The Complete Motown Singles Collection Vol. 10: 1970
The seventies were here. Revolution was in the air both politically and musically. The last knockings of the archetypal sixties Motown sound can still be heard here, but also psychedelic soul and socially aware songs are extremely prominent. Anti-war protests stood somewhat incongruously side by side with timeless boy meets girl love.
1970 was a year that sort of gets overlooked at Motown. Stevie Wonder and Marvin Gaye had not quite become the album artists they would be in a few years' time and hark backs to the glory days of the sixties were found in the fact that both of those artists released material originally recorded several years earlier.
⭐ Star hits
💠Hidden gems
Disc One
The Originals - The Bells/I'll Wait For You
I have never been a fan of either The Bells or indeed the balladeers The Originals. However, a few more listens to The Bells and it sort of grows on me. It is beautifully orchestrated, sung and is in possession of a lovely, deep, warm bass-line. I love the ad hoc drum backing in the last third of the song too. The "alternate version" that is included here is considerably deeper and warmer, enhanced by a bit of subtle saxophone and I much prefer it. It is another grower.
Slightly better, though, is I'll Wait For You, although it is similarly orchestrated and produced. There are actually several better Originals cuts out there and, indeed, some of them are on this collection. The song has that soft, strong-backed sound that would influence many subsequent non-Motown groups such as The Stylistics and The Delfonics.
Bobby Taylor - Blackmail ðŸ’
Bobby Taylor always gave us quality recordings and this 'b' side - the 'a' side was Oh I've Been Bless'd from the 1969 collection - is a punchy, soulful, David Ruffin-esque number full of brassy backing, robust orchestration, a shuffling beat and a gruff, expressive vocal. Proper Motown, 1970-style masculine, yearning, heart-wrenching soul. It is a bit Four Tops-ish too. I'm a sucker for anything the much-underrated Bobby Taylor did. That bass-line absolutely throbs, as so many Motown ones did at this period.
Joe Harnell - My Cherie Amour
Here we have a lounge bar, jazzy, piano-driven instrumental interpretation of the Stevie Wonder hit. It is pleasant enough in its late-night, easy-listening way. Get a load of those rhythmic congas and those oh so very easy-listening backing vocals. Listening to sets like this one I am struck by the sheer volume of quality singles that so many people just haven't heard. Veritable goldmines they are, particularly for Motown nerds such as myself and you, dear reader, if you have bothered to dip this far into my review here.
Stevie Wonder - Never Had A Dream Come True/Somebody Knows, Somebody Cares ⭐
The punchy Somebody Knows, Somebody Cares - unsurprisingly, given that it dated from 1967 - has a feel of mid-sixties Motown about it, rather than late sixties, as indeed does much of the album it came from, 1969's My Cherie Amour. For that reason tend to I think of it as a bit of a pointer towards a necessary change in direction for Stevie. It doesn't stop it being a robust little groover, though. Check out the killer, bluesy harmonica solo too. It kicks serious ass. Look, there's nothing I can say against either of these two tracks, they've just got it.
Terry Johnson - Watcha Gonna Do ðŸ’
In the realms of forgotten gems is this serving of very sixties-ish soul from Terry Johnson, who also recorded Suzie in 1969 - in fact it was this single's 'b' side, find it on the 1969 collection. It is a well-sung, well-produced muscular ballad. Classy. Like so many, unfortunately, it wasn't a hit or anywhere near being one. It was quite astonishing just how much quality fell by the wayside. When I dip into this collection on random play this becomes even more obvious.
Edwin Starr - Time/Running Back And Forth ⭐
Slower in pace, but equally powerful (it is Edwin Starr after all) is the appealing Running Back And Forth. It is a catchy, shuffling groove, less stomping and more soulful for Edwin this time. Again, there is something of The Four Tops to be heard here. Both songs were written by Starr with early Motown veteran Richard "Popcorn" Wylie.
Jr. Walker & The All-Stars - Gotta Hold On To This Feeling/Clinging To The Thought That She's Coming Back ⭐
Oh Lordy. Oh sweet Jesus. What a simply magnificent piece of saxophone-driven soul is Gotta Hold On This Feeling. From its extended and rousing saxophone intro, Walker eventually delivers a fine, confident vocal. The single just has such a great sound to it, yet another fabulous bass-line - boy do I love my Motown bass-lines! - and an overall truly special vibe. It is not one of Walker's better-known numbers, but it sure is a good one. He could do no wrong in my book. This is Heaven-sent music, for me, anyway.
Just as impressive is the equally superb 'b' side, Clinging To The Thought That She's Coming Back. Once more it is solidly soulful, gospelly and simply just soul/Motown Heaven. Quite why these two tracks weren't absolutely huge is beyond me. They are both great. Blow that saxophone, Jr. Incidentally, both tracks were written by regular Motown songwriter, Johnny "Hang On In There Baby" Bristol. He could certainly pen a fine song and when put in Jr's capable hands they are given a vibrant life.
Martha Reeves & The Vandellas - I Should Be Proud/Love, Guess Who
In 1970, Songs about the war in Vietnam were quite common at Motown, and they often had a dark side to them, as indeed does I Should Be Proud. Martha sings of getting the news her man has been killed in action. She is proud in her reflection but also somewhat cynical as to what he actually died for. This was a question regularly and rightly posed. Martha had lost her own brother in Vietnam, so the song was an emotional one for her to deliver. As you would expect, she soars. She still believes that government pressure stopped radio stations from playing the song. She was probably right.
Love, Guess Who is a quality "b' side. Nothing outrageously special, but perfectly enjoyable. Apparently, it is The Andantes as opposed to The Vandellas singing back ups on this one, as they had also done for Diana Ross.
The Spinners - Message From A Black Man
My first experience of this hard-hitting, racially-aware song was when I heard The Temptations' version back in the mid-seventies from their 1969 Puzzle People album. Theirs was probably the definitive version, but The Spinners do a fine job on the broodingly magnificent song. G. C. Cameron is on lead vocals, taking the Eddie Kendricks role. The single was actually released on the same day as Martha Reeves' one above. It similarly disappeared without trace. What a shame.
The Supremes - Life Beats/Up The Ladder To The Roof/Bill, When Are You Coming Back ⭐
In late 1969/early 1970, Berry Gordy had actually washed his hands of the group because he wanted Syreeta Wright instead of Jean Terrell as the replacement for Diana Ross. Producer Frank Wilson gave him an adamant "no", so he sulked off and left them to it.
Well, Gordy needn't have worried because Up The Ladder To The Roof is an absolutely stonker of a hit single - catchy, melodic and the girls' voices in perfect harmony. It has that typically very early seventies Motown sound. I Love It. Check out that groovy wah-wah guitar sound. Everything about this track is so damn perfect.
Johnny Bristol and Pam Sawyer's Bill, When Are You Coming Back, Up The Ladder To The Roof's 'b' side, was one of those moving anti-Vietnam war "story" songs, like Martha Reeves & The Vandellas' I Should Be Proud and Forget Me Not and Freda Payne's Bring the Boys Home. It is a real Motown stomper, one i really love, almost Northern Soul in its danceable beat. Another of those long lost classics featuring great vocals and an uplifting beat. Energising stuff. The Supremes were alive and kicking, that was for sure. Love them.
Stu Gardner - Expressin' My Love/I Don't Dream No More ðŸ’
A complete deep cut here - one that finds Stu Gardner giving it his best James Brown meets Edwin Starr. His vocal is strong and gruff, backed by some cookin' brass and bass. It is one of Motown's most muscular, funky numbers and, for some reason, has remained completely under the radar. I recommend checking this one out.
Equally good - arguably even better - is I Don't Dream No More, a tuneful serving of Otis Redding-ish upbeat soul. Both of these are really good ones, I have to say. I had never heard of them before I got this collection.
Rare Earth - Get Ready ⭐
The highlight of Rare Earth's 1969 Get Ready album is that now-extinct beast, a side-long twenty-three minute track. It is a cover of The Temptations' Get Ready and, from a slow, laid-back beginning, it bursts out into a powerful rendition. Some live crowd noises are dubbed on to give the impression that it is live but it was in fact a studio recording. It is overflowing with various superb solos - saxophone, lead guitar, organ, drums and a killer bass one and it also features some captivating percussion throughout. While it is instrumentally mightily impressive it is also a pretty long listen, unless you're doing something else at the same time. Better choose this single, edited version then!
The Jackson 5 - ABC/The Young Folks ⭐
The Young Folks was originally cut by Diana Ross & The Supremes in 1969. The Jacksons' version is backed by a military-style drumbeat and the powerful vocal and message let us know that it is a young person's world. or so they say. "You may not like it but I'm gonna tell you" sings Michael. It is a surprisingly solid and deep soulful number, nothing like the bubblegum pop of ABC at all.
Gladys Knight & The Pips - You Need Love Like I Do (Don't You)/You're My Everything ⭐
Gladys Knight delivers some classic, bubblin' clavinet 'n' drums-driven funky soul on You Need Love Like I Do (Don't You), a track that positively boils over with kick-ass down 'n' dirty soul. Norman Whitfield produced this wonderful nugget and you can tell, it has that Temptations/Undisputed Truth period vibe about it. Gladys doesn't let up for a minute. The Temptations also covered the song on their 1970 Psychedelic Shack album, followed by the Jackson 5 on 1973's Get It Together.
You're My Everything is a cover of a song that The Temptations did in 1967. This Pips version dated from their 1968 Silk 'n' Soul album. It doesn't sound dated at all. It's just great - the bass, the vocal, the guitar. Everything (appropriately).
Disc Two
Ivy Jo - I Remember When (Dedicated To Beverley)/Sorry Is A Sorry Word
I Remember When (Dedicated To Beverley) is a serving of quality soul from the Levi Stubbs sound-alike (and confusingly male) Ivy Jo Hunter. Another in the long line of "should have been a hit" candidates. Ivy's vocal is top notch on this, effortlessly strong and powerful.
Sorry Is A Sorry Word was originally done by The Temptations on their 1967 With A Lot O' Soul album. To me, it sounds much more Four Tops-ish. If I didn't know it was Ivy Jo Hunter, I would think it was The Four Tops.
Marvin Gaye & Tammi Terrell - The Onion Song/California Soul ⭐
California Soul is just a great song - see 12a for The Undisputed Truth's version. Marvin and Tammi tear it up once again here and the song just bristles and drips with a hot, summery, atmospheric soul sound. It is just so early/mid-seventies. When I hear it, it always brings to mind gritty cop shows or movies from the era.
The Four Tops - It's All In the Game/Love (Is The Answer) ⭐
Two fine cuts here from the equally impressive Still Waters Run Deep album. The evocative slow burning, soulful and melodic It's All In The Game has always been a favourite of mine.
Love (Is The Answer) is one of the best tracks from the 1970 album Still Waters Run Deep. It is a cooker of a number with a great drum, bass and vocal bridge in the middle and an overall catchiness to it.
Diana Ross - Reach Out And Touch (Somebody's Hand)/These Things Will Keep Me Loving You/Dark Side Of The World ⭐
These Things Will Keep Me Loving You is a catchy and soulful number which was originally recorded by The Velvelettes back in 1966. This was continuing the Motown tradition of recycling old songs on other artists' albums. This was not necessarily a bad thing, as many of the alternative versions were excellent, as is this one.
Dark Side Of The World is a rumbling, half upbeat, half brooding song that stands to exemplify Ross's 1970 debut album - one that has not got to the syrupy "easy listening" or slick disco phases as yet, one that still has a bit of gritty soul coursing through its veins. It is one of Ross's most credible and powerful numbers from this fertile period.
R. Dean Taylor - Indiana Wants Me/Love's Your Name ⭐
I first heard the country-ish but chorally-rousing Indiana Wants Me back in 1971 when it hit the UK charts. I have always loved its tragic lovelorn prison tale. As usual, good old R. Dean had penned a total tearjerker. Nothing Motown about it, but who cares? Great song.
Love's Your Name is a delightful little piece of typically light, breezy early seventies pop.
The Rustix - Come On People/Free Again (Non C'est Rien)
Talking of R. Dean Taylor, he produced this white funk outfit The Rustix. Come On People is a powerful, organ and drums-powered socially aware stomper that sounds like Rare Earth meeting Whitfield era Temptations. It is a great piece of psychedelic, funky rock actually. More power to it. Some of these white Motown artists put out deceptively good stuff, but they flew under everyone's radar.
Free Again (Non C'est Rien) sounds as if Frank Sinatra has just popped by. Actually, it was a Barbra Streisand big ballad from 1966 and, while it's ok, sounds totally incongruous. It isn't remotely like the group's 'a' side, or any of their other stuff for that matter.
The Fantastic Four - On The Brighter Side Of The World/I'm Gonna Carry On
Another Four Tops-esque four-piece vocal group here. Both sides of the singles are solid - vocally powerful, catchy and soulful. Not much more to be said other than there is no lack of quality here, not in any way. Up there with The Four Tops in everything except that they weren't The Four Tops.
Smokey Robinson & The Miracles - Who's Gonna Take The Blame/I Gotta Thing For You
More upbeat is the buzzy guitar-backed I Gotta Thing For You, which is a fine piece of Robinson soul/funk. It has a bit of that bleepy spacey feel that Diana Ross & The Supremes had used in Reflections and was quite popular in Motown recordings in the 1966-70 period. Once more, though, it doesn't have anything about it that screams "hit single". I like it though.
Arthur Adams - My Baby's Gone/Loving You ðŸ’
Regarding My Baby's Love, there was some excellent Motown funk around during this period and this excellent. pounding deep cut is another example of it.
Less funky and more straight-up soul is the piano-powered mid-tempo number Loving You. It has a bit of an early/mid sixties feel to it. Both these tracks are firmly in the deep cut-100% rarities section.
Chuck Jackson - Two Feet From Happiness/Let Somebody Love Me ðŸ’
Oh wow - just check that killer bass intro to Two Feet From Happiness! Chuck Jackson's vocal is hot stuff too - in a David Ruffin meets Edwin Starr sort of way. Jackson was one of those artists that whenever I see tracks by him show up such as here, I expect them to be good, and they invariably are. They made no impression on the charts, however. This is an impressive serving of soul, though. Nice one.
Also full of intrinsic, emotive soul is Let Somebody Love Me. Remember, tracks like this are failures, ones that disappeared without trace, yet they have so much natural soul in them. This applies to Arthur Adams and The Fantastic Four too (see just above), all records that got nowhere but, thanks to collections like this, still have life. Quite right too.
Disc Three
The Temptations - Ball Of Confusion (That's What The World Is Today/It's Summer ⭐
It's Summer is not as lyrically - or indeed musically - incendiary, of course, being a poetic, wistful tribute to the beautiful season of summer. It is lovely, romantic number. The two songs complement each other perfectly, however, showing how versatile and varied The Temptations and their material were.
The Jackson 5 - The Love You Save/I Found That Girl ⭐
Three killers in a row now for The Jackson 5. The Love You Save is another deliciously vibrant number with 11 year-old Michael totally owning it. From its very first vibrant introductory notes I am hooked and so were many others it would seem, as it was hugely successful.
I Found That Girl was a ballad featuring the new fifteen year-old Jermaine - an old man in comparison! It was good to see the vocals being shared around, it wasn't all about Michael. The laid-back, loved-up song provided a nice contrast to the irrepressible 'a' side.
Marvin Gaye - The End Of Our Road/Me And My Lonely Room ⭐
The End Of Our Road begins with some funky Temptations-style twangy guitar before it gets even more infectiously rhythmic as the drums kick in. It doesn't surprise me to learn that this was a Norman Whitfield composition and production. It had already been a hit for Gladys Knight & The Pips in 1968. In Marvin Gaye's hands it has a real appeal and it stands as one of his best "unknown" singles.
Me And My Lonely Room has a real mid-sixties vibe about it and I duly find out that it dates from 1965. It has a really good sound on it - piano, saxophone, drums and an effortlessly good vocal. The song has a laid-back, jazzy bluesiness to it. It was possibly a bit out of place, vibe-wise, in 1970, however. That said, anything Marvin Gaye did had that unmistakable touch of class about it.
Michael Denton - Just Another Morning/Arma' Geden
Michael Denton was, I think, a white artist. Just Another Morning is a breezy, poppy Beach Boys-influenced harmonious number. Once more, it is one of those songs that would have been fine in 1966-67, possibly a hit, but by 1970, maybe not so much. This proved to be the case.
Also firmly in the pop vein is the appealing and attractive Arma' Geden. To me, it has 1967 all over it. Everything about it is sort of summer of love-ish - the keyboard backing, the jaunty brass, the light vocals, the concerned but never hard-core lyrics.
Stevie Wonder - Signed, Sealed, Delivered I'm Yours/I'm More than Happy (I'm Satisfied) ⭐
I'm More Than Happy (I'm Satisfied) came from 1968's For Once In My Life album. It was quite common for Motown to dip back into the vaults for 'b' sides (often even 'a' sides too) during this period. Many people couldn't afford albums, just buying singles, so tracks like this were not necessarily known to them, they would think it was a new one. Anyway, this one has a great bass-line and verve to it.
Edwin Starr - War/He Who Picks A Rose ⭐
One of my favourite Motown numbers of all time here. Edwin's rousing condemnation of War needs no introduction other than a firm "good God y'all!!". It is one of those that needs no accompanying review, really.
He Who Picks A Rose was recorded by Carstairs, which became a Northern Soul classic stomper, and Jimmy Ruffin. These are arguably the better versions, but Edwin never cuts a bad record, does he? It just gets your feet moving around as soon as it begins. There is an energy and sheer in your face chutzpah to this - and indeed most Edwin Starr records - that I find totally impossible to resist. Edwin just had it. Classic upbeat Motown gutsy soul.
The Spinners - It's A Shame/Together We Can Make Such Sweet Music ⭐
Two more excellent numbers here. Firstly, G. C. Cameron leads The Spinners on the catchy and successful It's A Shame and secondly Together We Can Make Such Sweet Music is just such an energetic, melodic and uplifting number. I love both of these dearly. The Spinners were definitely one of Motown's underrated outfits. That guitar intro to It's A Shame is superb. The 'b' side was also recorded by The Supremes with The Four Tops (see later on in this collection - disc five). Just how good is It's A Shame, huh? It's up there in any "best of Motown" list I may attempt to curate.
Jr. Walker & The All-Stars - Do You See My Love (For You Growing)/Groove And Move ⭐
The moment a Jr. Walker song starts and that saxophone kicks in, along with some irresistible vocals, I am totally hooked. That certainly applies to the glorious Walker-soul of Do You See My Love (For You Growing). Everything about this track oozes soul - the vocals, the backing vocals, the funky guitar and, of course that saxophone blaring its wonderful best, taking us skywards. There's a bit about 2:10 when Jr. comes blowing in that simply raises my soul. Take me to Heaven, Jr. I know I said it on my review of his earlier songs on this collection, but man, I love Jr. Walker. It's too late to stop now.
Groove And Move is an appropriately funky little groove-out of a sax-driven instrumental. The sound on both these is absolutely superb. They both appear on Walker's 1968 album, A Gassss.
Kiki Dee - The Day Will Come Between Sunday And Monday/My Whole World Ended (The Moment You Left Me) ðŸ’
Similarly, her take on David Ruffin's My Whole World Ended (The Moment You Left Me) is as good as any interpretation any other Motown female artist may have put out. Kiki doesn't sound out of place at all. Far from it. She, as everyone knows, went on to have some success on Elton John's Rocket label in the mid-seventies. The song was also recorded in this year by The Spinners (see disc 6).
The Supremes - Everybody's Got A Right To Love/But I Love You More
Everybody's Got The Right To Love, with its trademark Motown backing to the fore once again, it was also a Frank Wilson-produced chart hit for The Supremes, following on from the excellent Up The Ladder To The Roof. Mary Wilson felt it suffered somewhat due to a bad mix, but I think it sounds great. There's a Northern Soul vibe to it as well.
On the honey-sweet 'b' side, But I Love You More, Jean Terrell sounds almost exactly like Diana Ross at times. The song was also recorded in 1972 by one of Motown's seventies incarnations, The Blackberries. It is nowhere near as good as The Supremes' version.
The Originals - We Can Make It/I Like Your Style
It was The Originals, so it's a return to smooth, lush balladry here on the sumptuous We Can Make It Baby. It is a late-night smoocher, with the same subtle saxophone and warm melodious bass-line that enhanced The Bells present. Personally, I prefer this track. It was perhaps too low-key and lacking in a hook to make it as a hit single. The group exuded class.
I Like Your Style is one of my favourite Originals cuts. Although still mid-pace, there is a bit more of a gentle soulful swing to it. Although it probably wouldn't have been a huge hit, it is the better choice for a single than the 'a' side. It positively drips with soul. Good stuff.
Disc Four
Rare Earth - (I Know) I'm Losing You/When Joanie Smiles ⭐
Rare Earth's massive, powerful extended take on The Temptations’ (I Know) I’m Losing You, which - in its album form - is ten minutes of titanic rock-soul. It would seem to be tailor-made for Rare Earth. Like The Undisputed Truth, they knew how to cover and enhance a Temptations song to perfection. No doubt because they were all produced by Norman Whitfield. The vocal (from, I think, Gil Bridges) could be David Clayton-Thomas of Blood, Sweat & Tears, it is that strong. Check out that guitar, drums and organ interplay at five minutes in. The guitar solo at nine minutes is incendiary. This has to go down as one of the greatest covers of a Motown song in existence. Sensational. The 45 rpm version is impressive too, but I always prefer the longer versions of things like this.
When Joanie Smiles couldn't be more different, being an airy, hippy-ish sixties-style ballad. Personally, I prefer Rare Earth when they go full-on funk-rock.
Yvonne Fair - Stay A Little Longer/We Should Never Be Lonely My Love ðŸ’
Even better, though, was the copper-bottomed gospelly soul of We Should Never Be Lonely My Love, a beautifully-orchestrated and delivered number. As I was saying, why weren't some of these songs/artists more successful? So much quality around, I guess.
Blinky - How You Gonna Keep It (After You Get It)/This Time Last Summer ðŸ’
In exactly the same category as Yvonne Fair above comes bespectacled and strong-voiced soulstress Blinky who showed just what an accomplished singer she was on these two solid servings of bassy, emotive soul. I have always had a lot of time for anything I have heard from Blinky, she was really good but, guess what? You got it. She never made it.
Diana Ross - Ain't No Mountain High Enough/Can't It Wait Until Tomorrow ⭐
Despite it being a cover, Ross takes Marvin Gaye and Tammi Terrell's Ain't No Mountain High Enough and truly makes it her own, so much so that it has long been the definitive version of the song. It is included here in its full, six minute glory. It's the long version all the way for me.
Can't It Wait Until Tomorrow is a soulful slow number, with some Bacharach-style brass backing.
The Four Tops - Still Water (Love)/Still Water (Peace) ⭐
These two Still Water songs are fine ones. Both of them are effortlessly glorious and laid-back, the former being the slightly more warm and tastefully catchy, hence its 'a' side status. I just love that lovely, floaty groove that Still Water (Love) rides on.
Still Water (Peace) is essentially a slowed-down version of the 'a' side, with some spoken vocals added. As usual, The Four Tops' quality was all over these two tracks.
Bob And Marcia - Young, Gifted And Black/Peace Of Mind ⭐
A total Motown oddity here. This iconic reggae number was a huge top twenty hit in the UK, and Motown leased the rights to release it in the US. It was, criminally, a flop. Sometimes I despair of American musical taste. The song, of course, is an absolute monster of a skanker.
Buzzie - Stone Soul Booster/Sandy ðŸ’
A great little funker of a rarity here from Terry Johnson (calling himself Buzzie here). Stone Soul Booster is Motown funk of the highest order - pumping, pounding, brassy and bassy with a confident, strong vocal. Check out that bass, drums and vocal interaction half way through. Add this to any list of Motown deep cuts - right now! The track kicks serious ass.
Sandy is more in syrupy soul ballad territory, but it has a bit of upbeat verve to it all the same. It is a bit Smokey Robinson-esque.
The Jackson 5 - I'll Be There/One More Chance ⭐
One More Chance, however, returns to the recognisable poppy sound they had already patented. Michael's vocal is confident and the song has another of those great Jackson 5 hooks. The boys had something, didn't they? A total phenomenon.
The Temptations - Ungena Zi Ulimwengu (Unite The World)/Hum Along And Dance
A slightly "conscious" song from The Temptations is the upbeat, fuzzy, Staple Singers-influenced Ungena Za Ulimwengu (Unite The World) with its thumping Northern Soul, stomping beat. Incidentally, the Swahili title is not mentioned in the song. There's a lot of what influenced The Undisputed Truth to be heard on here too. I really like it. It cooks, on a high setting. Get a load of those interacting vocals.
Hum Along And Dance (later covered by Rare Earth and The Jackson 5) had a rich, deep throbbing bass line matched by the vocals in places and a huge pounding rhythm. This was soul the like of which had not been known before, with the possible exception of Sly & The Family Stone. The vocals are only occasional, it is basically an instrumental groove that segues into the bass line of the trippy Take A Stroll Through Your Mind (on its album, obviously not here). The song, despite its potential, never quite gets anywhere for me, however.
Danny Hernandez & The Ones - As Long As I've Got You/One Little Teardrop ðŸ’
I have no knowledge of Danny Hernandez & The Ones, but As Long As I've Got You is a seriously good deep cut. It throbs with gospelly energy and innate soulful feeling though. I love it. The brass backing is superb as indeed is the track's whole groove.
One Little Teardrop, a fuzzy guitar-backed ballad doesn't quite hit the heights of its 'a' side, although it certainly isn't a bad cut, with some slightly psychedelic mid-song organ-powered funkiness.
David & Jimmy Ruffin - Stand By Me/Your Love Was Worth Waiting For
Stand By Me sees the Ruffin brothers covering the Ben E. King classic live in concert. They do a good job, it goes without saying. Your Love Was Worth Waiting For is a Pam Sawyer ballad that suited the brothers perfectly. For some reason, though, I have always felt that their collaborations didn't quite have the magic that I expected it to have, or that their individual material had.
Disc Five
Smokey Robinson & The Miracles - The Tears Of A Clown/Promise Me/The Love I Saw In You Was Just A Mirage ⭐
Promise Me is a sumptuous, smooth ballad, immaculately delivered by Robinson. It never appeared on an album and was the US 'b' side to The Tears Of A Clown.
The Love I Saw In You Was Just A Mirage, also a 1967 number, is a typical mid-pace piece of Robinson fare enhanced by sumptuous strings and the usual clever and hooky lyrics.
Stevie Wonder - Heaven Help Us All/I Gotta Have A Song ⭐
Heaven Help Us All showed that social conscience coming through for probably the most palpable way on any of his songs thus far. It is a soulful, at times gospelly warning of the perils of guns, street crime, poverty and war. It is melodic and uplifting, musically which adds extra poignancy due to its sombre subject matter. It was the most hard-hitting, portentous number he had recorded. It also became a hit single. From its first notes, you feel this is a song worth listening to. "Heaven help the black man if he struggles one more day....". Stevie had never been so "conscious".
I Gotta Have A Song is a number that points most strongly to the tone of much of Stevie's subsequent seventies material in its easy-going, laid-back verses.
Hugh Masekela - You Keep Me Hangin' On/Make Me A Potion
Legendary South African trumpeter Hugh Masekela was one of Motown's more unusual signings. This was his first single for them - a slowed-down cover of Diana Ross & The Supremes' You Keep Me Hangin' On. Masekela's slightly broken English sounds somewhat clumsy, to be honest, but all is redeemed by his trumpet work, that renders it an interesting rarity.
Make Me A Potion is a much better track - full of intoxicating rhythms, South African percussion and guitar along with Masekela singing far more convincingly in his native Xhosa. It is a world music track as opposed to a Motown one.
Hearts Of Stone - It's A Lonesome Road/Yesterday's Love Is Over ðŸ’
Hearts Of Stone were a four piece male vocal group. It's A Lonesome Road is an excellent track that puts me in mind a lot of Chairmen Of The Road in its gospelly fervour and a lead vocal that sounds quite General Johnson-ish.
Yesterday's Love Is Over is a smooth, late-night love ballad.
Martha Reeves & The Vandellas - I Gotta Let You Go/You're The Loser Now
Martha was once again backed by The Andantes on an instrumental track dating from the mid-sixties, I Gotta Let You Go. It has that typically upbeat Motown sound from that period, even down to the blaring mid-song sax solo. Martha's vocal is strong, as is the backing, but 1970-sounding it ain't. Unsurprisingly, perhaps, it became a big hit on the Northern Soul circuit and has appeared on rarities compilations such as This Is Northern Soul, Vol. 2.
You're The Loser Now is a warm, bassy and deep ballad with another powerful vocal and a Chi-Lites-esque guitar and strings break mid-song.
The Supremes - Stoned Love/Shine On Me ⭐
Anyway, it kicks into a glorious thumping Motown beat. Possibly the best track The Supremes, in this incarnation, ever recorded. The vocals, the backing, everything about it is superb. Rightfully, it was a huge hit. The long version also contains extended saxophone in the middle too. It was initially written as Stone Love, but a 'd' was added for some reason, which consequently made people think those nice Supremes spent their time taking drugs and lovin' hard. Actually, it was about the power of spiritual love.
Shine On Me, Stoned Love's 'b' side, is an infectious, typically Motown song, with a psychedelic-influenced vibe to it, reminiscent of Reflections. I like it a lot.
Gladys Knight & The Pips - If I Were Your Woman/the Tracks Of My Tears ⭐
If I Were Your Woman is an excellent, bassy piece of slow-burning soul.
Gladys's vocal is powerfully awesome, just as it is too on her take on Smokey Robinson's The Tracks Of My Tears. Even though it's Gladys, nothing can beat Smokey's version, though, can it? Gladys was a bit unfortunate in that she also covered I Heard It Through The Grapevine. Both songs were, of course, huge hits for other artists. Gladys's vocal on The Tracks Of My Tears is warm and emotive, though and you believe her just as much as you do Smokey. Hell, Gladys would have me believing something red was green with that voice.
The Marvelettes - Marionette/After All
In 1970, The Marvelettes were basically singer Wanda Young backed by The Andantes (again!). Marionette came from an album cut by these artists entitled The Return Of The Marvelettes (not strictly accurate). Anyway, it is a fine Smokey Robinson song, possessing a strong hook.
After all, another Smokey song, dated all the way back to 1961, would you believe. It has a certain timeless quality to it, though, that means it doesn't sound dated here.
The Supremes & The Four Tops - River Deep, Mountain High/Together We Can Make Such Sweet Music
Together We Can Make Such Sweet Music was also covered by The Supremes (without The Four Tops) on their subsequent 1971 New Ways But Love Stays album and also by The Spinners in 1970 as well (see above on this collection). All the versions are good. It's just a superb, energetic song. I have always loved it and can't help but sing along with the chorus.
Allan Nicholls - Coming Apart/Let The Music Play
All I know about Allan Nicholls is that he was white, he had appeared in Hair (he had a big fuzzy mop) and he was a protege of sometime Rolling Stones producer Andrew Oldham, who produced the big ballad Coming Apart for Nicholls. It was a cover of a Bread song. It's ok, with a killer mid-song guitar solo, but overall it doesn't particularly do it for me.
Let The Music Play is slightly the better of the two tracks, having a bit of a strong early seventies country rock feel to it. Sort of Joe Cocker meets Paul McCartney of the period.
Disc Six
Edwin Starr - Stop The War Now
Although this a fine, muscular track, it is simply an attempt to totally re-write War with different lyrics. Even the backing is virtually identical and Edwin even shouts "Good God!!" once more. Taken in isolation it would be a good song but as it is it is just an imitation. The message is stronger, however, progressing to an adamant "Stop the war - now!!". A pity no-one listened.
The Originals - God Bless Whoever Sent You/Just To Keep You Satisfied/Desperate Young Man
More sumptuous, harmonious Originals balladry here. God Bless Whoever Sent You is as classy as we had come to expect. Just To Keep You Satisfied was produced by Marvin Gaye (you can tell) and indeed ended up being recorded by the great man on his 1973 loved-up tour de force album, Let's Get It On. Apparently The Originals were not happy with the sexual aspects of the song.
Desperate Young Man was a powerful, gospelly and gritty number that had more balls to it than much of the group's material. It has some great bass runs in it too.
Rare Earth - Born To Wander/Here Comes The Night
Here Comes The Night is not the Them/Van Morison song, but a solid piece of organ-powered funk rock, full of wah-wah guitar breaks, pounding drums and swirling organ. This is one of the most rock of all the recordings Motown ever released. There's nothing Motown about this at all.
Jr. Walker & The All-Stars - Holly Holy/Carry Your Own Load ðŸ’
Jr. Walker's cover of Neil Diamond's Holly Holy brings out the soaring, inspirational gospel essence of the song beautifully. Its dramatic rising chorus is perfect for the backing vocalists. All of the group do a great job on this. They turn it into a real tour de force. What a great bass-line it has. I'm always saying that but what the hell, I love good bass-lines! Walker's vocal is a fine one as well. When the backing singers sing out "sing!!" at the top of their voices and Walker's sax soars - wow!
Carry Your Own Load is another effervescent serving of gospel-influenced spiritually uplifting soul. It is totally catchy from beginning to end. Now there's a surprise!
The Jackson 5 - Santa Claus Is Coming To Town/Christmas Won't Be The Same This Year
Typically upbeat Jackson 5 Christmas fare. Both these Christmas songs are, perhaps thankfully, sleigh bell-free!
The Jazz Crusaders - Way Back Home/Jackson!
The jazz band later to become The Crusaders (of Street Life fame) deliver two appealing saxophone and trumpet-driven jazzy instrumentals. Way Back Home is of. course, the Jr. Walker song. Jackson! briefly bursts into a bit of Sly & The Family Stone's Everyday People right at the end.
Diana Ross - Remember Me/How About You ⭐
How About You is another very early seventies number in its bright, melodic feel. It is almost Bacharach-esque. Indeed, composer Deke Richards admitted he was trying to achieve that typically Bacharach sound. Well, he succeeded.
The Spinners - We'll Have It Made/My Whole World Ended (The Moment You Left Me)
We'll Have It Made was a jaunty, attractive and poppy Stevie Wonder and Syreeta Wright song. The two were now a married couple. Strangely, it wasn't a hit. It is quite catchy in places.
The Spinners do an admirable job on David Ruffin's My Whole World Ended (The Moment You Left Me). It's just a great song, isn't it?
The Four Tops - Just Seven Numbers (can Straighten Out My Life)/I Wish I Were Your Mirror
After Still Water (Love), we hadn't heard from The Four Tops for a while. They ended the year with the strong, tough ballad Just Seven Numbers (Can Straighten Out My Life). I Wish I Were Your Mirror was an impressive, very Temptations-esque Pam Sawyer/Frank Wilson. Levi Stubbs' voice is top drawer on these two, of course. Did you have to wonder? I love the line "I wish I were the water you take your shower in" from I Wish I Were Your Mirror, by the way.
Jimmy Ruffin - Maria (You Were The Only One)/Living In A World I Created For Myself
Maria (You Were The Only One) is an emotional, dignified ballad, somewhat atypical of Jimmy's output, whereas its 'b' side, Living In A World I Created For Myself is more like the sort of thing we had come to expect from Ruffin - far more "Motowny".
Arthur Adams - Can't Wait To See You/It's Private Tonight ðŸ’
This excellent collection ends with two more quality numbers from the unfortunately hit-less Arthur Adams. Can't Wait To See You is very Al Green-ish. It's Private Tonight has a feel of Otis Redding about it. Both of these are worth far more than their lack of commercial success suggested.
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