The Record Room / The Rubber Room / Archives / 07-08-2011 / THE Motown Story Thread (Disregard All Previous Threads)

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March 9th, 2010 08:48 PM
Andy B wrote:
Just to let you know Ian, i haven't forgotten this thread.
It's good to know that some people still support him.
March 10th, 2010 12:52 PM
IanWagner A FIRST!


Released on Tamla, March 1965.
The last Miracles single of 1964 was November's Come On Do The Jerk. Written by Smokey Robinson with Pete Moore and Bobby Rogers, as well as drummer Donald Whited, this release brought a close to an era of creative floundering for the group.
This year saw the release of some of the most memorable records Smokey ever created, but these were for other artists, such classics as My Guy, The Way You Do The Things You Do and My Girl. For his own group, Smokey could only manage derivative efforts that were comparatively unmemorable.
Jerk was quite likable for its type, with a fine backing track including great bass work from James Jamerson. The main hook was a catchy one, and the vocal work was fine as always.
The record was the endpoint of the attempts to follow the group's last major hit, 1963's Mickey's Monkey, with similarly themed efforts.
Jerk only managed to hit #50 on the pop chart (the track's first LP appearance would be on the group's second Hits collection), and the group were now at a crossroads. Would Smokey rededicate himself to his group's career, or would he choose to continue focus on creative work for other acts?
This gap was filled by the compilation of a Greatest Hits collection on the group, replacing the withdrawn I Like It Like That LP. This was set apart from the usual Motown hits series in a couple of ways.
One was that it was the first double album released by the company (and one of only two in the 1960's). The other was that it did not have the uniform cover design of the other artists' hits packages (save the Supremes, who would receive similar deluxe treatment two years later).
It is understandable that Berry Gordy would give the Miracles and Smokey such treatment, as they were the true foundation of the company, the Robinson/Gordy collaboration predating the formation of Motown.
To make up a complete retrospective of the group's career, their early pre-Motown recordings originally issued on the End and Chess labels were included on the set, none of which had previously appeared on LP.
Both sides of their 1958 End debut are compiled, Got A Job/Mama Done Told Me. Their second release on the Fury label is skipped, but their third, another End 45, I Cry/(I Need Some) Money (NOT the early Motown classic that the group covered on their debut LP) is collected on Hits.
Both sides of both the group's 1959 Chess singles are on Hits, I Need A Change/All I Want (Is You) and Bad Girl/I Love You Baby.
The group's Motown output is summarised thusly:
1960's Way Over There/(You Can) Depend On Me
and Shop Around/Who's Lovin' You.
1961's What's So Good About Good Bye/I've Been Good To You (the group's three previous singles of the year, Ain't It Baby, Mighty Good Lovin' and I Can't Believe, are all ignored).
1962's I'll Try Something New and You've Really Got A Hold On Me.
1963's A Love She Can Count On, Mickey's Monkey and I Gotta Dance To Keep From Crying (the group's holiday single, The Christmas Song, is naturally excluded).
1964's I Like It Like That and That's What Love Is Made Of/Would I Love You, all of which had appeared on the withdrawn I Like It Like That LP (1964's first Miracles single, (You Can't Let The Boy Overpower) The Man In You, is ignored here).
Greatest Hits From The Beginning is one of the best single-act compilations in the Motown discography, both historically important and a joy to listen to.
This album seemed to perfectly summarise what had come before in The Miracles' career, while not leaving any real clue of what would come next.
Heavily promoted, the collection was the group's biggest commercial LP success so far by a wide margin. Not only did it crack the chart Top 100, but it went nearly Top 20, missing by one placing.
With a retrospective double album package of singles, one might think the group's career would be winding down. But actually, its main significance was in putting the past behind them, and getting on with the business of their true artistic peak.
The album helped drum up interest in a new single from the group, issued simultaneously. The best Miracles recording yet, the 45 was the beginning of a new and glorious era, a peak not only for The Miracles, but Motown and soul music as well. The single was the first of three from the group issued though the spring, summer and fall of 1965, all of which would be collected on their next album, issued in November.
March 10th, 2010 01:38 PM
halleluwah Right on! Great to have this one available here now. That is a hilarious cover design, though...looks like they just stole a photo from the background of an inspirational poster.

I gotta say, PBS was showing the condensed TAMI show the other night, and I couldn't help watching a bit of it, even though I knew I should wait and see the full thing. Anyway, I mention this because I was totally knocked out by the Miracles performance. You can tell Smokey's voice was just GONE at that show; he was struggling for notes and cracking all over the place. But he totally worked the crowd and made the performance amazing just by sheer force of will. That version of Mickey's Monkey on there is so raucous and joyful that it wouldn't matter if he'd just rasped it out like Miles Davis; it was still gonna knock the crowd on its ass. What a performer. And the way they exit the stage there, just kind of picking up their jackets and leisurely strolling off, is just cool beyond words.
March 10th, 2010 01:42 PM
IanWagner You'll love their performance of That's What Love Is Made Of, which was edited from the PBS version.
I dig the cover of Hits, as it ties in with the Biblical reference of the title and the group's name. "On the first day, he said Let There Be Motown, on the second day, he created Smokey. From the rib of Smokey, he created Claudette..."
March 10th, 2010 02:28 PM
IanWagner A FIRST!!!


Released on Motown, May 1965.
Motown's first film soundtrack album.
Michael Roemer's stunning Nothing But A Man, one of the groundbreaking works of black cinema, had been premiered at film festivals in the fall of 1964 and had seen small release afterward. The critical reception to the work had been deservedly rapturous.
It chronicles the story of a man played by Ivan Dxon, suffering at the hands of racism, taking his frustration out upon his angelic wife, played by Abbey Lincoln. This beautiful, romantic, heartrending, ultimately triumphant film was also notable for reasons more than its quality.
Director Roemer made the decision to eschew a traditional score, and use contemporary soul hits of the day. What would later become standard practice was then only seen in underground films that used unlicensed recordings. And this was years before Easy Rider supposedly "began" this method.
To Berry Gordy's credit, when Roemer asked for permission to use Motown material, he was offered free reign to choose his entire score from the Motown vaults. Roemer used mostly hits (Heat Wave, Fingertips, I'll Try Something New, Way Over There, You Beat Me To The Punch), but a few more obscure tracks as well (Martha and The Vandellas' great album track This Is When I Need You Most, The Miracles' lesser hit That's The Way I Feel, the live versions of The Miracles' You've Really Got A Hold On Me and Mary Wells' Bye Bye Baby, and most importantly the LP debut of the fine, obscure Holland-Dozier 1963 duet 45 instrumental flipside Come On Home). All Gordy asked for was the right to issue a soundtrack album, something that wasn't bound to be a moneyspinner.
This move showed Gordy's commitment to supporting black artists and entrepreneurs, as he had previously showed solidarity with the Civil Rights Movement by issuing albums of Martin Luther King speeches. It also previewed Gordy's later interest in Black Cinema, and being on the forefront of it.
The music was used brilliantly in the film, and the work was soon declared by Malcolm X as his own favourite movie. Its reputation has grown over the years, and is now regarded as a classic.
The album was destined for commercial obscurity, but nevertheless it is an important Motown release.
March 10th, 2010 02:40 PM
IanWagner A FIRST!


Released on Motown, June 1965.
Similar to the Choker Campbell album issued a few months previously, this was an LP of fine instrumental takes on some of the company's major hits.
Earl Van Dyke was one of the key figures in the Motown studio crew, a keyboardist, arranger and bandleader par excellence, an integral part of many classic hits.
He was originally given a shot as a solo artist in September 1964, the raving instrumental 45 Soul Stomp/Hot N' Tot.
In January 1965, a new single was scheduled, the fine All For You (composed by Mickey Stevenson, Henry Cosby and Ivy Joe Hunter), a pop-jazz organ solo with vocal backup from The Andantes. On the flip was a great version of Too Many Fish In The Sea. This Soul 45 was pulled from release, however, though it was issued in the UK.
The single was credited to Earl Van Dyke and the Soul Brothers, noteworthy as the only time in the 1960's that the Funk Brothers studio crew were credited as artists. The familiar group moniker had been coined at a session by drummer Benny Benjamin. But when the time came for the Van Dyke releases, Berry Gordy decided the word "funk" had possible negative connotations, so he changed the word to "soul".
Strangely, the full album by the ensemble was moved to the Motown imprint, though the singles would continue on Soul.
That Motown Sound is simply a great LP for Motown and 60's soul/dance enthusiasts. The songs are all turned into wailing organ instrumentals, and some feature the original backing tracks, with Van Dyke's work dubbed in place of the lead vocals.
Of course, as with all these type of projects, the album was an immediate commercial obscurity, known to Motown cultists only.
In September, back on Soul, a piano-led version of I Can't Help Myself was issued (clearly the original backing track from the Four Tops' classic) backed by a track from the Motown Sound album, How Sweet It Is. In November, there was The Flick Parts 1 & 2, a wild party-sound-overdubbed instro with truly amazing James Jamerson basswork.
The backing ensemble's name was changed to The Motown Brass for December 1966's single 6 By 6/(There Is) No Greater Love. As the namechange denotes, these great instros had much more of a horn presence, and it could be surmised that Motown were trying to turn the act into their own Herb Alpert & The Tijuana Brass.
In March 1969, a funky piano take on Runaway Child Running Wild was released just under Van Dyke's name, backed by a version of Gonna Give Her All The Love I've Got, another main showcase for James Jamerson.
None of these records (all cult items) had any commercial success, but Van Dyke was given another solo album showcase in the fall of 1970.
March 10th, 2010 02:49 PM
halleluwah Hell yeah. Was "The Flick" ever released on an album anywhere, or was it just a 45? I need to get my hands on a copy of that; that's a great record.

And just from a graphic design geek's perspective, the covers of both of these albums are great, especially Nothing But a Man. And it's cool to see little pictures of Jack Ashford and Joe Messina on the cover of the Soul Brothers album.
March 10th, 2010 02:51 PM
IanWagner I believe Flick was just a single. Thanks for the comments!!
Eckstine next.
March 10th, 2010 03:17 PM
IanWagner A FIRST!


Released on Motown, November 1965.
March 10th, 2010 03:32 PM
IanWagner A FIRST!

Released on Tamla, November 1965.
Those Americans who grew up in the 1970's and early 1980's are quite familiar with Willie Tyler & Lester's ventrilioquist act from their many TV appearances of the era. Their career stretched back to the 1960's. They appeared on all the variety shows of that era, and were groundbreaking, as black comedians were rarely sighted in that era.
Berry Gordy's signing of the act showed that he intended for his company to represent even comedy in the now-expanded Motown LP release schedule.
Hello Dummy, the act's only Motown release, was recorded on a tourstop of the Motortown Revue.
Though ventriloquist acts are not the best choice for audio-only representation, the album is actually very funny. It clocks in at less than 20 minutes, the shortest LP in the Motown discography.
Hello Dummy was destined for complete commercial obscurity and discography-footnote status.
The newly afro'd act would prosper in the next decade, away from Motown.
March 10th, 2010 04:26 PM
IanWagner A FIRST!


Released on Motown, May 1966.
In June 1965, the second Motown Spinners single was released, I'll Always Love You. This was written and produced for the group by Mickey Stevenson and Ivy Hunter, and originally cut on Brenda Holloway.
The record was an excellent and successful attempt at making the group a part of the Motown Sound formula. A catchy and memorable song, as well as a little Motown classic.
The flip was a very primitive-sounding ballad produced and cowritten by Harvey Fuqua, Tomorrow May Never Come, that highlighted the group's R&B-harmony chops.
Love You brought the Spinners into the pop chart Top 40 for the second time, the first with Motown, hitting #35, and the Top 10 of the R&B chart. The group would not reach the pop Top 100 again until the next decade.
April 1966 saw the issue of the next Spinners single, Truly Yours/Where Is That Girl. Both sides were fine slices of deeper Motown soul, the A-side (from Hunter/Stevenson) a passionate and catchy uptempo track, the flip (produced and written by Fuqua and Johnny Bristol) a sweet romantic ballad.
Yours hit the Top 20 of the R&B chart, but only #111 of the pop listings, their last charter until 1970.
In May, the group's debut album was issued, which contained the A and B sides of all three of their Motown singles, as well as their early hit That's What Girls Are Made For, which had already appeared on a volume of the Big Hits LP compilation series.
The "original" tag was added to their name to differentiate them from a UK group of the same name. At different points in their career, the group would also be dubbed the Detroit Spinners, for the same reason.
The non-single tracks on the album included a lovely version of the pop standard For All We Know, It Hurts To Be In Love, I Cross My Heart (written by Harvey Fuqua and later recorded by Shorty Long), Like A Good Man Should and I Just Can't Help But Feel The Pain (another Fuqua cowrite).
The LP is an excellent collection of Detroit vocal group sounds, with no weak tracks on hand. At times, it sounds dated in terms comparative to what else was happening at Motown in the same era, and also, it bears no resemblance to the trademark sound the group would find in the 1970's. But the album is a little, lost gem overall.
The Original Spinners LP saw little promotion, and did not enter the charts.
In April 1967, another single would be drawn from the album, For All We Know/I Cross My Heart. The single had no commercial success.
The group were having a hard road of it at Motown, as in their lack of success they were being employed as chauffeurs, gofers and all-around flunkies for other artists.
Disgusted with this turn of events, Chico Edwards left the group in 1967, replaced by G.C. Cameron.
Cameron was a versatile vocalist with a quite interesting career, staying with the Spinners until they scored their first notable hit in 1970, sticking with Motown when the group left the company shortly afterward, becoming a solo artist, recording a classic soung for a soundtrack that would be a bigger hit for another Motown act 20 years later, and eventually returning to The Spinners in the 00's, followed by a stint as lead singer with The Temptations.
The group didn't see another release until November 1968, the single Bad Bad Weather (with the album track I Just Can't Help But Feel The Pain on the flipside). This single did not see any chart action, and for the group's 1969 release, they were moved to the VIP subsidiary. Neither this or the February 1970 follow-up saw success.
Then, finally, in July 1970, a single was released on the group that was created for them by none other than Stevie Wonder. The song broke them nationally as soul stars, inspiring the group's second album for October 1970 release, which contained their singles of the past two years.
March 10th, 2010 04:58 PM
IanWagner A FIRST!


Released on Motown, November 1966.
March 10th, 2010 05:17 PM
IanWagner A FIRST!

Released on Gordy, August 1967.
This San Remo Golden Strings ensemble were a mixture of Funk Brothers bandmembers and musicians from the Detroit Symphony Orchestra. Their repertoire consisted of lush instrumentals, tinged by R&B, pop, jazz and European influences.
Local label Ric-Tic released the single Hungry For Love in August 1965. This bright, likable easy-listening instrumental became a surprise hit on the pop chart, reaching #27.
In October, the follow-up single was issued, I'm Satisfied/Blueberry Hill. This also charted, at #89. In April 1966, the Festival Time/Joy Road single was released.
Ric-Tic then issued the Hungry For Love album.
The ensemble's final Ric-Tic single was International Love Theme/Quanto Seil Bella, released in August.
Berry Gordy brought the group to Motown, probably because he always frowned upon his employees moonlighting for competitor labels, as well as capitalising on the ensemble's Top 40 hit.
The Festival Road single was then reissued on Gordy in April 1967, followed by a reissue of their LP in September, with a reshuffled track order and shorn of one track.
The ensemble's commercial moment in the sun had passed though, and the single and album received no response.
Hungry For Love is just what the campy album cover design and group name promise: easy-listening orchestral instrumentals, that are either ear candy or disposable schlock, depending on the listener. For what the album represents, it is an excellent representation, as fine as Herb Alpert's hugely popular albums of the same era.
These recordings have garnered a cult following among fans of Detroit music and lush 60's instrumentals.
San Remo Golden Strings would garner another LP release, in June of the following year.
March 10th, 2010 05:52 PM
IanWagner A FIRST!

Released on Gordy, June 1968.
The studio assemblage of Funk Brothers and Detroit Symphony members, San Remo Golden Strings, had their second LP issue in mid-68. Entitled simply Swing, this collection focused on easy listening instrumental versions of many contemporary hits.
Several of these were Motown-derived, including I Second That Emotion, Reach Out I'll Be There, Day By Day Or Never, I Was Made To Love Her and My Girl.
The non-Motown tracks included versions of It's Not Unusual, Born Free, Up Up And Away, To Sir With Love and Alfie.
As with the first San Remo Golden Strings album, Swing is a charming relic of the era, the decade's classic pop hits rendered in a safely swinging muzak fashion.
The album saw no commercial response, and was the last release from the studio group.
March 10th, 2010 05:54 PM
IanWagner And that is it for the 63-68 adds.
The only 1968 LP currently still missing is Martin Luther King's Free At Last. Any help finding that will be greatly appreciated!

Tomorrow, the rewrites for the first half of 1969 begin with Tammi Terrell.
March 11th, 2010 11:42 AM
Eric F. Excited to check out this new stuff -- especially the Spinners. The Spinners play kind of a funny role at Motown. Like the Isley Brothers, their biggest hits were cut away from Motown, but whereas the Isleys were famous already when they briefly passed through Motown, the Spinners seem to have been sort of hanging around in the background at Motown (as backing vocalists, etc) all along. So I like these moments when they actually get the spotlight.

Also, it took me a second to figure out what this was referring to:

IanWagner wrote:

Cameron was a versatile vocalist with a quite interesting career, staying with the Spinners until they scored their first notable hit in 1970, sticking with Motown when the group left the company shortly afterward, becoming a solo artist, recording a classic soung for a soundtrack that would be a bigger hit for another Motown act 20 years later . . .

Forgot that he did the original It's So Hard to Say Goodbye -- and I don't think I really consciously thought about how Boyz II Men were a Motown act. Would be amusing to see "Cooleyhighharmony" get the full Ian Wagner review treatment...
March 11th, 2010 11:49 AM
IanWagner Cooleyhighharmony will indeed get a full review.
I agree with what you are saying generally about The Isleys and Spinners, but This Old Heart Of Mine and It's A Shame must be counted among the biggest and most memorable hits of either group.
Glad to see you're still checking in, Eric!
March 11th, 2010 12:05 PM
Eric F. Oh, I haven't gone away -- been busier at work, so less able to contribute and really sit down and listen/read at the same time the way I was doing before. (Also, I just have less to say about the ones I've already commented on). Really looking forward to the discussion of the new stuff once we get to it -- and not just the Tempts Psychedelic Era stuff that everyone else is so excited about (although, actually, because I've been so lukewarm on a lot of that stuff, this will force me to re-evaluate). I'm particularly looking forward to read your thoughts on That's The Way Love Is and the first Valerie Simpson solo album (but all in due time).
March 11th, 2010 12:51 PM
IanWagner :tura:

Released on Motown, January 1969.
Tammi Terrell's debut solo album was originally scheduled for release at the end of 1966, but then shelved. After the intitial duet successes with Marvin Gaye, material for her continued to be recorded through the summer of 1967.
Her third single, for release in October 1967, was produced for her by Smokey Robinson, and cowritten by him with Al Cleveland. What A Good Man He Is was Terrell's best solo recording, an intense and funky soul record and a perfect showcase for the sweet grit of her voice.
Unfortunately, the release of the single coincided with Terrell's onstage collapse and subsequent medical diagnosis, operations and hospitalisation. Out of both respect and the fact that Terrell would naturally be unable to promote any releases, the Good Man single was quickly pulled, before it could see any commercial success.
After the second wave of Gaye-Terrell smash hits in 1968, Motown decided to press on with solo and duet Terrell releases, no matter if she was available for promotion or not.
December 1968 saw the release of a new single, a Bristol-Fuqua produced, heavily altered version of The Isley Brothers' This Old Heart Of Mine. The song was sped up, and the hooks were in different places. The experiment was a success, another fine solo Terrell recording.
The flipside was even finer, an original Fuqua-Bristol cowrite and production, Just Too Much To Hope For. A lovely and very catchy song, this song again highlighted the huge amount of potential for Terrell as an artist, as her charisma was palpable.
But even though Motown were releasing new Terrell product, they still were not prepared to spend much promotion money on a bedridden artist, even a beloved one. This Old Heart did not enter the charts.
The single was followed by Terrell's full LP in January of 1969. It was collated from sessions stretching back to 1965.
Included were Tammi's 1965 Motown debut single, I Can't Believe You Love Me/Hold Me Oh My Darling (the latter of which had appeared in Gaye-overdubbed form on the duet United LP in 1967), the A-side of her 1966 single Come On And See Me (which had appeared in overdubbed form on the You're All I Need duet LP), What A Good Man He Is and both sides of the This Old Heart Of Mine/Just Too Much To Hope For single.
The remainder was mostly from the Fuqua/Bristol team. That's What Boys Are Made For was a gender-altered take on the Spinners hit. Tears At The End Of A Love Affair and I Can't Go On Without You were written with Sylvia Moy. The team of James Dean/William Weatherspoon created Can't Stop Now (Love Is Calling). And Smokey Robinson provided the production and solo composition He's The One I Love.
Listening to the album, one can not tell of the patchwork nature of the production, as Terrell's remarkable charm and vocal talent carries the result to an overall cohesion.
Irresistible is a fine album that has been forever altered and given weight and significance by the fact of its serving as the only full-length solo work of Terrell's career.
If she had survived her illness, she undoubtedly would have recorded albums that would have been far better. But Irresistible, an unmistakably fine LP, is all that we have, and it is precious to Terrell's many fans.
Again, the album was not given any real promotional effort, and it did not enter the charts. But it remained in print though many reissues, and has taken its place as a Motown album classic.
Terrell would not have another solo release during her lifetime, but duet releases would continue through 1969, records on which she was mostly present in name only.
March 11th, 2010 01:32 PM
halleluwah Very good. When was the last recording session Tammi actually sang on recorded? It's my understanding that she did a few sessions after the diagnosis, before her condition got so bad that she couldn't do it anymore, but how long was she able to do that?
March 11th, 2010 01:34 PM
IanWagner As far as I know, early 1968.
Another nice first, coming up.
March 11th, 2010 02:16 PM
IanWagner A FIRST!


Released on Tamla, January 1969.
The Miracles' second live album was the first of three LPs from the group this year. As with 1963's Recorded Live On Stage album, this new LP was recorded at Detroit's Roostertail Club.
The group had been devoting most of their time to playing the supperclub circuit, and their act captured for this album demonstrates that.
The set opens with a medley of the pop standards Once In A Lifetime and You And The Night And The Music, and later in the act, they perform another standard, Poinciana.
Four contemporary pop hits are performed, including Up Up And Away, Theme From Valley Of The Dolls, Walk On By (a version much superior to the studio take on the Away We A-Go-Go LP) and Yesterday.
The Miracles had developed into a very accomplished and polished vocal group over the years, and as a result, where this type of material sounded forced from other Motown acts, these performances were never less than engaging.
Smokey Robinson's lead on Valley Of The Dolls in particular is spellbinding. Another interesting moment is the introduction to Yesterday, where Robinson mentions The Beatles and is heartened to hear a positive response, mentioning that other audiences reacted negatively. The performance that follows is the equal to the excellent studio take on the group's recent Special Occasion album.
The group naturally perform some of their own hits, and though none are the match for the original recordings, all are fine live takes. These include I Second That Emotion, The Tracks Of My Tears, Mickey's Monkey, Ooo Baby Baby and the closing rave-up, Going To A Go-Go.
The highlights of the group's own material here are versions of their recent hits If You Can Want and Yester Love.
Some of the vocals are quite obviously rerecorded in the studio (Smokey voice even audible doubled at points), but the album does benefit from a much smaller number of overdubbed audience cheering.
Live is not a top-shelf classic, but for fans of the group, it is essential.
The album saw modest chart success, reaching a #71 peak.
In May and June, the group's next singles would be issued, both included on their next album, released in July.
March 11th, 2010 05:45 PM
hope chest Been gone awhile due to an overwhelming wave of shittiness crashing upon the shores of my life. Great to see this massive mother of a thread with a ton of new additions! Gonna do some catching up now...
March 11th, 2010 05:46 PM
IanWagner There is my BROTHER!!!!! Really missed ya mate, figured something was going down, did not wish to bother you!
March 11th, 2010 05:50 PM
Nick GREAT to see you back Ray. I apologize for all the Amy's pot pies I threw in your back yard.
March 11th, 2010 05:58 PM
hope chest
IanWagner wrote:
There is my BROTHER!!!!! Really missed ya mate, figured something was going down, did not wish to bother you!

Yeah, a fuck ton of stuff just happened all at once culminating in me being a pallbearer and burying my grandmum this week. You've no idea how nice it is to come back and see this thread on steroids.

GREAT to see you back Ray. I apologize for all the Amy's pot pies I threw in your back yard.

THAT WAS YOU?!? I took a ration of shit from the missus for "ruining perfectly good pot pies". It was a fucking mess too...couldn't you have at least left them in the boxes??? Jesus do you owe me.
March 11th, 2010 05:59 PM
Nick i did recycle the boxes as shoes
they chafe though

sorry to hear about your grandmum.
March 11th, 2010 09:24 PM

Released on Gordy, January 1969.
Concurrent with the Collection Of 16 Big Hits compilation album series, a new series was begin on the Gordy imprint, Motown Winner's Circle-#1 Hits. This collected together the chart-topping hits of the company's history, mostly on the R&B listings.
The first two volumes were released simultaneously, and each track on the albums had appeared previous in LP format.
Vol. 1 contained Where Did Our Love Go, Pride And Joy, The Way You Do The Things You Do, You Beat Me To The Punch, Fingertips, Shop Around, Playboy, Dancing In The Street, Shotgun and Baby I Need Your Loving.
Vol. 2 included Stop! In The Name Of Love, My Girl, Every Little Bit Hurts, I Can't Help Myself, My Guy, Do You Love Me, I Second That Emotion, Uptight, Heat Wave and Money.
Both albums saw minor chart success, with Vol. 1 reaching #159, Vol. 2 reaching #135.
The third volume would follow in July.
March 11th, 2010 09:27 PM
hope chest wrote:

Yeah, a fuck ton of stuff just happened all at once culminating in me being a pallbearer and burying my grandmum this week.

So sorry, man. I know exactly how that feels.
March 11th, 2010 09:27 PM
hope chest wrote:

Yeah, a fuck ton of stuff just happened all at once culminating in me being a pallbearer and burying my grandmum this week. You've no idea how nice it is to come back and see this thread on steroids.

THAT WAS YOU?!? I took a ration of shit from the missus for "ruining perfectly good pot pies". It was a fucking mess too...couldn't you have at least left them in the boxes??? Jesus do you owe me.

Missedcha, Ray! Good to see you back.
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