Review: Vinyl Reissue of The Temptations' 'Psychedelic Shack'

When conservative Motown decided to dip its toes into the spiked waters of psychedelia, its LPs rarely committed fully to the genre's artiness and spaciness. For every "Reflections" there was a cornball cover of something like "Up, Up and Away". So it isn't surprising that Berry Gordy had some trouble wrapping his head around the more committedly conceptual works that artists like Marvin Gaye and Stevie Wonder served up in the seventies. 

And Yet Another Three Motown Reissues...

This year Elemental Music is winding down its extensive Motown reissue campaign begun early last year, and the latest slate is its final full one, with three LPs by the label's three top groups. They're all fairly minor records, but each has something to recommend them. The biggest hit and best song among these albums kicks off The Temptations' Puzzle People. "I Can't Get Next to You" was a number-one hit and the first record with their new psychedelic-soul sound to crack the top-five. It's a great track: accessible, angsty, and a little sinister-sounding in the tradition of past classics like "(I Know) I'm Losing You". However, the album as a whole kind of flails around without landing on a specific point-of-view the way the Temps' best albums, such as With a Lot O' Soul and I Wish It Would Rain, do. The topical "Don't Let the Joneses Get You Down" successfully swims in the same tide as "I Can't Get Next to You", but similar stuff like "Message from a Black Man" and "Slave" fall down melodically. The smattering of covers of recent hits ("Hey Jude", "It's Your Thing", "Little Green Apples") feel like the filler they are. The other pieces of Puzzle Pieces are pretty good though.

3 More Motown Reissues for the New Year

Elemental Records had so many Motown albums planned for the label's 2024 reissue campaign that it couldn't get them all out in 2024. So we're starting the new year with another look at fresh reissues of three classic LPs. 

The first is my personal favorite of the bunch, and one that begins with what might be my favorite side of music on any sixties Motown album. The Supremes' Reflections not only kicks off with my fave Supremes track and Motown track of the sixties, the mysterious and mournful psych-soul title tune, but it then bounds between a series of great album cuts (the tough and funky "I'm Gonna Make It" being a particular stand out) and excellent yet less well-known singles ("Forever Came Today" and "In and Out of Love"). Most of these songs were supplied by Holland-Dozier-Holland, who also produced The Supremes for the final time with Reflections.

Review: Yet Another 3 Motown Reissues

This month Elemental Music is wrapping up their long and fruitful Motown reissue campaign of 2025 with three lesser known titles, two of which are by a couple of the label's key artists and one of which is by one-hit-wonders The Undisputed Truth. That group's self-titled debut sports the recording with the longest legs on any of these three albums because The Undisputed Truth is the album with "Smiling Faces (Sometimes)". This stone-classic established a new strain of sinister soul that would reach fruition with the following year's "Papa Was a Rolling Stone", which UT would record and release before The Temptations had their hit. Ashford and Simpson's "California Soul" worked in a similar mode, though the majority of the album is comprised of covers of established pop hits, like "Aquarius", "Ball of Confusion", "Ain't No Sunshine", and "I Heard It Through the Grapevine", that make the record feel a little like a throw-back to those covers-heavy Motown LPs of the sixties. Ultimately, what stands out most on the record is the heavy and sweet see-saw between Joe Harris's deep baritone and the lighter vibes of Brenda Joyce Evans and Billie Rae Cavin, The Undisputed Truth being the rare Motown act with male and female singers sharing leads.

Review: 3 More Motown Reissues from Elemental Music

As we reach the penultimate month of Elemental Music's year of Motown vinyl reissues we receive three rather different records. The earliest of these is one of Motown's courting-the-old-folks discs, although unlike the label's stodgier efforts in this arena, which tended to force The Four Tops or The Supremes to croon show tunes or corny standards, Marvin Gaye's When I'm Alone I Cry is something else entirely. In fact, Gaye had greater ambitions to be the next Nat King Cole than to be the next Smokey Robinson, so his heart was completely in this album. It's a genuine class act, marrying Gaye's classically fine voice with beautiful big band arrangements. This is a record that actually deserved to win over an older audience of discerning listeners. Moody and gorgeous.

Review: Vinyl Reissue of 3 Motown Albums

This month Elemental Music continues its Motown vinyl reissue campaign it began back in May by releasing three pivotal albums from three pivotal artists. The label's most enduring male vocal group makes their debut. The label's superstar female vocal group undergo an image change. The label's pioneer innovator starts winding down his original pop hitmaker phase and gets his first number one pop hit. 

Review: Vinyl Reissues of The Supremes' 'We Remember Sam Cooke' and The Temptations' 'I Wish It Would Rain'

Motown has long had a reputation for putting out fab singles in the sixties but not putting much effort into its long players until Berry Gordy finally gave artists such as Marvin Gaye and Stevie Wonder the freedom to mature in the seventies. That assumption is mostly unfair, and was probably started by people who never really gave many of the label's sixties albums a chance. So Elemental's decision to mount a Motown LP-reissue campaign is more than mere property exploitation. Reissues of some truly fantastic albums are on the way, and the first of which is The Temptations' I Wish It Would Rain. The final album the Temps made before transitioning to the funkier psychedelic soul that would define their early seventies work is remarkably consistent and remarkably good, with album tracks such as "Cindy", "Why Did you Leave Me Darling", and "I've Passed This Way Before" being every bit as good as the hits "I Wish It Would Rain" and "(Loneliness Made Me Realize) It's You That I Need", which are two of their best. 

Review: Vinyl Reissues of 4 Rolling Stones LPs

When the Rolling Stones' sixties albums made their first appearance on digitally remastered CDs in the mid-eighties, ABKCO made the fairly controversial decision to issue them in their American iterations rather than the UK originals. At the same time, the label also issued these American versions on vinyl.

That was 37 years ago. Since then, the UK albums have become the standard in the US during the current vinyl resurgence, although most of the American albums were included on ABKCO's Rolling Stones in Mono box set from 2016. Long story short, ABKCO recently began reissuing each of the American albums in the U.S. as standalone vinyl releases for the first time since 1986. Some of these LPs, such as Aftermath, Between the Buttons, and Flowers, have not been issued in the states on stereo vinyl in any way since 1986. The campaign also includes a few UK records that have never been given standard (i.e.: non-RSD or non-box set) releases in the States before.

Review: 'Kurt Cobain: The Last Interview'

There's something exploitative and ghoulish about naming your anthologies of interviews with dead celebrities The Last Interview, especially when the last interview with Kurt Cobain in Kurt Cobain: The Last Interview is a pretty insubstantial four-page talk with a guitar mag. Yet even when doing his press obligations with something like Fender Frontline, Cobain couldn't help but move beyond the superficial to discuss his family, coming to terms with his audience, and his desire to move beyond grunge cliches. When he ends it by imagining himself fronting Nirvana as an old man opening for the Temps and Tops, you don't know whether to laugh because the image is so absurd or cry because he was clearly expressing his frustration with the limitations of fame that may have contributed to his fatal depression. Either way, that is a bill I would have paid good money to see.

Review: Vinyl Reissue of 'A Motown Christmas'

With production as crystalline as a snowflake, harmonies as sweet as candy canes, and an image as squeaky clean as Tiny Tim’s, Motown was the secular label most suited toward churning out Christmas discs. And that is just what they did during their hey day: The Supremes’ Merry Christmas in 1965, Stevie Wonder’s Someday at Christmas in 1967, and a trio of them by The Temptations, Smokey Robinson and the Miracles, and the Jackson 5. 

Each record brought something a bit different to the Christmas table. The Temps brought their usual professionalism and consistency. Stevie brought original composition, and in the case of his title track, a sharp point of view. The Supremes brought traditionalism in terms of their orchestral arrangements. The Miracles brought a surprising sense of experimentation. Of course, considering their age, The Jackson 5 were best suited to singing about every kid’s fave holiday, and their take on the holiday was the most correct ... and the funkiest.

Review: 'Motown Gold from the Ed Sullivan Show'

After sitting through The 4 Complete Ed Sullivan Shows Starring The Beatles and 6 Ed Sullivan Shows Starring The Rolling Stones it’s kind of a relief to find that Motown Gold from the Ed Sullivan Show includes nothing but music. And I’m not talking about all the opera singers and polka bands and Bavarian folk choirs you’ll skip past on The Beatles and Stones DVDs. Motown Gold jams 37 performances by The Supremes, The Four Tops, Stevie Wonder, The Jackson 5, Marvin Gaye, The Temptations, The Miracles, Gladys Knight and the Pips, and Martha and the Vandellas onto its two discs. Historians may miss the cornball acts and vintage commercials teens had to endure while waiting for the pop. Everyone might take issue with the decision to jumble the chronology and fail to even provide dates for the performances.