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Motown Gold Series - motowngold MRMX- Motown remixed Motown Hitsville UK This is Northern Soul – The Motown Sound – Vol 1 Chris Clark – Motown Anthology - Brenda Holloway – Motown Anthology - The Velvelettes – Motown Anthology Tamla Motown
Connoisseurs – Volume 2 Soul Satisfaction 4 -
Marvin Gaye - Lets
get it on 064021-2; released 27 January 2003 Marvin Gaye - What's
going on 06402-2; released 27 January 2003 Marvin Gaye - Love
Songs, Greatest Duets 440064987-2; released 27 January 2003 Diana Ross - To love
again 440067054-2; released 27 January 2003 Commodores - The
Collection - 544983-2 released 27 January 2003 Motown Delights -
Soft Centered Soul (Soul Satisfaction 3)- Various - Motown (UK)- 017 277-2 Standing in the
Shadows of Motown - The soul behind the sound - Motown (US) 440 064 691-2 Rick James Anthology
- Motown (US) 440 014 483-2 Commodores - Live -
Motown Classic Albums (US)- 440017214-2 Smokey Robinson &
The Miracles - Ooo Baby baby:The Anthology - Motown (US) 440 064 481-2 Edwin Star - War
& Peace -Involved 2 Classic Albums 1CD Motown (US) 016834-2 Edwin Star - Soul
Master & 25 Miles - 2 Classic Albums 1CD Motown (US) 016839-2 Motown salutes
Bacharach - Various Artists - Motown (US) 016 862-2 |
MRMX- Motown remixed
Some of this works, some of it doesn’t, the
best is good the worst is poor – stating the obvious really. Purists doubtless
will not enjoy.
I want you back cuts a pretty mean groove,
stripped down, percussive, as is Grapevine really but what really kicks home on this one is the strength of
Gladys’s vocal, which is more upfront than the original, the pips are more
‘doowop’, and thus again this track scores.
Lets get it on is probably the cut that has,
or will become the most well known, originating from a bootleg mashup, been
hammered in the UK’s Modern Soul Rooms. Trucking with Spinna at the helm you
might have expected to be good, is OK, but not as strong as I thought it might
be.
War is very King Britt, storming and
percussive. Jazzy jeff doesn’t add to much but the familiarity of such a great
track wins through, and who would want to remix such a classic as this. Stoned Love, a Tom Moulton, disco mix,
is good fun but a bit on the long side.
Signed Sealed again is Ok.
So up to here I’m on balance just about on the
positive side. Thereafter however
it doesn’t do too much for me, particularly on the downbeat cuts.
Gladys Knight and Edwin Starr also appear on a
short CD, not sure what the purpose of this is, single release maybe.
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Track List |
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Motown Hitsville UK motown
Looking at the track listing this is the
type of album that you would think would appeal to me being populist Motown,
but I thoroughly ennjoyed it. The
track listing is just that little bit different and reminiscent of the best
Motown Chartbusters album which were around 3 and 4.
Some ‘standard’ motown tracks, some
standard ‘northern and mod’ tracks, some worth reminiscing over. Tracks like
the Elgins still sound wonderful, whereas the Velvelettes sounds a bit old
hat. Marv Johnson good to hear again
and I still get tears in my eyes when Abraham Martin & John starts.
Good fun, nice comp and issued to
celebrate 40th anniversary of the Motown Package Tour Hitsville
Uk:Motown in Britain. Released 4
April 2005
This is Northern Soul – The Motown Sound – Vol
1 motown
Released May 5 2005. This is a
repackage of the two albums on debutante but issued from Original masters so
there are some different takes and cleaned up remastered versions. Some wonderful stuff on here, some
previously released obscure items from the vaults. The package illustrates and demonstrates the powerof the
Motown scene on the Northeren Scene in many different ways. From the emergence in the UK from the
60’s onwards through to the present day when still unreleased items are found
moving the scene ever forward.
In addition to that the influence on young America back in the day, as
there are so many derivatives and regional variations of the Motown Sound,
which subsequently influenced so heavily working class youth, and now the
middle aged and middle class, in the UK.
Too much, too many to single out but
those that float my boat among the more recend finds and discoveries are the
ever wonderful Brenda holloway, the ever influential Marvin gaye, the mellow
Linda Griner, the faultless harmonies of the Temptations, the magnificent
Originals, and the Tops Lonely Lover.
Of the influential sounds from before
there is any number Frank Wilson, Gladys Knight, Frances Nero, Kim Weston,
Marvalettes, Isleys, tammi, velvelettes.
Special mention to two personal, and I
mean personal, Forth elove of Mike! For obvious reasons, it was so nice of
patrice and the Gashead Anthem, best version of the song, Goodnight Irene!
Just Play!
Tracks
- Think
It Over - Holloway, Brenda
- Do
I Love You (Indeed I Do) - Wilson, Frank
- This
Love Starved Heart Of Mine - Gaye, Marvin
- Goodbye
Cruel World - Griner, Linda
- Share
A Little Love With Me (Somebody) - Monitors
- Forever
In My Heart - Temptations
- I'm
Still Loving You - Weston, Kim
- He's
All I Got - Supremes
- Just
Walk In My Shoes - Knight, Gladys & The Pips
- Keep
On Lovin' Me - Nero, Frances
- Crying
In The Night - Monitors
- You
Hit Me (Where It Hurt Me) - Weston, Kim
- Like
A Nightmare - Andantes
- Thrill
A Moment - Weston, Kim
- I'll
Keep Holding On - Marvelettes
- Truly
Yours - Temptations
- When
I'm Gone - Holloway, Brenda
- Just
A Little Misunderstanding - Contours
- No
One Could Ever Love You More - Knight, Gladys
- You
Ain't Saying Nothing New - Henry, Virgil
- Goodnight
Irene - Originals
- I
Gotta Find A Way (To Get You Back) - Temptations
- What
More Could A Boy Ask For - Spinners
- It's
Too Late For You And Me - Knight, Gladys
- Suspicion
- Originals
- Your
Love Can Save Me - Marvelettes
- Just
Ain't Enough Love - Holland, Eddie
- Lonely
Lonely Girl Am I - Velvelettes
- Lonely
Boy - Holloway, Brenda
- Baby
Come Home To Me - Shorty Long
- I
Gotta Let You Go - Ruffin, Jimmy
- When
I Feel The Need - Gaye, Marvin
- For
The Love Of Mike - Holloway, Patrice
- Baby
Hit And Run - Contours
- Tune
Up - Walker, Junior & The All Stars
- My
Weakness Is You - Starr, Edwin
- One
Way Out - Reeves, Martha & The Vandellas
- I
Ain't Going Nowhere - Walker, Junior & The All Stars
- Tell
Me It's Just A Rumour Baby - Isley Brothers
- Two
Can Have A Party - Terrell, Tammi
- My
Smile Is Just A Frown Turned Upside Down - Crawford, Caroline
- Oh I've
Been Blessed - Taylor, Bobby
- I'll
Always Love You - Spinners
- These
Things Will Keep Me Loving You - Velvelettes
- This
Old Heart Of Mine (Is Weak For You) - Terrell, Tammi
- Bird
In The Hand (Is Worth Two In The Bush) - Velvelettes
- Sweet
Thing - Spinners
- Lonely
Lover - Four Tops
Chris Clark – Motown Anthology - motown
Cd 1 contains, the Soul Sounds album and the CC Rides again one
plus three unreleased tracks. Cd2
contains a whole bunch of unreleased gems.
The first 12 tracks of the Soul Sounds (from 1968) album and the
best of it is sublime, a style of its own but a motownesque Dusty. Although its
kinda bizarre how, for example, how If you should walk away sounds so
stunningly soulful and how got to get you in my life sounds so awfully poppy –
looking for a marketable niche I guess.
From head to toe is well known of course and Do right baby Do Right actually goes back a few years than the
release date, and it shows in the sound.
The cover of sweeter is good whereas the cover of put yourself in my
place is not.
The follow up CC Rider never touches Soul Sounds, some of it being
bizarrely awful, like CCRider and Spinning Wheel and other uninspiring over
orchestrated covers.
CD 2 despite being unreleased stands alone and
certainly shoulders above CC Rider, the covers, mostly Motown takes, this time
are dynamic and strong. Whilst being Motown as against being ‘external’ tracks
they add something to what you might be used too. Ask Any girl becomes a pounding dancer rather than a twee
girlie trio thing. Everything Is Good About You is a delightful midtempo to
tapper. Try It Baby is a jazzier
groove, indicative of Chris’s background.
In The Neighbourhood, I love it, and typical of the Motown story telling
meet and greet street anthems.
Your Wonderful Love again demonstrates a power tha is not always
evident. Do Like I Do is more
British than Motown, and therein probably lies the rub – that is what does
Motwon do with an artist like this?
Let Me Go answers that question for me, she belonged at Motown doing
Motown songs and not any other perceived marketplace. Mr. Maestro Play A Blue
Sonata is back to jazzier roots.
Stay Away From Temptation is more R’n’B, there are moany covers so every
nuance was tried and tested. He's
Good For Me is pounding Motown.
The good is very very good and this warts and all compilation is
well worth getting.
Track Listings
Disc: 1
I Want To Go Back
There Again
2. Love's Gone Bad
3. Born To Love You Baby
4. If You Should Walk Away
5. Whisper You Love Me Boy
6. Got To Get You Into My Life
7. Day By Day Or Never
8. From Head To Toe
9. Do Right Baby Do Right
10. Until You Love Someone
11. Put Yourself In My Place
12. Sweeter As The Days Go By
13. C.C. Rider
14. Spinning Wheel
15. How About You
16. Good Morning Starshine
17. With A Little Help From My Friends
18. One
19. In The Ghetto
20. Can I See You In The Morning
21. You've Made Me So Very Happy
22. Get Back
23. Don't Be Too Long
24. I Love You
25. The Beginning Of The End
Disc: 2
1, Ask Any Girl
2. Everything Is Good About You
3. Try It Baby
4. I Like Everything You
5. Take Me In Your Arms (Rock Me For A Little While)
6. In The Neighbourhood
7. Yester-Me Yester-You Yesterday
8. I Just Can't Forget Him
9. If You Let Me Baby
10. Your Wonderful Love
11. Do Like I Do
12. Let Me Go
13. Mr. Maestro Play A Blue Sonata
14. Soft Touch
15. Crying In The Chapel
16. He's Got The Whole World In His Hands
17. It Must Be Love Baby
18. Stay Away From Temptation
19. He's Good For Me
20. I Just Wanna Be Lovin' You
21. Bad Seed
22. Something's Wrong
23. Mighty Good Lovin'
24. Everything's Right Everything's Wrong
25. What You Doing
Brenda Holloway – Motown Anthology – Tamla Motown 9807658 Released
7 february 2005
A stunning album. I thought that the Velvelettes album under was a
bit too much, a bit too over the top. This one is the same format but I feel
very differently over this one. It has to be the quality of the vocals
throughout – the voice is supreme and pretty much impossible to fall out of
love with.
CD1 contains the whole of the Every Little Bit Hurts and Hurting
and Crying, so you would expect some duff tracks? Not so, the enchanting voice just takes you with it. Ok some tracks are stronger than others
but how the second of these albums never saw the light of day is astonishing,
though there were some single releases – I guess you have to put yourself into
1965 motown to understand and ascertain the reason for tht, there simply was so
much going on. That we are still finding stuff is remarkable. The stronger cuts
I have are those that have the ‘Motown’ stamp (eg A favour for a girl) , the
weaker ones are a bit more ‘schmaltzy’ (eg Unchained Melody).
I would go so far as to say that Hurtin and Crying is the stronger
of the two with tracks like When I’m gone, Starting the Hurt, you can cry on my
shoulder. (the latter being a personal all time favourite of mine from when I
acquired it at a Blackpool sea front record store, as a fresh faced teenager
over 30 years ago!, but I flipped when I flipped it over to the exquisite How
many times did you mean it (featured on CD2)). Just look what you’ve done is
also pretty senasational.
CD2 is subtitled The Artistry of Brenda Holloway: singles, Rare
and Unreleased. This contains the in demand storming stomping popular Think it
Over. I particularly like Together
til the end of time a Frank Wilson song.
A mix of ballads, covers, fingersnappers. Excellent version of Stevie’s All I do, duet with sister
Patrice on Come into my Palace, great song great version cut as a demo for
tammi terrell He’s my kind of fellow. I’m on the right track and I see a
rainbow are two more stompers.
Track Listings
1. I've Been Good To You
2. Think It Over (Before You Break My Heart)
3. I'll Always Love You
4. Sad Song
5. Every Little Bit Hurts
6. Operator
7. I'll Be Available
8. Too Proud To Cry
9. Together 'Til The End Of Time
10. Who's Lovin' You
11. Land Of A Thousand Boys
12. Where Were You
13. I've Got To Find It
14. Suddenly
15. Embraceable You
16. How Many Times Did You Mean It
17. Unchained Melody
18. You've Changed Me
19. A Favor For A Girl (With A Love Sick Heart)
20. All I Do Is Think About You
21. (You Can) Depend On Me
22. Who Could Ever Doubt My Love
23. Can I?
24. Come Into My Palace
25. He's My Kind Of Fellow
26. When I'm Gone
27. Just Look What You've Done
28. You Need Me
29. Love Woke Me Up This Morning
30. You've Made Me So Very Happy
31. I Don't Want Nobody's Gonna Make Me Cry
32. I Prayed For A Boy (Like You)
33. Don't Judge Me
34. Till Johnny Comes
35. Hurt A Little Everyday
36. I'll Always Meet You Half Way
37. Starting The Hurt All Over Again
38. You Are Very Much A Part Of Me
39. I'm On The Right Track
40. You Can Cry On My Shoulder
41. A World Without You
42. How Can You Call It Love When The Feeling's Gone
43. I See A Rainbow
44. I'll Be Alright
45. Everybody Knows
46. Play It Cool, Stay In School
47. Make Him Come To You
48. Summertime (Live - 1966/Detroit)
The Velvelettes – Motown
Anthology
Do you know that if you go on to
the Classic Motown site and search Velvelettes you find nothing – such is the
esteem in which they are held, so big up to UK Motown for unearthing and issung
nearly 50 tracks, albeit padded by Alternate versions, promos, stereos, French
and live versions etc.
A pretty comprehensive
compilation of pretty much everything Velvelette. Some trcaks fall below standard but that’s nitpicking. In general the Velvelettes show a strength
that should have encapsulated them into the heart of Motown and the nation.
Some tracks do come close but
I still have to sy that the most well known tracks Needle in a Haystack, He was
really saying something, Loneley girl ami, Exception to the rule, These things
will keep me loving you are still as near as makes no difference the best
tracks around. Personal fave is Let Love Live here in an alternate version.
The Boy from Crosstown is
worth checking out as is a love so deep inside and He’s the one. Indeed the tail end of 65 and into 66
was a particularly rich period.
Balladwise You’re heart belongs to me is excellent
Track Listings
1. Selfish Lover (2004 Anthology Version)
2. The Boy From Crosstown (Alternate Version)
3. A Love So Deep Inside (2004 Anthology Version)
4. Should I Tell Them (Single Version)
5. Ain't No Place Like Motown
6. My Foolish Heart (Keeps Hanging On To A Memory) (2004 Anthology Version)
7. He's The One (2004 Anthology Version)
8. Mama Please (2004 Anthology Version)
9. Everybody Needs Love
10. There He Goes (Single Version)
11. Something's Happening (2004 Anthology Version)
12. That's The Reason Why (Alternate Version)
13. I Know His Name (Only His Name) (1999 The Very Best Of Version)
14. Love Is Good
15. The Monkey (Hoky Poky) (2004 Anthology Version)
16. These Things Will Keep Me Loving You (Stereo Version)
17. That's A Funny Way (2004 Anthology Version)
18. These Things Will Keep Me Loving You (Alternative Lyric Version)
19. You Can't Get Away (2004 Anthology Version)
20. Your Heart Belongs To Me (2004 Anthology Version)
21. Season's Greetings From Motown (Promo Version)
22. Stop Beating Around The Bush
23. I'm In Love (And I Know It) (2004 Anthology Version)
24. Needle In A Haystack (Single Version)
25. (We've Got) Honey Love (2004 Anthology Version)
26. He Was Really Sayin' Somethin' (Alternate Version)
27. I'm So Glad It's Twilight Time (1999 The Very Best Of Version)
28. Since I've Lost You (2004 Anthology Version)
29. Bring Back The Sunshine (2004 Anthology Version)
30. Think Of The Times (1999 The Very Best Of Version)
31. Nitty Gritty (Live (1964/Greystone Ballroom, Detroit))
32. Throw A Farewell Kiss (Single Version)
33. Long Gone Lover
34. There He Goes (Live (1964/Greystone Ballroom, Detroit))
35. Lonely, Lonely Girl Am I (Alternate Version)
36. The Monkey Time (Live (1964/Greystone Ballroom, Detroit))
37. I Can't Wait Until I See My Baby's Face (Live (1964/Greystone Ballroom,
Detroit))
38. I'm The Exception To The Rule (Single Version)
39. Ain't That Good News (Live (1964/Greystone Ballroom, Detroit))
40. Why Must You Go (2004 Anthology Version)
41. A Bird In The Hand (Is Worth Two In The Bush) (Alternate Version)
42. Puis . . . (As Long As I Know He's Mine) (French Version)
43. Je Veux Crier (My Foolish Heart (Keeps Hanging On To A Memory)) (French
Version)
44. Save Me (My Ship Of Love Is Sinking) (Alternate Version)
45. Hoky Poky "(The) Monkey" (French Version)
46. Since You've Been Loving Me (Stereo Version)
47. Le Plus Marveilleux Garcon Du Monde (You Lost The Sweetest Boy) (French
Version)
48. Let Love Live (A Little Bit Longer) (Alternate Version
Soul Satisfaction 4 – Mouth
Watering Motown and B side Beauties
The
next in this excellent series compiled by Jo Wallace. Pretty much
chronologically put together this album has a feel of what is going down right
now from some harder edged R'n'B to some more mellow dancefloor grooves,
through to a touch of Modern stuff, though there must be room for more at this
end of the spectrum.
As
always with a compilation not everything floats your boat but there is always
something that will hit you right between the eyes. For me (and for you it will
be something totally different for sure) starting at the top end Four Tops –
Then, the unique and distinctive Levi Stubbs over some wonderful harmonies, set
to some typically descriptive and poetic Smokey lyrics. Staying with male vocal
groups less successful but equally as good the Fantastic Four – I feel like I'm
falling in love again, again midtempo, the voices of Sweet James Epps, Ralph
and Joe Pruitt and Toby Childs blend together perfectly. Not consciously picking
male group harmonies but the Dynamic Superiors One Nighter is also amongst the
cream of the crop. A different vibe, a 1975 vibe, but nonetheless exceptional.
The
album kicks of with some early R'n'B stormers. My preference is for Chaperone,
maybe because it's more commercial or that it is indicative of the sounds
played at the local Heavenly Blocked sessions. I have to say that of this early
period my preference leans more towards the disappearing doowop vocal
harmonies, rather than the harder emerging R'n'B, at least until it reached or
became the less frantic Soul. Still around 61, 62 it was a whole pot pourri of
sounds. Thus I have a preference for the Satintones. (I'm no strong historian
but for me soul commenced in 1961 with Maxine Brown's All in my mind) By 1963
it was pure soul and evidenced here by the very fine Mable John.
Then
this developed into the pure Motown sound and none better than the Marvelettes,
with two tracks here, the best being the strong Your cheating ways. Stevie's
featured on three tracks and they are a bit of a mish mash from Music Talk (and
no disrespect to Stevie but this would make a great instrumental!), to an awful
Love a Go Go (set to a dancing in the street backdrop, and I don't know what he
sounds like here but it ain't an emerging Soul legend), to the excellent I'd be
a fool right now (that's more like it, distinctive, lush arrangement and
soulful).
In
the middle come three heavyweights, the Isleys, Edwin and Marvin Gaye all pretty
standard for such names, although I know that the Edwin track is particularly
well liked at the moment. The Monitors harshly were regarded as second rate but
Time is passing by whilst having some of the right ingredients never quite
makes it. Similarly Chris Clark.
The
next batch of heavyweights Martha, Four Tops and the aforementioned Stevie is
much better. A frantic effervescent Martha and the ever excellent impassioned
Tops. Chuck Jackson's time at Motown was understated and didn't really bear as much
fruit as it should have done. Ain't no sun has the emotive voice over a strong
Motown beat. I like it, it kind of works but you can equally see that he wasn't
really suited to this type of material.
Glady's
The Stranger almost made it into the top three tracks, strong and powerful as
usual, distinctly Motown , but even greater she was distinctly Gladys and the
Pips, never quite fitted the mould but was all the better for it. I like Diana
Ross actually, or at least the Motown Diana Ross, but I find this track even a
little to twee for me. David Ruffin, another of the great voices always great
to here but his post Tempts material was never as good as it should have been.
Bottom and Co, Gotta find a true love is more than worthy,
different, maybe something to do with where it was recorded, and excellent
piece of crossover.
Tracks
- Sherri Taylor and
Singing Sammy Ward – Oh Lover; La Brenda Ben and the Beljeans – The Chaperone;
Satintones – My kind of love; Mable John – Who wouldn't love a man like that;
Marvelettes – You're my remedy; Stevie Wonder – Music Talk; Marvelettes – Your
cheating ways; Stevie Wonder – Love a go go; Four Tops – Then; Isley Brothers –
Seek and you shall find; Edwin Starr – I have faith in you; Marvin Gaye – So
long; Monitors – Time is passing by; Chris Clark – I love you; Fantastic Four –
I feel like I'm falling in love again; Martha Reeves and the Vandellas – Show
me the way; Four Tops – Can't seem to get you out of my mind; Stevie Wonder –
I'd be a fool right now; Chuck Jackson – Ain't no sun since you've been gone;
Gladys Knight & Pips – The Stranger; Diana Ross and Supremes – Loving you
is better than ever; David Ruffin – You can come right back to me; Botom and Co
– Gonna find a true love; Dynamic Superiors – One Nighter.
Tamla Motown Connoisseurs
Volume 2
As a
general comment I would say that the look and feel of these Motown compilations
are starting to become a bit samey. That said there are sufficient cuts newly
unearthed or otherwise that make them interesting and probably essential For
example a track like the dreamy in demand opener by Marvin Gaye is one such
essential reason.
Another
and i make no apologies for including this right upfront even though it is
track 12 is Hearts of Stone and If I could give you my heart. It was a new one
on me I have to say, but if you skip everything and play this one first it will
take you a week to get to the rest of the album. Tremendous stuff, vocally
superb, exceptional soulful harmonies.
What
are you gonna do with me baby finds the Four Tops in excellent voice on theis
mellow unreleased studio acetate. These kind of CD's these days follow a pretty
mellow vibe, this suits me and is indicative of the demand out there right now.
I wonder though what with all the KFC hysteria eta al whether there's gonna be
a demand for the harder on the fours stompers again.......or have they been
done to death.
The
Vows is kinda nice, sounds like Morris Chestnut, as Richard Searlings
sleevenotes suggest that it might be, not a track for mass appeal though. A new
studio version of Feddie Gorman's take me back is a fine inclusion. But the
Original's track Tear it On Down surpasses that. The Originals are very well
aclaimed and underrated but i don't go as overboard as some. I do like the
Fantastic Four though and Don't tell me I'm Crazy is typical of that lazy
sparser early detroit soul, wonderful vocals led by James Epps.
Also
particularly pleased to see Brenda Hollowatys track How many times did you mean
it. A track that I have long admired and one that I, in fact , put forward to
Jo Wallace for her forthcoming compilations, but seems Richard got there first.
Barbara
MacNair's It happens everytime is pretty typical fare in a sense but it sounds
sufficiently fresh and new so as not to fall into the category mentioned below.
Agreat uplifting track. Temptations is equally uplifting with the same backing
as You Got the Love I need by Undisputed Truth.
The
lollipops is not particularly one for me, is one of those twee northern soul
rarities, but good to see a legit release as it is one that has suffered to the
hand sof the bootleggers.
GC
Cameron's voice is so recognisable, so sweet and so mellow. His Don't wanna
play pyjama games is beautiful, very Smoky and moves us into the 70's. Less
Motown in feel and more Crossover. Of the more 'modern' material the Four Tops
provide a lovely ballad in Red Hot Love
There
are a number of tracks from VIP including Bobby Taylor's Blackmail, who always
had a slightly different vibe and this is no exception with a great lead vocal.
The
pace is cranked up a little for a typical Martha & Vandellas – You've been
in love too long and an uninspiring instrumental Choker Campbell's – Come see
about me. The Velvelettes Let Love Live a little bit longer also fall into this
typical Motown category, as does Edwin Starr and Barbara Randolph. Whether any
of these tracks are any better or any worse than any of these artists works is
up to individual taste. Of this little clutch of tracks I would say no which is
particularluy unfortunate in the case of Edwin (who so sadly passed away
recently) and Barbara (a particular favourite of mine). Unfortunately also
Marvin & Tammi's California Soul does little for me.
And
closing on with an older R'n'B feel and Marvin & Omah Page
Tracks:-
Marvin Gaye – My Love for you; Four Tops – What are you gonna do with me baby;
Martha & Vandellas – You've been in love too long; Choker Campbell – Come
see about me; The Vows – Tell Me; The Velvelettes – Let Love Live a little bit
longer; Freddie Gorman – Take Me Back; Edwin Starr – Way over there; Barbara
Randolph – Yo got me hurting all over; Marvin & Tammi – California Soul;
Bobby Taylor – Blackmail; Hearts of Stone – If I could give you my heart;
Barbara McNair – It happens everytime; The Originals – tear it on down, The
lollipops – Look what you've done boy; Fantastic Four – Don't tell me I'm
crazy; Brenda Holloway – How many times did you mean it; Temptations – I got
heaven right here on earth; GC Cameron – Don't wanna play pajama games; Four
Tops – Red Hot Love; Marvin gaye & Omni Page - Rilleh
Marvin Gaye - What's going
on 06402-2;
Now every self-respecting soul
fan surely has this and knows every chord change, every nuance, every lyric and
every harmony of this epic, this groundbreaking masterpiece. But I wonder when
they listened to it last. Well do so, dig it out and put it on, better still go
out and get this one, freshly remastered.
It has still got it, it is
still fresh and what's more it is as relevant today as it was then. It is
relevant for what it was, remember this was 30 years ago and coming out of
Hitsville, 45's ville Motown, this was a concept that went round at 33!. It is
relevant for what it said and how it was said. The lyrics are hard hitting,
thought provoking, intense and philosophical. And I promise you I wrote that
before I read the (excellent) sleeve notes!
Awesome is said about a lot of
things lately, but this is truly that.
Tracks - What's going on,
Whats happening brother, Flying High, Save the children, God is love, Mercy
mercy me, Right on, Wholy holy, Inner City Blues
Bonus - God is love, Sad
Tomorrow
Marvin Gaye - Lets get it
on 064021-2;
Lets get it on is also a
classic, the title track being regarded pretty much as the Number 1 love track.
As an album doesn't quite stack up to the heights of What's going on but there
are still some standout tracks, other than the aforementioned title track.
Please stay is a great track,
pleading with the woman to stay, and this track has become slightly overpowered
by the title track, great vocals and particularly harmonies. The classic
expectant intro before the beat kicks in on Come get to this brings forth a
wonderful track, equally at home easing across the dancefloor as in your living
room or bedroom.
Couple of bonus tracks, but
they are only single edits and don't add too much. Must be some better or at
least more interesting cuts or outtakes in the can I would have thought.
Tracks:- Let's get it on,
Please stay, If I should die tonight, Keep gettin it on, Come get to this,
Distant lover, You sure love to ball, Just to keep you satisfied.
Bonus, Let's get it on (single
edit), You sure love to ball (single edit)
Marvin Gaye - Love Songs,
Greatest Duets 440064987-2;
Some great stuff here of
course as you would expect, but sometimes I'm not too sure about duets. When
they work they work but sometimes they end up too lovey dovey!
The opening track is more
interesting than good. It is a posthumous duet created by Betty Wright which
was previously released as an independent single, and available for the first
time on CD and album.
Interestingly this album
contains all the tracks from Side 1 of the 1969 album Marvin gaye and his girls
but nothing from Side 2!
As regards Tammi I think her
vocal ability is being realised with some solo personal tracks being unearthed.
I find that most of her duets she is strained, or restrained and the quality of
her voice doesn't come through. Precious Love is the best of her tracks on show
in my view.
As for Mary I like the early
R'n'B of After the lights
All in all an album that
contains some of the best of the duets Marvin did from the love songs, to the
party songs and the hits.
There is a rare and relatively
unknown duet with Oma Page, cut in 1964 originally. Great track this, just nice
and easy, restrained and beautiful.
Kim's popular It Takes two is
here but the better cuts follow it. I want you around is particularly nice.
Never was keen on the Diana
album but the version of Pledging My Love is an alternative take only
previously seen on a Japanese release - doesn't make it any good though!
Tracks:-
Betty Wright - Distant Lover
Tammi Terrell - If this world
were mine, Your precious love, Ain't nothing like the real thing, You're all I
need to get by, Keep on loving me honey
Mary Wells - Once upon a time,
Whats the matter with you baby, After the nights go down low
Oma Page - So good to be loved
by you
Kim Weston - It takes two,
It's got to be a miracle, I want you around
Diana Ross - Pledging my love
Diana Ross - To love again
440067054-2;
Diana Ross's love song
collection making it's debut on Cd and, in addition to remastering, the album
has been expanded to 75 minutes of music, more than twice it's original length.
Cut between 1973 and the early
eighties, a lot of these were pop hits including two number ones, Touch me in
the morning I quite like. However i have a bit of a problem with this era of
her work. Diana Ross has cut some of my favourite soul records, Tina Turner has
too, but I cannot get along with either of their post Soul careers. Diana just
seems to have lost 'Soul' credibility, how and why I don't know. Others like
say Gladys Knight, despite hitting the supper circuit and recording standard
fare, have remained credible and retained my credibility. Weird. Now I don't dislike
something because it ain't soulful and I do like selected tracks, but hey what
do I know, they sold!
This is an album of love songs
and as such it achieves what it sets out to. The added material fits.
'One more chance' is quite
good as is 'Crying my heart out' but far and away the best is 'Touch Me', here
in an extended edit.
Duets with Marvin and Lionel
Ritchie are included
Tracks: - It's my turn; Stay
with me; One more chance; Cryin my heart out for you; The theme from Mahogany;
I thought it took a little time; To love again; No one's gonna be a fool
forever; Touch me in the morning; Love Me; Stop look listen (with Marvin Gaye);
Together; After you; Too shy to say; Come in from the rain; Never say I don't
love you; Share some love; Dreaming of you (with Lionel Ritchie); Endless Love
(with Lionel Ritchie); We're always saying goodbye
Commodores - The Collection
- 544983-2
I don't really know how
credible the Commodores are in Funk circles, not very I would think because they
never seen to get mentions, however, this album goes back to the mid to late
70's when they were are a pretty hard hitting funk band, and they could do it
live, because I saw them do it. Perhaps they were too Disco to be Funky and too
Funky to be Disco. Ok there is an overload of commerciality and with the power
of Motown behind them they hit big time, but 'I feel sanctified' for example is
good time out and out funk. 'Machine Gun' was pretty groundbreaking and still
sounds good. Dig a little deeper into Cebu, a laid back mellow bassy funky
groove. I wonder what there is in the can?
The popular stuff is pretty
good you know. The Bump is predictable but Slippery, Too hot, Squeeze the
fruit, Fancy Dancer are fine indeed. The lesser known ones are still instantly
Commodores but are worthy of attention too, for example Gimme my mule and Funky
situation.
One track, not particularly
funky, but is standout, stands the test of time and can be played now is the
epic Flying High. Bit more Lionel than most on this CD but how good is that
track.
Tracks:- Brick House; I feel
sanctified; The Zoo (Human Zoo); The Bump; Slippery When wet; Gonna blow your
mind; Gimme My mule; Cebu; Fancy Dancer; Squeeze the fruit; Won't you coma and
dance with me; Too hot ta trot; Funky situation; Flying High; Wonderland; X
Rated Movie; Machine Gun.
Motown Delights - Soft
Centered Soul (Soul Satisfaction 3)- Various - Motown (UK)- 017 277-2
Midnight Johnny - Liz Lands,
Teach Me Tonight- Stevie Wonder, All for you - Earl Van Dyke and the Soul
Brothers, Love feels like fire - Four Tops, Baby I miss you - Tommy Good, Where
did you go - Four Tops, Don't be too long - Chris Clark, No Good without you -
Marvin Gaye, Tea House in China Town - Fout Tops, When I had your love- Marvin
Gaye, I'll follow you - Martha Reeves and Vandellas, Til you were gone - Frank
Wilson, Loneliness made me realise it's you that I need, Temptations, It's out
of the Question - Isley Brothers, What am I gonna do without you - Chucjk
Jackson, You've been so wonderful to me - Diana Ross and the Supremes, Don't
bring back memories - Four Tops, Questions - David Ruffin, Girl you need a
change of mind - Eddie Kendricks, There's a better way - Jermaine Jackson, What
does it take - Jnr Walker & All Stars.
This is my kind of album, a
dance groove but mellow with it (in the main), soft centered and midtempo,
oozing with that quality. Oh those aging aching limbs!!!!
Now who is the greatest male
vocal group, usually I plump for the Temptations or The Impressions, but maybe
sometimes the Isleys or the Dells, I've had quite a thing for The Whispers of
late, hay and what about Smokey and the miracles and many others. But then when
you hear Levi and the Tops in full flow on the standout Where did you go, wow
who knows - wonderful stuff. Love feels like fire, Tea House in China Town and
Don't bring back memories aren't much worse!
Liz Lands was Martin Luther
King's campaign singer and here she is backed with the Tempts on this plaintive
groove....nice. Tommy Good features with a bit of a stomper but it's as strong
as your going to get.
No Good without you - another
great Marvin Gaye coming to prominence, this one an old album track, but they
keep being found don't they, talk about being ahead of your time. I'll follow
you - Martha Reeves and Vandellas is another storming album track.
Til you were gone - Frank
Wilson is an interesting cut in that it was penned for Smokey but it never came
off and this, presumably,demo outing is sung almost as if it's Smokey. Perhaps
with Smokeys slightly stronger delivery over the pounding beat we would have
heard more of this one.
Mentioning the great vocal
groups above we have to in succession with less well known tracks, Loneliness
made me realise it's you that I need, Temptations, It's out of the Question - Isley
Brothers, the Isleys win marginally out of these two. On the femme side we have
the easy soul of You've been so wonderful to me - Diana Ross and the Supremes.
Questions - David Ruffin for
me one of the highlights of the album, great voice, great crossover
Barely a bad track in sight
and a great album of largely unknowns.
Standing in the Shadows of
Motown - The soul behind the sound - Motown (US) 440 064 691-2
http://www.standingintheshadowsofmotown.com/
From the film featuring the
unheralded group of musicians behind the Motown Sound, the Funk Brothers. On
the strength of this it is a must see film.
The track listing is below and
was recorded for this and the film apart from the ones marked * which are
original Hitsville recordings. Virtually all the tracks on here do the songs
justice and the band is still tight. The songs are obviously all well kbnown,
that is not the point, the point is to feature the musicians behind the sound.
The sound is still alive. Now, of course, the writers, the producers and the
artists are important, but what was so important about Motown was the overall
sound, the musicians, so why are these left out of the list?
Just picking out on a few
tracks that do it for me. 'You've really got a hold on me' by Smokey is one of
my favourites, nobody could do this better, there is a black and white film of
him performing this on video and it is awesome. But Meshell does this with some
credit. Some track very much to the original like Gerald Levert on Reach Out.
Some have a little bit more, like some vocal changes on Ben Harpers 'Ain't too
proud to beg', or Bootsy Collins, his cuts are good and for him I guess he's
pretty well restrained! Chaka does a great rendition of 'What's going on'.
The old studio cuts are tight
and you can feel the songs building, for example, a large Jamerson bass intro
on Bernadette and the drums then kick in and so on, till Levi's strained
chorus. Detroit Soul Stew. Closing with their Theme 'The Flick'
|
Love Is Like A) Heat Wave - Joan Osborne You’ve Really Got A Hold On Me - Meshell Ndegeocello Do You Love Me - Bootsy Collins Bernadette (instrumental) - The Funk Brothers * Reach Out I’ll Be There - Gerald Levert Ain’t Too Proud To Beg - Ben Harper Shotgun - Gerald Levert featuring Tom Scott What Becomes Of The Brokenhearted - Joan Osborne I Heard It Through The Grapevine - Ben Harper You Keep Me Hanging On (instrumental) - The Funk Brothers * Cool Jerk - Bootsy Collins Cloud Nine - Meshell Ndegeocello What’s Going On - Chaka Kahn Band Introduction / Ain’t No Mountain High Enough - Chaka Kahn
& Montell Jordan The Flick - Earl Van Dyke * |
Rick James Anthology - US
Motown 440 014 483-2
You may be surprised to recollect, I was, that Rick recorded ten albums for
Motown and featured on this double CD of 28 tracks are the best of them.
Recorded between 1978 and 1986 I liked the best of them at the time. However,
to a large degree especially on the disco side of things, I find that much
material from then sounds decidedly dated. I was also therefore pleasantly
surprised listening to this again that it still sounds pretty fresh, and the
best of it was and still is very good.
Excellent sleeve notes confirm that Rick was pretty much a law unto himself at
his peak, and certainly not something that Motown was used to handling, but at
the time he served Motown well in their transitional years. The upbeat stuff is
likely to be what is remembered but there are some excellent ballads as well.
Eight minutes of good time funk accentuated with some great horns kicks us off
from the 1978 album Come get to it. Mary Jane is also a fine mid tempo funk
ballad, whichever way you read it. 'Bustin Loose' with its title track, a
complicated funk thang a la Parliament. Fire it up, also the title of the next
album, is also funk of that era as is Love Gun which moves along at a frenetic
pace. Come into my life for me is much better, a real nice groove, more laid
back and less complicated. When love has gone is a fine slow jam.
The album Garden of love gave us Big Time one of the co writers was Leroy
Burgess, and the funk moves more towards say Earth Wind and Fire, bit more
commercial, using the crisp Tower of Power horns. Big Time of course has almost
anthemic status in the UK in the retro jazz funk scene. Island Lady with
lapping water is one of those classic quiet stormers.
Street Songs in 1981 a killer of an album gave us the massive Give it too me
baby and super funky Super Freak. It's a shame that the wonderful Make Love to
Me, is not featured. Also included is the great duet with Teena Marie Fire and
Desire
Throwin Down was the next album in 1982, Dance wit Me set the upbeat tone with
a lovely vibe interlude with Roy Ayers. Standing on the top, a duet with the
Temptations, this version was previously only issued as a promo 12 and a
Temptations album, although a cut down version was on Rick's Throwin Down
album. A rare cut in that it featured both David Ruffin and Dennis Edwards.
Hard to get has that well known sample. Also included are Happy, 69 Times and
the sweet ballad My love.
The albums continued with Cold
Blooded funky U bring the freak out and Cold blooded, neither coming up to the
heights of previous material, but it contained a wonderful ballad duet with
Smokey Robinson Ebony eyes
Another meeting of minds and
styles came with PIMP the SIMP with Grandmaster Flash, mellow but funky, great
laid back horns.
Perhaps showing a wane in
overall quality the next three albums Reflections, Glow and The Flag only get 4
tracks out of the 28 on show here. They are 17, Glow which has a groove
reminiscent of things that get played today and is well worth a fresh listen,
Moon Child which also stands the test of time- fine mellow soul, and Sweet and
Sexy thing
Commodores - Live - Motown Classic Albums (US)- 440017214-2
I'm not a great fan of Live albums but this certainly captured the greatness of
the Commodores at the time, the songs both mellow and funky were performed in a
great live showcase. Of course Lionel Ritchie emerged out of this into
superstardom. But the band was tight and the songs were great. This was
recorded on the American tour but I well remember seeing this show at Bristol's
Colston Hall and being totally knocked out, in Soul starved (for live acts at
least) Bristol. The album takes me back to that, and that's a good a reason as
any for owning it.
Tracks are Won't you come
dance with me, Slippery when wet, Come Inside, Just to be close to you, Funny
feelings, Fancy Dancer, Sweet Love, Zoom, Easy, I feel sanctified, Brick House
and a studio version of Too hot ta trot
Smokey Robinson & The Miracles - Ooo Baby baby:The Anthology - Motown
(US)
440 064 481-2
Wow, where do you start over 50 Miracles tracks, from 1958 to 1972. Track
listing below and you can see that it has everything. The poetic, the
groundbreaking, the sublime, the sweet, the classics, every adjective in the
book.
A few that are grabbing me
now:-
You cannot see what is going to
emerge from 'Got a job' and I don't know which bit Berry wrote, and which bit
Smokey did but there's something in those lyrics that suggest there's a writer
in there by the use of words. 'Way over there' is where Smokey's vocal style
starts to emerge. (You can) depend on me is that perfect, dead slow, mournful
doo wop. 'I'll try something' starts a style of writing that Smokey used a lot
and has been often copied.
'You've really got a hold on
me' I never never tire of. This is the best, great song, painful delivery,
great back up. Tears in the eye, hairs on the back of the neck stuff, even
after a million times.
Bye bye to doowop and hello to
the Motown Sound. 'I can take a hint' - This was only a B side but for me it
captures the old and the new perfectly. More so that the more frenetic ones
that were to become hits. The best of the old is retained but the beat is fresh
and true.
Before this album came along,
I'd recently rediscovered 'Whatever makes you happy', the bside of Mickey's
Monkey, and been playing this a lot. Baby Don't go is another bside that comes
across strongly.
'Tracks of my tears' of course
is sheer poetry.
Special Occasion a sweet
midtempo soul ballad from 1968. (Come round here) I'm the one you need is
massive and a favourite but the soulfully poetic love ballad follow up in early
1967 is so good 'The love I saw in you was just a mirage', absolutely awesome.
'If you can want' from 1968 is a kind of Motown beat ballad with exceptional
horns. I hadn't realised that Smokey had cut Abraham Martin and John, or the
fact that it charted US, his version is more upbeat and joyful than Marvins, a
dancebeat rather than a tear jerker. It's still amazing how things like Tears
of a Clown and I don't blame you at all still sound so good. The tail end of
this album into the early 70's illustrates a change in style, away from the
Motown beat to Smokey's sweet ballads, and you can kinda see why he went solo.
Of this style 'When Sundown comes' which was only a bside is particularly good,
but it's a long way from the doo wop Got a job.
Disc: 1
|
1. Got a
job 11. I'll
Try Something New [Stereo Mix] 12. You've
Really Got a Hold on Me [Stereo Mix] 18. I Gotta
Dance to Keep From Crying [Stereo Mix] 20. I Like
it Like That [Stereo Mix] 23. Come on
Do the Jerk [Stereo Mix] |
Disc: 2
|
1. Going to
a Go-Go |
Edwin Star - War & Peace -Involved 2 Classic Albums 1CD Motown (US)
016834-2
One of the delights, apart from hearing some well known gems, in listening
to these retrospectives, particularly those that include complete albums or
unreleased tracks, is that maybe you will hit on something that sounds real
good now. Such a track is Running back and forth, this track although made in
1970 would not be out of place in some of the Modern Soul rooms around today.
Devoid of the 60's Motown beat and the hardness of tracks like War.
War of course is an anthem,
often played as a song represented an era and consciousness politically. I
can't escape your memory is more an the fours Motown, an Ivory Joe Hunter song.
Again on this War and Peace album is a preponderance of writers and producers,
as well as emerging self penned items like the well known disco anthem Time co
written with Popcorn Wylie. At last I found a love is Johnny Bristol produced
and Marvin and Anna Gordy Gay written. I just wanted to cry is another self
penned stomper. California Soul is actually an Edwin Starr production of an
Ashford Simpson song, I guess representing the 'Peace' side of the album. I
can't replace my old love is great Northern Soul, although I don't recall it
being played but it surely has. She should have been home is a fine conclusion.
A bit of a mix of an album but
it does contain a couple of tracks that I'm glad I discovered/ rediscovered.
The Involved album however I find a bit of a mess. Moving into consciousness,
covers and cloud nine it doesn't add up to much.
Ball of Confusion cannot be
better and this attempt certainly doesn't and it runs to nearly 12 minutes.
This is also not the version of Funky Music that I would call the best. Stop
the War of course is great and in some ways better and more hard hitting than
War itself, here we were actually wanting action. Cloud Nine again is best left
to the Tempts although I do have a liking for the Pips version. My sweet Lord,
well there was no need for that!
A couple of bonus tracks in
Love The lonely peoples prayer is a good midtempo groover with gospel
overtones, and Lonely rainy days in San Diego
Edwin Star - Soul Master
& 25 Miles - 2 Classic Albums 1CD Motown (US) 016839-2
Two Albums from Edwin,
firstly, Soul Master which was originally released in September 1968 and
included Ric Tic sides from 1965 onwards, including the vocal of Agent Double 0
Soul and Headline News both extremely well known and popular on the UK Northern
scene. Harlem a great Ric Tic side is added as a bonus track The big hit and
still sounding good was Stop her on Sight also originally a Ric Tic Side.
Moving onto Gordy and from
this album was the single I want my baby back was an early Norman Whitfield
track and Way Over there a stomper that could, maybe should garner more plays
than it does. The single I am the Man for you baby had the track My Weakness is
you on the reverse and it is this track that garners a lot of attention these days.
Oh How Happy was a duet with
Blinky. Soul Master the title track is an underrated gem with a more mellow
delivery and backing. Don't overlook either Love is my destination, this time a
Henry Cosby track illustrating how much Edwin was passed from pillar to post
production wise, never really finding a true home.
25 Miles release in April 1969
with its anthem title track, but most of the tracks are generally less well
known. I'm a struggling man was the only other single release of note and this
only touched the lower echelons of the pop chart. Included is a version of he
who picks a rose produced by Norman Whitfield and uses a different backing
track to other stomping versions around.
Amongst some fresh material
there is still room for a version of a Smokey standard You beat me to the
punch. There are a number of cuts where Norman Whitfield was starting out on
his road to production perfection, and whilst there is not really a hint of
things to come there is a 'different-ness' to them. Sadly it wasn't enough to
give Edwin the Motown longevity he deserved but it didn't seem to do Norman any
harm.
If my heart could tell the
story is a great track and one that is worth revisiting. There is one self
penned item and that is 24 Hours to find my baby.
Two more bonus tracks are the
Ric Tic side Girls are getting prettier and the Ed Wingate produced It's my
turn now.
Motown salutes Bacharach -
Various Artists - Motown (US) 016 862-2
Motown salutes Bacharach? What
about poor old David who co wrote all the tracks on here. Many interpretations
on (mostly) well known Bacharach and David standards. Mostly cut in the mid to
late 60's and into 1970 and many were album covers. Some are great
interpretations, I don't think any are first interpretations, and some add little
to the more well known versions. Not really sure why Motown and it's artists
went through the phase of covering these as they were strong enough by this
time to stand on their own, but I guess it did wonders for mass appeal.
Gladys Knight and the Pips come
in with a hugely soulful version of the standard and oft recorded and performed
The look of love. She also shows her style and classs on One Less Bell to
Answer. There's a certain lightness to Aretha's strength on I say a little
prayer by Martha And the Vandellas one of three tracks by them. Smokey's voice
is well suited to I just don't know what to do with myself, one of two cuts by
hii#m and the Miracles, the other being Walk on By.
The underrated and supremely
soulful Marvelettes Message to Michael is one of the few that come through with
a typical Motown backing track although it is very mellow and laid back but
unmistakable. Any Day Now I associate with being suited to a deep baritone like
Chuck Jackson, but Eddie Kendricks adds another dimension to it in the higher
ranges.
Stevie cuts in with two tracks
Alfie and A house is not a home, adding his own individuality, but even the
great Levi cannot rescue Raindrops keep falling on my head. Tom Clay adds some
social commentary to What the world needs now is love.
The only track recorded well
into the 70's is Stephanie Mills on This Empty Place. A great mid pacer from a
slightly different age than the other tracks, not as well known a track in
Bacharach David terms and it wins through.
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