HITSVILLE USA: The Motown Singles Collection 1959-1971

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Various Artists

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The years 1959 - 1971, when Motown was located in Detroit, is considered the golden era of the label. Motown charted over 350 singles during this time and it would probably take at least 10 cds to do this period justice. This collection, Motown's most extensive at the time of its release in 1992, is comprised of four cds. Of the 104 singles included here, only two didn't chart: Syreeta's "I Can't Give Back The Love I Feel For You" and Shorty Long's original version of "Devil With The Blue Dress On." The inclusion of Carolyn Crawford's rare and gorgeous "My Smile Is Just A Frown (Turned Upside Down)" was worth the cost of the set alone for the serious Motown collector. It and the Syreeta single were appearing on cd for the first time (both have been included on other Motown compilations since then).

Motown went for a wide variety of artists (36) instead of just choosing the obvious hits by the major artists as previous collections had done. Of the major artists, the nine selections each by the Miracles and the Temptations are a good representation of their best work during this period. The Diana Ross-led Supremes, however, are strongly neglected, with only four singles included here. Especially key omissions in a historical set such as this is their first and last number ones: "Where Did Our Love Go" and "Someday We'll Be Together." Meanwhile, all three 1970-1971 hits by the Jean Terrell-led Supremes are found here. The selection of Martha and the Vandellas' "Love (Makes Me Do Foolish Things)" over "I'm Ready For Love" and "Honey Chile" doesn't work for me, while Shorty Long's only bonafide hit, the novelty "Here Comes The Judge" is left off at the expense of the non-hit "Function At The Junction" and "Devil With The Blue Dress On."

These digitally remastered singles are all in crisp mono, as they were originally mixed for radio. Many of them (such as the Supremes' "You Can't Hurry Love" and the Temptations' "Cloud Nine" are dramatically different from the versions heard on "oldies" radio today. The singles are sequenced for the most part in release date order. Most of the major hits from the 1959 - 1963 period are included on the set: Barrett Strong's "Money," the Miracles' "Shop Around", the Marvelettes' "Please Mr. Postman, and the Contours' "Do You Love Me", for instance. In 1964, Motown became a true hit factory (the Supremes, Temptations, and Four Tops all had their first major hits that year) and it is here that the omissions on the set start to become more pronounced. There is just too much great music from 1964 through 1971 from Motown to fit onto only four discs (actually three, since the first disc is dedicated to the 1959 - 1963 period).

The 68-page booklet is a nice accompaniment to the discs. While the biographies aren't that extensive, it is hard to find even what is listed here on the more obscure artists like Carolyn Crawford and the Monitors. A thorough track listing provides the artist's name, songwriters, publishers, producers, release date, label number, and peak chart position in Billboard (pop and r&b) for each single. Best of all is the listing - by instrument and year - of the names of the incredible musicians who played on the Motown recordings. Motown never put musician credits on any of the albums it released during this period and it is great to see them finally given their due on a major collection.

Motown subsequently released a four-disc box set companion collection (in stereo) covering 1972 - 1992. It is a shame that they never released an additional box set (or two) on the 1959 - 1971 period. This retrospective is a great introduction to the magic of Motown, but it is far from the complete story.

Someone pointed out in another review that the songs are presented in the original mono versions. More than that, I also have the Chartbusters (12 cds) Mowtown compilation and in addition some old vinyl recordings, and I have noticed that the actual _mixes_ are not even the same as the original recordings. For instance, on Stevie Wonder's "For Once In My Life" and Glady Knight and the Pips' "I Heard It Through The Grapevine" there are parts that are just plain missing. I'm very disappointed, as my favorite songs do not sound at all as I remember them.

Update: I listened again. I think I might have been mistaken when I said that parts were just plain missing. I think it's just that the mono versions actually bury things that come across more clearly in the stereo versions. It just a shame that the original record company couldn't have done a better job in light of the advent of the CD.