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5.0 out of 5 stars
Love & Desire: Patrice Holloway Anthology
Format: Audio CD|Change
Price:£15.14+ Free shipping with Amazon Prime

on 4 January 2016
Patrice Holloway was the younger sister of the slightly better known Brenda Holloway, both of whom recorded as lesser known and more underrated artists for Motown during the sixties. The Ace label that have released this have struck up a licencing deal with Motown and have released a series of CDs by Motown artists containing rare and previously unreleased material mostly from the sixties.This is an excellent compilation of the complete recordings that Patrice recorded for the Motown and Capitol labels during the sixties to early seventies, although this label would have to have obtained a deal with EMI to obtain her later Capitol recordings. The tracks are not chronological as her later Capitol recordings come first, and her earlier Motown recordings that follow are not in recording order. Her earlier Capitol recordings are similar to her previous Motown tracks, although with a thinner sound, while her later Capitol recordings from the end of the sixties had that later sound. I did not think her later Capitol recordings were quite up to the standard of her previous Motown recordings, as they seemed to lack that Motown gloss. But there was one standout here, Love And Desire, which the Ace label have partly named this CD after. Her earlier Motown recordings were made 1963-64 when she was 12-13. Yet she had a mighty powerful voice for a lady so young. Yet she had already released a single in the States on a small label, Do The Del Viking featuring her sister Brenda Holloway on backing vocals before they arrived at Motown. This can be found on a Brenda Holloway CD also on Ace, The Early Years, but collecting her pre-Motown recordings for various labels. But because Motown did not develop their distinctive backing sound until the second half of 1963 which was to make the label huge, only the later recordings that Patrice made for Motown had that familiar Motown sound, while her earlier recordings here had that earlier less distinctive sound, just like the rest of the Motown recordings from before then by all those other artists on this label. Her Motown tracks here include both sides of her one single for Motown, ten previously unreleased tracks, and a few tracks that had already appeared on various artists compilations as previously unreleased, but have been duplicated here. Both sides of her Motown single are the first song dedications to Stevie Wonder who was then 13, and who she romanced at the time. Obviously, there are a few Smokey Robinson compositions here. But apart from her lame version of a song from The Miracles, All That's Good, these tracks, every other one a standout were far too good to have remained unreleased at the time, except for her released single here, especially with great tracks such as Tall Boy; Love Walked Right In; the slight Spectoresque Face In The Crowd; Come Into My Palace - her only actual duet with sister Brenda (also on Brenda Holloway's double CD on Motown itself called Motown Anthology mixing her entire previously released tracks with some of her previously unreleased tracks for Motown - the song itself also recorded by The Supremes); the beautiful soul ballad Crying with that familiar Shoo-bah Shoo-bah chorus, but starts with an uptempo drum intro before slowing into a ballad; and her stronger superior version of a Marvin Gaye co-write My Two Arms-You=Tears, originally recorded on an album for Motown by Mary Wells. But best of all, we get Flippitty Flop, her very strong emulation of The Shirelles, with Patrice perfectly over-emulating their lead singer Shirley Alston, but with a far more powerful voice; and her reading of one of the more cleverly lyricized Smokey Robinson compositions Those DJ Shows, originally recorded by The Supremes, but in a far less Motownesque style, as they recorded their version a couple of years before Motown was to develop it's own distinctive sound. Patrice's version of this is a bit slower and has plenty of that Motown sound added, but fades too early at the end, compared to the original. A further track here, Surf Stomp does not sound like a serious cash-in on the then-musical surf craze, although The Supremes recorded a song for Motown, Surfer Boy. But sadly, after recording these tracks, Motown boss Berry Gordy apparently advised Patrice to finish her schooling before continuing her singing career. So the remainder of her Motown recordings remained unreleased. Yet Berry kept Stevie Wonder even though he was only a year older, but must have been 14 by then. But this may have been because he had a number 1 hit in the States for Motown, Fingertips a year earlier when he was 13, and although he had not yet had a following major hit, he was a popular live attraction by then, so Berry may have sensed that with a bit of push, he was going to make it. Berry also kept her older sister Brenda at Motown. But she had a US hit for Motown at the time Every Little Bit Hurts. When Patrice was 15, she signed to Capitol where she had a bit more success in the States. While on Capitol, she helped sister Brenda Holloway to write her next single for Motown You Made Me So Very Happy. Brenda did not have a huge hit with it. But a couple of years later, rock group Blood Sweat & Tears covered it, and had a huge worldwide hit with it, turning the song into a classic. During the seventies, after the Holloway sisters had left their labels, they became members of Joe Cocker's backing band, and sang backing vocals on a few of his albums. But after Patrice left Motown, but before she signed to Capitol, there were two singles released in the States on a small label by The Wooden Nickels who were in fact the Holloway sisters, and their cousin Pat Hunt (a similar format to the lineup of The Ronettes). Brenda who was still on Motown must have breached her contract with them. As far as i know. they have not been reissued, but I did manage to play them on Youtube, the four tracks - Take My Love; Should I Give My Love Tonight; More Than A Friend; and Nobody But You, the latter of which had a Motown-ish sound. In 1970, Patrice became the lead vocalist of Josie & The Pussycats, a cartoon girl group who released an album from that original 1970 cartoon series. I played one track from it on Youtube, but it was dreadful. It did not sound like her to me. It was just typical bubblegum pop of that time. But because the album was on Capitol, her label at the time, obviously there was no breach of contract. But fortunately, her solo single releases on Capitol which were more Soul orientated, are her only Capitol recordings on this CD.
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on 28 March 2017
Patrice Holloway is one of those awesome singers who was "six feet from stardom". Her solo career never took off despite her natural born talent. It is staggering to discover that this collection is the first time a complete album of her work has been released. I like many listened to her in my childhood without ever knowing who she was- singing lead on the catchy bubblegum theme to the Hana Barberra animated series "Josie and the Pussy cats". I first became aware of her through a Northern Soul compilation that included the fantastic "Stolen Hours", a recording that brings me out in goosebumps- I couldn't stop playing that track! Shortly afterwords this compilation was released. For some crazy reason it has taken me until today to finally buy it! I haven't been disappointed. A fantastic singer who was sadly denied the superstar status she deserved and who was stricken by mental health issues that forced her retirement at 23.
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on 8 June 2011
Patrice was the younger sister of Brenda Holloway. This collection pulls together all Patrice's Capitol sides, the handful of Motown tracks that had been released and 10 previously unissued Motown songs from the vaults. I love everything about this album. As usual Ace have produced a first class booklet which is stuffed with info about Patrice much of which was news to me and came as something of a shock. There's some lovely pix that I'd never seen before and the music of course is marvellous.

The Capitol singles comes first and it's so nice to have them altogether with my favourite being 'Stay With Your Own Kind' which was really ahead of it's time. Track 10 sees the start of the Motown songs the first four of which are well known. Her cover of Mary Well's 'My 2 Arms - You = Tears' is the first vaulted track. For a girl who at that time was only about 12-13 she does an amazing version. Another song that she covered was the Miracles 'All That's Good' which I knew better by Barbara McNair. The rest of the 'new' tracks are just as enjoyable especially 'Flippitty Flop', 'Crying' & 'Face In The Crowd'. My overall favourite track is 'Love Walked Right In' which to me is worth the price of the album. It's sad that Patrice did not live to see herself finally receive the recognition she deserved.

Thanks to Keith, Mick and all who helped make this dream come true.
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on 18 January 2016
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on 29 December 2015
very enjoyable
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on 7 January 2015
very good product
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on 11 June 2011
Brenda Holloway's little sister was one of a host of incredible vocalists based in Los Angeles. Her career included innumerable backing vocal jobs, supplying a singing voice for a cartoon girl group (the famous Josie & The Pussycats - look out for the CD released by Rhino Handmade for these recordings), and cutting five singles for Capitol Records. The Capitol tracks are uniformly excellent.

Just to prove what a talented crowd Patrice was a part of, the CD liner notes include testimonials from Billie Barnum, Sherlie Matthews, Edna Wright, Stephanie Spruill, Clydie King, Blinky Williams, Gloria Jones, Merry Clayton and Thelma Houston. - a truly amazing line-up of talent.

Patrice recorded as an Ikette for Phil Spector's Phi-Dan label and as one of The Belles for Mirwood records, as we learn from Dennis Garvey's detailed and fascinating liner notes.

A host of Motown's West Coast talent was involved in the Capitol recordings, amongst them Gene and Billy Page, Kay & Helen Lewis, and Willie Hutch, so these blend perfectly with the Motown label sounds. Interestingly, Patrice made just one trip to record in Detroit, usually recording in L.A. with music industry stalwarts Hal Davis and Marc Gordon and sometimes recording her vocals onto a Detroit recorded backing track.

Concentrating on the Motown recordings, Patrice's earliest songs sound a little like Stevie Wonder's early recordings. Some of the songs have styles reminiscent of other artists - the wonderful TALL BOY sounds like it was tailor-made for The Supremes - the superb FACE IN THE CROWD sounds like a great girl group record from the likes of The Cookies or The Butterflys - for example. The cover version of the Miracles' ALL THAT'S GOOD is another stand-out. I confess to being very impressed with the material we haven't heard before and most of it is better than the stuff which has already leaked from the vaults. The track CRYING has the most bizarre intro and is perhaps the best track on the CD. Northern Soul fans will delight in hearing the original version of THE TOUCH OF VENUS, another classic from the hands of Ed Cobb (of TAINTED LOVE fame).

It is great to have the strands of Patrice's story threaded into a whole mini-musical biography. The liner notes will be of great interest to Supremes and Diana Ross fans. Some fascinating facts have emerged.

Patrice's story has a tragic end and Dennis Garvey's notes sensitively tell the tale.

This is a remarkable testament to the talent of one of the great West Coast girls.
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on 10 September 2011
An excellent compilation of soulful songs from a soulful lady whose career was tragically cut short and so not achieving her enormous potential.A worthy sister to the more well known Brenda.
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on 21 July 2011
This lady is so under-rated, this cd is stunning and her voice is equal or better than most of the better known female "Soul" artists.
Order arrived earlier than expected and in very good condition. Well worth the price.
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