Motown Chartbusters: Volume 1

Stevie Wonder - Blowin' In the Wind 1966

Stevie takes on Bob Dylan's classic and makes a good fist of it - the trade-off backing vocals are (I think) supplied by Clarence Paul. Not everyone can cover Dylan well. Stevie manages it here, packing it full of his own unique soul. 

Diana Ross & The Supremes - You Keep Me Hangin' On 1966

Diana Ross & The Supremes at their best - harmonious, vibrant, effervescent and backed by that instantly recognisable morse code-sounding backing. It was covered in unconvincing slowed-down style by Rod Stewart on his 1977 album Foot Loose And Fancy Free.

The Four Tops - Standing In The Shadows Of Love 1967

The iconic "Reach Out part two" of Standing In The Shadows Of Love has been covered a few times in slowed-down fashion, notably by Barry White (in 1973, on his I've Got So Much To Give album) and Rod Stewart (again! In 1978, on his Blondes Have More Fun album this time). Neither of which worked. The Four Tops' original upbeat, conga-driven style is the only way to go, for me. More great percussion features on here - just as on Reach Out I'll Be There - check out those groovy pre-chorus congas. 

Marvin Gaye & Kim Weston - It Takes Two 1965

Marvin Gaye and Kim Weston give it their all on this totally infectious number. Marvin certainly got the best out of his female vocal partners didn't he? As with Tammi Terrell, the chemistry is clear in every enthusiastically-delivered note. The song is just one of those instantly uplifting ones.

The Marvelettes - When You're Young And In Love 1967

A lovely song here. It dated from 1967 but had a feeling of being a much earlier song (I think it originally dated back to 1964, recorded by Ruby & The Romantics). It is packed full of summery atmosphere and an innocent teenage romanticism. 

The Temptations (I Know) I'm Losing You 1966

A magnificent piece of punchy, bluesy soul here from The Temptations. Talking of Rod Stewart covers - he did this superbly on his 1971 album Every Picture Tells A Story. The Temptations original is just so good, though, delivered with a real grittiness unusual for late 1966. How good is David Ruffin's lead vocal? His finest Temptations moment?

Jimmy Ruffin - What Becomes Of The Brokenhearted 1966

What Becomes Of The Brokenhearted is, of course, a timeless Motown classic. It needs no introduction from me, does it? An interesting rarity is an extended version of the song featuring a spoken intro. The only CD version of this I can find is on the Motown Stereo Box. 

Diana Ross & The Supremes - The Happening 1967

Just sheer joy from beginning to end. The girls are on top form on this oh-so mid-sixties piece of perfect pop. It was the theme song to a film of the same name. I have loved the song since the time of release in the sixties when my mother loved it. 

The Four Tops - Seven Rooms Of Gloom 1967

Seven Rooms Of Gloom from The Four Tops is up next as the hits just keep coming. It is actually quite a complex song, with what is, I am sure, a difficult vocal to deliver and a huge, pulsating bass line. I love the keyboard line. It is solid and robust as opposed to pure pop and not quite as instantly catchy as some songs, but, before you know it, it's got you. Blondie also covered the song live in the late seventies.

Jr. Walker & The All-Stars - How Sweet It Is (To Be Loved By You) 1966

Of course, Marvin Gaye had a huge hit with this the previous year, but Walker's was an equally big smash, and benefitted from a grittier, more raw-edged approach in comparison to Gaye's smoother, slicker version. 

Martha Reeves & The Vandellas - I'm Ready For Love 1966

For me, Martha Reeves & The Vandellas were easily up there with Diana Ross & The Supremes. Indeed, I have always found the more gritty, earthy, sexy and soulful. Martha Reeves had much, much the better voice in comparison with Diana Ross. Hers was so strong, so expressive. This is one of their best, pounding along with that wonderful deep baritone Motown saxophone driving the song throughout. Martha and the girls soar alongside it. It is an irrepressible number, overflowing with energy. I love it. Anything they did sends me higher and higher.

Diana Ross & The Supremes - Love Is Here And Now You're Gone 1967

Talking of Diana and her mates, here we have a typical serving of Supremes soul. It is backed by some catchy keyboards, strings and that archetypal Motown percussion sound. Michael Jackson also covered the song on his 1972 debut solo album.

Jimmy Ruffin - Gonna Give Her All The Love I've Got 1967

Another big hit single is up next in the excellent strains of Jimmy Ruffin's Gonna Give Her All The Love I've Got. Jimmy loved getting on trains, it seemed, and he does so here as to tell his baby how much he had missed her. He's not saying goodbye this time. The song is fast and mighty catchy and was also covered by The Temptations, Marvin Gaye and Earl Van Dyke. The latter was an instrumental. 

Stevie Wonder - I Was Made To Love Her 1967

I Was Made To Love Her was a catchy hit single guaranteed to chart. It had a great bass line, a catchy refrain and told a tale of the young Stevie's romantic past. Oh and it had a killer harmonica solo too. We would get used to those. The Beach Boys did an impressive cover of it on their late 1967 Wild Honey album.

Gladys Knight & The Pips - Take Me In Your Arms And Love Me 1967

Take Me In Your Arms And Love Me is Gladys's finest moment on its parent album, Everybody Needs Love. It is another supremely confident vocal over a solid backing with an instantly recognisable baroque-sounding keyboard part. It should have been a much bigger hit than it actually was.

Martha Reeves & The Vandellas - Jimmy Mack 1967

For some reason this track has sort of ended up as a bit of a Motown deep cut. In 1976, when it appeared on the Motown Gold compilation, its stock appeared to be high, but its presence on both compilations and radio play seems to have faded over the years. Consequently, I had almost forgotten about it. I'm not sure why, because it pounds and stomps with the best of them. Check out the saxophone solo too.