The moods of Marvin Gaye are many, even at this early point in his career – as the set has the young Marvin really taking off strongly – hitting hard on classic Motown groovers, but also showing a sensitive side at times too! The album kicks off with some killer rhythms on cuts like "I'll Be Doggone", "Little Darling", and "Take This Heart Of Mine" – really setting the stage for a batch of cuts that makes the album one of Gaye's strongest from the early years, thanks to some bold song writing from Smokey Robinson and other mighty Motown talents. Other cuts include the classic "Ain't That Peculiar", and side two slows things down a bit, showing mellow moods on cuts like "Night Life", "You're The One For Me", "I Worry Bout You", and "One For My Baby". LP, Vinyl record album

The last bit of sweetness we ever received from Marvin Gaye – a sublime single that crossed over big, but which still retained all the loving soul of the later Motown years! The tune's got a nice little 80s groove undercurrent that somehow stands up even more strongly now than it did when first released. 7-inch, Vinyl record

Kind of an ultimate Marvin Gaye hits compilation – issued in 1970, with one of the most badass Motown covers of the time! The album's got a famous image of Gaye as a black Superman – flying high on the cover of a set that's filled with some of his best 60s work for Motown – and for some reason, there seems to be a few more cuts in the package than you might get in the usual hits collection of the time. Every title's a classic – and tunes include "Pride & Joy", "That's The Way Love Is", "Ain't That Peculiar", "Stubborn Kind Of Fellow", "Too Busy Thinking About My Baby", and "Hitch Hike". LP, Vinyl record album

Marvin Gaye shows another wonderful side of his talents in the early Motown years – a classy, crooing approach that was perfect for this tribute to Nat King Cole! There's a great mix of jazz and soul going on here that's a bit different than some of Marvin's other Motown work of the 60s – and although some tracks are quite Cole-like at times, with a surprisingly accurate approximation of Nat's style – there's plenty others that almost seem to point towards the growing sophistication in Gaye's style that would emerge more strongly at the end of the 60s. Titles include "Straighten Up & Fly Right", "Nature Boy", "Unforgettable", "Send For Me", and a pretty great reading of "Calypso Blues", with a nice stepping groove! LP, Vinyl record album

Fantastic soul duets between Marvin & Tammi Terrell – a landmark pair in 60s soul music, and easily one of the best male/female duos in pop music ever! Marvin and Tammi have a way of singing together that makes you feel like they're speaking the tunes, not singing them – a personal, intimate quality that's almost as if we're sneaking in on them behind closed doors – and not hearing their voices cast out in front of full backing in the Motown studios. Even when the tunes are familiar, they're still bracingly emotive – Includes stone classics like "Ain't No Mountain High Enough" and "If I Could Build My World Around You", plus "Hold Me Oh My Darling", "Somethin Stupid", "You Got What It Takes", and "If This World Were Mine". LP, Vinyl record album

Sublime work from The Glass House – two full albums, plus bonus tracks too! First up is Inside The Glass House – a great album by one of lost groups on the Invictus label! Glass House were a stellar male/female vocal group with a good deep soul sound – very much in the spirit of other Invictus albums of the era, with a tremendous feel for down home, gritty soul but executed with the smooth HDH vibe – a really wonderful blend that's slightly different than other Holland-Dozier-Holland productions of the time – making The Glass House a real standout in 70s soul! Ronald Dunbar handled all of the production for Holland-Dozier-Holland, and he also wrote most of the tracks – and titles include "You Ain't Livin' Unless You're Lovin", "Crumbs Off The Table", "Heaven Is There To Guide Us", and "I Surrendered". Thanks I Needed That is the sublime second album from The Glass House – even rarer than the group's first, and an overlooked gem in the Holland-Dozier-Holland treasure box of the early 70s! There's a sweetness here that you don't always find on other H-D-H projects – a touch of harmony soul that really makes the album come off with a great deal of charm, even though there's plenty of Invictus Records force in the grooves – that great post-Motown sound that the label pioneered as the second generation of Detroit soul. Arrangements are by McKinley Jackson and HB Barnum – and the album's filled with great titles that include "Horse & Rider", "House Is Not A Home", "VIP", "Thanks I Needed That", "Don't Let It Rain On Me", and "Giving Up The Ring". CD also features 6 bonus tracks – including "He's In My Life", "Bad Bill Of Goods", "I Can't Be You", "Playing Games", "It Ain't The World", and "Let It Flow (single)". CD

Derrick Harriott may sing Jamaican reggae, but he does so here with plenty of help from American soul – as half the record features songs from the US 60s scene, including some Motown and southern soul gems – all retooled nicely for the sound of young Kingston! Derrick produced the set himself, and gets the groove just right for that warmly crackling vocal style of his – getting help from Bobby Ellis and Boris Gardinier on the arrangements – in a lineup that features Earl Chinna Smith on guitar, Winston Wright on organ, and Val Bennett on tenor sax. Titles include "It's Alright", "I'm Not Begging", "You Really Got A Hold On Me", "Have Some Mercy", "Sitting ON Top", "Close To Me", "Standing In", and "Long Time". LP, Vinyl record album

One of our favorites in the colossal reissue and compilation series put together by Pressure Sounds. Deep soulful roots cuts, all produced by Derrick Harriott, one of the finest producers of Jamaican music, with a feel that is at times reminiscent of some of the best soul cuts coming out of Motown or Curtis Mayfield's productions. Most of the tracks here are DJ cuts, with some of the best, like Big Youth & U Roy chatting over the bubbling rhythms, and a couple of nice harmony tracks featuring the Ethiopians, plus some instrumentals with Augustus Pablo blowing some nice melodica lines. Derrick even takes a vocal turn himself on the massive 12" version of "Slave". Also included are Dennis Brown's "Concentration", an version of "Dock of the Bay" by Big Youth & the Ethiopians "Good Ambition". 16 tracks in all. CD

Two rare 60s soul albums – back to back on a single CD! First up is Soul Superman by The Hesitations – a wonderful album of rare Detroit soul – and quite possibly the best full length set ever recorded by this sublime 60s harmony group! There's a really righteous approach to most of the material – a deeper sound than you might expect from the group's more formal look on the cover – and the set was put together by Jack Ashford and the Pied Piper team – who give the record this great "in the shadows of Motown" vibe – that farther side of the Detroit scene, but with a quality that's top shelf all the way through! The vocal range of the group is fantastic – and not only that, there's a heck of a lot of great writing on the set – what we can tell, nearly every number is exclusive to this set. Titles include "Soul Superman", "You'll Never Know", "She Won't Come Back", "Soul Kind Of Love", "I'll Be Right There", "Wait A Minute", and "I'm Not Build That Way". Next is With A Dab Of Soul – the only full length record cut by Freddy Butler, a heck of a great singer with a really unique voice! Freddy hails from Detroit, and like the best of Detroit singers of the 60s – such as JJ Barnes or Darrell Banks – he's got a style that's got some rootsy touches, especially on the vocals, mixed with production that's tight and focused – which really gives the album a lot of swing! Instrumentation includes some nice use of vibes and piano – no surprise, since Jack Ashford and the Pied Piper team handled the recording – and the album also features some great early compositions by Nick Ashford. Titles include "This Thing", "You'd Better Get Hip Girl", "Never Let Love Go", and "I Fell In Love". CD

Maybe the best album ever from this late 70s Motown group – a set that's got the girls really stepping out with a nice degree of power – in a groove that's different than the usual female disco mode of the time! The record's got a much more fully-formed sort of feel – not just a female chorus with grooves, but a real soul group who really know how to put things together – especially given the album's really nice balance between groovers, midtempo moments, and ballads – all of which give the whole thing a very well-rounded feel. Arrangements are by Greg Poree, Sylvester Rivers, Greg Washburn, and Jimmy Holiday – and titles include "You Can't Turn Me Off", "Searchin", "Ain't No Love Left", "Let Me Get Close To You", "Love Is All You Need", and "Save It For A Rainy Day". LP, Vinyl record album

A beautiful collection of all the great and rare material Eddie Holland cut as solo singer in the late 50s and early 60s – including the incredible early Motown material, plus tracks he cut for Mercury, Kudo, Tamla and United Artists! Of course Eddie Holland is best remembered for uber-legendary work as producer, composer and arranger with the Holland-Dozier-Holland super soul unit – for damn good reason, but it's his early work as singer is way too strong to be considered a mere footnote to his greater legacy. Many of the cuts were written and produced by Berry Gordy, along with numbers written and produced by Brian Holland and Lamont Dozier, some recorded more famously by later acts, so what you truly have here is the foundation for great things to come – it's beautiful stuff that shines brightly in its own light. Eddie's a solid singer and the songs are terrific, formative stuff that's a pivotal bridge from earlier R&B to massive soul. 56 tracks on 2CDs: "Little Miss Ruby", "Will You Love Me", "Just A Few More Days", "It's Not Too Late", "Just Ain't Enough Love", "Brenda", "Baby Shake", "Magic Mirror", "If Cleopatra Took A Chance", "Action Speaks Louder than Words", "Bashful Kind", "Too Late To Cry", "Happy Go Lucky", "Pretty Little Angel Face", "Day Dreamer", "Rain And Thunder", "I Like Everything About You", "Happy Days" and many more. This set goes deeper than any compilation we've seen of Eddie's recordings, too, with a number of previously unissued Mercury recordings. CD

The complete solo Capitol singles and Motown recordings by Patrice Holloway – the latter of which are seeing light of day for the first time ever! Patrice has a wonderful voice and tje material throughout this set, both mid 60s Capitol numbers and the sadly overlooked Motown recordings, is top notch and hit worthy to say the least. Patrice may be overshadowed by her sister Brenda, but the little we've been lucky enough to hear over the years suggested that she was just a twist of fate away from stardom – and this excellent set certainly confirms that! 25 tracks in all: "Stolen Hours", "Lucky, My Boy", "Evidence", "Black Mother Goose", "For The Love Of Mike", "Stevie", "Come Into My Place" (Brenda & Patrice Holloway), "All That's Good", "Love Walked Right In", "Crying", "Face In The Crowd", "(He Is) The Boy Of My Dreams", "The Go Gang" and more. CD

A pair of very stripped-down albums from John Lee Hooker – issued together in this 70s set! First up is Country Blues Of John Lee Hooker – featuring the legendary John Lee Hooker, heard here in one of his more obscure recordings from the late 50s – at least in contrast to his famous sides for Vee Jay Records! This set's an unusual date – recorded in Detroit, despite the claim of the title – and featuring Hooker on acoustic guitar and vocals, without any other instrumentation at all – pitched much more towards the growing folk blues scene than some of his more familiar Chicago recordings. Tracks are short, but pack plenty of punch – and titles include "Black Snake", "I Rowed A Little Boat", "Bundle Up & Go", "Behind The Plow", "Water Boy", "Tupelo Blues", and "Pea Vine Special". That's My Story is from 1960, and features great rootsy blues from John Lee Hooker – and an unusual session that has him getting backup help from jazz players Sam Jones on bass and Louis Hayes on drums! Jones and Hayes only play on a handful of tracks, and most of the focus is on Hooker's damn-great vocals, and acoustic guitar – spun out nicely over a set of tracks that includes "I Need Some Money", a controversial clash with early Motown – plus "One Of These Days", "Gonna Use My Rod", "I Want To Talk About You", "Democrat Man", and "I'm Wanderin". LP, Vinyl record album

Great rootsy blues from John Lee Hooker – and an unusual session that has him getting backup help from jazz players Sam Jones on bass and Louis Hayes on drums! Jones and Hayes only play on a handful of tracks, and most of the focus is on Hooker's damn-great vocals, and acoustic guitar – spun out nicely over a set of tracks that includes "I Need Some Money", a controversial clash with early Motown – plus "One Of These Days", "Gonna Use My Rod", "I Want To Talk About You", "Democrat Man", and "I'm Wanderin". LP, Vinyl record album

Smoking Motown work from Thelma Houston – a great 70s set that catches the singer at the top of her groove! The album's polished, but never in a too-commercial way – and the grooves acknowledge the growing role of the dancefloor in mainstream soul, yet also mostly stay away from some of the disco cliches of the time – thanks to sophisticated work by arrangers Art Wright, Paul Riser, and Michael Smith! Although we should also point out that this is the record that gave Houston one of her bigger hits – the key crossover track "Don't Leave Me This Way" – nestled nicely amidst other great numbers like "Don't Know Why I Love You", "Any Way You Like It", "If It's The Last Thing I Do", and "Don't Make Me Pay". LP, Vinyl record album

A really fantastic soul record from the post-Motown underground in Detroit – and one that also has ties to the Tribe Records scene of the 70s! William Odell Hughes is a great soul singer, with an ability to stretch out on a long, sensual line – a quality that's a bit in the territory of Marvin Gaye in the early 70s – and he works here with arrangements from reedman Wendell Harrison, who plays tenor and flute on the record, and also a bit of keyboards too – serving up this lean backing that really fits the open, flowing style of William's vocals – on tracks that are all nice and long, and very different than the usual indie soul of the time! There's a wicked blend of deep soul and slinky grooves here – a bit like the best from Mike James Kirkland – and titles include "Waiting", "Where Am I", "Cruisin", "I've Got Love On My Mind", and "Super Funk A Ga La Listic Freak". LP, Vinyl record album

A really fantastic soul record from the post-Motown underground in Detroit – and one that also has ties to the Tribe Records scene of the 70s! William Odell Hughes is a great soul singer, with an ability to stretch out on a long, sensual line – a quality that's a bit in the territory of Marvin Gaye in the early 70s – and he works here with arrangements from reedman Wendell Harrison, who plays tenor and flute on the record, and also a bit of keyboards too – serving up this lean backing that really fits the open, flowing style of William's vocals – on tracks that are all nice and long, and very different than the usual indie soul of the time! There's a wicked blend of deep soul and slinky grooves here – a bit like the best from Mike James Kirkland – and titles include "Waiting", "Where Am I", "Cruisin", "I've Got Love On My Mind", and "Super Funk A Ga La Listic Freak". LP, Vinyl record album

Sublime sounds from Willie Hutch – a post-Motown album made for Whitfield Records – and a set that's got a wonderfully laidback, mellow funk groove! Gene Page handled the arrangements – and the sound here is more easygoing than some of Willie's funkier work – but in a great way that shows the evolution both of his singing style, and his wicked work on guitar – featured prominently on the cover of the album, and wonderfully throughout the record too! A few things get a bit funky, but they're always balanced by these trippier grooves that we really love – and titles include "Paradise", "Anything Is Possible If You Believe In Love", "And All Hell Broke Loose", "All American Funkathon", "Hip Shakin Sexy Lady", and "Easy Does It". LP, Vinyl record album

A sweet mix of clubby tracks and mellower moments from Willie Hutch – and an overlooked gem from his late 70s years on Whitfield Records! The set's got Willie definitely digging some of the disco styles of the time, but in a way that's never sellout at all – as his vocals and guitar are always right on the money, and rounded out by more laidback moments that retain that spacey, trippy charm of Hutch's earlier records. These mellow tracks are really great – almost more soulful than some of Willie's Motown work, in a style that trades the funk for some sweeter, lighter instrumental touches that really let Willie's vocals take center stage. Titles include "Never Let You Be Without Love", "Kelly Green", "Midnight Dancer", "Everyday Love", "Deep In Your Love", and "Everybody Needs Money". LP, Vinyl record album

Forget Tina Turner – we'll take Ike's backup singers, who sound great all the way through this collection! The Ikettes may never have had the fame of Tina, but back in the early and mid 60s, they were actually scoring a few more hits – and these recordings for the Modern label represent the group at their height – stepping firmly into righteous soul territory, shaking off any girl group cliches, and avoiding any of the stereotypes that could sometimes mar Ike Turner's projects. There's a really special sound here – one that's got bits of Motown, bits of R&B, and bits of Northern Soul – all wrapped together perfectly and delivered with sock-solid vocals from singers Robbie Montgomery, Jessie Smith, and Venetta Fields. The CD features all the material from the girls' full album for Modern – Soul The Hits – plus loads of other singles and even some unissued tracks! Titles include "Fine Fine Fine", "Camel Walk", "Sally Go Round The Roses", "Cheater", "You're Trying To Make Me Lose My Mind", "I'm So Thankful", "Don't Feel Sorry For Me", "Can't Sit Down Cos I Feel So Good", "Lonely For You", "Sha La La", "It's Been So Long", and "Nobody Loves Me". CD

The Isley Brothers at Motown – a perfect place for the groove they crafted on earlier RCA singles to blossom with some of the more sophisticated soul styles that would make the group huge in the 70s! The set's overflowing with gems – big hits like "This Old Heart Of Mine" and "Take Me In Your Arms" – plus "Take Some Time Out For Love", "There's No Love Left", "That's The Way Love Is", "One Too Many Heartaches", "I Hear A Symphony", "Why When Love Is Gone", "Got To Have You Back", and "Who Could Ever Doubt My Love". LP, Vinyl record album

The Isley Brothers on Motown – a really key step forward for the group, who find a whole new level of soul with help from the Holland Dozier Holland team! There's a warmth here missing from previous Isleys material – that rough edge that was more part of their rocking years, softened a bit to let the vocals really take off with straightforward power – that mix of raw energy and sublime precision they'd explore later on the T-Neck years – helped strongly here by the Motown influence. Titles include the massive hit "This Old Heart Of Mine", plus "Take Some Time Out for Love", "Baby Don't You Do It", "Nowhere To Run", "Put Yourself In My Place", "Seek & You Shall Find", and "Who Could Ever Doubt My Love". LP, Vinyl record album

A classic! This is one of the rarest of the rare of all Blue Note albums – and it's the only-ever session cut as a leader by the great tenor player Fred Jackson! The album's a really heavy burner – an all-out organ/tenor assault with the kind of gutbuckety soul groove that only peaked on a rare few Blue Note sessions! Earl Van Dyke plays organ on the session, and it's one of the few jazz albums he appears on, apart from the "soul instrumental" sessions he cut later for Motown. The whole thing's down-n-dirty and mighty nasty – with a feel that's much more like some of the Prestige soul jazz cookers of the time than the usual Blue Note set! Tracks include "Preach Brother", "Dippin In the Bag", "Hootin N Tootin", and "Easin' On Down". CD

A classic! This is one of the rarest of the rare of all Blue Note albums – and it's the only-ever session cut as a leader by the great tenor player Fred Jackson! The album's a really heavy burner – an all-out organ/tenor assault with the kind of gutbuckety soul groove that only peaked on a rare few Blue Note sessions! Earl Van Dyke plays organ on the session, and it's one of the few jazz albums he appears on, apart from the "soul instrumental" sessions he cut later for Motown. The whole thing's down-n-dirty and mighty nasty – with a feel that's much more like some of the Prestige soul jazz cookers of the time than the usual Blue Note set! Tracks include "Preach Brother", "Dippin In the Bag", "Hootin N Tootin", and "Easin' On Down". LP, Vinyl record album

An expanded version of Thriller – arguably the last true moment of genius in Michael Jackson's career – a record that sold a bazillion copies around the world – and for plenty good reason! Michael's still working here with Quincy Jones – in territory that steps nicely from the Off The Wall groove, into territory that's somewhat more poppy, but still quite soulful overall. And yes, the success of the album meant that cuts like "Billie Jean", "Thriller", and "Beat It" got plenty of play – thanks to both heavy radio and video rotation – but a few decades later, there's still a tremendous amount of depth here – on great cuts like "Human Nature", "Wanna Be Startin' Somethin", and "PYT" – which all hold up nicely! CD/DVD package features loads of great stuff – CD includes 6 previously unissued bonus tracks, "The Girl Is Mine 2008 (with Will I Am)", "PYT 2008 (with Will I Am)", "Wanna Be Startin Somethin 2008 (with Akon)", "Beat It 2008 (with Fergie)", "Billie Jean 2008 (Kanye West mix)", and "For All Time". DVD features the short films/videos "Billie Jean", "Beat It", and "Thriller" – plus a performance of "Billie Jean" from Motown 25. CD

What a great idea! The classic Motown work of The Jackson 5 is remixed and remade by a host of super-hip producers! The cuts really retain a lot of their Motown soul flavor, and the remixers do an excellent job of pulling out some of the best elements – like guitar riffs, piano lines, and drumbeats – while still preserving the original vocal direction of the songs. This limited package features tracks from both of the older Soul Source remix collections of The Jacksons – with a total of 15 tracks that include "Ben (HF rmx #4)", "Darling Dear (rejuvenated by Muro mix)", "I'll Be There (Small Circle Of Friends rmx)", "It's Great To Be Here (Kenny Dope rmx)", "We're Almost There (DJ Spinna rmx)", "Get It Together (4Hero rmx)", "ABC (Love Stream mix)", "I Want You Back (Kei Kobayashi's routine jazz party mix)", "Ain't No Sunshine (SSY rmx)", "Never Can Say Goodbye (Shinichi Osawa 3000 rmx)", and "The Love You Save (Asakusa Sunaga T Experience SC 01 mix)". CD

Great stuff – and a key link between the early work of the Jackson 5 on Motown and Michael's later grooves with Quincy Jones! The Gamble/Huff team give the group a smooth sweet sound – definitely in a dancefloor mode, with some of the bassy riffs of Michael's Off The Wall album, but also with all the sweet catchy soul of earlier years – a really great blend that makes the album a great winner in the group's post-Motown years! The album includes the incredible smooth soul number "Show You The Way To Go", a killer cut that's very much in the Philly modern mode – and other tracks include "Style Of Life", "Enjoy Yourself", "Think Happy", "Blues Away", and "Living Together". LP, Vinyl record album

An overlooked gem from Rick James' classic early run for Motown – a set that maybe didn't chart as big as some of his other records for the label, but which stands strongly today as a well-crafted batch of mellow funky soul! James has a bit less of the bass-heavy riffs here than you'd expect – and instead, the record has kind of a laidback, almost dreamy feel at times – still upbeat, but with the kind of relaxed, glowing vibe you'd be more likely to find from Teena Marie around this point – a really nice contrast with the more familiar hit sounds you'd know from Rick! We actually really like these mellower groovers – which are almost like some of Johnny Watson's Caribbean-tinged grooves – and the production augments the tunes with a bit of sound effects, which really furthers the paradise garden feel of the tunes. Titles include "Mary Go Round", "Summer Love", "Big Time", "Don't Give Up On Love", "Getting It On In The Sunshine", and "Island Lady". LP, Vinyl record album

An overlooked gem from Rick James' classic early run for Motown – a set that maybe didn't chart as big as some of his other records for the label, but which stands strongly today as a well-crafted batch of mellow funky soul! James has a bit less of the bass-heavy riffs here than you'd expect – and instead, the record has kind of a laidback, almost dreamy feel at times – still upbeat, but with the kind of relaxed, glowing vibe you'd be more likely to find from Teena Marie around this point – a really nice contrast with the more familiar hit sounds you'd know from Rick! We actually really like these mellower groovers – which are almost like some of Johnny Watson's Caribbean-tinged grooves – and the production augments the tunes with a bit of sound effects, which really furthers the paradise garden feel of the tunes. Titles include "Mary Go Round", "Summer Love", "Big Time", "Don't Give Up On Love", "Getting It On In The Sunshine", and "Island Lady". CD features a previously unreleased demo of "Gypsy Girl", and a previously unreleased extended version of "Big Time". CD

One of the all-time great Rick James albums – a return to funkier sounds for Rick that worked both artistically and commercially – and actually got over far better than his more blatant attempts at crossover material on other records! The mix here is perfect – a true summation of all that made Motown great at the time, and the special sort of energy that made Rick one of the freshest mainstream talents at the end of the 70s! The record put a lot of money in Barry Gordy's pockets, and for good reason too – given that the set includes the classic hit "Super Freak" – plus "Give It To Me Baby", "Ghetto Life", "Make Love To Me", "Below The Funk (Pass The J)", and "Fire & Desire" – all done in that compressed pop-funky style that James kind of took from Bootsy Collins and manage to successfully soup up for the masses! LP, Vinyl record album

A tremendous step forward for Jazzanova – an album that's overflowing with classic soul touches, and done in a style we'd hardly have expected from the group a few years before! Jazzanova have always had an ear for older sounds in their music – which is something that first set them apart from the dancefloor pack – but this album's a really amazing achievement, and one that's put together with the solid sound of some lost late 60s sessions from Motown at points – or with some of the cooler sounds of European jazz of the 70s! There's still a 21st Century vibe to the music – a bit of crackle here and there that marks it as contemporary – but the backings also have tight orchestrations, occasional strings, and that perfectly put-together quality that still makes us marvel at old soul and jazz records after all these years. Vocals are sublime too – as the album features contributions from Phonte, Paul Randolph, Ben Westbeech, Jose James, Dwele, Bembe Segue, and Leon Ware – all of whom fit in perfectly, without any of the sort of random "vocals with sound system" feel you might get in another album of this type. Most tracks are co-written with the vocalist – which is an even hipper touch that ensures a depth of quality – and titles include "Gafiera", "Lucky Girl", "Little Bird", "I Can See", "Look What You're Doin To Me", "Let Me Show Ya", "Lie", and "So Far From Home" – plus a great cover of "Rockin You Eternally". CD

David Johansen's second post-New York Dolls solo record – and the first one where he really sheds the feral rock vibe – but with Mick Ronson on board as co-producer, it's still got plenty of pomp! David would go on to take many creative detours – but in this first real stretch, he's bringing in some Motown influences – with some R&B backing vocals here and there, along with ome sax, piano and other smoothed out touches. That said, it's not that huge of a jump – with some ruggedness and grit reminiscent of his earlier work –and it's got a bunch of really good songs. Titles include "Melody", "She", "Big City", "She Knew She Was Falling In Love", "Swaheto Woman", "Wreckless Crazy", "Flamingo Road" and more. LP, Vinyl record album

Early work from this great pre-Motown Barry Gordy protege – a surprisingly nice album of spiritual songs! LP, Vinyl record album

Early Detroit soul – the second LP by the great Marv Johnson, one of the first talents to be supervised by a young Berry Gordy! In fact, it could be said that everything Berry put into his work with Marv led to the formation of Motown – as Marv's mixture of smooth vocals and swinging soul really prefaces a lot of the work to come out of the motor city during the 60s, no surprise, since he's got some of the Motown crew writing songs for him! Includes "Baby Baby", "River Of Tears", "This Heart Of Mine", "Ain't Gonna Be That Way", "I Love The Way You Love", "When You've Lost Your Love", "Easier Said (Than Done)", 'All The Love I've Got" and "Let Me Love You". LP, Vinyl record album

Great great work from Keith – one of those overlooked pop talents of the 60s, but one who really came across with a great sound at the time – kind of a mix of Burt Bacharach arrangements with a pop psych sort of edge! The tunes are sweet, but swinging too – and Keith's got this vocal style that slides in nicely with the larger charts – at a level that's almost more A&M-styled pop than you'd guess from the Mercury Records placement of the set! Jerry Ross produced, and brings in some nice soulful undercurrents – of the sort you'd hear on his more famous material – almost a Motown sensibility, but mixed with rolling horns, piano hooks, and great guitar lines – on titles that include the wonderful hit "98.6", plus "Mind If I Hang Around", "Sweet Dreams", "Tell Me To My Face", "I Can't Go Wrong", and "Pretty Little Shy One". CD has loads of bonus tracks – 27 titles in all, including the complete Out Of Crank album – with tracks that include "Sugar Man", "Candy Candy", "Easy As Pie", "Hope Girl", "Be My Girl", "Hurry", "The Pleasure Of Your Company", and "Happy Walking Around". CD

Wow! We really grew to love southern soul singer Paul Kelly's sweet run of records for Warners in the 70s, but heard scant few of his earlier 45s – recorded for Lloyd, Dial, Phillips and the Happy Tiger label from the mid 60s into the early 70 – it's wonderful stuff! Hot Runnin' Soul collects each of these singles cuts, which run from swaggery soul with anthemic chorus and bursts of brass, to smoldering soul balladry, to some early Motown styled numbers that break the southern mode bit. Kelly wrote most of the songs, with rawly emotional and completely impressive vocals. We had no idea how strong this earlier material from Kelly is – thanks to Kent UK for the reveal! Includes "Chills And Fever", "It's My Baby", "Since I Found You", "The Upset", "Can't Help It", "Sweet Sweet Lovin'", "Glad To Be Sad", 'Sailing", "Sailing", "Hot Runnin' Soul", "Poor But Proud", "My Love Is Growing Stronger", "The Day After Forever", "Hangin On In Here" and more. CD

The first solo album that Eddie Kendricks cut after leaving The Temptations – and a great one! Motown genius Frank Wilson produced the whole album, and it's got a really unified feel that you don't always get on Motown albums – possibly proof that the label was really invested in starting Eddie off on a strong solo career. The record's got a wonderful sweet soul sound – with Eddie's great vocals at the center, and some complicated arrangements that work very well on the ballads, and which kick it up on a few tracks, hinting at Eddie's later successful boogie style. Titles include "Something's Burning", "Let's Go Back To Day One", "It's So Hard For Me To Say Goodbye", and "Can I". LP, Vinyl record album

A legendary album from the great Eddie Kendricks – a set that not only has the singer soaring on the kind of sublime old school vocal numbers he always did so well – but one that also has Eddie stepping out into some great dancefloor modes that would have a huge impact for years to come! Kendricks really scores big with the classic "Keep On Truckin" – a tune that's virtually the blueprint for boogie, and which is echoed here by a few other great numbers that really stand out – tunes that preface disco to come, but which also still bear a very strong link to the richest styles of Motown soul! Northern soul legend Frank Wilson had a great hand in the record – penning some of the best cuts, co-producing with Leonard Caston, and handling arrangements with Caston and James Carmichael – and in addition to "Keep On Truckin", other titles include "Darling Come Back Home", "Not On The Outside", "Any Day Now", "Where Do You Go (Baby)", "Each Day I Cry A Little", and "Only Room For Two". LP, Vinyl record album

A truly amazing album – unlike anything Eddie Kendricks ever did before, or since – and one of those records that really helped shape the sound of soul in the 70s! The music is as rich and powerful as the image on the cover – with some righteous undercurrents that really mark the time and place of the record, yet also help it transcend so many other standard soul modes of the period too! Arrangements are wonderfully complex – as you'll hear on the classic groovers "Girl You Need A Change Of Mind" and "Date With The Rain" – each very different numbers, but both a showcase for Kendricks' wonderful vocal approach. Other titles include the progressive "People Hold On" – plus "I'm On The Sideline", "Day By Day", "If You Let Me", "Let Me Run Into Your Lonely Heart", and "Someday We'll Have A Better World". CD

Amazing early work from Gladys Knight & The Pips – proof that they already had a great thing going long before their later fame on Motown and Buddah! The tracks here were recorded in the early 60s for the Fury record label – and they show the group coming on strong with a very sharp edge – a style that's still got some traces of R&B at points, but which really sets a new standard for mixed male/female soul groups for the 60s! Gladys' lead vocals are nice and bold – and a lot less cliched than later – and The Pips do their thing with a wonderfully harmonic flair in the background. Titles include their big early single "Letter Full Of Tears" – plus "Operator", "Every Beat Of My Heart", "Room In Your Heart", "Stop Running Around", "What Shall I Do", "Morning Noon & Night", and "I Can't Stand By". LP, Vinyl record album

Gladys Knight's last album for Motown subsidiary SOUL – a collection of work from a variety of different sessions, put together to compete with her shift to Buddah Records in the mid 70s! The set features a range of numbers, often in a mode that's a bit more uptempo and righteous than some of the mellower Gladys Knight work that was dominating her hits at the time – almost as if they'd been holding back on this stuff, to let her develop more of a southern soul ballad identity. Arrangements are by Paul Riser, David Van DePitte, and Robert White – and often show a bit of the growing 70s dancefloor sensibility creeping into Motown during the time. Gladys' vocals are still plenty real soul – soaring out over the tracks – and titles include "In The Middle Of The Road", "Come Together", "All I Need Is A Miracle", "Put A Little Love In Your Heart", and "Can You Give Me Love With A Guarantee". LP, Vinyl record album

Two great chapters of work from this legendary soul group – one that started out in the late 50s with an R&B vibe, rose to great fame on Motown, then really hit their stride on the material featured on this set! Gladys was always a great singer, but she really seemed to move onto greatness in the 70s – especially on the Buddah Records material that begins this collection – music that has the group moving past familiar group soul modes, to a sophisticated territory that really let Knight become the sort of diva that nobody would have expected a few years before! There's a richness in her voice that's really wonderful – and that continues strongly on the second half, which collects material for Columbia Records – including some great mellow groovers, and even a few hits from later years too. Package features 37 tracks in all – and titles include "The Way We Were/Try To Remember", "On & On", "To Be Invisible", "The Need To Be", "Little Bit Of Love", "The Makings Of You", "Make Yours A Happy Home (alt mix)", "Come Back & Finish What You Started", "Midnight Train To Georgia", "I've Got To Use My Imagination", "Landlord", "Taste Of Bitter Love", "I Will Fight", "Bourgie Bourgie", "Save The Overtime", "Hero", "Kiss Away The Pain", "You're Number One", "Seconds", "Add It Up", "I Will Fight", and "Still Such A Thing". CD

Brilliant soul from the Detroit underground of the late 60s – a full set of work by vocalist Little Ann, issued here for the first time ever! You might recognize Ann's name from her appearance on a few of the Ace/Kent Records issues of material by Detroit producer Dave Hamilton over the years – and the work here all comes from those classic collaborations with Hamilton – trapped on tape for many years, always contemplated as a possible Little Ann album – but only issued in full all these many years later! The groove here is as offbeat as some of Dave's other great work – not nearly as tight, or uptight, as Motown music – and instead, done with a sly undercurrent of darkness on most numbers, even the mellower ones – almost that earliest mix of Detroit styles that you get on pre-fame singles from Westbound Records artists. Ann's vocals are nice and lean, and slide right into the mix with ease – heartfelt enough to grab us right away, yet without any obvious cliches as well. Titles include "What Should I Do", "Who Are You Trying To Fool", "The Smile On Your Face", "Stand Together", "I'm Doin All Right", "Lost A Lover", "That's All I want From You", and "I Got To Have You" – plus the unissued versions "Possession (master edit)", "Deep Shadows (multi mix)", and "Sweet It Out In The Shed (master tape)". PLUS – this CD features 9 more instrumental versions of the tunes by the Dave Hamilton Band – most issued here for the first time ever – plus three more alternates of album tracks! CD

A beautiful album from Shorty Long – issued shortly after his early death from drowning at the age of 29 – and an amazing document of the mighty soul powers he would have had in years to come! There's a depth here that Shorty never had before – a sense of power and righteousness that comes through not just in the vocals, but in the construction of the songs as well – very tight, with a musical vision that shows a sense of pride and power that was never present in Long's earlier singles. Paul Riser handled the arrangements, in a way that really illustrates that cresting Motown intensity at the start of the 70s – and titles include "Whiter Shade Of Pale", "Baby Come Home To Me", "When You Are Available", "The Deacon Work", "Give Me Some Air", "I Had A Dream", and "I Wish You Were Here". LP, Vinyl record album

A beautifully vivid issue of Maggot Brain – one that has great visual presentation of work by artists and musicians alike – in a lineup that includes an article on Motown legend Chris Clark, and more on steel guitarist Barry Walker, painter Duncan Hannah, the MoWest group Odyssey, and Detroit artist Lucy Cahill – plus a look at the visuals that have accompanied the music of Belle & Sebastian, and guitarists Steve Wynn and Chris Forsyth in conversation. There's also a look at the underground pop scene in San Francisco, more on Buffy Sainte Marie and Sessa – and all articles are beautifully illustrated and filled with visuals! Magazine

A great step forward for the legendary Tim Maia – working here in a style that's even tighter and more sophisticated than before – yet still equally filled with funk and soul! The arrangements are a bit bigger than before, and the production a bit more professional – but that change only brings Tim into even more heavenly soul territory – with a mix of grooves and strings that lays somewhere between the best early 70s work on labels like Curtom or Motown! Tim's got a new sense of majesty on the album – and also sings in English in a few spots – at a level that makes us wonder why he was never able to crack the American soul market at the time. An essential record from the man who brought American soul music to Brazil – with tracks that include "Over Again", "New Love", "O Balanco", "Reu Confesso", "Preciso Ser Amado", "Amores", and "Do Your Thing Behave Yourself". LP, Vinyl record album

A rare space funk treasure from the legendary Mandre – the man who'd given the world three great clubby albums on Motown, then retreated to the indie label scene for this much more obscure fourth record! All the great Mandre elements are in place here, but presented with a more stripped-down vibe – one that also echoes the way that funk was getting leaner and more electric in the 80s – which Mandre echoes with his use of beats, basslines, and all sorts of cool keyboards! The low-fi approach maybe makes the record even more enduring than his earlier efforts – with strong links to the contemporary scene – and cuts include "Rain", "Isle De Joie", "Magic Woman", "I'm On Your Frequency", "You're A Freaky Girl" and "Freaky Feeling". CD

A stone classic from Teena Marie – one of her magical self-produced efforts for Motown! The record's a winner all the way through – with a depth to the vocals and backings that are steeped in the 70s styles of Minnie Riperton and Chaka Khan. A few tracks get a bit upbeat funky, but overall, it's the mellow ones we like the best. Titles include "I Need Your Lovin", "Young Love", "First Class Love", "Irons In The Fire", "Chains", "You Make Love Like Springtime", and "Tune In Tomorrow". LP, Vinyl record album

Maybe the greatest album that Teena Marie ever cut – and that's saying a lot, given the strength of the lady's work for Motown! The set's got this bright, positive bounce that grabs you right from the start – but also moves into a depth that's way different than other funk albums of the time – a way with a ballad and a thoughtful track that almost makes Marie the 80s heir to the Minnie Riperton legacy, especially given the strength of her voice on the set – and the fact that Teena wrote and produced the whole album herself! At a time when so many other female soul singers were at the mercy of other folks' talents and ideas, Lady T steps forth boldly with this classic set – brimming over with greatness on cuts that include the stellar "Portuguese Love", plus "Yes Indeed", "Where's California", "Opus III", "Square Biz", "365", "Revolution", and "Ballad Of Cradle Rob & Me". LP, Vinyl record album

The legend of Teena Marie lives again, and in a really beautiful way – as John Morales serves up tunes that work together almost as a tribute to the memory of the lady – with these really fresh versions that seem to add a lot of majesty to the sound as well! These aren't easy remixes that just focus on the hooks – and instead, Morales strips the tunes down and builds them up from the core – sometimes adding elements that were removed from the original versions that were issued, or bringing in his own touches in ways that make us wonder what sort of magic might have happened, had Motown let John into the studio to produce some of her classic albums. Make no mistake, if you love Teena Marie, you'll find plenty here to love – but the set is also just way more than a set of remixes too – with sublime takes on tunes that include "You're All The Boogie I Need", "I Need Your Lovin", "365", "Portuguese Love", "Chains", "It Must Be Magic", "First Class Love", "Aladdin's Lamp", "Behind The Groove", "Square Biz", "Now That I Have You", "You're All The Boogie I Need", and her duet with Rick James on "Fire & Desire". LP, Vinyl record album

An album that definitely lives up to its title – but which also offers a lot more than you might expect – way more than just a few cash-in dancefloor tunes! True, the whole thing's pretty lively – and titles include the group's seminal version of "Dancing In The Street" – still the only version you'll really ever need, despite years and years of countless covers that always fall short of the mark. But the set's also got a wonderful range that really displays the lead power of Martha Reeves – hewn tightly to the supporting Vandellas backups – and filled with a rich sense of feeling on titles that include the classic "Nowhere To Run", plus other Motown goodies like "Hitch Hike", "Mickey's Monkey", and "The Jerk". LP, Vinyl record album

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One of Motown's best girl groups, caught here on a classic batch of album tracks with a great mix of material. Includes their classic reading of "Jimmy Mack", plus "I'll Follow You", "Let This Day Be", "I'm Ready For Love", "He Doesn't Love Her Anymore", and "What Am I Going To Do Without Your Love". LP, Vinyl record album

Early soul from one of Motown's first great groups – the mighty Marvelettes, really sparkling here in a style that's a bit earthier than some of the later Motown hits! The vocals are wonderful – sweet yet honest, and crackling with a mode that goes far beyond standard girl group conventions. Most tunes are originals from the cream of early Motown writers – William Stevenson, Norman Whitfield, and the Holland-Dozier-Holland team – and titles include "Strange I Know", "Smart Aleck", "My Daddy Knows Best", "Why Must You Go", "Too Strong To Be Strung Along", and "Silly Boy". LP, Vinyl record album

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A stone Motown classic – and a tune that really set the 60s "go go" soul groove on fire! But even better is the sweet b-side – the majestic "Choosey Beggar", a great ballad track with incredible lead vocals from Smokey! 7-inch, Vinyl record

A fantastic lost set from the Detroit jazz scene of the 60s – by a group who was years ahead of their time, and who bridged a number of different parts of the city's scene! The group's listed here under the name of drummer Bert Myrick, but was actually co-led by George Bohanon on trombone – who also blew on sides for Motown, and went onto a big range of west coast work in the 70s – but has a razor-sharp edge here! The other co-leader was tenorist Ronnie Fields – a lesser-known player, but a great one too – and a perfect pairing with Bohanon for a soaring, soulful voice on the record. A young Kenny Cox is also in the group on piano – best known for his later albums for Blue Note, which were some of the most modern the label issued at the time – and the last member of the group is Will Austin on bass. Myrick's drums are great – as powerful a force in leadership as Art Blakey with the Messengers – and all tracks are nice and long, and all originals too. The groove is soaring, modal, and very soulful – and titles include "Sevenths", "Paramour", "Scorpio's Child", and "The Latin Bit". CD

Mindblowing funk from The Ohio Players – the group's debut album for Westbound Records, and a landmark batch of tracks that never gets old! The sound here really has the group stretching out a lot – working on tunes that are extended, but never as overindulgent as their labelmates Funkadelic – always keeping to a groove that's focused, yet also free to explore its bad self in the new freedoms of the 70s. There's a strong undercurrent of funky jazz running through the set – mixing great riffing alongside the tight rhythms and tripped-out vocals – all brought together with that deep deep deep production sound that Westbound gave the world as its own legacy in the wake of Norman Whitfield's experiments at Motown. Titles include the wonderfully jamming "Players Balling", and the funky numbers "Reds" and "Singing In The Morning" – plus more soulful tracks "I Wanna Hear From You" and "Never Had A Dream". LP, Vinyl record album

A stone burner from 100 Proof Aged In Soul – a group who really take off with this tight second record! The album's a classic from the days when soul music ruled AM radio on both sides of the tracks – and the rest of the album is equally great – packing that tight post-Motown punch that made the Hot Wax label one of the best proponents of Detroit soul in the 70s! Arrangements are by a huge amount of early 70s heavyweights – McKinley Jackson, Paul Riser, and HB Barnum – and the set was produced by General Johnson and Greg Perry, in a style that soars along with the Chairmen Of The Board albums of the time. Titles include "Words", "I Don't Care If I Never Get Over You", "Everything Good Is Bad", "Ghetto Girl", "Nothing Sweeter Than Love", and "Don't You Wake Me". CD features lots of bonus tracks – "I'd Rather Fight Than Switch", "If I Could See The Light In The Window (version 2)", "My Piece Of The Rock (vocal)", "My Piece Of The Rock (inst)", and "I'm Mad As Hell (parts 1 & 2)". CD

Sweet modern soul from the Originals – one of Motown's few groups from older years to really adopt a successful 70s sound. Much of the arrangements are by producers Frank Wilson and Michael Sutton – and the album's got a smooth LA soul sound that's different than the group's earlier records, which were much more in a classic Detroit group mode. The ballad cuts seem to work the best for the group – and titles include "Touch", "Natural Loving Feeling", "Count Me Out", "It's So Real", "All I Wanna Do", and "Bring Me Together". LP, Vinyl record album

What a great record! This one seems to be nothing fancy at the outset – mostly covers of soul and pop tunes, done by The Originals in an early 70s harmony soul mode – but the overall quality of the record is incredible, with a mixture of rough and sweet vocals that sends just about every tune over the top, more in an east coast indie mode than most of the other group work on Motown at the time. Arrangements are by Willie Shorter, Paul Riser, and HB Barnum – but it's the vocals that will floor you, on tracks that include "The Exodus Song", "The Rovin Kind", "Love Is Life", "I've Got A Need For You", "Make It With You", "Come Rain Or Come Shine", and "Lie No 2". LP, Vinyl record album

A classic set by The Originals – one of Motown's best second-generation soul groups, with a sound that rivaled the best of the indie sweet soul groups of the late 60s and early 70s – those fragile harmonies and personal qualities, yet presented here with the sharper finish you'd expect from Motown! The album's a real delight throughout – with a crackling, honest approach to group soul that was a refreshing change from some of Motown's tighter, more famous groups of the 60s – a great nod to all the soul music changes that were taking place at the time. This set was probably the group's biggest album, and it includes the hit slowjam title cut "Baby I'm For Real", plus "Green Grow the Lilacs", "Moment Of Truth", "One Life We Live", and "Love Is A Wonder". LP, Vinyl record album

Great group vocals by one of Motown's biggest groups to never really make it. This album has some of their best cuts, with a sweet harmony sound, and raw production that works quite well with the band's approach. The best example of this is the cut "We Can Make It Baby", but other nice cuts include "Once I Have You", "If You Gonna Leave", and "The Only Time You Love Me Is When You're Losing Me". LP, Vinyl record album

Stunning, stunning work from The Originals – one of the best male groups on 70s Motown, stepping out here on a record that might be one of their greatest ever! Although the group could sound strong in other settings, this album seems to have something really special going on – almost a sense of righteous, personal energy that matches the evolving sound of Marvin Gaye at this point – with a similar force that really helps redefine the way that male soul harmonies come together! The mellow cuts are tremendous – as mindblowing as anything that Teddy Pendergrass cut with Harold Melvin & The Blue Notes – and the fuller numbers have this proud, soaring sound that's equally wonderful. Arrangements are by Paul Riser, Wade Marcus, and David Van De Pitte, and the track list includes "The Bells", "I Like Your Style", "There's A Place We'd Like To Know", "Don't Stop Now", "You Want Hearts & Flowers", and "I'll Wait For You". LP, Vinyl record album

Fuzzy and funky soul from Detroit! This LP compiles the group's first incredible album – Osmium – plus some other singles from the time. Parliament at this point are much closer to earlier Funkadelic than on their later work – rocking hard with a very guitar-heavy groove, sounding a lot more tripped out than when they're riding the mothership, and forming a key link between the Motown soul tradition and that of Detroit noise rockers like MC5 or The Stooges. Cuts include "Funky Woman", "Little Old Country Boy", "My Automobile", "Red Hot Mama", "Come In Out Of The Rain", and "I Call My Baby Pussycat". Very trippy, very acidy, and very very wild! CD

The first really major album from Rare Earth – issued on their own self-named subsidiary of Motown! The set's a perfect blend of the rich undercurrents of the heady Detroit scene of the late 60s – at one level a tripped-out rock record with styles that almost hint at MC5, at another level a batch of blue-eyed funky soul, with keen appreciation for the grooves coming out of the headier end of the Motor City indie spectrum! There's lots of tripped-out guitar work on the set – reminiscent of contemporary work by Dennis Coffey and George Clinton – mixed with a Mitch Ryder, R&B-inspired vocal style that actually comes across pretty darn well. Added to this is the group's flat-out ability to jam – showcased best in the side-long title cut "Get Ready" – a massive jammer which runs for nearly 22 minutes, and takes up all of side two! Other tracks include "Train To Nowhere", "Magic Key", "Tobacco Road", and "In Bed". LP, Vinyl record album

Otis Redding Sings Soul – plenty of truth in that – but on this sweet little set, he somehow does it even better than before! The album's got a tightness that's totally great – but it's light years from the smoother soul of Motown, and still has plenty of the gritty Memphis edges that helped Otis rise to the top in the 60s – that burning-under sort of groove that pushes up from the earth along with his vocals, and gives the album a push that most other singers never got! Redding's vocals are as perfect as usual – deeply personal, and free from cliche – even from all of those laid down by Otis' copycats of the time. Titles are a near-perfect mix of numbers too – and include the raw groovers "Respect", "Shake", and "Satisfaction", then hits a wonderfully warm soulful ballad style the classic "I've Been Loving You Too Long", and really sparkles on southern soul tributes like "You Don't Miss Your Water" and "Down In The Valley". Very solid stuff all the way through – and one of the best-conceived albums of his career! CD

Otis Redding Sings Soul – plenty of truth in that – but on this sweet little set, he somehow does it even better than before! The album's got a tightness that's totally great – but it's light years from the smoother soul of Motown, and still has plenty of the gritty Memphis edges that helped Otis rise to the top in the 60s – that burning-under sort of groove that pushes up from the earth along with his vocals, and gives the album a push that most other singers never got! Redding's vocals are as perfect as usual – deeply personal, and free from cliche – even from all of those laid down by Otis' copycats of the time. Titles are a near-perfect mix of numbers too – and include the raw groovers "Respect", "Shake", and "Satisfaction", then hits a wonderfully warm soulful ballad style the classic "I've Been Loving You Too Long", and really sparkles on southern soul tributes like "You Don't Miss Your Water" and "Down In The Valley". Very solid stuff all the way through – and one of the best-conceived albums of his career! LP, Vinyl record album

Martha Reeves' first solo album for MCA – an all-out studio affair that's quite different from her classic 60s work for Motown! The album's done in a way that really focuses on the deepest side of Martha's vocals – in a way that goes for the sort of "rootsy" soul that was cropping up heavily on majors at the start of the 70s – well-recorded in LA studio sessions, but featuring styles that were decidedly down-homey. Players on the album include Billy Preston, Dennis Doffey, Joe Sample, and Arthur Adams – all of whom bring a tightly professional focus to the backings – and Martha's helped on backup vocals by both Clydie King and Jim Gilstrap. Titles include "Power Of Love", "My Man", "Sweet Misery", "Wild Night", "You've Got Me For Company", "Storm In My Woul", "Facsimilie", and "Many Rivers To Cross". CD also features bonus tracks "Stand By Me", "Our Day Will Come", and "I Sure Do Love You" LP, Vinyl record album

One of our favorite albums ever from Martha Reeves & The Vandellas – a set that's way past their early overheard hits for Motown, and which shows the group really stretching out with a new sort of power! There's definitely a bit of Black Magic in the mix – as there's a fresh feel here that really shows the changes Motown was making at the start of the 70s – with some echoes of the style used with the Jackson 5 – no surprise, given that the album's genius track "Bless You", was written by The Corporation! That track is worth the price of the album alone – and has this incredible wall of sound arrangement, with Martha singing verse after verse about the religiosity of love. But other tracks are great too – and include "No One There", "I Want You Back", "Hope I Don't Get My Heart Broke", and "Tear It On Down". LP, Vinyl record album

A massive bucket of breaks from drummer Karriem Riggins – served up here in a drums-only entry to the Madlib Library Series, at a level that might well make it the funkiest of the bunch! There's definitely some slight effects used here from time to time – maybe some edits too – but the core energy of the set comes from Karriem's rock-solid work on the drum kit, which you'll no doubt recognize from his wonderful contributions to many other records – although none have ever had the lean approach as this one! Titles include "Skippy White", "Motown Sound", "Bulldog", "Afriq", "Fam In Our Lives", "Brasilian Gangsta", "To The Jungle", "Tipster", and "Tony Vibes". LP, Vinyl record album

Excellent 70s work by Smokey and crew – sort of their way of showing the emerging east coast vocal stars how much talent they still had! The record has a sweet, slightly modern sound – with an approach that hints at Smokey's later Quiet Storm sound, but maybe a bit more laidback overall – set up with really great arrangements from both David Van De Pitte and HB Barnum. Titles include a killer reading of Stevie Wonder's "We Had A Love So Strong", plus "Got To Be There", "You Ain't Livin 'Till You're Lovin", "Flying High Together", "It Will Be Alright", and a cover of "Betcha By Golly Wow". LP, Vinyl record album

Legendary work from Smokey Robinson and his wonderful group – a killer set from the second all-male version of The Miracles – recorded with some wonderfully soaring harmonies! The group's got a nice bite on the bottom here – a groove to go with the "go go" promised in the title – at a level that made these Miracles really take off on Motown dancefloors, yet still also have the late nite appeal of the earlier group too. The album includes the big hit dance number "Going To A Go Go", the classic ballad "Tracks Of My Tears", and loads of other wonderful numbers like "Ooo Baby Baby", "Let Me Have Some", "All That's Good", and "My Girl Has Gone". LP, Vinyl record album

Like the sticker on the cover says – 2 record album, 22 hit songs! This one's got just about all you'd need from the early days of Smokey & The Miracles – perfect falsetto harmony soul that shaped a generation of singers, and which was some of Motown's greatest work in the early days. Titles include "Got A Job", "I Need A Change", "Who's Lovin You", "Would I Love You", "Mickey's Monkey", "Shop Around", "(I Need Some) Money", "Bad Girl", "I Cry", "Way Over There", "I Love Your BAby", "What's Good About Goodbye", "A Love She Can Count On", "You've Really Got A Hold On Me", "I Like It Like That", "That's What Love Is Made Of", and "I Gotta Dance To Keep From Crying". LP, Vinyl record album

The third album from the mighty Rose Royce – working here in perfect hit formation – with older styles of harmony soul wrapped around some of the best late 70s mainstream funk modes – all produced to perfection by the mighty Norman Whitfield! Whitfield's guidance of the group is maybe even stronger here than in the group's Motown years – as he balances funky and righteous elements with some sublime mellow soul moments – most especially here on the classic "Love Don't Live Here Anymore" – one of the group's standout cuts, and a masterpiece of spacey soul that still shocks us today with its greatness. Other tracks include "I'm In Love", "That's What's Wrong With Me", "Let Me Be The First To Know", and "First Come, First Serve". LP, Vinyl record album

An overlooked gem from Diana Ross' 80s years – a record that's quite different than her Motown music of the 60s and 70s, but in a way that really shows the singer stepping out and trying something new! The album's maybe more soulful than some of Diana's previous albums – thanks to work from producer Tom Dowd – and the material is a surprising mix of songs, from sources as varied as Leonard Cohen, Luther Vandross, and Mick Hucknall! Ross does nice a nice job in reworking older soul classics – like Jackie Ross' "Selfish One" and The Drifters' "There Goes My Baby" – nestled in nicely next to more contemporary tracks that include "Dirty Looks", "Shockwaves", "Tell Me Again", "Shine", "Summertime", and "It's Hard For Me To Say". LP, Vinyl record album

A surprising hit for Diana Ross – a record that really helped the singer shine brightly in the 80s, but with a vibe that's quite different than her years at Motown! The album's got plenty of star power on board – production work from Arthur Baker, Richard Perry, Daryl Hall, Lionel Richie, and Bernard Edwards – and a musical lineup that features half those artistes, plus work from Jeff Beck, Nile Rodgers, and the Brecker Brothers too! Diana's vocals aren't as over the top as during the disco years – and find a nice place to percolate within the warmer 80s grooves – mostly rhythms that have a nice sort of crossover potential, but not in a way that's as clunky or commercial as some of her contemporaries. Titles include "Missing You", "It's Your Move", "Swept Away", "Telephone", "All Of You", "Touch By Touch", "Nobody Makes Me Crazy", and "Rescue Me". LP, Vinyl record album

An amazing collection of work from Jackie Ross – a singer who was arguably the greatest female soul artist in Chicago during the 60s! Jackie's got a really wonderful approach – sweet on top, but with a hard punch below – very much at the best level of some of Motown's heavyweights of the same period – but not nearly as well-known! That aspect makes this set a really fresh discovery – not just Jackie's few hits, but lots of other rare album and single material too – including a few unreleased tracks that really round out the collection wonderfully. And as you'd guess from Ace/Kent, the packaging and presentation is wonderful – not just crystal-clear quality to the recordings, but really rich notes and images that make the whole thing sparkle way more than any previous collection of Ross' work for Chess. Titles include "Everything But Love", "Selfish One", "Misty", "Wasting Time", "You Really Know How To Hurt A Girl", "Honey Dear", "My Square", "Stick To One", "Dynamite Lovin", "Take Me For A Little While", "I Dig His Style", "Trust In Me", "It's Going All The Way", "Jerk & Twine", "I've Got The Skill", and "Haste Makes Waste". CD

A tremendous little album from Jimmy Ruffin – as "ruff" as the title implies, with a much deeper groove than you might find from other Motown releases at the time! The style here is really wonderful – rich, heartfelt vocals from Jimmy that easily match the best of the Detroit underground of the time – a style that's a bit like Darrell Banks or JJ Barnes, with echoes of the southern sound of the 60s – but produced to perfection with all the best that Motown could muster! Jimmy gets lots of heavy help from Norman Whitfield – who produced about half the tracks on the set, and gives Ruffin a sound that's somewhere between his righteous soul with the Temptations, and the best Motown grooves of his earlier work for the label. Other production is by Brian Holland & Lamont Dozier, William Weatherspoon & James Dean, and Richard Morris – all of whom follow Whitfield's lead nicely – and although the album's got few runaway hits, it's a rock-solid effort throughout – just the kind of album that makes us love the Motown full-length scene even more than the label's singles! Titles include "Lonely Lonely Man Am I", "It's Wonderful (To Be Loved By You)", "Don't Let Him Take Your Love From Me", "Everybody Needs Love", "Sad & Lonesome Feeling", "Love Gives Love Takes Away", and "Farewell Is A Lonely Sound". LP, Vinyl record album

A pretty tasty album of instrumentals – all Motown, as you'd expect by the title, and all played by the Soultown Symphony, a side project of Wes Farrell and Joe Renzetti. The band have a similar style to the Jazz Rock Symposium – another Renzetti group on Anvil – with driving rock-heavy instrumentation set amidst larger orchestrations with strings and Motown-esque arrangements. The record's not totally funky – but there's a nice hard soul sock on many tracks, more so than on the original versions of some of the songs it covers. Titles include "What Becomes Of The Broken Hearted", "Love Child", "Stop! In The Name Of Love", "A Place In The Sun", and "My Whole World Ended". LP, Vinyl record album