The Complete Motown Singles Collection Vol. 9: 1969

1969 - the year of the moon landing, Woodstock and Altamont. Big things. Big changes. Much of Motown's output still retained some of its essential sixties appeal but, significantly, some of it carried on the changes that had begun in the turbulent year of 1968. Social comment was beginning to make itself heard, along with a "can you dig it" black consciousness. Importantly for Motown, this was the year that saw the birth - via Norman Whitfield and The Temptations - of "psychedelic soul". I really like this collection. 1969 was an underrated year for Motown.

As with all these collections, here are a few embarrassingly incongruous novelty and completely out of musical sync releases that I have omitted from my review. 

⭐ Star hits

💠 Hidden gems

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Disc One

Edwin Starr - Twenty Five Miles/Love Is My Destination ⭐

As with nearly all of Edwin Starr's singles, this is a big stomper of a number, full of pounding drums and strong vocals. Edwin, for all his dramatic vocals, could read a song. His delivery and control is superb. I can't help but love the sheer joy, energy and effort of tracks like Twenty-Five Miles - "feet don't fail me now!". Great stuff. I can honestly say there is not an Edwin Starr track that I don't like. He is one of Motown's great "second division" artists.

Love Is My Destination finds Edwin slowing matters down a bit, but, that said, it is still damn muscular. Dig that coal-mine deep bass-line too. Heaven sent. Mono bass reproduction at its absolute speaker-warming best.

Diana Ross & The Supremes - I'm Livin' In Shame/I'm So Glad I Got Somebody (Like You Around) ⭐

Following up from the previous year's socially-aware and somewhat controversial Love Child came I'm Livin' In Shame, a very sad, moving song about a girl who became rich and too big for her boots and neglected her poor mother. The mother dies (while making home made jam) before they can patch things up. It's actually a very emotive song - the "love child" had now grown up to be a successful career woman who is shamefully embarrassed of her poor but equally hard-working mother. By the end of the song her guilt overrides everything and she apologises, but remains fated never to be able to put things right. Incidentally, Diana Ross stated that the song does not relate to her - she was very close to her mother. For all Motown's outright pop songs, there were also a fair few meaningful, touching and sensitive numbers as well. This was one of them.

I'm So Glad I Got Somebody (Like You Around) features one of those great bass-lines that I mentioned above on the Edwin Starr review and yet another of those Motown speciality bracketed titles as well. Why did they do that? Never mind, though, it's a fine, robust song. Both songs came from the 1969 album, Let The Sunshine In.

Marvin Gaye & Tammi Terrell - Good Lovin' Ain't Easy To Come By/Satisfied Feelin' ⭐

Nickolas Ashford and Valerie Simpson were writing most of the songs for Marvin Gaye and Tammi Terrell and these are two more of them. The songwriting pair's output was always top quality, as indeed was Marvin and Tammi's - they merged so well together, vocally. Tammi's tragically premature death was so sad. 

Just get a load of that monaural booming bass-line on the industrial strength soul of Satisfied Feelin'.

The Originals - We've Got A Way Out Love/You're The One 💠

We've Got A Way Out Of Love is one of my favourite cuts from The Originals. It is another that has a great, warm and deep bassy sound that contrasts and gels beautifully with the high-pitch of the Beach Boys-style vocals. The song has a great hook to it. 

You're The One was co-written by Marvin Gaye and Ivy Jo Hunter and it has a strong doo-wop vibe to it and by now it goes without saying that the bass is wonderful. This collection is a veritable goldmine for those who love the deep bass sound of a mono recording.

David Ruffin - My Whole World Ended (The Moment You Left Me)/I've Got To Find Myself A Brand New Baby ⭐

My Whole World Ended (The Moment You Left Me), is a horn and percussion-driven glorious and often-overlooked Motown classic. It is not often included on compilations of Motown greats and it damn well should be. It totally cooks from the moment it starts. Ruffin's vocal is soaring and the backing is sumptuous, from the sweeping strings to the infectious percussion. Others have recorded the song too - Kiki Dee and The Spinners to name two - but Ruffin's is the definitive version. It's bloody great.

I've Got To Find Myself A Band New Baby is a brassy, emotive soulster of a song. Ruffin oozes quality on everything he touched. His legendary irascibility never comes across on his recordings - they are warm, sensitive and accessible.

Stevie Wonder - I Don't Know Why I Love You/My Cherie Amour ⭐

I Don't Know Why was a bluesy slow-paced song that was covered by The Rolling Stones, eventually seeing the light of day on their retrospective rarities Metamorphosis compilation. It first appeared on the 1968 Wonder album For Once In My Life. At Motown, The Jackson 5 and Thelma Houston also covered it. If there is such a thing as a Stevie Wonder deep cut, this may be one. There are two versions of the song on this collection, both are excellent.

The conga rhythms and slight bossa nova shuffle of My Cherie Amour are just sumptuous, aren't they? As indeed is that descending string break at the end of each verse. The song's hooks are manifold. It's simply lovely. One of Motown's most enduring, perennial classics. Its easy-listening groove appeals across the board. Just how good is it? Very good, I say.

The Temptations - Runaway Child, Running Wild/I Need Your Lovin' ⭐

Now for a first dip into hard-hitting Norman Whitfield-produced psychedelic soul.  Runaway Child Running Wild, in its album version, is over eight minutes of hard-hitting social comment, full of buzzsaw guitars, titanic drums, convincing vocals, sumptuous percussion and one hell of a message regarding urban living. The bit where the child cries over the insistent, funk backing is chilling. This is proof, if it were needed, that Motown were not just purveyors of boy meets girl pop. The song still works in its edited 45 rpm format too, losing none of its effect.

Eddie Kendricks' falsetto vocal on the classy ballad I Need Your Lovin' is outstanding. This song, coupled with its 'a' side, show The Temptations to be a group who could adapt to different songs and their contrasting styles and moods.

Shorty Long - Don't Mess With My Weekend/I Had A Dream/Ain't No Justice 💠

An absolute killer of a deep cut here, in this funky little cracker from Shorty Long. It has an irresistible sort of Northern Soul energetic beat to it. Shorty begs the weatherman not to deliver bad weather on his weekend, by the way. I Had A Dream is a gospelly piano-driven ballad, while Ain't No Justice returns to punchy, bassy funk. It is effectively a jam with The Funk Brothers on which Shorty plays a mean piano.

Gladys Knight & The Pips - Didn't You Know (You'd Have To Cry Sometime)/Keep An Eye

Also covered by Diana Ross on her 1971 Surrender album, Didn't You Know (You'd Have To Cry Sometime) is a big, vibrant ballad written by Ashford and Simpson. Once again, Gladys's vocal is just so damn good. The seemingly ubiquitous Andantes joined The Pips on backing vocals.

The upbeat, pounding Keep An Eye was recorded by Diana Ross on her debut solo album and it had also been done by Ross & The Supremes on their 1968 Love Child album. Gladys's version is by far the most powerful, unsurprisingly.

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Disc Two
 
Diana Ross & The Supremes & The Temptations - I'll Try Something New/The Way You Do The Things You Do

From the two groups' "supergroup" collaboration, Smokey Robinson's I'll Try Something New is both punchy and delicious, simultaneously, breaking out as it does into a bassy, brassy number. The voices from the two groups merge well. Although Diana Ross plays a big role, it is certainly not all about her. It was originally done by Smokey Robinson & The Miracles in 1962.

The cover of The Temptations' The Way You Do The Things You Do has some "applause" making you think it is a live recording. I don't think it is. The clapping is dubbed on, I'm sure. Why, God only knows.

Chuck Jackson - Are You Lonely For Me Baby/Your Wonderful Love 💠

All the Chuck Jackson tracks I have come across while reviewing these collections are impressive. I really like them all. The guy simply had a great voice - most warm and powerful. He was one of Motown's most unfortunate non-achievers. He really deserved some success, I feel. 

Your Wonderful Love is a slowie that sounds as if it was from 1962 not 1969. Although it's a good one, it sounds a little bit out of time. Chuck delivers vocally, however.

The Fantastic Four - I Feel Like I'm Falling In Love Again/Pin Point It Down 💠

More deep cut pleasure is to be found on the robust, no-nonsense soul of I Feel Like I'm Falling In Love Again, a sort of David Ruffin-ish shouter. Pin Point It Down has a Stax-like groove to it. Once more, it is a most impressive and solid offering. The brass is powerful throughout. Southside Johnny would love this, I'm sure.

Martha Reeves & The Vandellas - (We've Got) Honey Love/I'm In Love (And I Know It) ⭐

As soon as Martha Reeves & The Vandellas appear on these collections, you can hear their sheer quality. It flows from your speakers via the pounding drums and Martha's gloriously expressive voice. Along with Gladys Knight, she was among the best female vocalists at Motown. I love (We've Got) Honey Love. It is just so Vandellas. Guess what? I'm going to recommend the stereo version available on Martha Reeves & The Vandellas: Gold. Predictable, aren't I?

Even more typical of the girls' sound was the vibrant, upbeat I'm In Love (And I Know It), a song that just glows with sheer joie de vivre. The pace doesn't let up for a second, increasing as the song progresses. Could Martha cope? You bet she could. For the stereo version of this great track, check out the girls' 1968 Ridin' High album.

Earl Van Dyke - Runaway Child, Running Wild/Gonna Give Her All The Love I've Got 💠

Earl Van Dyke and the wonderful Funk Brothers cut a wonderful funk instrumental version of The Temptations' Runaway Child Running Wild that I absolutely love. It positively drips with bass funk. Boy these guys could play, couldn't they? The 'b' side, Jimmy Ruffin's Gonna Give Her All The Love I've Got, is equally intoxicating.

Jonah Jones - For Better Or Worse/Don't Mess With Bill

Continuing the instrumental vein, here we get two choice cuts from trumpeter Jonah Jones. The pieces are quality and this time they are jazzy as opposed to Earl Van Dykes funk (above). It is simply top notch musicianship.

Diana Ross & The Supremes - The Composer/The Beginning Of The End

Smokey Robinson's The Composer sounds like a Diana Ross solo number, let's be honest. No room for the other Supremes anymore, it seemed. Perhaps the 'b' side got it right - The Beginning Of The End. The song ended up being the final track on the group's final album, Cream Of the Crop. However, singles-wise, we still had a vivacious, copper-bottomed classic and also an emotional goodbye song to come. Back to The Composer - it has a delightfully percussive rhythm to it and it is one of the group's more unusual-sounding numbers. It has an appealing quirkiness, for me anyway. 

The Beginning Of The End is suitably dignified, featuring nice orchestration and an emotive vocal from Ross.

Billy Eckstine - My Cup Runneth Over/Ask The Lonely

Billy Eckstine was an older, pipe-smoking stage-show type singer and these two songs suit his style. They are quite out of time, let's be honest, but they have a somewhat kitschy appeal all the same. Eckstine had a nice, expressive, finely-tuned voice but that's about all I can say about them, really.

Marvin Gaye - Too Busy Thinking About My Baby/Wherever I Lay My Hat (That's My Home) ⭐

This corker of a song had been around since 1966 when it appeared on the Temptations' Gettin' Ready album. Marvin Gaye had a huge hit with it here. Despite its 1969 release date and success, it still retains that classic Motown sound that makes one think it is from 1965-67.

Wherever I Lay My Hat (That's My Home) dated from 1963's Stubborn Kind Of Fellow album. Its fast-paced jauntiness belies its sad theme. UK singer Paul Young had a massive number one hit with it in 1983, slowing it down and bringing out the song's intrinsic soul. Young's version has since become the definitive one in most people's minds, probably correctly.

The Four Tops - What Is A Man/Don't Bring Back Memories

I am not the first to say that What Is A Man sounds like the soundtrack song to a late sixties Western, with its lush string orchestration, overall feel and lyrics telling how a man is "not afraid to die". It is a strong one from the Four Tops, not one of their biggest hits, but a good one all the same that usually makes their "best of" compilations.

Don't Bring Back Memories was also an impressive number, containing a nice little funky guitar break that puts me in mind of Harold Melvin & The Blue Notes' 1974 hit Bad Luck. Levi Stubbs is on fine, controlled but powerful vocal form and it is yet another song that sounds equally great in mono as in stereo. 

The Honest Men - Cherie/Baby 💠

A white pop group here giving us a breezy, summery serving of perfect late sixties pop. I believe it influenced First Class's 1974 song Beach Baby in many ways. Listen to it and you will know what I mean. It is a fine piece of bubblegum-ish summer pop, ideal for listening to on the beach on a blisteringly hot afternoon. It just makes me feel happy, carefree and hopelessly nostalgic for my youth. It was written by Mike Leander, producer and composer of Gary Glitter's seventies glam material, incidentally.

In the same vein is Baby, with strong hints of Frankie Valli & The Four Seasons. Again, it is really enjoyable in its frothy way.

Jr. Walker & The All-Stars - What Does It Take (To Win Your Love)/Brainwasher ⭐

Oh, Jr. Walker, my man. How many great songs can that guy have recorded? Loads of them. From its first archetypal blaring saxophone wails the song is an absolute winner. It was a song that merged Walker's industrial strength sax-driven power with the hooky, poppy and soulful Motown sound. The result was perfection.

Brainwasher is a seriously cookin' 1962 instrumental that has Jr. blowin' his lungs inside out. Marvellous.

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Disc Three
 
The Temptations - Don't Let The Joneses Get You Down/Since I've Lost You

Don't Let The Joneses Get You Down is a thumping slice of psychedelic soul-funk - muscular bass drums, excellent trade-off vocals and those "boom-boom-boom" backing vocals so popular at the time. Check out that totally intoxicating cymbal percussion. The Temptations get the funk superbly on this underrated, bubbling but muscular number. Lyrically, it is an attack on pointless materialism - "keeping up with the Joneses".

Since I've Lost You is a classic piece of Temptations soul. I have loved it dearly since first hearing it on a compilation in the mid-seventies. I can remember trying to sing along with those Eddie Kendricks high notes without any success at all. Jimmy Ruffin first recorded the song in 1964, then The Velvelettes and Gladys Knight & The Pips on their 1967 Everybody Needs Love album.

The Isley Brothers - Just Ain't Enough Love

Just Ain't Enough Love actually dated from 1967 and the This Old Heart Of Mine album. It was remixed by Motown in an attempt to cash in on the success of It's Your Thing, released by the Isleys on the  T-Neck label. It is a typically upbeat ad poppy Motown number that sounds far more 1967 than 1969, despite being most appealing. 

The Originals - Green Grow The Lilacs

Green Grow The Lilacs was a Motown, covered by many mid-range artists. The Originals do it justice, its hooks perfectly suiting their harmonies. It is just so 1969 in its poppy sound. I can't help but like its beautiful, innocent sound.

Diana Ross & The Supremes - No Matter What Sign You Are/The Young Folks ⭐

Now we have a latter-era Supremes classic in the astrologically-themed No Matter What Sign You Are, with its zodiac references and unique, fuzzy guitar sound. I have loved this song for years. From way back when. Sing along now - "Aquarius, Sagittarius...". It remains one of my favourites of the many Motown hits. Diana Ross gives one of her finest vocal performances here too. It was possibly the last time we would hear the girls together in such irresistibly joyous harmony, trading vocals off each other gloriously. We would miss them. Lordy we would.

The Young Folks was a politically-aware number that was also covered by The Jackson 5 on their ABC album the following year. The girls give it a more soulful, slowed-down interpretation. The song's message tells us to "make way for the young folks.....they're marching with signs....standing in line". All very true but what about old folks' wisdom, huh? Girls - you're already getting on a bit, after all.

Edwin Starr - I'm Still A Struggling Man/Pretty Little Angel

This was a (comparatively) slower-pace number from Edwin Starr, but his natural power still comes across on this hard-hitting tale of aspiring for social equality. It carried a message of hope in the face of adversity. It was more of an album track than a single, however.

Pretty Little Angel was a Stevie Wonder 'b' side from 1964 whose early/mid-sixties poppiness doesn't suit Edwin Starr at all, I have to say. I wouldn't have known it was him if I didn't already know (if that makes sense!).

Gladys Knight & The Pips - The Nitty Gritty/Got Myself A Good Man ⭐

The Nitty Gritty is a punchy, pugnacious and funky number from the always reliable Gladys, as too is the bongo-enhanced Got Myself A Good Man, with Gladys in Aretha mode once more. Just listen to the sheer power of her voice on both these cuts. The best female singer at Motown by a mile (maybe including Martha Reeves not far behind too). Diana who? Nitty Gritty was originally intended for Diana Ross & The Supremes. It wasn't suited to them at all. The right choice was made after the producers heard Gladys' titanic vocal. 

Smokey Robinson & The Miracles - Doggone Right/Here I Go Again/Abraham, Martin, And John

Doggone Right is just a beautiful song in every way - its gentle guitar and bass lines and Smokey's mellifluous vocal. It is not as instant as say The Tears Of A Clown was, but it exudes sheer quality from the first note. Lovely. The same applies to the sumptuous 'b' side, Here I Go Again, but, surprisingly, a song I have always loved in Abraham, Martin And John (in Marvin Gaye's hands) just doesn't work for Smokey. I can't believe I'm saying that but it is Marvin's version all the way, for me. The song simply doesn't need its funked-up breeziness. It's a sad hymnal tribute, not a cheery pop song.

David Ruffin - I've Lost Everything I've Ever Loved/We'll Have A Good Thing Going On ⭐

Nobody could deliver a song of despair as well as David Ruffin, and he certainly does on I've Lost Everything I Ever Loved, which is full of soulful misery. Even the romantic hope of We'll Have A Good Thing Going On is expressed with that quintessential sadness. Both these songs are chock full of natural soul. Love the brass and bass too. Two of David's best here, that's for sure.

Diana Ross & The Supremes & The Temptations - Stubborn Kind Of Fellow/Try It Baby

Diana Ross takes the lead on an impressive version of Marvin Gaye's Stubborn Kind Of Fellow with Eddie Kendricks backing her up. The "supergroup" cope with the song just as you expect them to. It sounds great. I like the flute solo bit in the middle too.

Try It Baby is a jazzy, lively piece of enjoyable fluff. Also a Marvin Gaye song, it sounds much better in the album's stereo than on the single version, which was in mono. The voices are spread out by the stereo and the effect, and indeed the whole sound, is far superior, in my opinion. Indeed, for 1968, it is truly superb stereo. Although it is the single version on this collection, give me the album's superb stereo any day. As for the song itself, it has a very "supper club" jazzy big band feel to it.

Bobby Taylor - Oh, I've Been Blessed/It Should Have Been Me Loving Her

Two competent soulful chuggers from the ever-trustworthy Bobby Taylor here. Not outstandingly special, but certainly not bad either. A great mono sound is to be found on both cuts. Taylor always delivered quality. The 'a' side is the faster of the two, the 'b' side is a solid ballad.

The Lollipops - Cheatin' Is Telling On You/Need Your Love 💠

The Lollipops were a four-piece girl group who never made it. The 'a' side here has become a bit of a deep cut favourite. That doesn't surprise me - it's a good record, vibrant and immaculately-played. The girls had fine voices too. 

The 'b' side is a marvellous Northern Soul-ish upbeat track. I love it. It is ideal for inclusion on a Northern Soul rarities playlist.

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Disc Four
 
Blinky & Edwin Starr - Oh How Happy/Ooo Baby Baby 💠

Much-underrated female vocalist Blinky joined equally strong-voiced Edwin Starr on a superbly vivacious gospel number that just shines with joy. The two complement each other perfectly. It lifts me higher whenever I hear it. Praise the Lord! If you can search out the stereo version, do so, it's wonderful. Sanctified in fact.

Ooo Baby Baby is a winsome cover of Smokey Robinson & the Miracles' lush 1965 hit, with Edwin supplying a respectable falsetto. That was unexpected! For once Edwin isn't doing a stomper. Now, I love those, but I guess it's nice to hear him diversifying a bit. Blinky's voice is beautiful on it as well. She was so damn underrated.

Terry Johnson - My Spring Time/Suzie 💠

Deep cut joy for you all here. My Springtime is a nice, suitably airy number with a deep mono bass-line but it is Suzie that really does it for me. I have long loved it as a Motown rarity and find it irresistible. Also, my wife's name is Suzie but, thankfully, she is nothing like the cheating manipulating bundle of trouble that the song's character is. 

Bobby Taylor - My Girl Has Gone

Bobby Taylor's back with a delightfully fuzzy little groover of a track. Love that guitar sound.

The Temptations - I Can't Get Next To You/Running Away (Ain't Gonna Help You) ⭐

Now for some classic Temptations. I Can't Get Next To You has a super intro in the opening door and "wait a minute" vocal before it kicks into a magnificent piece of lively, funky, punchy Motown pop. It is pretty much perfect in every way. I love the jazzy vocal/percussion interplay in the song's middle.

Running Away (Ain't Gonna Hurt You) is a track I got into at the same time as Since I've Lost You. It is a similar serving of soulful fare. It has long been one of my favourites and soul is literally over it, both vocally and lyrically. It takes me right back to my young and in love teenage years. This was a seriously good 45, both sides are excellent.

Marvin Gaye - That's The Way Love Is/Gonna Keep On Tryin' Till I Win Your Love ⭐

That's The Way Love Is had been covered by both The Isley Brothers and Gladys Knight & The Pips, but it is Marvin Gaye's version that is the definitive version, being a masterpiece of rhythmic soul-funk. Gonna Keep On Tryin' Till I Win Your Love had been done by Edwin Starr and Jimmy Ruffin. Although Marvin's version is solid, I prefer Jimmy's. Once again, though, what a fine twofer this was.

Chuck Jackson - Honey Come Back/What Am I Gonna Do Without You 💠

Chuck Jackson's material was usually upbeat and soulful in a sort of Edwin Starr way, on Honey Come Back, though, he dabbles in a Jimmy Webb ballad also recorded by Glen Campbell.

What Am I Gonna Without You is a more lively, very mid-sixties and Four Tops-ish number. It has a Northern Soul feel to it. It is this song that has earned the hidden gem diamond.

The Originals - Baby, I'm For Real/Moment Of Truth

Baby, I'm For Real is another of those Originals ballads enhanced by some gentle backing saxophone. It is lush, smooth soul. The same applies to Moment Of Truth. The Originals had a string of commercial failures with many of these ballads. However good they were, they just didn't have that hit single something about them. The group dabbled in disco in 1975-77 with their critically-acclaimed Down To Love Town album, I can understand why as well - they were far more successful with it. 

Martha Reeves & The Vandellas - Taking My Love (And Leaving Me)/Heartless 

Only their second single of 1969, Taking My Love (And Leaving Me) was bassy and solid, but maybe not quite as special as many of the girls' other singles. Heartless is probably the better of the two sides, with its early/mid-sixties energetic vitality. It is sort of sounds like a cousin to Heat Wave and Quicksand, to me, anyway.

Wes Henderson - In Bed/Reality 💠

Wes Henderson was formerly the bassist for Bobby Taylor & The Vancouvers. Here he delivers a hard-hitting, bleak soul ballad - "we're born in bed, in bed we die". Indeed. It is a most powerful, thoughtful song. Rare Earth also recorded it on their Get Ready album, and Three Dog Night did it too. It must have been a good song.

Reality begins with what sounds like Gregorian chant before it breaks out into a superb piece of fuzzy guitar-driven psychedelic soul-funk. This was a really impressive pair of songs, I have to say. Unfortunately, Henderson didn't release anything else at Motown.

Diana Ross & The Supremes & The Temptations - The Weight/For Better Or Worse

Covering The Band's iconic country rock of The Weight was probably not a good idea, however. However great their voices are, it doesn't work, I'm afraid. Look, it's ok, but nothing much can match The Band's original, let's be honest. For Better Or Worse is a bit schmaltzy, I'm afraid. This combo had far better recordings in their pocket than these two.

Shorty Long - A Whiter Shade Of Pale/When You Are Available 💠

Can anyone cover Procol Harum's iconic A Whiter Shade Of Pale well? Not many. Funnily enough, little Shorty Long manages it, delivering a really soulful version of the song that I absolutely love (and I am a huge fan of the original). Shorty also contributes an absolute killer of a trumpet solo. Great stuff. I won't hear a word said against it.

When You Are Available is a regulation soul ballad. 

The Fantastic Four - Just Another Lonely Night/Don't Care Why You Want Me (Long As You Want Me)

Talking of regulation soul balladry, that is what we get here from The Fantastic Four. Both sides of the single are classy, although I find the 'b' side the more attractive and grittily soulful. 

Joe Harnell - Midnight Cowboy/Green Grow The Lilacs

Some lounge bar jazzy piano now from jazzer Joe Harnell. There's good old Green Grow The Lilacs again!

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Disc Five
 
The Marvelettes - That's How Heartaches Are Made/Rainy Mourning

Two high quality mid-pace numbers from The Marvelettes. Unfortunately, it pretty much marked the end of this fine girl group, one who had Motown history running all through them. They would return with only Wanda Rogers present (backed by The Andantes), but this marked a definite end of an era. Sad.

Stu Gardner - Home On the Range (Everybody Needs A Home)/It's A Family Thang/Mend This Generation 💠

Home On The Range (Everybody Needs A Home) is a slow-burning piece of soul-funk that showed once more that Stu Gardner cut some good records, none of which made it. It's A Family Thang is also hard-hitting, gutsy soul as indeed is the gospelly and socially-aware Mend This Generation. - "we've got to raise our voices and tell it like it is". Stu Gardner was, like Chuck Jackson, an artist who never really made it but didn't appear to put a bad record out either.

Monk Montgomery - A Place In The Sun/Your Love 💠

Veteran jazz bassist Monk Montgomery provides a couple of notable instrumental rarities here 9yes it is Stevie wonder's A Place In The Sun). Unsurprisingly, the bass is superb on both tracks, something I am going to love. He was a thumb-playing bassist too and you can somehow tell, the sound is so deep and throbby.

Stevie Wonder - Never Had A Dream Come True/Yester-Me, Yester-You, Yesterday/I'd Be A Fool Right Now ⭐

The vocal for the enjoyable singalong and catchy Never Had A Dream Come True was recorded in late 1969, however, but ended up being released as an 'a' side the following year (see Vol. 10) It is up there with Stevie's classic singles from the late sixties/early seventies, before he had become more of a full-on album artist. It definitely has that throwback vibe to its sound, understandably, given its recording history. I love it from the very first typically Motown drum intro and those "doo-doo-doo" backing vocals. When Stevie arrives - well, surely everyone is singing along. It's simply a great song, isn't it? Stevie had so much innate soul.

The eventual 'a' side here, Yester-Me, Yester-You, Yesterday, is a big slice of bassy, soulful beauty and was deservedly a huge hit.

The sound quality drops a little on the verse parts of I'd Be A Fool Right Now. It sounds a bit muffled, hissy and tinny for some reason. It dated from 1968's For Once In My Life album. Apparently, the song is famous for bassist James Jamerson's performance, which is said to be technically brilliant. That's as maybe, but for me the song still suffers from poor production.

Arthur Adams - It's Private Tonight/Let's Make Some Love 💠

The soulful ballad It's Private Tonight also appeared as a 'b' side in the 1970 collection. I said there that it has a feel of Otis Redding about it, in both the vocal and the big brass breaks. 

Let's Make Some Love features some really agile bass-lines backing its brassy, Al Green-style soul.

Jr. Walker & The All-Stars - These Eyes/I've Got To Find A Way To Win Maria Back

These Eyes is a soulful groove in the fashion of What Does It Take (To Win Your Love For Me). Old Jr. has turned from a blower to a smoocher these last few months, hasn't he? The merging of styles proved successful.

There were so many songs about Maria at Motown, weren't they? Most of them by Jimmy Ruffin. I'm not sure he covered this one, though.. Either way, Jr. contributes a melodious vocal to a breezy little tune. Once more, this is not like much of Jr.'s previous material. He still finds time for a soaring sax solo near the end, however.

Gladys Knight & The Pips - Friendship Train/Cloud Nine ⭐

The social consciousness of Friendship Train, with its searing guitar intro, is both rousing and uplifting. "This train stands for justice..." an unbridled, on fire Gladys hollers. My, that girl had a funky side to her, something that is often overlooked - her voice on this is great, she is in total command. Listening to these late sixties/early seventies volumes, every time a Gladys track comes on my ears prick up all the way. There is a lot of The Staple Singers and The Undisputed Truth in the funky groove of this one. 

Gladys & The Pips' powerful, funky take on The Temptations' Cloud Nine is also mightily impressive, but it is, unfortunately, another version of a song that was a big hit for someone else, along with I Heard It Through The Grapevine and The Tracks Of My Tears. Gladys was never happy with their take on it - "I couldn't really put myself into Cloud Nine because I couldn't relate to the dope thing", she said.

The Spinners - In My Diary/(She's Gonna Love Me) At Sundown 💠

She's Gonna Love Me (At Sundown) is genuine Motown nirvana and In My Diary harks back to the balladry of early sixties Motown with its falsetto vocal. Indeed, it dated back to a Moonglows single from 1955. Both the cuts here are seriously good stuff. You can't go wrong with The Spinners in my opinion.

The Jackson 5 - I Want You Back/Who's Lovin' You ⭐

I Want You Back needs no introduction, does it? It is a wonderful piece of pop perfection. I have known the record now for over fifty years and I never, and I mean never, get tired of it. From that rolling, descending piano intro through its funky guitar, infectious bongos and frantic vocals it is just a pure delight. "A boo-boo-boo-boo-boooh...". Indeed. Love it. It is one of Motown's greatest songs of all time and is up there as one of the greatest pure pop songs of all time too. The Jackson 5, Motown's last big mighty discovery, were here. And how. Michael was the original rock and roll baby - barely into double figures but he sure knew how to sing the blues.....

Smokey Robinson’s Who’s Lovin’ You sees Michael back on lead vocals that impressively match Robinson’s. The track has a slow, bluesy feel to it too, that is decidedly uncommercial. The boys were already proving that were not the bubblegum outfit many had ridiculously dismissed them as being.

Jimmy Ruffin - If You Will Let Me, I Know I Can/Farewell Is A Lonely Sound ⭐

Released as the 'a' side in the UK and making the top ten, Farewell Is A Lonely Sound is just three minutes of Motown Heaven. It is well known by many by now. No need for further comment from me, apart to say that Ruffin's voice never sounded better, yes, it equals What Becomes Of The Broken Hearted. It dated from 1967 but its appeal is timeless.

If You Will Let Me, I Know I Can possesses a sweet, melodic and bassy Motown vibe. The 'b' side here was by far the better track, though. It sounds a bit Detroit Spinners-esque in the vocal at times.

Dorothy, Oma & Zelpha - Gonna Put It On Your Mind/Henry Blake 💠

A group here that totally passed me by, I have to say. Oma was Oma Heard, who did a couple of duets with Marvin Gaye in the early sixties, other than that I am in the dark. Gonna Put It On Your Mind is, though, a stonker of a little funker. It kicks serious funky ass. 

Henry Blake also cooks too, not quite as much as the 'a' side, but it still had something about it.

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Disc Six
 
Diana Ross & The Supremes - Someday We'll Be Together/He's My Sunny Boy ⭐

Another classic from Diana Ross & The Supremes (allegedly) in Someday We'll Be Together, which lyrically seems to go hand in hand with the fact that the group were breaking up. The song was intended to be Ross's first solo single but it ended up being credited to the group, although I'm not sure if Mary Wilson or Cindy Birdsong actually appeared on it. Research tells me that the backing vocals were supplied by Maxine and Julia Walters, so it is not a Supremes song at all, despite history telling us that it is. Berry Gordy wanted it accredited to the group to fit in with the "farewell" theme.

Smokey Robinson's He's My Sunny Boy featured Mary Wilson and Cindy Birdsong (quite right too) and you can tell. There is a joyous feeling throughout. The song actually first appeared on 1968's Love Child album.

The Four Tops - Don't Let Him Take Your Love From Me/The Key

Another song that was originally done by Gladys Knight & The Pips, and also Jimmy Ruffin. It is a lively, powerful number but actually not one that particularly sticks in the mind.

Slightly more appealing, to me, is the mid-pace soul groove of The Key. The song has an underrated appeal to it, with a catchy melody and nice bass backing. The Four Tops' output was so good that songs like this, that many groups would give their eye teeth for, tended to get unfortunately overlooked.

Chuck Jackson - Baby, I'll Get It/The Day My World Stood Still

Baby I'll Get It was an unremarkable ballad from Chuck Jackson, while the thumping beat of Smokey Robinson's The Day The World Stood Still is far more impressive to me. How many songs did Smokey write, by the way? His output was mind-blowingly prolific.

Marvin Gaye & Tammi Terrell - What You Gave Me/How You Gonna Keep It (After You Get It)

Two attractive numbers here from this couple who constantly recorded quality material. The 'a' side is slightly the catchier. What You Gave Me is a nicely, swinging, beautifully catchy number with the two voices sounding particularly soulful. Apparently, according to Gaye, Valerie Simpson was singing the ailing Tammi's parts by this time. To me, Tammi sounds just like Tammi on this, not anyone else. It's sure it's her. It just is. Her accent, her nuances, everything.

How You Gonna Keep It (After You Get It) is a sensual, soulful slower number that chugs along solidly. Once more the vocal "knitting" is close to perfection. It has a lovely, deep and warm bassline too. 

Rare Earth - Generation (Light Up The Sky)/Magic Key

This was Motown's six-piece white rock band Rare Earth's first single. It was a non-album track that doubled up as a theme tune for an ill-fated TV comedy show. It is a lively, hippy-ish number about lighting up the sky with love. It is organ-driven and totally un-Motown in its sound. Changes were afoot. Rare Earth opened up the door for several other similar groups to record for Motown. Indeed, Motown launched an imprint label called Rare Earth for these type of groups. Many of them can be found on subsequent volumes of this collection.

Magic Key is a lively, pounding number, full of bristling fuzzy guitar, thumping drums, country rock-sounding "doo-doo" backing vocals and a late sixties freaky vibe, both in the music and the lyrics. It is almost psychedelic in places, as well as freakbeat-ish. It is a notable Motown rarity and well worthy having credibility bestowed upon it. It rocks punchily from beginning to end. 

David Ruffin - I'm So Glad I Fell For You/I Pray Everyday You Won't Regret Loving Me

Apparently curmudgeonly Ruffin wasn't happy with the gospelly sound of I'm So Glad I Fell For You - "they were sending me back to church", the old cocaine sniffer grumpily declared. The song has a big, full kitchen sink production and, actually David sounds enthusiastic enough. The production is a bit ropey, though - muffled and murky. That said, the "alternate mix" of the song sounds considerably clearer.

Much better, in my opinion, is the muscular secular soul of I Pray Everyday You Won't Regret Loving Me. It duly got more airplay than the 'a' side. Both tracks appeared on Ruffin's Feelin' Good album.

Smokey Robinson & The Miracles - Point It Out/Darling Dear 

Point It Out was another immaculate and gentle single that, while sumptuously beautiful, was more of an album track than a hit single. The same can be said of the slightly bossa nova subtle groove of Darling Dear. The song is augmented by some beautiful saxophone and on both numbers, Robinson's vocal is just so good. This was quality, adult music that belonged on an album as opposed to trying to succeed as "charty" pop hits. Incidentally, the opening guitar line to Point It Out reminds me of that which Robinson used on his excellent Just My Soul Responding solo single in 1974. 

Anonymous Children Of Today - Can We Talk To You? (For A Little While)/Love And Peace

The children on this choral plea for change in the world remain anonymous. The musicians were The Jazz Crusaders and Arthur Adams. The song is somewhat syrupy despite its fine intentions, getting in on the contemporary desire to change what as an increasingly fucked-up world. The 'a' side is little over two minutes long and is over almost before it has started. The 'b' side calls for an end to fighting in a Lennon-esque call for love and peace.

The Rustix - Can't You Hear The Music Play/I Guess This Is Goodbye

Following on from Rare Earth came another white soul group in The Rustix. Both the tracks are competent enough late sixties brassy, soulful rock songs. They are a bit like a slightly more commercial version of Chicago. Quite what they were doing on Motown is a bit of a mystery. They would stick around for another three years or so as well! Check out some of the subsequent volumes. 

The Five Smooth Stones - I Will Never Love Another/Love Unto Me

Quite who The Five Smooth Stones were is not something I know. They sound white and choral, like The Seekers - with male and female voices in tandem - but with a slightly punchier, more orchestrated backing. Nothing much to hear here folks. Move on.

Marvin Gaye - How Can I Forget/Gonna Give Her All The Love I've Got

How Can I Forget is an early funker for Marvin Gaye. The song has strong hints of psychedelic soul in the guitar work. Gonna Give Her All The Love I've Got is his version of the song made a hit by Jimmy Ruffin. It is much, much slower than Ruffin's and, for me, much the inferior. It still has an appeal, but when you are so familiar with another version, you tend to stick with that one. Well I do, anyway.

The Temptations - Psychedelic Shack/That's The Way Love Is

The traditional "Motown Sound" was abandoned by Norman Whitfield for Psychedelic Shack and we had rock guitars, electronic keyboards, sound effects, multi-tracked vocals and a huge thumping, funky drum sound. Whitfield the producer and The Temptations virtually invented "psychedelic soul" as they merged funky rhythms, soulful vocals, rock psychedelia with vast-emerging black consciousness and environmental issues. This was really something quite ground-breaking. The album of the same name's front cover sees the band members pictured in the windows of a gaudy hippy "shack" with a peace sign and "flower power" graffiti on it, along with myriad rainbow colours. They look a bit bemused by it, to be honest. Whitfield was far more "on message" than the individual group members were. Paul Williams was ill, and Eddie Kendrick was falling out with Otis Williams and Melvin Franklin. Listening to the album, though, you would never know it. They simply obeyed Whitfield's commands and laid it down.

That's The Way Love Is is a catchy, soulful mid-paced number. Nothing more, nothing less. The Temptations gave you quality even on their 'b' sides.

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