Favorite Post Motown Songs from Famous Motown Artists

What are some of your favorite songs made by famous Motown acts after they left Motown?

For me I'm personally leaving Michael Jackson out of this, I consider him a completely different situation

Including the expanded editions and unofficial CDs from Ben, out of copyright Hallmark CDs etc, which Motown albums are available in both mono and stereo on CD please?

For example:

Marvin's "When I'm Alone I Cry" contained both the mono and stereo tracks [[31453-0356-2).

Martha and The Vandellas "Come And Get These Memories" is in mono [[31453-0366-2) and beautiful stereo on the 2fer with Heat Wave [[440-016-835-2).

16 Big Hits Volume 1 to 3 and part of 4 are available as stereo CDs [[MOTDs) and as mono tracks on the 5 Motown Classic Hits CDs [[31453-0403-2 / 31453-0419-2 / 31453-0420-2 / 31453-0421-2 / 31453-0422-2)

What else are we aware of please?

Whats everyone’s favorite album from a motown artist?
Mines meet the supremes in stereo the mono album is absolutely dreadful.

Not sure whether this might have featured before although a search of the Forum revealed nothing.

From udiscover music December 14, 2015 by Jason Draper.

"In 1964, Motown scored its first UK No.1, ‘Baby Love’, by The Supremes. It lit the touchpaper for an international invasion that, by the end of the year, would see some of the label’s biggest stars head to the UK for live dates, and which, by spring 1965, would bring The Motortown Revue to Paris.

As the label began to invade Europe, domestic Motown distributors sought to make record-buyers aware of the groundbreaking music that was coming out of 2648 West Grand Boulevard – aka “Hitsville USA” – in Detroit. In France, the Introduction Au Tamla Motown Sound compilation LP was released as a promo package, replete with a lavish book and glossy print photos of the stars that would soon become household names worldwide. This was accompanied by the commercial release of a France-only LP, The Big, Big Sound From Detroit, which was released through Columbia, the Pathé-Marconi imprint that distributed Motown in France. The stage was set for The Motortown Revue’s historical live performance at the Paris Olympia, on 13 April 1965 – a show which, for the first time ever, is due to be released in full, on 12 February 2016, as Recorded Live: Motortown Revue In Paris.

At first glance, The Big, Big Sound is an unassuming 12-track compilation featuring hits by the likes of Mary Wells [[‘My Guy’), Marvin Gaye [[‘Can I Get A Witness’) and The Supremes [[‘Where Did Our Love Go’). Look closer, however, and the sleevenotes on the back actually constitute a first for Motown. According to Gilles Pétard, co-author of the book Motown, Soul And Glamour, “The back cover to The Big, Big Sound From Detroit was the first time that Motown revealed the names of all the great musicians that played on the sessions, thanks to the efforts of Kurt Mohr, a Swiss discographer, who was able to get Motown to open their files.”

For Motown fans and collectors, this was a revelation: the first time that The Funk Brothers – now lauded as one of the finest session ensembles in history – had ever been individually named in print [[though, confusingly, the compilers overlooked the details for Brenda Holloway’s ‘Sad Song’). What’s more, the recording dates of each song were also listed, making The Big, Big Sound Of Detroit an essential document for Motown archivists.

With special thanks to Gilles Pétard, who helped us source the above detail from the album’s rear sleeve, we are able to give a give a full account of the information that this historical release contained. See below for a recreated album playlist, plus a full listing of recording dates and attendant musicians for each song – and come back next week, on 21 December, for our exclusive interview with Gilles Pétard, who gives us the inside story of how Motown established itself in France in the mid-60s.

The Big, Big Sound Of Detroit – “Renseignements Discographiques”:

The Supremes [[‘Where Did Our Love Go’, recorded 8 April 1964)
Diana Ross, Mary Wilson, Florence Ballard [[vocals); Andrew Terry [[baritone sax); Jack Ashford [[vibraphone); Earl Van Dyke [[piano); Eddie Willis [[guitar); James Jamerson [[bass); Richard Allen [[drums)

Sammy Ward [[‘You’ve Got To Change’, recorded 7 May 1964)
Sammy Ward [[vocals); Earl Van Dyke [[piano); Robert White, Eddie Ellis [[guitars); James Jamerson [[bass); Bill Benjamin [[drums); Ivy Hunter [[percussion)

The Darnells [[‘Come On Home’, recorded 22 May 1963)
Jackie Hicks, Marlene Barrow, Louvain Demps [[vocals); Paul Riser, Don White [[trombones); Hank Cosby [[tenor sax); Andrew Terry [[baritone sax); Johnny Griffith [[keyboard); Joe Hunter [[piano); Robert White [[guitar); Clarence Isabell [[bass); Larry Wrice [[drums)

Kim Weston [[‘Love Me All The Way’, recorded 19 November 1962)
Kim Weston [[vocals); Don White [[trombone); Dave Hamilton [[vibraphone); Norman Dillard [[organ); Joe Hunter [[piano); Robert White [[guitar); Joe Williams [[bass); Lamont Dozier [[drums); five unnamed backing vocalists

Eddie Holland [[‘Leaving Here’, recorded 26 November 1963)
Eddie Holland [[vocals); Marcus Belgrave, Herb Williams [[trumpets); George Bohanon, Paul Riser [[trombones); Hank Cosby, John Williford [[tenor saxophones); Earl Van Dyke [[keyboard); Johnny Griffith [[piano); Robert White, Eddie Willis [[guitars); James Jamerson [[bass); Richard Allen [[drums); eight unnamed backing vocalists

Eddie Holland [[‘Candy To Me’, recorded 6 July 1964)
Eddie Holland [[vocals); George Bohanon, Paul Riser [[trombones); Hank Cosby [[tenor sax); Andrew Terry [[baritone sax); Jack Ashford [[vibraphone); Earl Van Dyke [[organ); Johnny Griffith [[piano); Joe Messina [[guitar); James Jamerson [[bass); Bill Benjamin [[drums); three unnamed backing vocalists

Mary Wells [[‘My Guy’, recorded 2 March 1964)
Mary Wells [[vocals); Herb Williams, John Wilson [[trumpets), George Bohanon, Paul Riser [[trombones); Earl Van Dyke [[organ); Johnny Griffith [[piano); Dave Hamilton [[vibraphone); Robert White, Eddie Willis [[guitar); James Jamerson [[bass); Bill Benjamin [[drums); three unnamed backing vocalists

The Miracles [[‘I Like It Like That’, recorded 30 April 1964)
Claudette Rogers, Bill “Smokey” Robinson, Warren Moore, Robert Rogers [[vocals); Russell Conway, Herb Williams, John Wilson [[trumpets); Earl Van Dyke [[piano); Marvin Taplin, Robert White [[guitars); James Jamerson [[bass); Donald White [[drums)

Marvin Gaye And Kim Weston [[‘What Good Am I Without You’, recorded 10 May 1964)
Marvin Gaye, Kim Weston [[vocals); Russell Conway, Herb Williams [[trumpets); George Bohanon, Paul Riser [[trombone); Hank Cosby [[tenor sax); Andrew Terry [[baritone sax); Earl Van Dyke [[piano); Robert White [[guitar); James Jamerson [[bass); Bill Benjamin [[drums); Ivy Hunter [[percussion); three unnamed backing vocalists

The Marvelettes [[‘You’re My Remedy’, recorded 25 March 1964)
Gladys Horton, Katherine Anderson, Georgeanna Tillman, Wanda Young, Juanita Cowart [[vocals); Donald Towns, John Wilson [[trumpet); George Bohanon, Paul Riser [[trombone); Hank Cosby [[tenor sax); Earl Van Dyke [[keyboard); Johnny Griffith [[piano); Robert White, Eddie Willis [[guitars); James Jamerson [[bass); Richard Allen [[drums)

Marvin Gaye [[‘Can I Get A Witness’, recorded 17 July 1963)
Marvin Gaye [[lead vocals); Martha And The Vandellas [[Martha Reeves, Annette Beard, Rosalyn Ashford) [[backing vocals); Marcus Belgrave, Russell Conway [[trumpets); Paul Riser, Patrick Lanier [[trombones); Hank Cosby [[tenor sax); Eugene Moore [[baritone sax); George Fowler [[organ); Johnny Griffith [[piano); Eddie Willis [[guitar); Clarence Isabell [[bass); Bill Benjamin [[drums)"

https://www.udiscovermusic.com/stori...little-secret/

Anyone ever hear of this group?

JOY - High Life [[1981)

RPM, PVBL9002
Producers: Patric van Blerk, Fransua Roos & Greg Cutler
Engineer: Greg Cutler
Recorded at: RPM Studios

Made up of the late Anneline Malebo, Felicia Marion and Thoka Ndlozi, Joy pre-empted the bubblegum era with their commercially appealing sound and image, crafted by producer Patric van Blerk [[Victory, Margaret Singana), one of the first to forge a multiracial crossover sound influenced by American soul and R&B. As South Africa's answer to the Supremes, Joy supported touring acts like Lamont Dozier, Clarence Carter, Dobie Gray and Leo Sayer. They were undoubtedly best known for the massive crossover hit 'Paradise Road' in 1980, which helped them earn two Saries Awards for Best Vocal Group and Best English LP of the Year in 1980 [[a landmark moment in the ethnically divided industry) and even led to a tour of the UK. High Life followed in 1981, but lacked a hit to take the trio further. They broke up in 1983, the year that Brenda Fassie, who had once filled in for Malebo in the Joy line-up, ushered in the bubblegum era with 'Weekend Special'. Although their sound was less fresh and funky that the bubblegum acts that followed in the footsteps, Joy's contribution to the local industry should never be forgotten.

From The Bitter Southerner - Earl King Poet Laureate of New Orleans

"Before long, though, another opportunity came knocking. In 1963, local promoter Joe Jones claimed he had landed a contract for a group of New Orleans artists with Motown Records. But when King arrived in Detroit with Jones, he found out there was no contract, just an audition. Nonetheless, the Motown execs were so impressed with King’s songwriting and Smokey Johnson's drumming that they started recording tracks on the Louisiana visitors around the clock.

“The whole thing at Motown was different,” King said. “They were open 24 hours a day, cutting stuff. One time I was recording a song and a producer came in and said, ‘Hold tight, I’ll get you some background singers.’ He got someone from the Contours and someone else from Martha and the Vandellas at 5 in the morning and we did it right there.

“I could see how those songwriters could get intrigued with the setup at Motown, because everything you need is provided for you. Background voices, whatever musicians you need, you have all that at your disposal. So that makes it easy. I got a lot out of being up there at Motown. I was inspired to do a whole lot of writing when I came back.”

King wrote and produced about two dozen songs for Motown, not only on himself but also on such artists as Joe Jones, Patti Little sic [[Hattie Littles), and the Contours. But with Jones demanding a lot of money for his non-existent rights to the New Orleans artists and Motown offering less money than they could make at home, King and the rest packed their bags and returned South. Except for three songs on the 1996 compilation, “Blue Evolution,” none of King’s work for Motown has ever been released.

Still, he was undaunted. He returned to New Orleans fired up with creative energy, determined to write songs for all his favorite artists in town. At the top of the list was Professor Longhair, the eccentric pianist with the rumba beat, and King had just the right song for him, “Big Chief.”"


The three tracks of Earl King on "Motown's Blue Evolution" are -
"Three Knocks On My Door"
"A Man And A Book" [[also on one of the Soul Satisfaction CDs)
"Hunger Pains" - Jobete registered copyright 15 June 1967 by Earl K Johnson.

On DFTMC a couple of Hattie Littles tracks are shown as written by Earl Johnson.

Heebe Geebes [[Earl Johnson) published Jobete - Hattie Littles; recorded Hitsville, completed 22-Aug-63 ; produced by Clarence Paul ; [1st odb] - [pressing date unknown] [acetate]; LP [[M): JD 181

When I Was In School [[Earl Johnson) published Jobete - Hattie Littles; recorded Hitsville, completed 22-Aug-63 ; produced by Clarence Paul [pressing date unknown] [acetate]; LP [[M): JD 181

And a 3rd one which is credited to Marv Johnson [[full name Marv Earl Johnson) but given the date might be Earl King [[Earl Johnson).

Wish That You Were Here [[Marv Johnson) published Jobete - Hattie Littles; recorded Hitsville, completed 21-May-63 ; produced by Marv Johnson [pressing date unknown] [acetate]; 45 [[M): [no catalogue number]

So given the 3 Earl King tracks released and the [[potentially) 3 tracks by Hattie Littles from 2 dozen - what else may be in the can from Earl King / Earl Johnson and particularly on the singer Joe Jones [[who had the hit with "You Talk Too Much")?


You can find the Earl King article here
https://bittersoutherner.com/feature...of-new-orleans