Shaken, Not Stirred: Ace Mines “The Secret Agent Songbook” With “Come Spy with Us”

For many, the sound of John Barry epitomizes the sound of the spy thriller. It’s no surprise – with 12 James Bond films under his belt, the late, great British composer imbued his melodies with the right amount of adventure, humor, tension, sophistication, and well, sex. It’s fitting that Barry opens Ace Records’ superlatively entertaining new anthology Come Spy with Me: The Secret Agent Songbook, collecting 25 samples of swinging music from spies and secret agents (and even a handful of detectives!) released between 1962 and 1968, the heyday of the genre.

Come Spy with Me opens with “A Man Alone,” Barry’s 1965 instrumental theme to The Ipcress File. Perhaps his second-most recognizable spy theme after his arrangement of Monty Norman’s “The James Bond Theme,” it inventively utilizes the cimbalom, a type of hammered dulcimer, to achieve its singular sound. Matt Monro had sung the first-ever vocal James Bond theme with Lionel Bart’s “From Russia with Love” as heard in the second 007 film, the first for which Barry provided the score. “Wednesday’s Child,” from 1967’s The Quiller Memorandum, is all the evidence one needs of the rich-voiced crooner’s deep affinity with Barry’s absorbing melodies. The lyrics, incidentally, were written by Mack David; his younger brother Hal would later collaborate with Barry on songs including “We Have All the Time in the World” from the Bond adventure On His Majesty’s Secret Service.

It was Barry, serving in the capacity of arranger, who gave shape to Monty Norman’s composition “The James Bond Theme” for Bond’s screen debut in Dr. No. It set the template for all spy music to come. While the original of the track, with Vic Flick’s indelible guitar part, isn’t here, a fine stand-in is Johnny and the Hurricanes’ 1963 surf-inspired version with prominent tenor sax and organ adding new colors. The most famous artist associated with the music of James Bond is Shirley Bassey. While her showstopping “Goldfinger” might be the quintessential spy song, she’s instead featured belting Lalo Schifrin and Peter Callander’s theme to “The Liquidator” in her most divinely bombastic style. Bassey wasn’t the only one to mine the success of “Goldfinger,” however. Susan Maughan’s “Where the Bullets Fly,” from songwriters Ronald Bridges and Robert Kingston, hails from the 1966 film of the same name, and incorporates about as much of “The James Bond Theme” and John Barry sound as the law would allow! This rarely-heard nugget is a fantastic treat.

Scott Walker not only sings, but co-wrote The Walker Brothers’ Barry-inspired “Deadlier than the Male” from the 1967 film of the same name which starred Richard Johnson and Elke Sommer. Walker’s resonant, haunting baritone meshes beautifully with Reg Guest’s evocative arrangement. (Spy music connoisseurs take note: Walker made a rare return both to traditional melody and the spy genre with his understated performance of David Arnold and Don Black’s sad, achingly gorgeous “Only Myself to Blame” in 1999. The song was written and recorded for the Bond film The World Is Not Enough, but was sadly unused in the actual motion picture; it did, however, appear on the soundtrack album.

Keep reading after the jump!

Release Round-Up: Week of April 29

Grace Jones, Nightclubbing: Deluxe Edition (Island/UMe)

Pull back up to the bumper with a generously expanded version of the almighty Jones’ most beloved album.

2CD: Amazon U.K.
1CD: Amazon U.S.
2LP:  Amazon U.K. / Amazon U.S.
Blu-Ray Audio: Amazon U.K. / Amazon U.S.

Diana Ross & The Supremes, Sing and Perform Funny Girl: Expanded Edition (Motown Select)

A digital-only expansion of The Supremes’ 1968 album of the Jule Styne-Bob Merrill musical, featuring the original LP alongside a brand-new remix and a pair of live cuts. (Amazon U.S.)

Funny Girl: Original Broadway Cast Recording – 50th Anniversary Edition (Capitol/UMe)

Speaking of which, the original cast album – featuring the one and only Barbra Streisand – is also reissued today as a CD/LP set with a deluxe book! (Amazon U.S. / Amazon U.K.)

Bob Wills and His Texas Playboys, Riding Your Way — The Lost Transcriptions for Tiffany Music, 1946-1947 / Vanilla Fudge, The Complete ATCO Singles / Rick Wakeman, White Rock / X, Under the Big Black Sun: Expanded & Remastered Edition / Cannonball Adderley, The Black Messiah

The latest Real Gone slate is quite the eclectic one! Read all about it here.

Bob Wills: Amazon U.S. / Amazon U.K.
Vanilla Fudge: Amazon U.S. / Amazon U.K.
Rick Wakeman: Amazon U.S. / Amazon U.K.
X: Amazon U.S. / Amazon U.K. (TBD)
Cannonball Adderley: Amazon U.S. / Amazon U.K.

Rush, Rush: ReDISCovered Box Set (Mercury/UMe)

A deluxe recreation of the Canadian legends’ first album on vinyl. (Amazon U.S. / Amazon U.K.)

Cassandra Wilson, Blue Light ‘Til Dawn: 20th Anniversary Edition (Blue Note/UMe)

The neo-blues vocalist’s breakthrough album, featuring stirring interpretations of tracks by Robert Johnson, Van Morrison, Joni Mitchell and others, is reissued with three unreleased live tracks. (Amazon U.S. / Amazon U.K.)

Taylor Dayne, Can’t Fight Fate / Soul Dancing: Deluxe Editions (Cherry Pop)

The ’80s dance diva’s second and third albums are expanded as two-disc sets with plenty of rare and unreleased remixes and B-sides, plus an all-new remastering for each original album.

Can’t Fight Fate: Amazon U.S. / Amazon U.K.
Soul Dancing: Amazon U.S. / Amazon U.K.

The Cryan Shames, A Scratch in the Sky: Deluxe Expanded Mono Edition (Now Sounds)

Now Sounds presents the Chicago band’s 1967 sunshine pop-flavored album for the first time on CD in mono, adding a plethora of bonus tracks! Joe’s full review is coming soon! (Amazon U.S. / Amazon U.K.)

Silver Convention, Save Me / The Salsoul Orchestra, Up the Yellow Brick Road / How High (Big Break Records)

Joe’s full writes-ups on three more Salsoul/BBR reissues are coming soon!

Save Me: Amazon U.S. / Amazon U.K.
Up the Yellow Brick Road: Amazon U.S. / Amazon U.K.
How High: Amazon U.S. / Amazon U.K.

The (Motown) Music That Makes Me Dance: The Supremes’ “Funny Girl” Gets Expansion

I’m the greatest star/I am by far! But no one knows it…

– Fanny Brice, Funny Girl

Back in 2012, while reviewing Hip-o Select’s splendidly expanded edition of The Supremes at the Copa, I wrote of the “altogether enjoyable [and] still inexplicably not on CD” album The Supremes Sing and Perform Funny Girl. Indeed, that 1968 LP, featuring Motown’s greatest stars tackling the showstoppers from Jule Styne and Bob Merrill’s score, has long been one of the rarest and most-requested titles in the Supremes discography. Yet Funny Girl has remained unavailable throughout the entirety of the compact disc era…until now. The good news is that the long-awaited reissue will arrive in lavishly expanded form, with twelve bonus tracks, on April 29. But with every parade must come some rain: this deluxe edition of Diana Ross and the Supremes Sing and Perform Funny Girl is currently only scheduled for release as a digital download. It will appear the same day that the 50th anniversary of the Broadway production of the musical is celebrated with a new CD/LP box set of its original cast recording from Capitol Records, sister imprint of Motown Select within Universal Music Enterprises (UMe).

The eight-time Tony-nominated musical by librettist Isobel Lennart, composer Styne and lyricist Merrill opened in March 1964 at New York’s Winter Garden Theatre, sealing the deal on superstardom for its leading lady, Barbra Streisand. Streisand’s tour de force as Ziegfeld Follies comedienne Fanny Brice became the stuff of legend, and Styne and Merrill’s score yielded the near-instant standards “Don’t Rain on My Parade” and, of course, “People.” Funny Girl didn’t go unnoticed by Motown chief Berry Gordy. In concert, Diana Ross rendered the sweetly upbeat “I Am Woman (You Are Man)” to coquettish perfection while Florence Ballard belted the dramatic “People” from the heart.

It wasn’t unusual for The Supremes to switch gears back and forth between Holland-Dozier-Holland’s explosive Top 40 R&B and classic Broadway and standard repertoire. It was all part of Berry Gordy’s plan to make his artists true stars, appealing to the affluent supper club set as well as the teenagers buying the latest 45s. In early 1965, The Supremes began work on There’s a Place for Us, so named for Stephen Sondheim’s West Side Story lyric to “Somewhere,” for which they recorded both “People” and “I Am Woman.” That summer, Diana Ross, Mary Wilson and Florence Ballard made their debut at the Copacabana, singing live many of the songs they had recorded for There’s a Place for Us. With the release of The Supremes at the Copa, the studio album was shelved, eventually arriving on CD in 2004. Other Broadway-themed Supremes recordings were made, however, some even with Holland-Dozier-Holland at the helm. 1967’s The Supremes Sing Rodgers and Hart, produced by Berry Gordy and arranger Gil Askey, reached back to the Broadway of decades before Funny Girl.

In 1968, however, Gordy and Askey had good reason to turn their attention back to the Styne and Merrill musical. Its big-screen adaptation was arriving from Columbia Pictures; Streisand would win an Oscar for reprising her role as Fanny. Hitting record stores on August 26, 1968 (other sources say May) in advance of the movie’s September 19 release, Diana Ross and the Supremes Sing and Perform Funny Girl – performed by the new line-up of Diana, Mary and Cindy Birdsong – included nine Styne and Merrill songs (eight from the stage score and the movie’s title song) plus “My Man,” a signature song of Brice’s that was replaced in the stage score by the ravishing “The Music That Makes Me Dance.” (The movie featured “My Man” instead of “Music,” but Diana and the girls did both!) The Supremes promoted the album with a medley on The Ed Sullivan Show, and even Jule Styne gave his stamp of approval to the project by writing an adoring, appreciative note for the sleeve. The great composer (Gypsy, Bells Are Ringing) observed, “Although the girls are young and new and part of the now world, they have always showed great respect towards composers Richard Rodgers, Cole Porter, Irving Berlin (and now Jule Styne). Thank God. They are always aware of what’s new by their appreciation of the sounds of Burt Bacharach and Jimmy Webb, etc. What Diana Ross does…is something else again. If I sound excited, I am…My life is now complete. From Frank Sinatra, to Barbra Streisand, to Diana Ross and the Supremes. What a parlay!”

Despite the enormous success of the motion picture, the Supremes’ Funny Girl album only reached No. 150 on the Billboard 200 and No. 45 on the R&B chart. The motion picture soundtrack featuring Streisand fared rather better with a No. 12 peak, but Diana, Mary and Cindy didn’t have to wait long to return to chart supremacy. The very next month after the Funny Girl LP’s arrival, the group released the single “Love Child.” By November, it had reached No. 1. And that wasn’t all. Their collaborative album Diana Ross and the Supremes Join the Temptations, released the same month of November, reached No. 2 and its single “I’m Gonna Make You Loved Me” became a Billboard No. 2 Pop smash on 45. Miss Ross kept some of the Funny Girl music in her live repertoire well into her post-Supremes solo years.

What will you find on this new Funny Girl?  Hit the jump for that and more!

Action, Action, Action! Real Gone’s April Release Schedule Announced

Second Disc HQ may be surrounded by layers of detestable snow, but a new release schedule from Real Gone Music is as good as any sunshine! (Plus, these titles are due in April, by which everything will have melted…WE HOPE.)

You’ve already read about two of the label’s new April releases courtesy of Joe’s post about Doris Day earlier today, but that’s not all they’re offering. A complete singles collection by Patti LaBelle and The Bluebells – featuring the three future members of LaBelle with future Supremes member Cindy Birdsong – is forthcoming, as are chronicles of The Ohio Express on Cameo Records, Vicki Lawrence (“The Night the Lights Went Out in Georgia”) on Bell, and a tempting reissue of Eddie Kendricks’ 1981 final solo LP, his only for Atlantic Records.

But we have to confess we’re a little excited about In Action: The Complete Columbia Sides and More, a new collection devoted to Keith Allison, an underrated rock legend who sat in with The Monkees on some of their best albums, and whose Columbia works were produced by Gary Usher, featuring songs written by Boyce & Hart (the iconic theme to TV series Where the Action Is), Neil Diamond and Mark Lindsay, who’d later recruit him into Paul Revere & The Raiders. In addition to being an airtight, rarity-packed set, we once again can reveal a Real Gone Music release has liner notes penned by our own Joe Marchese, featuring excerpts from a new interview with Keith himself!

So what are you waiting for? Full specs on all titles, including Jacksonville band Cowboy (a favorite of Duane Allman’s) and another Grateful Dead Dick’s Picks title, are after the jump, and all of them are released on April 1 (no foolin’!).

Motown Rarities Uncovered on Vinyl Box, Digital Outtakes Set

Motown aficionados have a lot of fun stuff to dig through on a number of formats, with the recent release of a box set collecting 14 rare cuts on vinyl and a new, copyright law-busting compilation of 52 previously unavailable outtakes from some of the label’s biggest names.

Recently issued in the U.K., The Motown 7s Box: Rare and Unreleased Vinyl seems to take more of a tack about “tracks unreleased to vinyl” than “never-before-released tracks on vinyl.” Everything here has been made available in some way, shape or form, including rare studio cuts from Marvin Gaye, Stevie Wonder, The Supremes, The Four Tops and even David Ruffin, The Spinners and Kim Weston. But perhaps only one of them, Frank Wilson’s “Do I Love You (Indeed I Do),” ever made it to vinyl before CD. (That original single is, in fact, one of the rarest in the world.) Producer Richard Searling offers track-by-track liner notes on the box, though no official mastering information is supplied.

Meanwhile, digital retailers have started carrying Motown Unreleased 1963 another copyright-savvy compilation of Motown outtakes from five decades past. (Outside the U.S., copyright law governs that recordings not issued within 50 years lapse into public domain, prompting rights holders to quickly issue collections from Bob Dylan to, this week, The Beatles and The Beach Boys. A similar volume from Motown cropped up last year, too.)

While it’s open to interpretation as to what, if any, true finds exist on the set, many of Motown’s best are featured herein on recordings you’ve never heard before, from The Miracles, The Supremes (a cover of “Funny How Time Slips Away”!), Stevie Wonder (alternate and early takes of “Fingertips” and “Blowin’ in the Wind”), The Temptations and even lesser-known acts on the roster, including Labrenda Ben and The Contours.

After the jump, you’ll find order links and full specs on each of these unique sets.

Release Round-Up: Week of December 4

Beachwood Sparks, Desert Skies (Alive Records) (Amazon U.S. / Amazon U.K.)

We missed this one last week – and didn’t want you to miss it, too!  The previously unreleased debut album from California psychedelic country-rockers Beachwood Sparks arrives on CD with bonus material, all circa the late 1990s.  For fans of The Flying Burrito Brothers, Buffalo Springfield, The Byrds, and the West Coast pop-rock sound.

The Jones Girls, Coming Back (Expansion) (Amazon U.K.)

The Jones Girls, best-known for a string of LPs for Philadelphia International, “came back” with this 1992 album for ARP Records.  Expansion bolsters this rare slice of soulful R&B with six bonus tracks.

Roy Orbison, The Last Concert: 25th Anniversary Edition (Roy’s Boys/Legacy) (Amazon U.S. / Amazon U.K.)

Legacy reissues the very last concert ever given by Roy Orbison, from December 3, 1988, in a special package with a bonus DVD containing The Last Interview (taped with Roy directly after the performance) and selected performances from 1981 and 1986.  The Big O was gone two days later, but his music lives on.

Poco, From the Inside (Iconoclassic) (Amazon U.S. / Amazon U.K.)

In case you missed it last week (after all, we almost did!), Iconoclassic’s expanded reissue of Poco’s 1971 album features new remastering by Vic Anesini, an essay by John Einarson, and two previously unreleased bonus tracks: the unreleased studio versions of “C’mon” and “A Man Like Me” produced by Richie Polodor.

Scherrie and Susaye, Partners (Motown/Universal Japan) (Amazon U.S. / Amazon U.K.)

Two former Supremes – Scherrie Payne and Susaye Greene – joined with producer Gene McDaniels for this 1979 LP which featured special guest Ray Charles and addition vocals from Joyce Vincent of Tony Orlando and Dawn.  Partners updated the Supremes sound with a sleek, modern R&B vibe, and makes a long-overdue appearance on CD here.

Neither One of Us (Wants to Be the First to Say Goodbye): Final “The Complete Motown Singles” Volume Bows

They did it.

Nearly nine years after the first volume in Hip-O Select’s The Complete Motown Singles box set series was released, the 14th and final entry in the series, Volume 12B: 1972, will be released on December 10, just in time for the holidays.

The year 1972 marks, for many, the end of the “classic Motown” period. Label founder Berry Gordy moved label operations from Detroit to Los Angeles, and many of his most treasured acts were in periods of transition. Diana Ross was long a solo artist away from The Supremes, while Smokey Robinson would part ways with The Miracles in 1972 – the same year both The Four Tops and Gladys Knight & The Pips would break off from the label. At the same time, though, several of the label’s acts were coming in to their own, from The Temptations’ psychedelic soul styles, the increasing independence and experimentation of Stevie Wonder and Marvin Gaye and even the shine of the spotlight on solo members of The Jackson 5, namely frontmen Michael and Jermaine.

Included in the 100 tracks across five discs are some choice rarities, including Marvin Gaye’s beautiful (but long-lost) holiday single, “I Want to Come Home for Christmas” b/w “Christmas in the City,” an unissued solo single from longtime label songwriter Valerie Simpson, a duet by G.C. Cameron and Willie Hutch that never made it to an album with Hutch’s vocal, and even rare sides by several pop acts who made their name away from the Motown roster, including Lesley Gore, Bobby Darin and Frankie Valli & The Four Seasons.

Packed, as always, with a bonus replica 7″ single (The Temptations’ classic “Papa Was a Rollin’ Stone”), The Complete Motown Singles Vol. 12B is loaded with notes and essays from Abdul “Duke” Fakir of The Four Tops, Susan Whitall of The Detroit News, journalist Bill Dahl and compilation producers Keith Hughes and Harry Weinger, who “contribute series postscripts that offer back stories of the Motown tape vault, session logs and tape cards.”

The Second Disc has, of course, spent most of its existence lightly prodding Harry, UMe’s vice-president of A&R, for information on the TCMS series; when we set up shop in 2010, the series had seemingly stalled at Vol. 11 the year before. Vols. 12A and 12B would not materialize until this year, though I certainly speak for both Joe and myself (not to mention countless readers and fans around the world) that the work has been well worth the wait.

On December 10, that wait is finally over. After the jump, you can pre-order your own copy of the set.

Release Round-Up: Week of June 18

Patty Duke, Don’t Just Stand There/Patty / Sings Songs from Valley of the Dolls/Sings Folk Songs (Time to Move On) (Real Gone Music)

All four of Patty’s United Artists albums released on a pair of two-fers, including 1968’s unreleased Sings Folk Songs.

The Supremes, Cream of the Crop / Love Child / I Hear a Symphony / Join the Temptations / Sing Holland-Dozier-Holland / Supremes A Go-Go (Motown MS 649, 1966) (Culture Factory)

A bunch of Supremes classics – six albums from 1966’s The Supremes A Go-Go to 1969’s Cream of the Crop, their last with Diana Ross – all get the mini-LP treatment from Culture Factory.

Diana Ross, The Boss /An Evening with Diana Ross (Culture Factory)

Culture Factory also brings Miss Ross’ long out-of-print concert disc back to CD, along with a new, mini-LP edition of the Ashford and Simpson-helmed favorite The Boss.

Julia Fordham, Porcelain / Swept: Deluxe Editions (Cherry Pop)

The second and third LPs by U.K. singer Julia Fordham are expanded and remastered for the first time.

Porcelain: Amazon U.K. / Amazon U.S.
Swept: Amazon U.K. / Amazon U.S.

Various Artists, 20 Feet from Stardom: Music from the Motion Picture (Columbia)

The soundtrack to the anticipated new documentary about the best backup singers you might not have known, from Darlene Love to Merry Clayton. (Legacy’s releasing Clayton’s first-ever best-of compilation next month.) (Amazon U.S. / Amazon U.K.)

Paul Young, Remixes and Rarities (Cherry Pop)

Two discs of rare or new-to-CD bonus material from the ’80s crooner. (Amazon U.K. / Amazon U.S.)

Various Artists, Woody Guthrie at 100! Live at the Kennedy Center (Legacy)

Not sure if this concert kills fascists, but this CD/DVD tribute to a folk legend, featuring John Mellencamp, Lucinda Williams, Rosanne Cash and more is a fitting way to honor one of the century’s best songwriters. (Amazon U.S. / Amazon U.K.)

Where Were You When We Needed You: Latest Volume of “The Complete Motown Singles” Arrives in June

Let’s dispense with the “Get Ready” puns: after a four-year wait, Hip-O Select’s Complete Motown Singles series inches closer toward the finish line with Volume 12A: 1972.

This five-disc set includes every single side released by Motown during the first half of 1972, a time of transition for the company. Berry Gordy had already moved his Detroit-based media empire westward to Los Angeles, leaving some of his flagship groups in a transitional period. The Jackson 5 still had their hits, but not with the blinding intensity of their earliest years (though Michael still enjoyed hits off of his solo debut Got to Be There). Marvin Gaye released a one-off single, “You’re the Man,” in between two masterpieces (1971’s What’s Going On and 1973’s Let’s Get It On), while Stevie Wonder began his journey as a fully in-control adult artist with “Superwoman (Where Were You When I Needed You)” from Music of My Mind. Both Smokey Robinson & The Miracles and Martha & The Vandellas released their farewell singles in this era, while a new up-and-coming band named The Commodores released their first.

It was certainly a unique time there, and now, it’s coming home, The Complete Motown Singles-style. That means gorgeous book packaging with a bonus 45 (devoted MoWest’s The Blackberries, whose single “Somebody Up There” actually was never issued as a 45), multiple essays (including by Motown engineers Russ and Ralph Terrana, Susan Whitall of The Detroit News), and track-by-track notes by Bill Dahl and producers Keith Hughes and Harry Weinger.

The box ships from Select on May 31 and from all retailers June 11. Hit the jump for a full track list and Amazon pre-order link!

Losers Weepers! Ace Unveils Rare and Unreleased Songs on “Finders Keepers: Motown Girls 1961-67”

Thanks to the dedication of labels like Ace Records, it would be impossible to “forget the Motor City.”  Along with the U.S.’ flagship Hip-O/UMG Select imprint, Ace has led the charge in issuing vintage 1960s-era Motown material, much of it unreleased.  The recent release of Finders Keepers: Motown Girls 1961-1967 compiles 24 tracks from girls both famous (The Supremes, Martha and the Vandellas, Mary Wells) and sadly unknown (LaBrenda Ben, Thelma Brown, Anita Knorl) for a potent overview of songs that slipped through the cracks at Hitsville, USA.  Sweetening the pot is the fact that, of the 24 songs, twelve have never been released before.  It’s always cause for celebration when the seemingly endless Motown vaults are dipped into, and this is no exception.

Listen to a track like The Velvelettes’ “Let Love Live (A Little Bit Longer),” cut in 1965 and first released in 1999, and you immediately realize that it has all the elements of Classic Motown.  Why wasn’t it released at the time it was recorded?  Would it have been a hit?  Chart success can hardly be ascribed to one particular factor, and maybe the track just didn’t have that intangible “it.”  But what “Let Love Live” and most of the other tracks here do have is the unmistakable presence of the Funk Brothers, some of Motown’s brightest songwriters and producers, and the frisson of the Sound of Young America in its prime.

Naturally, no Motown Girls compilation would be complete with songs from the label’s top female acts.  The Marvelettes, who made Motown history with the label’s first No. 1, “Please Mr. Postman,” are represented with Holland-Dozier-Holland’s stomping “Finders Keepers.”   Recorded 1964 but not issued until 1980, it makes a welcome reappearance here.  (The Marvelettes are credited with “The Grass Seems Greener,” too, but the notes reveal that this previously unreleased song was actually sung by Bettie Winston.)  Gladys Knight and the Pips’ 1967 “When Somebody Loves You (You’re Never Alone)” has been oft-bootlegged over the years, but has never appeared in the top-notch sound quality it’s presented in here.   And where would any Motown compilation – girls or otherwise – be without an appearance by The Supremes?  Finders Keepers producers Keith Hughes and Mick Patrick have opted for two songs with Florence Ballard in the spotlight.  1961’s “Buttered Popcorn,” written by Berry Gordy and longtime Motown sales manager/veep Barney Ales, is the object of some good-natured derision in Gordy’s book to the now-running Motown: The Musical on Broadway.  “Long Gone Lover” is a track from 1964’s Where Did Our Love Go album, written by another Motown mainstay, the legendary Smokey Robinson.

Smokey’s imprimatur is all over Finders Keepers.  No fewer than six tracks composed by the Miracles man are present.  With its finger-snapping beat, a haunting title refrain, and the slinky bass of James Jamerson, Martha and the Vandellas’ 1966 “No More Tear-Stained Makeup” is a low-key treat.  (Keith Hughes suggests that the group’s other song here, H-D-H’s “Build Him Up,” could have been withheld from release because Gordy might have found it dated compared to “Heat Wave.”  That theory seems to be a good one.  And yes, despite a volume of Motown Lost and Found and an entire disc of previously unissued material on the recent Singles Collection, there’s still more Vandellas in the Motown vault!)

There’s much, much more after the jump, including the complete track listing with discography and an order link!