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Motown Meets The Beatles

Motown Meets The Beatles

1 Jan 1995
4.2 out of 5 stars 16 customer reviews

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Product details

  • Original Release Date: 1 Jan. 1995
  • Release Date: 6 Feb. 2014
  • Label: Spectrum
  • Copyright: ℗ 1995 Motown Records, a Division of UMG Recordings, Inc. © 2001 Motown Records, a Division of UMG Recordings, Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 57:57
  • Genres:
  • ASIN: B002V0ZV3I
  • Average Customer Review: 4.2 out of 5 stars 16 customer reviews
  • Amazon Bestsellers Rank: 55,734 in Albums (See Top 100 in Albums)
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Customer Reviews

4.2 out of 5 stars
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Top Customer Reviews

Format: Audio CD Verified Purchase
Interesting Motown take on the Beatles songs.The artists are all top range of Motown label.They are for the most part excellent--Marvin Gaye and Gladys Knight especially stand out with Yesterday and Let It Be.I would recommend it to Beatles and Motown fans.
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Format: Audio CD
There were two aspects to the success of Motown, first was the excellent and unique production which was married to some absolutely brilliant song writing. It comes as no surprise therefore that over the years Berry Gordon nabbed a few songs from some of the greatest song smiths ever, the Beatles, for his artists to record. Some of the results are gathered here on this compilation CD.

It's a mixture of the good, the bad, and the downright loopy. For the most part it works well, the Beatles songs were well suited to the Motown style. Marvin Gaye, Stevie Wonder, Martha Reeves and Gladys Knight take `Yesterday', `We Can Work It Out', `Something' and `Let It Be' respectively and turn them into their own. Especially Stevie Wonder, whose version of `we can work it out' is an absolute classic. There are some duff tracks, normally those featuring Diana Ross, and I really can't bring myself to like Syreeta's `She's Leaving Home', which is pretty flat and emotionless. But there are some real missteps that are just so bonkers that t is worth getting the album for. Chief among these are The Temptations take on `Hey Jude', that defies description and has to be heard to be believed. Edwin Starr's rendition of `My Sweet Lord' will also either raise a smile or a wince, or possibly both, and again it is worth getting the album to hear just how bad it could get.

It's a mixed bag of some classic tracks, some that are so bad that they are good, and some lifeless ones. In all I have to give this collection 4 stars and say it is worth it for all fans of either the Beatles or Motown.
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By Tim Kidner TOP 500 REVIEWER on 12 July 2012
Format: Audio CD Verified Purchase
This will always be a subjective album, with a liking of the distinct Motown sound probably more important than whether one enjoys the Beatles.

The Fab Four's songs are now so ingrained into our musical lives that they're universal - and a like a bit like, say, Dylan, even if you don't go for their actual sound, there can be no denying that the songs are about the best around.

Buying this CD, at a time when I was snapping up all the Beatles albums, this came up, secondhand and for pennies. Why not? So, though not my daily listening sort of stuff, all the great Motown stars are here - and they each bring their own style and slant to each song. Some sound like whole new songs!

Favourites of mine that stand out are Stevie Wonder's 'We Can Work It Out' and Marvin Gaye's 'Yesterday'. After Diana Ross' straightforward, but effective 'Long & Winding Road', the Supremes spacey and way-out 'Come Together' seems odd at first - but so was the original! It could be argued that versions of 'Imagine' and 'My Sweet Lord', both excellent, by Diana Ross and Edwin Starr as they are not Beatles songs, but solo projects. However, that would be nit-picking and many probably won't notice!

Whether this is a repackaged album or not, it's great to get a covers album by world-famous artists who had already made their name and style long before recording these, rather than the other way around, which often seems the way for today's wannabe's think they can noticed.

So, take this 17 track CD as a nice mixture of familiar songs done with a twist and as a Motown compilation. It is an album you can play all the way through but would probably want something quite different afterwards. Gently recommended.
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Format: Audio CD
Cunningly recycling a batch of album tracks by some of Motown's most prominent artists, recorded over a period of dozen years, the compilers have come up with another winner with this clutch of Beatles songs, which plays through with surprising cohesiveness. The Beatles loved Motown, and here they return the favour.
Stevie Wonder's We Can Work It Out is probably the stand-out listen, with an exuberance that made it a natural choice for a single in 1971, and one can also detect his influence in then-partner Syreeta's definitive cover version of the usually over-treacled She's Leaving Home. The Temptations' Hey Jude, from Puzzle People, comes with a suitably distinctive Norman Whitfield production, and Marvin Gaye's Yesterday is also a highlight. The Four Tops are called upon to deliver cabaret versions of three Paul McCartney ballads though none have the classic hallmark Levi Stubbs touch, although Eleanor Rigby comes closest.
Both the original Supremes tracks come from a 1964 curio entitled A Little Bit Of Liverpool and ought to be great. They have lots of gusto and fire, and are great fun, but the sound is muddy and the production sounds hurried, leaving a sense of what might have been with a little more trouble and care. Diana Ross appears again on Let It Be's The Long And Winding Road. Come Together comes from the 1970 incarnation of the Supremes led by Jean Terrell and is an excellent Frank Wilson production.
George Harrison's Something is well handled by Martha Reeves and the Vandellas (from Natural Resources) and Gladys Knight and the Pips' version of Let It Be is another stand-out, equaling Aretha's version of Paul McCartney's tribute to his mother Mary. Smokey Robinson and the Miracles' And I Love Her is rescued from the rather overlooked album What Love Has Joined Together.
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