Motown Gold
This was one of the first Motown compilations I bought ( I think Motown Chartbusters Vol. 3 was the first). I listened to it endlessly back in 1976. Every track is a solid gold brick. What a great way to get into Motown. I will always have an affection for it and have re-produced it as a digital playlist (it is long out of print).
The Four Tops - Reach Out I'll Be There
Who doesn't start drumming on their computer desk when this comes on? Not me, that's for sure! Would you believe the rhyme scheme on this iconic song was inspired by Bob Dylan's contemporary material? The same goes for Levi Stubbs' phrasing too. I would never have thought that, but, listening to it, I can hear it. It's the emphasis on the last words in the verses. Guess what too? You got it - as regularly occurred Motown Quality Control had initial problems with it - Smokey Robinson hated it. What did he know eh? It is possibly the most famous Motown song of all time.
(Diana Ross &) The Supremes - Baby Love
Following on from the successful Where Did Our Love Go, Baby Love was number one everywhere, and possibly remains to this day as the archetypal Supremes song. The one everyone knows. The song was re-cut several times and the "early version" appears on the double CD release of the Where Did Our Love Go album. I have to say that this is my favourite version of the song - it is slower, gutsier, more bluesy, longer and has a great, deeper saxophone solo. It wasn't chosen, though, and the eventual, more handclappy, poppier and more shimmery release has gone down as one of the most influential pop singles of all time. That is the one that appears here. There is also a "jukebox single version" that also sounds slightly different. Confusing, huh?
Marvin Gaye - I Heard It Through The Grapevine
What more can be said about I Heard It through The Grapevine? It is sort of unique, isn't it? Many say it has a mysterious melody and backbeat to it and, listening to it again, I guess that is true, although I've never quite picked up on that. It's just a damn good tune to me, but I know what they mean. That keyboard and tambourine intro. Once more, Motown "Quality Control" executives initially rejected the song as a potential single, by the way. The song was originally recorded by good old Gladys Knight, of course. She struck unlucky - again!
Diana Ross & The Supremes & The Temptations - I'm Gonna Make You Love Me
A huge hit, the timeless I'm Gonna Make You Love Me, keeps the quality coming. It is possibly the best of all the inter-artist Motown collaborations.
Jr. Walker & The All-Stars - Walk In The Night
Walk In The Night, a beautiful, catchy saxophone-driven (mainly) instrumental, was a huge hit, and deservedly so. Once again, it is a successful partnership of saxophone and backing singers. Great stuff. I have loved the track for years now, right back to 1976, when I first heard it on this very vinyl compilation I am reviewing. For me it is one of the greatest instrumental hits of all time. The only vocals on it are a few "walk in the night, dah-dooby-dooby-dah" lines.
Diana Ross - I'm Still Waiting
A huge number one UK hit here for Diana Ross with a song that is always considered a Motown classic yet isn't quite in the Dancing In The Street/Reach Out I'll Be There style. We're talking small margins here, remember. It is a sweet tale of childhood love delivered in appropriately sugary fashion by Diana. I can't say I have ever been an enormous fan of it, but it is one of those that has a function of bringing a feeling of pure nostalgia.
Stevie Wonder - Yester-Me, Yester-You, Yesterday
Originally a 'b' side, eventually an 'a' side, Yester-Me, Yester-You, Yesterday is a big slice of bassy, soulful beauty and was deservedly a huge hit for Stevie. He was on a roll, singles-wise in this period - hit after great hit.
The Jackson 5 - I'll Be There
The Jackson 5's first single release ballad. I'll Be There is possibly The Jackson 5's finest ever song. It is just the definitive Motown soul ballad. Michael's vocal is sumptuous. This single was a transitional one between the bubblegum, pre-teen pop of the first three 45s to a group wanting to be taken seriously as a credible soul group. The bit where Michael sings "just look over your shoulders honey -ooooh!" is simply wonderful, as too is that distinctive, instantly recognisable keyboard intro. All the members contribute to what is a perfect number and Michael sings as if he is an experienced old veteran in the game of love, not a mere kid. Who can't love it, I ask you?
Martha Reeves & The Vandellas - Jimmy Mack
For some reason this track has sort of ended up as a bit of a Motown deep cut. In 1976, when it appeared on this 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.
Diana Ross & Marvin Gaye - You Are Everything
The big hit You Are Everything is very well-known and the two singers combine superbly, but not everything was rosy between the two. For various reasons, Gaye was loth to join up with Ross. He also blotted his copybook by smoking marijuana in the studio (as was his wont) as the then pregnant Ross showed up. Arguments and tension ensued. Then there was the problem of the billing - whose name would be mentioned first. Ross got the nod. It was surprising, therefore, that the ensuing album turned out to be a very successful and polished sounding affair. Some of the material was recorded with the artists in separate studios but you would never have known. The song's album has a high quality sound throughout - nice and warm with a fine seventies stereo separation and a deep bass sound. This is exemplified in this excellent lovelorn single.
Gladys Knight & The Pips - Help Me Make It Through The Night
A true 100% classic Motown ballad and arguably Gladys's greatest ever single/song (certainly for Motown). Everything about it is just beautiful. There's really not much more to say, is there? Soul Heaven. What a bass-line too. The song was written, incidentally, by Kris Kristofferson while sitting on an oil tower platform in South Louisiana. Are The Pips on it, by the way?
Jimmy Ruffin - What Becomes Of The Brokenhearted
Check out any "best of Motown" list and this will be in the top ten, probably in the top five, possibly even number one. It is that good. It made Jimmy Ruffin's career, setting him up for the rest of his life. It was originally intended for Ivy Jo Hunter or The Spinners, but Jimmy heard the song being rehearsed in the studio and staked a claim on it. A real rarity, of course, is the extended version that has the original spoken part before the main song kicks in. Luckily, I have that one too. The song was covered by Bruce Springsteen on his 2022 Only The Strong Survive album of soul covers.
The Supremes - Stoned Love
Now, talking of Motown classics, what about the next track, Stoned Love, a song that had short and long versions - the latter featuring its little played slow tempo vocal intro. I have to admit to preferring the barnstorming, concise and totally glorious single version, however, which is the one we get here. Anyway, it soon 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.
Michael Jackson - Got To Be There
This was Michael Jackson's first solo single. Motown wanted him to rival Donny Osmond. They needn't have worried. Just as vocal coach Suzee Ikeda said - "Michael is a much better singer than Donny Osmond". He proved her right. Of course, Got To Be There is just sublime anyway. I can't believe Berry Gordy etc thought it not to be the right choice at the time. It is one of his best songs, even though he was only twelve when he recorded it. Just astonishingly precocious, wasn't he?
The Temptations - Just My imagination (Running Away With Me)
Just Your Imagination (Running Away With Me) is a sublime, perfect creation and is regularly included in those "all time Motown best of" lists. Rightly so. From the bass intro, via the strings and the backing vocals through to Eddie Kendricks' beautiful lead vocal (his final one for The Temptations) the song is peerless. Oh, and how could I forget Paul Williams "every night on my knees I pray" solo vocal on the bridge? The song was also covered by The Rolling Stones on their 1978 Some Girls album and, on their performance of it on their 2007 Shine A Light live album, Mick Jagger memorably embellishes the song's killer line into "she doesn't fucking know me!" in a classic Jagger voice. Check it out.
Syreeta - Your Kiss Is Sweet
In such exalted company this is the weakest song on offer here. Surely there were better ones? Of course there were. Anyway, a collaboration with Syreeta's then husband Stevie Wonder, Your Kiss Is Sweet is blatant, strident, singalong pop, nothing more, nothing less. Yes Stevie could do serious music as 1973's Innervisions album showed, but he couldn't half pen a catchy pop song too.
Smokey Robinson & The Miracles - Tears Of A Clown
The Tears Of A Clown needs no real introduction, does it? One of Motown's biggest hits ever. Actually dating from 1967, quite why it was not immediately singled out as a potential hit defies belief. That is not a feeling in retrospect, either, I’m sure that the track would stand out whether you knew it had been a hit or not. It is also worth stating that the sound on the song is one of the best I have heard it (the introduction is often notoriously a bit dodgy, sound-wise).
The Commodores - Machine Gun
A bit of funk to finish on - Machine Gun was a really big hit, which was slightly surprising as it was an instrumental. It is, however, a sublime piece of clavinet-driven funk. The percussion is infectious and there are some spacey keyboard interjections throughout. This was my first experience of The Commodores, so my early memories of them are of this sort of thing, as opposed to smoochy ballads.
