Here’s a rundown of Elemental Music’s December Motown Sound releases – all including original cover art, and pressed on high quality, 140-gram vinyl. Bad weather and sickness slowed these reviews a little.
Temptations – Solid Rock (Elemental)
The 15th album by the quintet marked the first without founding members Eddie Kendricks and Paul Williams. The album opened with the somber “Take a Look Around,” which featured all five members, including replacements Damon Harris and Richard Street. Their version of the Bill Withers’ hit, “Ain’t No Sunshine,” is an odd one – stretching things to over seven minutes, it features the title repeated in harmony, over and over for 2:20, before the familiar melody enters. Harris does sound a lot like Kendricks’ falsetto here. “Stop the War” comes off as heavy-handed. It’s just 12 minutes of psychedelic gobbly gook. I understand the sentiment, but the dirge pace and heavy effects just blur the message.
“What It Is” is better, starting off like Marvin Gaye’s “What’s Going On,” before settling into a funky groove. “Smooth Sailing (From Now On),” borrows the arrangement from their earlier hit, “Beauty’s Only Skin Deep,” and is really good. It’s the most underrated song here. “Superstar (Remember How You Got Where You Are)” was a biting message to former members Kendricks and David Ruffin, and provided the group with a much-needed hit.
A strange footnote – the Temptations originally cut the song “Smiling Faces Sometime,” and it was planned as a single. But, Kendricks, who was featured prominently, had just left the band. So, producer Norman Whitfield recut “It’s Summer” (originally a b-side to an earlier hit, “Ball of Confusion”) as the group’s emergency single. It’s better than the original version, but not that strong. The album closes with “The End of Our Road,” a track already tackled by both Gladys Knight and Marvin Gaye, but certainly appropriate for the changing lineup of the band.
Undisputed Truth – Undisputed Truth
A band assembled basically as a vehicle for producer Norman Whitfield to experiment further with the “psychedelic soul” that he first introduced with the Temptations, the Undisputed Truth had one massive hit with the foreboding “Smiling Faces Sometime” in 1971.
That same song had been recorded by the Temps on their album Sky’s the Limit, and was earmarked as a single. But, after singer Eddie Kendricks exited the band, Whitfield assembled a trio of vocalists – ladies Billie Rae Calvin and Brenda Joyce, along with Joe Harris and dubbed them the Undisputed Truth. This new version of “Smiling” was vastly improved. The Temps version clocked in at over 12 minutes, and Kendricks’ vocal was uninspired at best. The original track was peppered with dumb effects of the group members laughing. The one by the Truth was a lean 3:19, the vocals were shared by all 3 members, and the goofy effects were removed. The resulting single hit #3 on the Billboard charts.
The opening track, the spirited “You Got the Love I Need” gives each member a chance to sing, and “Save My Love For a Rainy Day” is a decent, midtempo number. However, back to back songs borrowed from the Fifth Dimension smacks of filler. “California Soul” uses the same arrangement as “Smiling,” giving that positive song a dark tone, while just about everyone tried “Aquarius,” and this version just kinda lays there. “Ball of Confusion (That’s the World is Today” is very similar to the Temps’ version, just longer.
“We’ve Got a Way Out Love” is better – all 3 singers shine here. Unfortunately, “I Heard It Though the Grapevine” is nothing new. The album closes with a head scratcher – Dylan’s “Like a Rolling Stone.” It would’ve been cool if they had given it a funky treatment, but instead they try and go for heartfelt, and miss the mark.
One colossally great single isn’t enough to power an entire album.
Gladys Knight & the Pips – Neither One of Us
The album takes on a somber tone. It was the final album the group cut before leaving Motown for Buddha records (and greater success). It really plays out like a breakup album. Starting off with the gorgeous ballad (and incredibly appropriate) “Neither One of Us (Wants to Be the First to Say Goodbye).” The strings, horns and wah wah guitar sound more like Philly soul than Motown. The sad mood continues with “It’s Gotta Be That Way.” Even the standard, “For Once in My Life” is read in an apologetic tone.
“This Child Needs Its Father” has that sinister vibe that Norman Whitfield perfected with the Temptations. But, it’s Gladys Knight’s gritty vocals that give goosebumps (and that squeak that she does…marvelous). “Who is She (And What is She To You)” takes the Bill Withers’ album track and switches the gender, but when Knight gets riled up, she outdistances the original, teeming with rage and jealousy. “And This is Love” pieces together fragments of a broken relationship.
“Daddy Could Swear, I Declare” gives us some much needed respite from the relationship tension. It’s got a funky groove and provided the group with another hit single. The album ends with “Don’t it Make You Feel Guilty,” ending on a contemplative note.
Considering the group knew they were exiting Motown, this is still a fantastic album. –Tony Peters