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Motown Sharing Continues!!! (The Man Can't Bust Our Music).
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IanWagner



Joined: 27 Jun 2007

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PostPosted: Mon Jul 16, 2007 10:13 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/b2pfmv



November 1965. The great series of Motown singles compilations finds a permanent name. This volume covers late 1962-early 1965, mostly focusing on 1964.
Besides the classics that had already been included on LP's, there is The Marvellettes' return to the pop charts, the great, energetic Too Many Fish In The Sea, an underlooked, underrated track these days, Martha And The Vandellas' stunning In My Lonely Room, The Contours' Can You Jerk Like Me, The Temptations' I'll Be In Trouble and the underrated legend Shorty Long's Devil With The Blue Dress, shortly to be covered as a smash hit by Mitch Ryder. The Miracles' great That's What Love Is Made Of had been included on the groundbreaking double LP Greatest Hits...From The Beginning earlier in the year.

Another brilliant collection here, in mono, reassembled by me from the Hip-O Complete Motown Singles boxes.
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Summ-a-Briz'



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PostPosted: Wed Jul 18, 2007 1:48 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

Thanks again, Ian.

That "I Can't Break Away" vocal on Nothing But Heartaches rules supreme.
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IanWagner



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PostPosted: Wed Jul 18, 2007 6:31 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://sharebee.com/60da0cf9


November 1965. The Four Tops' second longplayer is another excellent set of songs, similar to the first. The major hit included was I Can't Help Myself, which ended up their biggest hit ever. The follow-up was the interesting, bitter It's The Same Old Song, a reflection of the frustration of having to basically rewrite I Can't Help Myself as a part of Berry Gordy's strict formula setup. But as with the Supremes' last LP, the best single included was the least successful, the brilliant Something About You, unfairly overlooked thse days. If you've followed along this far, you know what to expect here, a fine and sparkling collection of pop-soul.
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halleluwah



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PostPosted: Wed Jul 18, 2007 6:46 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

Ian, I've always had a question about what the division actually was between some of the various labels under the Motown umbrella, particularly Tamla and later Gordy. Was there some specific reason that, for example, Marvin Gaye's and Stevie Wonder's records were released on the Tamla label, while groups like The Supremes were released under the Motown name? I can understand the distinctions in Motown's specialized labels, like Soul or Jazz Workshop, where they were set up for specific types of music, but it seems to me that the people on Tamla were just as much equal parts of the 'Motown sound' hit factory as the actual Motown-released people were. And then there was yet another label, Gordy, which released similar stuff as well, like the Temptations.

So if it was all part of the same record-label empire, why did they bother to have three different subsidiary labels all releasing the same type of stuff, and how was it decided which artists would be distributed under which label names?
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MoogDroog



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PostPosted: Wed Jul 18, 2007 6:47 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

Your generosity continues to amaze - thank you.
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IanWagner



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PostPosted: Wed Jul 18, 2007 6:48 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

Quote:
So if it was all part of the same record-label empire, why did they bother to have three different subsidiary labels all releasing the same type of stuff, and how was it decided which artists would be distributed under which label names?



Good question!
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Artie



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PostPosted: Wed Jul 18, 2007 7:11 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:



http://sharebee.com/60da0cf9


November 1965. The Four Tops' second longplayer is another excellent set of songs, similar to the first. The major hit included was I Can't Help Myself, which ended up their biggest hit ever. The follow-up was the interesting, bitter It's The Same Old Song, a reflection of the frustration of having to basically rewrite I Can't Help Myself as a part of Berry Gordy's strict formula setup. But as with the Supremes' last LP, the best single included was the least successful, the brilliant Something About You, unfairly overlooked thse days. If you've followed along this far, you know what to expect here, a fine and sparkling collection of pop-soul.


Ian, as I'm grabbing this, one of my favorite albums of all time, I need to ask - are these needledrops, from original pressings? Just wondering the sources of these treats. Thanks so much for these.
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IanWagner



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PostPosted: Wed Jul 18, 2007 7:11 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

This one is from the original Motown twofer CD.
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IanWagner



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PostPosted: Wed Jul 18, 2007 7:25 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/s0vdpl


November 1965. In some ways, the cover says it all. Three cute black girls, in matching cute, entirely unsexy outfits, enacting a dated dance routine. We see a drummer in the background, bored and probably nearly asleep. In the foreground are the backs of white heads, one nearly bald one at left nearly the center of attention. Which is as it should be, the back of that man's bald, white head represents this album perfectly.
Sam Cooke had played the Copa and made an excellent LP there, breaking much ground for young, black entertainers. This was the model Berry Gordy was following. Cooke managed to sneak a lot of soul into his set among the pop standards. Gordy wasn't about to take any such chance.
The Supremes' act consisted mostly of herky-jerky brassy Broadway toons, Put On A Happy Face, I Am Woman, Make Someone Happy, Rock-A-Bye Your Baby With A Dixie Melody, You're Nobody Till Somebody Loves You, etc. These are gauche but fun, but much worse are the attempts at their own hits, which are sped up in bizarrely hyper fashion, losing all the hooks and grooves of the originals. There is simply no trace of soul in this music whatsoever.
The only "real" moments here are the Sam Cooke medley, pointedly acknowledging their forebearer, and a version of Somewhere from West Side Story that the group always used in these white surroundings as their statement of racial harmony and civil rights.
This album is really a horrorshow, a strange whiteface minstrel show, but as a document of how far Gordy had to go to establish his company and artists in the straight white world, perhaps it is entirely subversive in intent, if practically unlistenable.
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IanWagner



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PostPosted: Mon Jul 23, 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

http://www.sendspace.com/file/z5tasi




November 1965. Released simultaneously with the Supremes' Copa album was this seasonal collection. The backing tracks were recorded in LA, the vocals in Detroit. It all adds up to what you'd expect, some fine originals, and cute renditions of holiday favourites. A very White Christmas (emphasis on the white).
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IanWagner



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PostPosted: Mon Jul 23, 2007 9:18 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/tnvd70





November 1965. As well as Sam Cooke, another black musical pioneer passed in 1965. Nat King Cole broke more boundaries than could be listed and every black performer who entered the pop mainstream followed in his steps. An incredible jazz pianist, vocalist extroadinaire and a great man full stop. Just as with Cooke, a tribute LP was released by Motown. Unlike the somewhat strange Supremes-Cooke pairing, Marvin Gaye-Nat Cole was a musical marriage made in heaven. Cole was Gaye's favourite singer and biggest influence, and the opportunity to pay homage was relished and executed perfectly. Twelve slabs of pop standard brilliance, from one master to another. Unfortunately, this passed under the pop mainstream radar completely, not even entering the charts. However, the record hasn't been hard to find, remaining in print nearly continuously. This is a real "lost" gem, and a must-own.
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IanWagner



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PostPosted: Tue Jul 24, 2007 7:34 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

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November 1965. One of the greatest albums of the 60's and one of the finest collections of soul music, one that puts the final lie to the putdowns of 60's Motown LPs as collections of singles and filler. An album that starts with a one-two-three of Going To A Go-Go, Ooh Baby Baby and The Tracks Of My Tears just has to falter after that, right? Well, it doesn't. Everything here is incredible, the two highlights being the heart-stopping ballads Choosey Beggar and A Fork In The Road.
This one is for anyone and everyone.
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halleluwah



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PostPosted: Tue Jul 24, 2007 8:34 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

Kickass. This is great; we're really starting to get into my favorite era of Motown stuff now. It's all been cool so far, though. Thanks.
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Matinee Idyll (129)



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PostPosted: Wed Jul 25, 2007 1:45 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

I'm in two minds about getting the Copa album... but I'm loving the Nat Cole and Sam Cooke tributes. Truly beautiful, ta Ian.
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IanWagner



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PostPosted: Wed Jul 25, 2007 8:28 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/q0ii4q


November 1965. The third Temptations' LP, and another incredible slab of mid-60's pop-soul. This one has a particular freshness. as the various singles included have sadly passed from oldies rotation. Older singles included that hadn't made a Tempts LP yet, and new lesser-known classics such as Since I Lost My Baby and the immortal Paul Williams'led Don't Look Back. Splendid album.
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