Law of the Land [Original LP Version] - Whitfield, Norman
Keep on Truckin' [Original LP Version] - Caston, Leonard
Love Hangover [Original LP/12" Version] - McLeod, Marilyn
Down to Love Town [Original 12" Promo Version] - Daniels, Donald
High Energy [Original 12" Mix] - Beatty, Harold
Date with the Rain [Original LP Version] - Miller, Bobby
Saturday Night, Sunday Morning [Extended Version] - Bottler, Mitchell E
Got to Give Up [Original LP Version] - Gaye, Marvin
You and I [Original LP/12" Version] - James, Rick [Bass]
Standing on the Verge (Of Getting It On) [Original LP/12" Version] - Clinton, George Jr.
Get It Up for Love [Original 12" Mix] - Doheny, Ned
Track Listings (11) - Disc #2
Need to Know You (Better) [Original 12" Mix] - Cathy, Gwen
Don't Leave Me This Way [Original LP/12" Mix] - Gamble, Kenneth
Nowhere to Run [Original LP Version] - Dozier, Lamont
(I Love to See You) Dancin' [Original LP Version] - Grey, Zane
Tailgate [Original 12" Mix] - Davis, Mark
The Boss [Extended Version] - Ashford, Nickolas
I Was Born This Way [Original 12" Mix] - Carl Bean
Behind the Groove [Original LP/12" Version] - Brockert, Teena Mar
Big Time [Original LP/12" Version] - Burgess, Leroy
(You Pulled A) Switch [Original LP Version] - Vann, Ronald Dean
In and Out [Original 12" Mix] - Hutch, Willie
When people talk about the `Motown sound' they usually mean the golden period of the 1960s, the mighty pop soul ballads of Smokey Robinson, or jive-perfect dancers by the likes of the Supremes or Martha Reeves & The Va... more »ndellas. It's often forgotten that, along with many of its artists, Motown adapted well to the 70s disco boom and the new sounds coming out of labels such as Salsoul, Philadelphia International and TK. And, ironically, that it produced many of the 70s and early 80s disco classics on which today's dance sound is more genuinely based. In the late 70s, with the demise of their Invictus label, the legendary Holland brothers (who had written so many of Motown's 60s classics with their partner Lamont Dozier) returned to the Motown camp to join multi-talented song writing teams such as Ashford & Simpson, Sawyer & McLeod and Mike & Brenda Sutton who were all able to perfectly capture the essence of the disco era. And the soulful vocalists and stellar musicians already in house at Motown were able to carry it all off with the sort of performances the material deserved. Of course, Motown's two biggest hitters, Stevie Wonder and Marvin Gaye, also both made their very best records in the 70s, and both dabbled successfully in disco from time to time. Add funky new acts like Rick James, Stone City Band and Teena Marie and Motown pretty much had all soulful dancefloor bases covered during the disco era. They were also the first to `eye cue' their 12" disco discs, giving DJs the track's BPM and info on the exact length of the various sections of the song - one of the earliest examples of a record company recognising how important the DJ was to become. By `79, and very much with the DJ in mind, 12"s such as Diana Ross' `The Boss' were being purposely intro'd with mix-friendly drum beats, something that's become par for the course these days for most dance tracks released. But, as this compilation demonstrates, those disco beats were already infiltrating the Motown sound as early as 1972. Universal.« less
When people talk about the `Motown sound' they usually mean the golden period of the 1960s, the mighty pop soul ballads of Smokey Robinson, or jive-perfect dancers by the likes of the Supremes or Martha Reeves & The Vandellas. It's often forgotten that, along with many of its artists, Motown adapted well to the 70s disco boom and the new sounds coming out of labels such as Salsoul, Philadelphia International and TK. And, ironically, that it produced many of the 70s and early 80s disco classics on which today's dance sound is more genuinely based. In the late 70s, with the demise of their Invictus label, the legendary Holland brothers (who had written so many of Motown's 60s classics with their partner Lamont Dozier) returned to the Motown camp to join multi-talented song writing teams such as Ashford & Simpson, Sawyer & McLeod and Mike & Brenda Sutton who were all able to perfectly capture the essence of the disco era. And the soulful vocalists and stellar musicians already in house at Motown were able to carry it all off with the sort of performances the material deserved. Of course, Motown's two biggest hitters, Stevie Wonder and Marvin Gaye, also both made their very best records in the 70s, and both dabbled successfully in disco from time to time. Add funky new acts like Rick James, Stone City Band and Teena Marie and Motown pretty much had all soulful dancefloor bases covered during the disco era. They were also the first to `eye cue' their 12" disco discs, giving DJs the track's BPM and info on the exact length of the various sections of the song - one of the earliest examples of a record company recognising how important the DJ was to become. By `79, and very much with the DJ in mind, 12"s such as Diana Ross' `The Boss' were being purposely intro'd with mix-friendly drum beats, something that's become par for the course these days for most dance tracks released. But, as this compilation demonstrates, those disco beats were already infiltrating the Motown sound as early as 1972. Universal.
CD Reviews
Carl Bean, Tata Vega, Thelma Houston, Ms. Ross 12"s = PRICEL
G. Mitchell | Los Angeles, CA United States | 11/12/2005
(5 out of 5 stars)
"While the market is facing a severe glut of disco, 80s, 70s flashback compilations as labels scramble to cash-in on their catalogs, THIS compilation is really something special - and, of course, it's a UK IMPORT, not a U.S. domestic release, which is very revealing. Why is that MOTOWN itself based in AMERICA cannot fathom the musical and historical value of these amazing disco/funk/soul cuts? Why must it take a nation overseas to finally cull, collect, and preserve for posterity these tracks? That said, this compilation is absolutely BRILLIANT - featuring several songs that are hard to find on CD, including one of my favorite songs ever: CARL BEAN's gospel-infused, uplifting pro-gay anthem "BORN THIS WAY" - it was remixed in the 80s by Pettibone & Forrest for Next Plateau (I prefer that mix, actually) and smapled for Jaques Lu Cont/Pour Homme's Born This Way a few years back on Wall of Sound in France, but this is the glorious original mix, raising the roof - and one of the earliest examples of anyone having the guts to sing the word "GAY" much less in such a soul-stirring, positive light - mucho props for Motown and Bean, and where is Carl NOW? (I know he's a Rev. and used to ran an AIDS hospice, but so far hasn't recorded since?!) - Also on hand are key cuts by the amazing TATA VEGA ("Get It Up for Love" - a Larry Levan favorite - why doesn't Motown re-issue any of TATA's OOP CDs on Tamla - hello?!), THELMA HOUSTON, DIANA ROSS, MARVIN GAYE, TEENA MARIE, and many, many more - buy it now, so that everyone can savor, cherish, and respect these important disco traxx. Disco never died, it just changed names, i.e. house, garage, etc. Final note: look for WEST END's upcoming CD-reissue of Carl Bean's BORN THIS WAY this/next month, featuring the stunning 1984 REMIXES by SHEP PETTIBONE and BRUCE FORREST that appeared on the ultra-rare but cherished Next Plateau 12"!! -"
Finally a Motown Disco Compilation!
John L. Hughes, Jr. | Nashville, TN | 08/21/2005
(5 out of 5 stars)
"MOTOWN DISCO finally pays tribute to Motown's contribution to the 70s disco movement. When it comes to disco, historians automatically think of TK or Casablanca as the ultimate disco labels while leaving out Motown. Some historians seem to forget that Motown was Billboard magazine's #1 disco label in 1974 and 1975.
Smash #1 pop hits "Love Hangover" (Diana Ross), "Got To Give It Up" (Marvin Gaye), "Keep On Truckin'" (Eddie Kendricks) and "Don't Leave Me This Way" (Thelma Houston) are here in their 12" version glory. However, the real treat is the rare cuts by such Motown disco acts as Tata Vega, The Dynamic Superiors, Finished Touch, Platinum Hook (with its take on the Funkadelc classic "Standing On The Verge Of Gettin' It On"), and Carl Bean ("I Was Born This Way", one of the first known gay pride disco anthems ever. Not bad for 1978).
Overall, this collection offers proof that Motown made great dancefloor stompers during the 70s, while retaining the soul that made the label special in the first place. Here's hoping there'll be a sequel."
Brilliant compilation
Tom | Toronto | 09/25/2005
(5 out of 5 stars)
"Don't think that this is yet another disco compilation - this one is special. Motown rounds up some of its most popular disco/dance tracks from the 70's and early 80's including Diana Ross's "Love Hangover" and "The Boss"; Thelma Houston's euphoric "Don't Leave Me This Way"; Marvin Gaye's 11-minute epic, "Got to Give it Up", and Teena Marie's "Behind the Groove". It also features obscure classics such as Thelma Houston's "Saturday Evening, Sunday Morning" and Carl Bean's groundbreaking "I Was Born This Way", one of the first gay disco anthems, and in fact, one of the first gay anthems to even include the word "gay". There are also some early tracks from Rick James, making this a collection of classics and rarities.
What also sets this apart from other disco compilations is that Motown never fed into the cheesy aspects of disco (ie. Village People) so you won't find "Y.M.C.A" or "Disco Duck" here.
Motown may be better known for its classics from the 60's but in the 70's I think they became far more interesting. The music became edgier, and stars like Marvin Gaye, Stevie Wonder and even Diana Ross, strived for both artistic credibility and commercial success and frequently achieved both.
This compilation demonstrates that Motown could move with the times but they never lost their edge -- or their funk. A highly enjoyable collection"
Amazing Memories!
Howard Moore | Chicago, IL | 08/24/2006
(5 out of 5 stars)
"I absolutely loved the CD, "Motown Disco". I was looking for the long version of Marvin Gaye's "Got To Give It Up" and found this disco collection. My young nephews and nieces don't understand why the songs are so long when they hear them playing in my truck, but, it brings back wonderful memories of my teen years. Now, I've got to find a CD with "Doctor Love" and "Love Bug" and I'll be set for life!"
Track Listings (11) - Disc #1