The Heart of Rock and Soul by Dave Marsh

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The Heart of Rock and Soul by Dave Marsh 4 REACH OUT I'LL BE THERE, The Four Tops Produced by Brian Holland and Lamont Dozier; written by Brian Holland, Lamont Dozier, and Eddie Holland Motown 1098 1966 Billboard: #1 (2 weeks) The shibboleth is that pop music -- from jazz to soul to punk -- is better off as a purely expressive vehicle in which feeling overwhelms thinking. But that's a dangerously sentimental delusion. The fact is, working in a strictly defined, even formulaic context, Holland-Dozier-Holland and Levi Stubbs came up with a record that is a match for anything in the history of rock and roll. It was in part the restrictions of Motown and Top 40 pop which made it possible, by establishing the tension that the producers and performers worked against. "Reach Out" is perhaps the truest single of all: Motown has released "Reach Out" dozens of times, on every medium from singles to CDs, but not one of the remasterings comes close to the sheer sonic crunch of the seven-inch 45. (Not just the Motown "map label" original; even reissued singles will put away any LP track or even the digitalized CD.) Unfortunately, in the squinched-up versions most often available, most of the things that make this the greatest Holland-Dozier-Holland record are missing. The sheer size of the sound, its physical impact; the wild echo that makes the countermelody carried by the flute exotic and eerie; equalization that polarizes voice and drums; the producers' use of what must have been about half of the Detroit Symphony as an adjunct rhythm section; whatever the hell it is that establishes the clip-clap rhythm in the intro. Even Stubbs fans understand why his style can be too declamatory, but here he's undeniable, a man lost in a welter of misery, his shouts emerging from an abyss. The music is dizzying, the drums collide against every phrase he sings, but Levi soldiers onward, riding out a maelstrom. There are only a couple of hints of spontaneity in what Stubbs does, and even those may be part of the plan: a "hah!" at the end of the first verse seems just a nervous tic, until it's reiterated more forcefully at.the end of the second. But like a great preacher who can make merely reading the gospel a creative act, Stubbs masterfully interacts with his text-one of the great things about the single is hearing him start to sing a (probably, or at least possibly, unplanned) "Don't worry!" just before the needle lifts off. Created: September 28, 2021 at 11.10 pm at http://www.lexjansen.com with FPDF 1.81 Page 1.

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