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Motown Greatest Hits

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For items that are dispatched using our standard service, we ask that you wait 14 days from the date of dispatch before reporting any items as undelivered. The album’s final groover, Ain’t That The Truth, leads us directly back to the Motown Sound right down to the signature tambourine snappin’ on the offbeat. Stevie Wonder and Marvin Gaye hired their own bands; ubiquitous LA session men backed Diana Ross, Smokey Robinson, The Supremes and the other stars who remained; Norman Whitfield followed Holland-Dozier-Holland through the out door and quit, as did four-fifths of The Jackson 5. or healing the world’s pain with the sheer exultation of this album’s mightily comforting, all-encompassing bear-hug of a title track. But Gaye’s own attitude to sex was complicated – his preacher father’s fire and brimstone prudery had planted a seedling of guilt that never withered – and Let’s Get It On would not be the great art it is if it were a mere carnival of zipless erotomania.

She was the best female singer, bar none, to cross the threshold of 2648 West Grand Boulevard, but Gladys Knight was never considered an A-List priority act as far as Motown was concerned, so intent was the focus on promoting Diana Ross’s career. The label had moved to Los Angeles and the core studio musicians – aka the Funk Brothers – who had recorded the distinctive, inventive backgrounds, were largely discarded. Pretty much a straight-ahead instrumental soloist, he took an even more direct route as singer, aiming for visceral connection and power. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. We use cookies to give you the best possible experience on our site, provide personalised content and advertising, analyse our traffic, and ensure you see more of what you love.It must be the weirdest ever song to carry co-writing credits by a husband and wife, but Anna Gaye (sister of Motown boss Berry Gordy) had already ceded her position in the Marv bedroom to Janis Hunter, jazz legend Slim Gaillard’s 17-year-old daughter.

When they came over to Motown while their last Ric Tic hit was scaling the charts, bigger things looked set to follow. In recent years many of my unissued Motown recordings have been released for the very first time, most of which I had completely forgotten about. Now we serve up the main course with this expanded reissue of “The Artistry Of Brenda Holloway”, a compilation LP released exclusively in the UK in 1968.Certain items can take longer to source than the estimated week, particularly during busy trading periods and may take longer to arrive at our warehouse.

In January 2023 under Chivon Dean's new leadership as president and CEO, Motown has been divested from the Capitol Music Group while remaining under the Universal Music Group.Like all legends, it’s probably rubbish, but listening again to this euphoric heat-haze of an album, it kinda makes sense. Irrespective of the source, all of our collectables meet our strict grading and are 100% guaranteed.

The group did come very close to having an album release on Motown’s Soul imprint – to the point where a master tape was sent to the pressing plant before the plug was pulled.The bonus titles span Brenda’s Motown career, from 1964’s pop-sounding ‘Mr Lifeguard (Come And Rescue Me)’ to the soulful ‘It’s Love I Need’, completed just a few months before her departure from the company in 1968. The album comprised an overview of Brenda’s four-year spell with Motown, featuring all of her USA-sides, five B-sides and two tracks from her “Every Little Bit Hurts” long-player. Primarily recorded at the Record Plant in Los Angeles, Innervisions is another masterclass of instrumental ingenuity and studio suss, but its genius lies in the concise arrangements – most fuelled by the pulse of Margouleff and Cecil’s TONTO synthesizer – and the clarity of his message. My Girl Has Gone, the fourth US hit single, follows with its dramatic crashes of orchestration on each chorus, contrastingly sharply with each gentler, more ruminative verse. Witness the seven-and-a-half minute, clavinet-stomp of Living For The City – a biting exposé of metropolitan decay in which the boy “born in hard time Mississippi” struggles to find a job “’cause where he lives they don’t use coloured people”.

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