The influence of R&B on the Beatles was undoubtedly profound — consider their covers of the Isley Brothers' "Twist & Shout," the Marvelettes' "Please Mr. Postman," and the Cookies' "Chains." But inspiration ran far and deep in both directions, and while Motown relied on staff songwriters like Smokey Robinson, Barrett Strong, and Norman Whitfield for virtually all of its biggest chart hits, the label still managed its share of Beatles covers (not to mention borrowing liberally from the Fab Four's studio innovations). Motown Meets the Beatles is a fascinating compilation of album cuts and B-sides that aren't terribly well known — virtually every major Motown act covered a Beatles song sooner or later, and as such the disc offers a fairly comprehensive overview of the label's superstars operating in a far different mode than per usual. And while it's not essential listening for diehards from either camp, it's hard to deny there's something weirdly compelling about hearing the Lennon/McCartney catalog filtered through the Motown sound — highlights include the Temptations' "Hey Jude," Marvin Gaye's "Yesterday," Stevie Wonder's "We Can Work It Out," and Edwin Starr's "My Sweet Lord
' song catalog is one of the best-known and revered bodies of work in the whole of modern music, and the depth, variety, and timelessness of the songs this once-in-a-lifetime band produced make that catalog both a marvel and a treasure. Everyone knows these songs, and everyone knows them in the original Beatles versions. Those versions are there, shining in stone, and even when they show up in remixes like in the recent LOVE mashup, the original recordings echo unshakably in the mind. knows this. On , she tackles 12 of the group's songs - 11 written by and and one written by George Harrison - and she knows full well that she's dealing with the ghosts of the original versions.
Connie Evingson isn't the first person to provide a vocal jazz tribute to the Beatles; over the years, everyone from Sarah Vaughan to Czech singer Peter Lipa has interpreted the John Lennon/Paul McCartney songbook. But Let It Be Jazz, the Minneapolis resident's fifth album, is among the more creatively successful..
This album was released on the label King Records (catalog number GP-3108) in Japan. As you can see, that's quite a selection of rare and hard to get songs from Ms. Longet. This cd is a no brainer, if you are a fan of hers. To have all these songs on one cd must have been a licensing nightmare, but for her fans it is most welcome, indeed!
Given the Beatles' fondness for covering Motown favorites like "Please Mr. Postman," "Money (That's What I Want)" and "You Really Got a Hold on Me," it was only logical that Motown stars like the Supremes, the Four Tops and Stevie Wonder would also cover the Fab Four as well, albeit to varying degrees of success. It's telling that none of the17 tracks collected on Motown Milestones: Motown Meets the Beatles were major hits, as most seem like filler in comparison to the individual acts' best-known performances of the day; only Stevie Wonder's driving "We Can Work It Out" and Marvin Gaye's gossamer reading