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Disc 1:
Disc 2:
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Product Description
CD 1:1-The Man In You 2-Your Wonderful Love 3-Lonely Lonely Man I Am 4-Ain't No Sun Since You've Been Gone 5-Forgive My Jealousy 6-To See The Sun Again 7-What I Am Gonna Do With Out You 8-I Like Everything About You 9-We'll Find A Way 10-Where You Gonna Run To Now 11-Girls Girls Girls 12-Are You Lonely For Me Baby 13-Honey Come Back 14-Can You Feel It, Babe 15-Loving You Is Sweeter Than Ever 16-Cry Like A Baby 17-You Keep Running Away 18-can I Change My Mind 19-I'd Still Love You 20-The Chokin' Kind 21-The Day My World Stood Still 22-No More Water In The Well 23-Rosalind CD 2:1-Let Somebody Love Me 2-I Can't Let My Heaven Walk Away 3-The Thrill Is Gone 4-Baby, I'll Get It 5-Rainy Nigth In Georgia 6-Just A Little Love 7-I'll Fight It 8-There's A Rainbow In Your Heart 9-Two Feet From Happiness 10-That's Me Lovin' You 11-Have You Heard About The Fool 12-Pet Names 13-Who You Gonna Run To 14-It Must Just Be Love Baby 15-Shake Me, Wake Me 16-Nothing Can Ever Come Between Us 17-Fan The Flame 18-Thanks But No Thanks 19-At Last I Found A True Love 20-Without Your Love 21-Here Comes The Morning 22-Helpless 23-Pin Point It Down (2005/UNIVERSAL) 48 tracks 1968-70 with 12 page booklet.
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Customer Reviews
Most Helpful Customer Reviews
Format:Audio CD
This CD series offers MOTOWN collectors the opportunity to add (some of the songs are for the first time on CD), beyond the world-renowned top stars of the label, the "second line" of the artists in their CD collection.
"Second Line" means not "second class"!
Who these artists only now discovered will be sure surprised about the high quality of both interpretation, composition, and instrumentation (by the time "... probably the best band in America, Motown's legendary studio band THE FUNK BROTHERS ..." Source: "Where Did Our Love Go," Nelson George), and not least the excellent sound quality (consistently the best in stereo), this series. It should not be forgotten that these are original master tapes of the 1960s, which can sometimes sound quite technically compete with today's studio recordings.
The soul singer Chuck Jackson was a "first choice" in the soul music, as in 1967 when Berry Gordy's MOTOWN RECORDS-signed a record deal. What attracted him was probably the most highly professional environment in which Detroit's 2648 West Grand Boulevard "Snakepit" (aka Studio A) created the studio recordings and ... do not forget: MOTOWN was the only label with black owner (even to the luck that it is at Gordy concerned a songwriter and not just a business man, as with many other record companies), which in the early years, almost exclusively black composers, producers, managers, musicians and singers employed.. On the other hand were the owners of the "Soul Labels" STAX RECORDS and ATLANTIC RECORDS white and many of their studio musicians were white too.
In this context, it was therefore logical that Dr. Martin Luther King's speeches, are not at STAX or ATLANTIC published, but on MOTOWN's "Black Forum" label.
MOTOWN was the really black label. However, Berry Gordy was clear that his lead artist only one often overlooked niche existence would, if they would be limited to the black audience, as record-buying public, (it was finally in the U.S., much less black than white). There was talk is targeted at a black AND white audience and then ... the Motown sound was a huge success.
The fact that Chuck Jackson was not so famous, like Marvin Gaye or Stevie Wonder likes a little to lie in the "saturation" of the record-buying public in the 1960s, because back then weekly published so many new releases (vinyl singles), that while the lesser-known names often went under the sheer mass of the new songs. Anyone who follows today's pop market, can hardly imagine how many first-rate songs were almost daily to hear on the radio again. Of creativity, ingenuity, talent and work ethic, the 1960s are unsurpassed. And that is why even today regularly use any re-generation artists (Amy Winehouse, James Morrison over to Nina Zilli) from the pool of these crown jewels of pop music.
The Chuck Jackson CD is packed with great music, and thus for Motown fans a veritable treasure trove: The combination of raw soul voice of the singer with the powerful support by the Funk Brothers, Motown sound is at its best. A real (re) discovery!
Summary:
The British CD series of MOTOWN ANTHOLOGY series includes a very good sounding surveys of the careers of not so famous MOTOWN artists.
It is also worthwhile for the other double-CD releases of this series to look out for. I own several of them that I've acquired over the past few years have been gradually and never been disappointed.
The often somewhat uninspired cover design should not hide the fact that it is high quality, very well digitally remastered CDs, which are complemented by an informative booklet with carefully researched background knowledge.
Some of these double CDs already achieve high collector's prices of 100 - to 200, - / pcs. and it requires no clairvoyance to see that the prices of collector's items will continue to rise.
Here is a brief overview of previously published anthologies, which are sometimes referred to as the 'Ultimate Motown Collection':
Brenda Holloway
Kim Weston
Chris Clark
Jimmy Ruffin
The Elgins
Barbara McNair
Chuck Jackson
Barrett Strong (complete in mono, due to the age of analog master tapes)
The Velvelettes
and, under license to Kent Records released, single-CD
The Monitors - The Motown Anthology 1963-1968
Here Comes ... Shorty Long - The Complete Motown Stereo Masters
Marv Johnson - The Complete Motown Recordings 1964-1971
(Continous also excellent in sound and presentation)
"Second Line" means not "second class"!
Who these artists only now discovered will be sure surprised about the high quality of both interpretation, composition, and instrumentation (by the time "... probably the best band in America, Motown's legendary studio band THE FUNK BROTHERS ..." Source: "Where Did Our Love Go," Nelson George), and not least the excellent sound quality (consistently the best in stereo), this series. It should not be forgotten that these are original master tapes of the 1960s, which can sometimes sound quite technically compete with today's studio recordings.
The soul singer Chuck Jackson was a "first choice" in the soul music, as in 1967 when Berry Gordy's MOTOWN RECORDS-signed a record deal. What attracted him was probably the most highly professional environment in which Detroit's 2648 West Grand Boulevard "Snakepit" (aka Studio A) created the studio recordings and ... do not forget: MOTOWN was the only label with black owner (even to the luck that it is at Gordy concerned a songwriter and not just a business man, as with many other record companies), which in the early years, almost exclusively black composers, producers, managers, musicians and singers employed.. On the other hand were the owners of the "Soul Labels" STAX RECORDS and ATLANTIC RECORDS white and many of their studio musicians were white too.
In this context, it was therefore logical that Dr. Martin Luther King's speeches, are not at STAX or ATLANTIC published, but on MOTOWN's "Black Forum" label.
MOTOWN was the really black label. However, Berry Gordy was clear that his lead artist only one often overlooked niche existence would, if they would be limited to the black audience, as record-buying public, (it was finally in the U.S., much less black than white). There was talk is targeted at a black AND white audience and then ... the Motown sound was a huge success.
The fact that Chuck Jackson was not so famous, like Marvin Gaye or Stevie Wonder likes a little to lie in the "saturation" of the record-buying public in the 1960s, because back then weekly published so many new releases (vinyl singles), that while the lesser-known names often went under the sheer mass of the new songs. Anyone who follows today's pop market, can hardly imagine how many first-rate songs were almost daily to hear on the radio again. Of creativity, ingenuity, talent and work ethic, the 1960s are unsurpassed. And that is why even today regularly use any re-generation artists (Amy Winehouse, James Morrison over to Nina Zilli) from the pool of these crown jewels of pop music.
The Chuck Jackson CD is packed with great music, and thus for Motown fans a veritable treasure trove: The combination of raw soul voice of the singer with the powerful support by the Funk Brothers, Motown sound is at its best. A real (re) discovery!
Summary:
The British CD series of MOTOWN ANTHOLOGY series includes a very good sounding surveys of the careers of not so famous MOTOWN artists.
It is also worthwhile for the other double-CD releases of this series to look out for. I own several of them that I've acquired over the past few years have been gradually and never been disappointed.
The often somewhat uninspired cover design should not hide the fact that it is high quality, very well digitally remastered CDs, which are complemented by an informative booklet with carefully researched background knowledge.
Some of these double CDs already achieve high collector's prices of 100 - to 200, - / pcs. and it requires no clairvoyance to see that the prices of collector's items will continue to rise.
Here is a brief overview of previously published anthologies, which are sometimes referred to as the 'Ultimate Motown Collection':
Brenda Holloway
Kim Weston
Chris Clark
Jimmy Ruffin
The Elgins
Barbara McNair
Chuck Jackson
Barrett Strong (complete in mono, due to the age of analog master tapes)
The Velvelettes
and, under license to Kent Records released, single-CD
The Monitors - The Motown Anthology 1963-1968
Here Comes ... Shorty Long - The Complete Motown Stereo Masters
Marv Johnson - The Complete Motown Recordings 1964-1971
(Continous also excellent in sound and presentation)
2 of 4 people found the following review helpful
Format:Audio CD
Great voice, great production, some interesting alternative versions of classic songs; what more can a Motown fan wish for?
0 of 1 people found the following review helpful
Format:MP3 Download
This is the Funks at their very, very best and without orchestration to spoil the enjoyment. They cover every style. The first disc is the one. Listen to this as you would look at one of those strange pictures, where it is only after achieving a kind of trance that a picture appears.
They never, ever play the same phrase the same way twice. The interplay between, on the one hand, Jamerson and the guitars and then the guitars as between themselves is extraordinary. Fabulous; intriguing; probably completely unplayable by anyone else. Ever. Period.
Disc one, tracks to focus on:
3: raw, raw funk. Basic blues structure. Simple tune. But dripping with complexity and subtlety...
4: energy-riven, high octane, with fabulous drum beat and Eddie on bongos
9
13: 'are you lonely for me baby'
15: gentle, minimalist blues/soul.
19: extraordinarily melodic. The ripple between bass and guitars has to be heard to be believed
21: ditto. You ache to hear the opening phrase again. And you do...eventually.
They never, ever play the same phrase the same way twice. The interplay between, on the one hand, Jamerson and the guitars and then the guitars as between themselves is extraordinary. Fabulous; intriguing; probably completely unplayable by anyone else. Ever. Period.
Disc one, tracks to focus on:
3: raw, raw funk. Basic blues structure. Simple tune. But dripping with complexity and subtlety...
4: energy-riven, high octane, with fabulous drum beat and Eddie on bongos
9
13: 'are you lonely for me baby'
15: gentle, minimalist blues/soul.
19: extraordinarily melodic. The ripple between bass and guitars has to be heard to be believed
21: ditto. You ache to hear the opening phrase again. And you do...eventually.
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