This double CD featuring 52 tracks was released on 11/20. It features all three duet Lp's plus 'undubbed' Solo Tammi tracks, studio chatter, two unreleased duet alternative takes & one previously unreleased duet 'We'll Be Satisfied', that's a knock-out! Marvin & Tammi Kick some A** on this track!
So you Marvin & Tammi fans need to pick this one up, you'll be in "Soul Heaven". This really makes me wonder if Miss Terrell had lived where her career would have taken her. Inside the CD booklet, there are quite a few wonderful photos. A wonderful package that is put together with a lot of Love and Respect.
The CD is dedicated to Marvin & Tammi. You know, whatever anyone says about Berry Gordy, the man sure gave us some endearing wonderful talented people. He should be thanked. Maybe some artists were not treated fairly at Motown but, he took raw talent & made them household names, anyway Soul Patroller's grab this cause "Ain't No Mountain High Enough' to not have this one!
Here's my track-by-track mini review of Tammi Terrell's solo album, Irresistible (Motown #652, released 1/1969). Though the album was released in 1969, many of the music tracks sound like they were recorded perhaps over a five-year period (1963-1968).
By Charles Duke
* "COME ON AND SEE ME"
The standout track of the album, and its second single (Motown #1095, 1966). Good stops and starts in the rhythm. One of those horn-and-strings-driven mid-tempo Motown songs (rhythmically recalls "Dancing In The Street"). I remembered it the second I heard it. (The B-side of the single, "Baby Dont'cha Worry," does not appear on "Irresistible.")
* "THIS OLD HEART OF MINE"
Really speeded-up; almost in the tempo of a speeded up "I'll Be Doggone," with a background part that sounds one-half Supremes, one-half Andantes.
* "HE'S THE ONE I LOVE"
Not a bad cut at all. A mid-tempo groover that would be typical of a Gladys Horton-led Marvelettes track.
* "CAN'T STOP NOW (LOVE IS CALLING)"
Rhythmically recalls Jackie Wilson's Higher and Higher. Though this track is a cut above filler, it wouldn't have been commercial enough to be promoted as a single at the time.
* "HOLD ME OH MY DARLING"
The tempo, rhythm, male background, and organ sounds like a track originally intended for Mary Wells back in her earlier Motown hit-making days. This track would've been a B-side at best. Kind of recalls Mary's "Your Old Standby." (Actually, after further research, this track WAS the B-side of the first single, "I Can't Believe You Love Me.")
* "I CAN'T GO ON WITHOUT YOU"
Probably one of the 1968 tracks recorded, as it has the most polished sound production-wise. It has either a celeste, glockenspiel, or orchestra bells part that doubles the melody of the chorus. The song itself is kinda "ho-hum."
* "I CAN'T BELIEVE YOU LOVE ME"
I don't see how this single actually placed higher on the pop charts than "Come On and See Me." Whoever wrote and/or arranged this track seems to have been influenced by Little Anthony & the Imperials' "Going Out of My Head."
* "THAT'S WHAT BOYS ARE MADE OF"
Slightly faster version of the same song (with requisite gender change) that was The Spinners' 1961 debut single on Tri-Phi. Written by Gwen Gordy and the Patrol's own Harvey Fuqua!
* "WHAT A GOOD MAN HE IS"
Not a bad track--actually, a pretty funky one! Might've been a hit with some adjustments. Sounds too raw, though, for Motown. Kind of recalls The Marvelettes' "Here I Am Baby."
* "TEARS AT THE END OF A LOVE AFFAIR"
Sounds a bit like a Supremes B-side at certain points. Once again, the production places this as one of the more recent (1968?) tracks recorded for this release. The refrain is nice, but it's bogged down by a cumbersome verse.
* "JUST TOO MUCH TO HOPE FOR"
Another track that's a cut above filler. Nice--but not enough to be released as a single. One of those tracks that you'd let play rather than skip over.
All told, I'd give Tammi Terrell's "Irresistible" three and a half stars. As Motown albums go, it has better than average non-hit tracks. I doubt if the total time of the album reaches thirty minutes (typical of Motown albums of that day). I'd be very interested in hearing "Baby Dont'cha Worry" just to see whether or not it should've been included on this album.
Motown had what I would call "hard singers" and "soft singers" among its female roster. Wanda Young (of The Marvelettes) would be a "soft singer;" Martha Reeves would be a "hard singer." I'd place Tammi in the latter category as far as this collection goes.
Listmeister, thanks for an opportunity to revisit this forgotten gem!
singing partner. It was a sad day when she died, but I imagine that they are singing songs of rejoices together
It's been said that she had been physically abused by Marvin Gaye and the abuse led to her death. Don't know the truth about that. All I know is that a great singer died and a young age. Maybe she served her time on this earth and in the world of music.
Yet we will never know for they have both went to another world. Recalling the song " If I can Build My Whole World
Around Ya". Through the music, they both still live on.
that it was a sad lost not just for Marvin but for the rest of the world. She was a great singer. Remember Ain't Nothing Like The Real Thing?
I have Marvin's Greatest Hits and just listening to them sing was awesome.
that the two of them were great together and provided a perfect vehicle for the songwritting talents of Ashford and Simpson.
This includes their cuts on the "Marvin Gaye And His Girls" compilation, including "Good Lovin Ain't Easy To Come By".
Valerie also secretly did Tammi's vocals on the 1969 "Easy" duet album, which had "What You Gave Me" and "The Onion Song". Those were Marvin and Tammi's last three chart singles, and all of them were Top 20 R&B hits.
The last Marvin and Tammi records on which Tammi actually sang lead were from the "You're All I Need" album, which was recorded in 1967, weeks before she had collapsed on stage.
Although Motown kept releasing singles from those last three albums between her collapse in 1967 and her death in 1970, in reality, she never recovered sufficiently enough to sing again.
- Diana Ross and the Andantes
- Marvin Gaye & Valerie Simpson
- Levi Stubbs and the Andantes
We may not agree about dinah ross but we do agree that Marvin Gaye & Tammi Terrell were two great singers and Ashford & Simpson were great writers. Glad of this.
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