RD, I don't think you listened to the video I posted earlier, which was in stereo, as you then included a link to a copy that you own, a reissue in stereo.
Let's not forget that Motown recorded on an eight track machine in 1965, so that all the vocals, instruments, and dubbed additions could be added to a final eight track master, which was then mixed down to stereo for LPs in stereo, and a mono mix down for singles and LPs in mono.
I love mono, but the mono cut you posted is just a mess, and the separation on the stereo mix is far preferable to my ears.....
Sixties pop singles were mixed loud in mono so that they had maximum sound appeal for listening to on portable Japanese transistor radios played on AM (or Medium Wave in UK) stations, so any nuances of finesse went whooosh!! straight out the window.
The stereo cut was nearly always preferable and showed the finesse that some producers got out of their respective artists.
This track has discernible vocals + backup vocals + drums + bass guitar + Hammond organ + vibraphone + tambourine + saxophone + trombone + trumpet + maybe other instruments.
A Farfisa organ is in there as well I believe, but I cannot hear a rhythm guitar.
The saxophones (tenor and bass), as well as the trombones are multi-tracked, by "Bouncing" the instrument sound between tracks to sound like extra musicians playing, a device often used by the likes of Brian Wilson of The Beach Boys et cetera.
Quote: "......Before all tracks are filled, any number of existing tracks can be "bounced" into one or two tracks, and the original tracks erased, making more room for more tracks to be reused for fresh recording. in 1963 The Beatles were using twin track for Please Please Me album. Beatles producer George Martin used this technique extensively to achieve multiple track results, while still being limited to using only multiple four-track machines, until an eight-track machine became available during the recording of the Beatles' White Album. The Beach Boys' Pet Sounds also made innovative use of multitracking with 8-track machines of the day (circa 1965). Motown also began recording with 8-track machines in 1965 before moving to 16-track machines in mid-1969......"
...from the sliding Hammond organ intro, and that brass figure, you know you are in for a r-i-d-e......
The girls lay it out, with Diana's oh so sincere vocal delivery, heartbreaking in parts, over the plain but effective bass line, and brass fills...pure magic.
Flo and Mary warble angelically in back very effectively.
The killer for me is the "ding, ding" of the vibraphone out of left channel with sustain, while the metronomic drumming out of the right channel drives the whole song forward, and multi tracked saxophones add the right amount of brouhaha to proceedings.....
"....Baby, think it over......think it over, Baby, Ooooh..."
Such a lovely sentiment, just like Olive Oyls repost to Popeye "....you're awful Pretty... you're pretty Awful yourself......."
Generously, your hard-earned money bought you another HDH composition on the 'B' ("I'm In Love Again") - and it's not half bad, either.
Now that Diana's register has been lowered from that of the piercing Primettes, its sensuousness - and that was the magic ingredient of The Supremes - is displayed even more evidently on this number than on the hit side.
what a single to release to launch the tamla motown label! when the beatles heard it, they went to george martin and his/emi's engineers, and demanded that their singles be "cut as loud" (as that opening shout of "stop!") - so thenceforth, they (some of them) were.