charts and deservedly so.

Everything about the song is exceptional - the story of hearing of a lost love, the groove, the beat, the organ.....

The Gladys Knight and the Pips version has a stunning vocal - Gladys talking directly to her lost love and telling of how she is just about to lose her mind, pleading for him to listen.

Losing you would end my life you see
Because you mean that much to me


The song was originally recorded by Smokey Robinson and the Miracles. Smokey has/had an incredible voice but for me this version doesn't capture the hurt that the song portrays.


The song was then recorded by Marvin Gaye in the Spring of 1967 but wasn't deemed a single so it was sidetracked on to his In The Groove album.

It was only after the Gladys Knight version became a hit that DJ's also began playing the Marvin version on radio, so Motown put it out as a single and it reached number 1.

The Marvin Gaye version is the definitive version. He captures the song in a way that Gladys Knight (who had to change the lyrics ever so slightly) and Smokey Robinson don't. He lives it, or he lived it, you hear it in his voice. It is sensational, rising at all the right moments, hitting notes others can only dream of. Check this incredible a cappella version. His band get the groove and they play it with an edge that the song deserves and demands.


Gaye may have recorded the definitive version, but my own personal favourite is the mind-blowing 11-minutes and 11 seconds version by Creedence Clearwater Revival that I discovered in my teens on their Chronicle Volume 1 (best of) album.

It really did blow my mind; the way the band lock into a groove, John Fogerty has the soulful voice to deliver the song, the guitars and the way they head off on a 8-minute jam that takes the song into previously unexplored territory. Gaye's version ends at 3-minutes and 12 seconds, just as the Creedence version really gets going with an explosive guitar solo.

Fogerty comes back in for a chorus and then the guitar is really unleashed, all the time backed by a rhythm section as tight and funky as they come.

The drums are outstanding throughout - from 5-minutes on they are let loose with the guitar with just the bass and rhythm guitar keeping the groove. I recall hearing this for the first time and then playing it to one of my best friends (remember this Reddy?) to marvel at it together. 

Doug Clifford on drums may well deliver my favourite drums ever on this version of a Motown classic. He ups it at 6 minutes and 48 seconds and then just keeps it going, hammering his symbols, making up fills, sounding like he is having the time of his life.

Fogerty joins in and at 8-minutes and 20 seconds he finds a brilliant playful riff and his sensational band keep on going. Fogerty then comes out of that groove and slows it down slightly at 9-minutes and 9 seconds, his band still lost in the magical groove they have found.

The rhythm groove is allowed some breathing space, I like to imagine Fogerty just standing back and enjoying the groove. The song is faded out - how long did it go on for?! Is there a longer recording?!


Many other artists have recorded I Heard It Through The Grapevine. The Slits version, below, captures the song in the heady days of punk and has an explosive raw quality to it.

However it is the Creedence version that grabbed me - and it still does. Hope you enjoy.

A list with links to previous cover versions of the month is noted below.


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Thursday, 8 June 2017

Never Ending Mixtape Part 9


18 songs are added to the Never Ending Mixtape this month. It all started back in October 2016 when I finally signed up to Spotify after years of saying I never would.

I still buy physical copies of records and cd's, but have to say that I am loving Spotify and the way I can discover music - new and old. And I've always loved making mixtapes, compilations CD's, playlists.....and now I have the never ending playlist with new tunes added monthly.

It's all oldies and goldies this month; indie, pop, motown, electro.....loads to check........ the link to the Spotify playlist is below and the latest tracks are listed below that.


Star - Primal Scream
Blissful from Primal Scream

How Does It Feel To Belong? - Primal Scream
Dreamy psychedelia - stunning b-side that a friend reminded me about.

Juxtaposed With You - Super Furry Animals
One of my favourites from the Welsh wizards of melody and psychedelia

Dry The Rain - The Beta Band
A gem, a true gem. I caught them at their last ever show at the Liquid Room and the crowd just kept singing the refrain after they had finished.

Silent Sigh - Badly Drawn Boy
This guy could pluck a gorgeous melody from a rubber band - beautiful

I Love You - The Bees
I love the feeling and production on this song.

Baby I Need Your Loving - The Four Tops
What a tune! Pleading, emotional and uplifting - soul.

I Second That Emotion - Smokey Robinson and the Miracles
Listen to Smokey's voice - incredible

Jimmy Mack - Martha Reeves and the Vandellas
A current fave with the kids in my house, so simple and so clever.

(I'm A) Road Runner - JR Walker and the All Stars
Got to keep on keeping' on!

Just A Little Misunderstanding - The Contours
A fave - love the feel and flow of this.

Stop Her On Sight (S.O.S) - Edwin Starr
Just full of hooks, this will have you singing on first listen

Belfast - Orbital
This once soundtracked the end of many a night out - blissful bubbling and soothing synths.

Pacific State - 808 State

You Wish - Nightmares On Wax
What a groove!

Same As It Ever Was - The Herbaliser
Another brilliant groove

Music Takes Me Up - Mr Scruff and Alice Russell
Mr Scruff is one of the best DJ's I have ever seen, I love his eclectic style and taste and monster sets.

Salvation - Rae and Christian
Was lucky enough to catch a rare show by this Manchester band at King Tuts many years ago. How beautiful this?!
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Thursday, 8 December 2016

Never Ending Mixtape Part 3


The Never Ending Mixtape continues with another eclectic selection of tunes - very soul focused this month; Ritchie Havens, The Supremes, Marvin and Tammi, Bobby Womack and more.

Check out the Never Ending Mixtape on Spotify, it kicked off with Big Star and The Velvet Underground in October 2016.

A little description/memories on the tunes added this month is posted below. Enjoy.


Going Back To My Roots - Ritchie Havens
An all-time fave that I always play when I DJ. The house piano kicks the groove in from the off.

I Want You Back - The Jackson 5
Outrageous, pure, joyful soul pop. And that bass line. Jackson's youthful vocal is sensational.

Looking For You - Garnett Mimms
Genius songwriting and performance. Heartfelt northern soul. Read my blog on it HERE

Girls - Major Lance
I love the feel of the music and the glorious vocals.

Superstition - Stevie Wonder
The beat, the funky clarinet riff, the bass and Wonder combine to create something wonderful. Check out DJ Spinna's Wonder of Stevie album series for some stunning Stevie covers.

Ain't No Mountain High - Marvin Gaye and Tammi Terrell
One of the first records I got from my Mum's old collection was a Marvin and Tammi duets album. Her name Sheila was written in pencil on the top right hand corner. I still have it. The album introduced me to what I consider to be some of the greatest love songs of all-time. Does it get any better than this?

Tracks Of My Tears - Smokey Robinson and the Miracles
What was that question I just asked? Another Motown gem, an absolutely perfect song in terms of lyrics, music, production, structure and performance.

It's Time To Break Down - The Supremes
Post Diana Ross, The Supremes were led by Jean Terrell. I discovered this song via a St Etienne compilation album. Bob Stanley and Pete Wigs have exceptional taste and knowledge. This is a slow burning classic. What a groove and what a vocal, when it builds to the conclusion it is incredible.

I'll never be free from wanting you
My heart is your prisoner 

(Your Love Keeps Lifting Me) Higher and Higher - Jackie Wilson
Dancing around the legendary Barrowland Ballroom to this song at the annual Barraloadasoul event is a memory I will treasure forever. Looking around and seeing a room full of people smiling, singing, arms aloft and dancing - it doesn't get any better.


 My Love Is Your Love (Forever) - The Isley Brothers
Another soul tune I discovered via a St Etienne compilation. This one was called The Trip and it was aptly named. A 2 CD set took the listener on a trip through a wide range of pop, soul, groove and psychedelic music. This is stunning.

Love Ain't Something You Can Get For Free - Bobby Womack
Oh yeah. I was lucky to catch Bobby Womack live in Glasgow just a few months before he passed away. Although he was clearly fragile his voice was powerful and soulful. This is probably my favourite song of his.

Grazing In The Grass (Andrew Weatherall edit/dub) - Dexy's
A band that just keep giving. Kevin Rowland is an exceptional artist, his voice is improving with the years and he has such a clear vision about what he wants to achieve with every single project. This extended edit by Andy Weatherall comes from their Let The Record Show .... album that will feature in my end of year review.



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Sunday, 11 September 2016

California Soul

Cover version of the month #16

California Soul by Marlena Shaw


I have to say that I always enjoy sitting down to write my monthly Cover Version of the Month blog. As well as sitting down to listen to music with my headphones on, I tend to discover loads of facts about, and additional versions of, the song that I choose.

This month is no different. California Soul is a song I have been in love with for decades. I have been fortunate enough to witness Marlena Shaw perform the song on two occasions, both at the Renfrew Ferry in Glasgow.

The first time was so long ago that the Ferry was on the other side (South) of the river. It had fallen into disrepair and was sloped to one side....probably slowly sinking! I have witnessed many incredible responses to songs at shows in Glasgow, but the rapturous reception to California Soul on that evening remains the best. It must have been a 10-minute ovation, the crowd just kept cheering.

So I always knew about Marlena's version. And I also knew about Marvin Gaye and Tammi Terrell's version; one of many stunning duets that the pair sang together until Tammi's death from a brain tumour - the single was released shortly after her sad passing.

I thought that was the original as the song was written by Ashford and Simpson, the talented songwriting duo behind several Marvin and Tammi gems like Ain't No Mountain High Enough, You're All I Need To Get By and Good Lovin' Ain't Easy To Come By.

In actual fact the song was originally released as a b-side!!!! Yes a b-side! By a Motown group called The Messengers; a b-side to a song called Window Shopping in 1967. I thought I had better check this song out if it relegated California Soul to the b-side! It's OK in a harmless early Beach Boys kind of way, but no California Soul!


The original is really the template used by The 5th Dimension who issued it has a single in 1968, then Marvin and Tammi in 1969 and by Marlena Shaw late that year on her Spice Of Life album. They just ramp it up a bit, the original is just a little too slow and lacks the urgency that the others bring to it.

The 5th Dimension bring in a Mama's and Papa's and Sly and the Family Stone kind of feel to it, I think it's only when Marvin and Tammi come in that the true potential is realised.

With Marvin and Tammi uplifting strings and a classic Motown beat kick in from the off, Marvin and Tammi's voices deliciously combine and entwine and then they each take their turn to take the song on. Interestingly their version was also a b-side; to The Onion Song.


As much as I love the Marvin and Tammi version (and virtually everything they recorded together) it is in the hands of Marlena Shaw that the song finds its definitive owner. The urgency is ramped up with the strings and the groove, Marlena's voice is effortless - soaring, injecting a bit of urgency when required. Listen in at 1 minute 16 when the strings take off for a ride and Marlena says in the background 'ooh it feels good'.

At other times she laughs into the mic, clearly enjoying the song, the feel and the soul. The closing 30-seconds are sensational as strings, brash, groove, beats and Marlena all come together to take the song to a glorious conclusion.

So this months cover version of the month is California Soul - it's a beauty and I have learned something about it. Hope you have too!


Previous covers of the month







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Monday, 15 June 2015

You've Lost That Lovin' Feelin'

COVER VERSION OF THE MONTH #1

You've Lost That Lovin' Feelin' by Gladys Knight and the Pips



Phil Spector, Barry Man and Cynthia Weil are the genius songwriters behind the incredible song You've Lost That Lovin' Feelin', a song that has been a hit across the world for a number of artists.

The original was recorded in 1964 and released by The Righteous Brothers back in 1965 with Spector working his wall of sound magic on production and Bill Medley's spine tingling lead vocals caused hearts to melt.

The original ran to almost 4-minutes in length - far from the norm back in 1964 when 3-minutes or less was the rule of thumb. Spector refused to cut it though and had fake labels made with the track length showing as 3:05 rather than 3:45.

The song allegedly had more TV and radio plays in the 20th Century in the USA than any other song. Top Gun in the 1980's may well have been the first time I heard it.

Elvis, The Beach Boys, Cilla Black and Roberta Flack are among the many to have covered this true classic - you really can't go wrong with this song - unless you absolutely murder it.

I decided to blog about this song ahead of Motown legend Gladys Knight and the Pips playing in Glasgow later this month. I doubt they will play it but I really do hope so. It may well be my favourite cover version of all time.

Why is it my favourite?

Well for starters Gladys Knight and the Pips just rip it up and fly through it - the funky bass intro, that classic Motown beat, Gladys sounding sensational, the Pips backing vocals are sublime and just listen to that bridge into the chorus.

You're trying hard not to show it
But baby, oh baby I know it

The chorus the soars before Gladys leads into the second verse, the strings are glorious and Gladys is in absolutely sensational form over that 4/4 beat.

the album Gladys and the Pips recorded this cover for

Bill Medley takes his time in the The Righteous Brothers version, meanwhile Gladys has the words pouring out of her in true Motown style.

I  wanna say it one more time
We had a love, a love, a love, a love you don't find every day

Bill Medley sounds sad and mournful, Gladys Knight sounds angry, upset and ready to fight for her love as she almost screams at the end;

Bring back that loving' feelin'

You've Lost That Lovin' Feelin' is a sensational song and this is a stunning performance of it - just so full of soulful emotion.

This may well result in a new feature - Cover Version of the Month.

For the time being - this is my favourite cover. Click on the link below to enjoy.








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Sunday, 15 June 2014

TeenCanteen at Henry's Cellar Bar in Edinburgh

There is something about a gig in a small, tight, sweaty basement bar. There is nowhere for a band to hide, it can make or break them. It is on occasions like this that you can see a band demonstrate just exactly what they have to offer, or fall flat.

TeenCanteen were incredible last night, truly stunning.

Analogue (currently available as a free download from T-Break) opened proceedings; highlighting the harmonies, humour and songwriting talent displayed by Carla, Amanda, Sita and Deborah.

Without pausing to enjoy the applause, the 4 girls started their debut single Honey. There was a nice raw edge to the sound of Amanda's acoustic guitar. The song flowed superbly, rising and falling and powering on through with delicious hooks and harmonies.

I am red when I want to be purple

The band introduced a new song Coming Up Roses and it was brilliant. A Motown beat kicked in and a Spector-esque Wall of Sound built up as the band unleashed choruses and hooks to die for. The closing section was rammed home.

A-L-W-A-Y-S
I'll always love you
A-L-W-A-Y-S
I'll always be true


The band were in fine form and had the confidence to play a beautiful love song called Under My Cover that slowed down to the point of stopping, just harmonies and breathless vocals before the band came blasting back in.

TeenCanteen are clearly a band that know their pop history; riffs, refrains, harmonies, choruses, false stops, hooks, flows...

Friends was introduced as a song about friends falling out and it started with a bass driven synth

This is how it starts
The beginning of the end
This is the point when you say
You just want to be my friend

It is a brilliantly written and delivered song that builds towards an epic closing refrain. Deborah Smith on drums was sensational, Moe Tucker meats Motown.

(How We Met) Cherry Pie was introduced as an old song they hadn't played in a while. An early demo was picked up for an independent film featuring Karen Gillan. The chorus flows superbly.

Like rain that falls without a warning, on a sunny morning
This is how we met
Like sugar in my cup of coffee, apples dipped in toffee
This is how we met
Like snow fall showing in the summer, with massive claps of thunder
This is how we met
Or missing puzzle pieces meeting, with joys of seasons greetings
This is how we met

New single You're Still Mine (available on ltd edition 7-inch sparkly vinyl here) was a cross between New Order and The Ronettes, delivered with gusto and style.

Going back to the small, tight and sweaty basement; it can really make or break a crowd. TeenCanteen had the confidence to close the show with Vagabond, b-side of their current single and a real tug on the heart strings anthem delivered largely with just Carla on piano and vocals with Amanda and Sita harmonising and Deborah playing just the right amount of drums and percussion.

This was an amazing performance and one that was lapped up by the packed audience.

Chants of one more tune were politely declined. More please.

TeenCanteen have a few festival shows coming up at; T in the Park, Wickerman Festival and Indie Tracks.









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Friday, 20 January 2012

Five for Friday 20/01/12

Reach for the tissues for this one, I don't think I have listened to it for 4-years. I had it on my nano when I was travelling, I love the different voices and opinions, the soothing synthsm, the 'bow bam ba bow bam' backing vocals. Funny at times, very moving at others.

Beautiful. The bit at the end sends a shiver down my spine.



Hey, what can I say? I am a romantic.

We'll go on a love theme this week and lets move forward with this outstanding song and performance by Al Green.



How cool is Al Green? The feeling and flow of this song is just stunning.

When it comes to love songs the duets between lovers Marvin Gaye and Tammi Terrell are hard to top. This must be as close to perfect as you can get. Check out the Funk Brothers instrumental version of this tune too though - schweet!


The Bee Gees have some amazing songs. I have fond memories of a post club party back at my mate Phil's and our friend Fraser taking over the decks and playing loads of Bee Gees tunes at some ungodly hour and us all just singing along and dancing.

This is heartbreaking at times, the production and musicianship are outstanding, the lyrics and vocals just keep tugging at the heartstrings.



The Beach Boys have written some amazing love songs and this must rank up at the top of them. The lyrics are so simple yet so meaingful, sublime.

The Beach Boys version is on their Holland album. Dennis Wilson version would also re-record it for his stunning solo album Pacific Blue. Teenage Fanclub's Norman Blake also has a version here.


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