Three classic Motown albums are back, readily available again on vinyl thanks to Elemental Music. The trio of LP’s are In the Groove from Marvin Gaye, Meet the Temptations, and Love Child from Diana Ross and the Supremes. While the Temptations album is their debut, the offerings from Gaye & the Supremes share a commonality, in that both were the first albums NOT to feature the songwriting talents of Holland-Dozier-Holland, who had parted ways with Motown in 1968.
Temptations – Meet the Temptations
Essentially a collection of the A and B sides of the group’s first six singles, you can really see them mature over time. Quite a lot of ground is covered, spanning November 1961-Jan 1964. “Check Yourself” was their second-ever single for Berry Gordy’s label, and it sounds more doo wop than Motown. “You’re Dream Come True,” featuring the soaring vocals of Eddie Kendricks, was a step in the right direction.
Even better is their next single, “Paradise,” which features bass vocalist Melvin Franklin playing counterpoint to Kendricks’ falsetto. I really like the b-side, “Slow Down Heart,” which was written by Smokey Robinson – this might be the most-underrated song here. Another standout is the slow burner “The Further You Look, the Less You See.”
It’s an amazing testament to the tenacity of Motown and the group – they released six singles (five included here), and barely made a dent on any chart. Their fortunes would change with lucky single seven: “The Way You Do the Things You Do” was written and produced by Robinson, and it set everything in motion. Featuring a repetitive guitar lick and clever pick up lines as lyrics, it usher in a string of hits for the Temptations.
Marvin Gaye – In the Groove
This LP really should be subtitled “Marvin Gaye 2.0,” as it had been over two years since the singer’s last solo album. He’d spent the time dueting, first with Kim Weston, then Tammi Terrell, to great success. Gaye had fancied himself a balladeer and crooner, like Nat King Cole or Sam Cooke (he did tributes to both), but his popularity with the teen audience was growing.
From the opening notes of the first song, “You,” this is a completely different person than the one who sang “Hitch Hike” or “Stubborn Kind of Fellow,” just a few years before. Gaye’s tumultuous marriage to Gordy’s daughter, Anna, was taking a toll on him. The minor chords provide tension, while the singer is growling, more like Otis Redding.
“Tear it on Down” has a great groove, and I love the way it breaks down between the chorus and verses, while horns and a driving beat propel “Chained.”
Unbelievably, label owner Berry Gordy hated Gaye’s rendition of “I Heard it Through the Grapevine,” declaring that “it sucked.” Originally, it was relegated to an album track. But, when DJs around the country began playing it, Motown was forced to issue it as a single. The rest, as they say, is history. It’s now considered one of the greatest soul songs of all time.
I love the fat bass line on “At Last (I Found a Love),” which was co-written by Gaye with his wife, while a cover of the Drifters’ “Some Kind of Wonderful,” ends out side 1.
Side 2 opens with the excellent Ivy Joe Hunter/Stevie Wonder collaboration, “Loving You is Sweeter Than Ever.” “Change What You Can” is another example of Gaye co-writing his own material, while “It’s Love I Need” is yet another tense, soul number and “Every Now and Then” has got a great drumbeat. The album closes with a second Drifters’ song, “There Goes My Baby” (I love the strings here, giving a classic a fresh coat of paint).
A year after its original release, In the Groove would be reissued as I Heard It Through the Grapevine, achieving much greater success the second time around.
Diana Ross & the Supremes – Love Child
Things were different in 1968. The song, “Love Child,” about a girl born out of wedlock, was considered taboo at that time. Diana Ross turns in an impassioned vocal, which explodes into a big chorus. I absolutely love the album cover, featuring Ross hiding in a doorway, clad in a yellow shirt that says “Love Child” on it.
“Keep an Eye” is an eerie, minor key wonder – and the snare drum just sounds fabulous here. Ross croons through “How Long Has That Evening Train Been Gone.” Another song that really grooves, “Does Your Mama Know About Me,” sounds like a Philly soul outtake – like something the Delfonics would record. Um, “Honey Bee (Keep on Stinging Me)” is, uh, an odd one, for sure.
“He’s My Sunny Boy” opens side 2 and probably should’ve been a hit. “You’re So Wonderful to Me” is another standout here. “I’ll Set You Free” reminds me of “Want Ads,” the Honey Cone song which came much later.
There’s a common misconception that Motown albums were mostly throw-aways. Elemental Music proves that these records stand up to repeated listening, and should be essential listening for any soul fan. —Tony Peters