Motown Greatest Hits

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Of course, like all drug highs, once you go beyond the pretty surfaces there are darker forces at work. In addition to the tom-tom-crazy title track, the album had two of the group’s most mesmerising ballads, the rightly famed Tracks Of My Tears and the breathtaking, heartaching Ooo Baby, Baby, slightly less well-known but, frankly, better, with Smokey’s bittersweet vocal, at the top of his register, raising twice as many goosebumps. It’s Summer, a Norman Whitfield/Barrett Strong ballad, offers a necessary change of pace and tone but the album is predominantly concerned with the nitty gritty of physical attraction and emotional commitment, be it consummated or crushed. Both are loved by the masses of music fans for their fearless unselfconsciousness and sometimes maligned by the chin-strokers as vendors of cheese. Given the right circumstances, almost everything they recorded could have been hits to match those the company was having with such groups as the Originals, the Undisputed Truth and the Temptations.The insistent sermonising shuffle of Higher Ground (written and recorded in an astonishing three-hour whirlwind) and the jazzy uplift of Don’t You Worry ’Bout A Thing both prove that in the world of Stevie Wonder, hope continued to spring eternal.

But Gaye’s own attitude to sex was complicated – his preacher father’s fire and brimstone prudery had planted a seedling of guilt that never withered – and Let’s Get It On would not be the great art it is if it were a mere carnival of zipless erotomania.Motown: A Symphony Of Soul features some of Motown’s best known and loved singles now reimagined with new orchestration by the Royal Philharmonic Orchestra. Ultimately, Levi Stubbs’s voice conquers all: strong, beseeching, teetering on the edge of heartbreak, bursting with the thrill of new love, that explosive tenor joyfully roaring out “Bernadette! Not only was this James’s strongest set of songs, with powerful arrangements and production by the artist, there was a cohesive vision, too, leaning heavily on ‘in the life’ observation and personal experience – Ghetto Life, Below The Funk, Mr Policeman, Super Freak – and sticky lurve interest from tough funk (Give It To Me Baby) to smouldering slow grooves (Fire And Desire). Registered address: WRD Music Ltd, United Friendly House, 282 Camden Road, London, NW1 9AB, UK, Tel: +44 20 7267 6762.