Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or
view the MP3 Album.
|
||||||||||||||||||
|
||||||||||||||||||
|
||||||||||||||||||
| ||||||||||||||||||
Listen to Samples and Buy MP3s
Special Offers and Product Promotions
- Get $1 in Amazon MP3 credit with qualifying purchase. Limited to one promotional credit per customer. Here's how (restrictions apply)
Frequently Bought Together
Product Details
Would you like to update product info or give feedback on images?
|
Customer Reviews
|
Share your thoughts with other customers:
|
||||||||||||||||||||||
|
Most Helpful Customer Reviews
8 of 8 people found the following review helpful:
5.0 out of 5 stars
Pretty close to the mountaintop,
By
This review is from: The Complete Motown Singles, Vol. 5: 1965 (Audio CD)
Well, if you're reading this, you're likely already a soul aficionado. You probably own a good dozen Motown records, but you're looking to dig deeper. If you want to hit the vein right when the label was really hitting its' stride, 1965 is a great place to start. If you pick up this set you'll end up with:- The equivalent of a Brenda Holloway album - Some kooky instrumentals from Earl Van Dyke and the Soul Brothers - much of the best Four Tops singles ("Ask The Lonely", "I Can't Help Myself", "It's The Same Old Song"....) - 8 kickass instrumentals from Jr. Walker and The Allstars - An amazing Kim Weston track, "A Thrill A Moment" - "Nowhere To Run" by Martha & The Vandellas - one of the best Vietnam-era tracks, ever - Marvin Gaye, just as he was finding his footing ("Ain't That Peculiar , "I'll Be Doggone") - The same deal with Stevie Wonder ("Uptight", "High Heel Sneakers") - The equivalent of an entire Supremes album chock full of great tracks ("Stop! In The Name of Love" is only the beginning here...) - Some formative Temptations tunes - Some sort of out-of-place crooning by a 51-year-old Billy Eckstine (not bad, just a little strange for this set) I think that the 1966 set is a little more rockin', but this set is rock-solid, and if you wanted to know what the car radio sounded like in 1965, this is the set to check out.
1 of 1 people found the following review helpful:
5.0 out of 5 stars
Unearthly goodness,
By
This review is from: The Complete Motown Singles, Vol. 5: 1965 (Audio CD)
The Complete Motown Singles is a highly ambitious series of box sets that aims to archive each and every single released on Berry Gordy's group of labels. From its humble origins in 1959, unlike other label-themed box sets such as the Stax-Volt collection, it does not limit itself to mostly A-sides, but includes all B-sides too. In fact, it goes the extra mile by also including every promo mixes and variant pressing. There are also some singles that didn't get released, and some novelty discs of interviews and so forth. Volume 1 covered the years from 1959 to 1961, but from 1962 through the rest of the sixties each set covers a single year, using varying number of discs that increased as the labels became more prolific.I could have chosen any of the Volumes for review, but from a British perspective, 1965 is the year to go for because it was when the Tamla Motown label was launched here via EMI. There had been hits the year before for the Supremes, Mary Wells and Martha and the Vandellas, all on the Stateside label, but no context for them beyond the fact that they came from the other side of the Atlantic, no sense that they were connected. Tamla Motown's appearance meant that far more of the American releases got an airing here and for the first time it had its own identity. It was in March 1965 also that the Motown Revue came to England to tour and recorded an hour-long TV special for Ready Steady Go! For many people this was their first exposure to a new phenomenon. 1965 became the year that Motown both entered the mainstream in the US, battling racial barriers along the way, and went global. In its infancy, Motown had not yet found its hallmark sound and mingling among the earthy R&B it did so well could be found country, jazz, balladeers, novelty pop and all-sorts, now best forgotten. Although by 1965 it had very much found its stride, it is surprising to discover that it was still releasing singles in all these genres and more: folk-rock, rockabilly, British invasion style pop, even a French ballad singer called Richard Anthony, who I remember but had no idea was linked to Motown. These were usually on smaller subsidiary labels, and very much cut into the flow of these CDs, especially since they are, by and large, terrible. I'm glad they are there, they are after all a part of the story, but am thankful for Program Play. Most of the rest, however, is classic Motown in its heyday, with a notable shortage of clunkers. Motown was an in-house operation, based on the model of Detroit's car industry, with its own artist roster, writers, arrangers, producers and engineers, and with most personnel having more than one role. Smokey Robinson for example was not only Berry Gordy's right hand man, he was also lead singer for the Miracles, songwriter and producer for a number of Motown acts. Motown also had its own publishing (Jobete), its own studio and, most importantly, its legendary house band. At the time their identities were jealously guarded but we now know that by 1965 their core members included bandleader and keyboard player Earl Van Dyke; guitarists Robert White, Eddie Willis, Joe Messina; Jack Ashford on vibes; the matchless James Jamerson on bass; and powerhouses Benny Benjamin, Pistol Allen or Uriel Jones on drums. In addition were loads of brass players and members of the Detroit Symphony Orchestra. Between them they ran up thousands and thousands of studio hours at the magic snakepit in Hitsville Studio A, creating the phenomenal grooves that splatter this box set with unearthly goodness, and 1965 was a time when it was all working at its best. The sixties was primarily a singles market, and major artists released far more singles in a year than is now the case. Consequently, if we bunch together all the tracks by, say, the Supremes, who were at their hottest, you get well over an album's worth of songs, and the same is true of the Four Tops, also mainly produced by the Holland-Dozier-Holland team, who were at the top of their game. There are also numerous classic sides by established names like the Temptations, the Miracles, Marvin Gaye, Martha and the Vandellas, Stevie Wonder and the Contours; and a few equally strong sides from aspiring and upcoming acts such as Junior Walker and the All Stars, Kim Weston, the Marvelettes and the Velvelettes. Amongst those making their first appearance on the label in 1965 are Barbara McNair, an actress with a slightly jazzier singing style, who became Playboy's first black centre-fold in 1968; and Tammi Terrell, who was destined to shine brightly with Marvin Gaye before coming to a tragically premature end. Berry Gordy was extending his reach into other parts of the states and developing artists and facilities in Los Angeles, and recording the local talent either in Detroit or at studios in Los Angeles, using the Wrecking Crew (the same team who can be found on Beach Boys records and Phil Spector productions), and so we find Frank Wilson, whose withdrawn single Do I Love You (Yes I Do) became the most sought after and valuable piece of Motown vinyl, the Vows, the Lewis Sisters and the underrated Brenda Holloway, whose singles When I'm Gone, Operator and You Can Cry On My Shoulder, all came out in 1965. She lived there and recorded mostly with Los Angeles based producers Hal Davis and Marc Gordon. The Supremes also added vocals to existing band tracks there while in the area. Jimmy Webb began his association with Motown at this time, submitting his songs to Jobete and having a couple recorded in Los Angeles for a single by Danny Day. California native Chris Clark, a six-foot blue-eyed platinum blonde likened to Dusty Springfield, also sprang up from the city. A few years later, of course, Berry Gordy was to move the whole operation to the city of angels, with mixed results to say the least. One of the most interesting rarities on the set is the Supremes' track Things Are Changing, originally a promo for the Advertising Council's Public Service Announcement for Equal Employment Opportunities Campaign, promoting racial and ethnic equality in the workplace, and produced by Phil Spector. Motown had aped the Spector sound in the past, but this seems to be the closest involvement with the man himself. Two other versions of the song, one by the Blossoms and one by Jay and the Americans, using the same backing, were also released for the campaign at the same time. This box set tells a story that "greatest hits" and "best of..." collections simply cannot, and the detailed booklet notes and illustrations amply demonstrate what a mighty phenomenon Motown was around the world at that time.
1 of 1 people found the following review helpful:
4.0 out of 5 stars
Three-quarters R&B goodness, one-quarter filler,
By Rudolf Schmidt (San Diego) - See all my reviews
This review is from: The Complete Motown Singles, Vol. 5: 1965 (Audio CD)
If, like me, you're interested in this six-disc collection as a slab of the classic Motown R&B sound, be forewarned that you'll probably not want to listen to a quarter of its tracks more than once. Thirty-nine of the 166 tracks are country tunes (Howard Crockett), jazz (Billy Eckstine), bad pop (Dalton Boys), novelties (Childrens' Christmas Song), instrumental covers (Earl van Dyke and the Soul Brothers), or just plain annoying (Little Lisa, The Lewis Sisters' "He's an Oddball"). If you're interested in this collection primarily as a historical artifact you won't mind the dross; otherwise, listen before you buy.The tracks I never want to hear again: 111 - dee mullins - love makes the world go round but money greases the wheel 112 - dee mullins - come on back (and be my love again) 204 - the hillsiders - you only pass this way one time 205 - the hillsiders - rain is a lonesome thing 216 - howard crockett - all the good times are gone 217 - howard crockett - the great titanic 222 - jr. walker and the all stars - do the boomerang 226 - billy eckstine - down to earth 227 - billy eckstine - had you been around 303 - the lewis sisters - hes an oddball 308 - the supremes - supremes interview 313 - danny day - this time last summer 314 - danny day - please dont turn the lights out 315 - dorsey burnette - why break my heart (just to run around) 316 - dorsey burnette - theyre only words 323 - jr. walker and the all stars - shake and fingerpop 324 - jr. walker and the all stars - cleos back 415 - tony martin - the bigger your heart is (the harder youll fall) 416 - tony martin - the two of us 417 - richard anthony - i dont know what to do 418 - richard anthony - what now my love 419 - little lisa - hang on bill 420 - little lisa - puppet on a string 424 - the lewis sisters - you need me 425 - the lewis sisters - moonlight on the beach 428 - the supremes - things are changing 511 - earl van dyke and the soul brothers - i cant help myself (sugar pie honey bunch) 512 - earl van dyke and the soul brothers - how sweet it is (to be loved by you) 517 - the headliners - we call it fun 521 - the dalton boys - ive been cheated 522 - the dalton boys - take my hand 523 - the dalton boys - somethings bothering you 524 - r. dean taylor - lets go somewhere 601 - barbara mcnair - youre gonna love my baby 602 - barbara mcnair - the touch of time 603 - the supremes - childrens christmas song 604 - the supremes - twinkle twinkle little me 618 - tony martin - ask any man 619 - tony martin - spanish rose
Share your thoughts with other customers: Create your own review
|
|
Tags Customers Associate with This Product(What's this?)Click on a tag to find related items, discussions, and people.
|
Customer Discussions
|
This product's forum
Active discussions in related forums
Search Customer Discussions
|
Related forums
|
So You'd Like to...
SoundUnwound - the personal music encyclopedia
Passionate about music?
Learn more at SoundUnwound, the personal music encyclopedia, or challenge your friends with our Hip-Hop music quiz.
