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Motown Sharing Continues!!! (The Man Can't Bust Our Music).
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Summ-a-Briz'



Joined: 27 Jun 2007

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PostPosted: Fri Jul 27, 2007 1:44 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote

hell yeah. What a cool show. Can you imagine, being in Paris in the mid-60s? With Les Supremes playing there? Hell yeah. I'd be rocking Paris like Brian Wilson in the fur coat.

"Ooh Baby Baby" -- lord.
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Matinee Idyll (129)



Joined: 27 Jun 2007

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Location: Victoria, Australia

PostPosted: Fri Jul 27, 2007 2:03 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote

Summ-a-Briz' wrote:
"Ooh Baby Baby" -- lord.


Oh my. I was listening to my Miracles box last night - caught myself crying during that tune. Staggeringly beautiful - Smokey is fast becoming my favourite songwriter... well, ever.
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Summ-a-Briz'



Joined: 27 Jun 2007

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Location: Somerville, MA - land of mystery

PostPosted: Fri Jul 27, 2007 2:09 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote

the great thing about it is that it was basically made up on the spot in front of a crowd, like What I Say, same deal.

Joe, have you heard Laura Nyro sing "Gonna Take A Miracle?"
It's even better than Ooh Baby Baby.
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IanWagner



Joined: 27 Jun 2007

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PostPosted: Fri Jul 27, 2007 6:23 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote




http://www.sendspace.com/file/p9qpkj


May 1966. Marvin Gaye, excepting his duet recordings with Mary Wells, had undergone a fallow commercial period over 64 and early 65, but he then struck back with two hits, I'll Be Doggone (which unfortunately has not aged well) and Ain't That Peculiar. This album was put together to capitalise on that, and is a collection from scattered sessions. Many little-known pieces of soul sweetness, even including two more pop standard, utterly stunning interpretations of Night Life and One For My Baby.
Not the most cohesive LP, but still essential for the Marvin fan.
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IanWagner



Joined: 27 Jun 2007

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PostPosted: Fri Jul 27, 2007 6:34 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote




http://rapidshare.com/files/44806420/Motown_-_Stevie_Wonder_-_Uptight.rar.html

May 1966. After the smash Fingertips, Stevie Wonder had unfortunately not been able to make another record to capture the mainstream audience's attention. He plugged away thoughout 63, 64 and 65 with dimininshing results, then finally hit upon an incredibly vital track named Uptight, that brought Motown to a new level of funkiness. This song was an instant classic and a chart smash. The follow-up LP also contained his next 45, the exuberant Nothing's Too Good For My Baby. A foreshadowing sign of his future independence from the Motown machine was his insistence, against Berry Gordy's wishes, on covering Bob Dylan's Blowin' In The Wind, which Stevie does a very moving job with.
There's more fine tracks here, including a nice version of the pop standard Teach Me Tonight. But this album was another one rushed through production, using as filler a few of Stevie's earliest single tracks, such as Contract On Love and With A Child's Heart, fine tracks, but having nothing to do with Stevie's new sound.
Another artistic jumble of an LP, but if you love Stevie, you must have it.
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halleluwah



Joined: 27 Jun 2007

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PostPosted: Fri Jul 27, 2007 6:42 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote

IanWagner wrote:
I'll Be Doggone (which unfortunately has not aged well)
Yeah, that's all too true. I love Marvin, but it's hard not to snicker a little bit when you hear that one. I think that writing a song largely based on such a square term as 'doggone' was probably a little tame even for the mid-60s. And the musical backing, while good, isn't great enough to overcome the lameness of the lyrics. Shame. Most of his (and Motown in general, of course) stuff is wonderful.
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IanWagner



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PostPosted: Sat Jul 28, 2007 8:32 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote




http://www.sendspace.com/file/4gxa3a

May 1966. Another essential album, a stellar collection of Martha And The Vandellas' brilliant singles. Besides the ones included on previous LP's, we also get incredible non-LP singles such as Quicksand and In My Lonely Room (previously released on various artists Motown comps), Live Wire, My Baby Loves Me, You've Been In Love Too Long and Love (Makes Me Do Foolish Things).
A perfect LP. This is the mono edition, reassembled by me from the Hip-O Complete Motown Singles boxes.
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IanWagner



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PostPosted: Sat Jul 28, 2007 9:03 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote



http://rapidshare.com/files/45308020/Motown_-_The_Temptations_-_Gettin__Ready.rar.html


June 1966. Smokey Robinson delivered a new 45 production and composition entitled Get Ready for The Temptations. Everyone concerned knew it would be a smash, a supremely funky record and a return to lead vocal duties for Eddie Kendricks. But very strangely, especially considering this track has endured as one of Motown's most popular hits, the 45 wasn't that successful, merely scraping into the Top 30. Money cowriter Norman Whitfield, now breaking into production at the company, was given the task of helping to fill the Temps' next LP, and among the tracks produced was Ain't Too Proud To Beg, which was released as their next 45. This was an instant smash, established Whitfield immediately as a major producer at the company and at the helm of the Temps' career for the next 8 years, and reestablished David Ruffin as the lead vocalist of choice.
The rest of the LP is extremely fine, not a bad track in sight, very cohesive. Among the tunes is Too Busy Thinking About My Baby, which Marvin Gaye would cover three years later, making it into a smash.
Great album.
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IanWagner



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PostPosted: Mon Jul 30, 2007 7:26 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote

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August 1966. The third LP by the Tops is another conceptually split between new compositions and pop standards. The new side contains another big smash, Shake Me Wake Me, but by far superior is the heartrending Loving You Is Sweeter Than Ever, which belongs on a shortlist of all-time Motown classics.
The standards side works far better for the Tops than other Motown acts (with the exception of Marvin Gaye), as the group were a vocal group as much influenced by The Mills Brothers and The Ink Spots as the typical R&B/Drifters school. In fact they were originally signed by the company for the Jazz Workshop label, recording an unreleased vocal jazz LP, before they were switched over to Motown Sound purveyors. A few of the song choices are fairly square (Matchmaker, Michelle), but the renditions of In The Still Of The Night, Quiet Nights Of Quiet Stars and Then are superbly executed, great smooth vocal group sounds.
This LP is another that doesn't really hang together, but it is the Tops, it has classic performances on hand, and it is essential.
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IanWagner



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PostPosted: Tue Jul 31, 2007 5:58 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote

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August 1966. The Supremes' next LP was another grab bag, but a much more stylistically cohesive one. Also an historic release, the first female group LP to get to the #1 position on the Pop LP chart.
The two singles included here are Love Is Like An Itching In My Heart, a great and funky record that unfortunately only made #9 on the chart, and You Can't Hurry Love, a poppy, super-bass-led reword of the My World Is Empty groove, which put the girls back at #1.
For the rest of the album, the idea was to include (with one exception) all recent chart hits interpreted by the group. As Motown was by far the most hitmaking company around, the publishing-safe in-house gambit of including 7 Motown hits worked well with the concept, very fun, pleasant runthoughs of tunes such as Get Ready, I Can't Help Myself and Money. Two non-Motown hits, Hang On Sloppy and These Boots Are Made For Walkin'.
Overall, the effect of this album is a typical 1966 jukebox magically transformed into one where The Supremes sing it all. Just fun.
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Becky



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PostPosted: Tue Jul 31, 2007 6:00 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote

One of the best record covers ever.
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hope chest



Joined: 27 Jun 2007

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Location: SF Bay Area - East Bay

PostPosted: Tue Jul 31, 2007 7:45 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote

okay, is it just me or is the valadiers' "greetings (from uncle sam)" the most horribly out-of-tune song ever? there's no way it's supposed to sound like that, is there?
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IanWagner



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PostPosted: Tue Jul 31, 2007 9:00 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote

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August 1966. The fifth volume of Motown's hits comps, and the most commercially successful. The first two thirds are familiar smashes. The last third gets into more obscure delights. Kim Weston was a recent signing to the label. Her biggest successes would end up being her duets with Marvin Gaye, but she had one memorable hit for the label, Take Me In Your Arms, which was covered in the 70's by The Doobie Brothers. Brenda Holloway had a few minor hits for the label after Every Little Bit Hurts, the best of which was When I'm Gone, included here. Stevie Wonder had a minor hit with his fine cover of the R&B standard High Heel Sneakers. Another great and forgotten later Marvelettes 45 is I'll Keep Holding On. The collection closes with The Contours' best record, the roof-raising First I Look At The Purse, later memorably covered by the J. Geils Band.
Stellar collection of classics. The mono edition, reassembled by me from the Hip-O Complete Motown Singles boxes.
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Ian



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PostPosted: Thu Aug 02, 2007 6:16 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote

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August 1966. Marvin Gaye's next duet partner, after the now-departed Mary Wells, was recent Motown signing Kim Weston. This was more a head-to-head singing contest than the Wells-Gaye or Terrell-Gaye recordings, as Weston was just as gritty vocally as Marvin. A few hits were released by the duo this year, the most popular and immortal being the brilliant It Takes Two. This excellent LP was recorded immediately after their singles success. Ironically Weston, as with Wells, wasn't long for the Motown company, and Marvin would find his ultimate duet partner the following year. But this LP is a fine, fine collection indeed. This is the CD version, featuring bonus tracks, which adds up to the complete recordings of Gaye/Weston.
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IanWagner



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PostPosted: Thu Aug 02, 2007 8:00 pm    Post subject: If a post contains some illegal issues you may abuse on it - just click Abuse and fill the form Reply with quote

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August 1966. Jr.Walker's followup hit to Shotgun was a great version of Bo Diddley's Road Runner and this great LP was built around it. The cover of Marvin Gaye's How Sweet It Is lifted itself out of the LP and became an even bigger hit, the first example of a Motown re-hit from the company's song catalogue. This LP is a real blast, so blast it.
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