Released March 2002

OK so this is not a Motown recording, but it could well have been. This CD contains a selection of songs from 1972 onwards after the group had left the Motown empire, and signed to ABC Dunhill records where they enjoyed a six year stint clocking up an impressive seven albums, and fifteen singles of which ten can be found on this excellent new CD.

At a time when many feared their departure from Berry Gordy’s hit making machine would result in the demise of the quartet, quite the opposite happened. Whilst they had lost Holland Dozier, and Holland five years previous, as their the main song writing team, the talents of Dennis Lambert/Brian Potter (who were to eventually write and produce for Tavares later in the decade) were assigned to write a number of songs for the group.

The first was ‘Ain’t No Woman (Like The One I Got) in 1973 a gentle semi-ballad that was a somewhat total change in direction from their days at Hitsville, yet it turned out to be a sizeable hit for the group and kick started a string of hits whilst at ABC/Dunhill. During the early part of the seventies Blaxploitation movies were a plenty, with the success of Shaft in ‘71’ a follow up movie entitled ‘Shaft In Africa’ followed, and ‘Are You Man Enough’ was featured clocking up a decent chart position no doubt due to the success of the movie, although one has to say the song was strong enough on its own.

As the disco boom of the mid seventies took hold and the 4 Tops really didn’t have any related releases with the exception of ‘Catfish’ (part written by group member Lawrence Payton) which was a very catchy and commercial song which stood well alongside other dance tunes of the day, and at the same time highlighted Payton’s writing talents. Another track worthy of note is ‘Midnight Flower’ complete with immaculate orchestration and production and could easily be regarded as the one of the standout songs on this CD.

Lambert and Potter’s finest moment comes with ‘Just Can’t Get You Out Of My Mind’ from 1974 and interestingly became a modern soul favourite some twenty years after it’s initial release with its inclusion on a KENT LP. Also a popular modern dancer is the Stephen Bishop song ‘Save It For A Rainy Day’ from their LP ‘The Show Must Go On’ which must rate as one of the best ever post Motown songs, as well as ‘Seven Lonely Nights’ (part written by JR Bailey and Rudy Clark) which is a throwback to 1966 and is comparable to ‘I’ll Turn To Stone’ in structure and arrangements. Whether this was by accident or intentional, the record had commercial and dance appeal and it is easy to see why the company issued it as a 45.

Whilst I always preferred Lloyd Price singing ‘Love Music’ (GSF Records) this version is not too dissimilar with its washboard sound effects and a damn good song too. Sadly, not the same enthusiasm for the UK Probe 45 of ‘Sweet Understanding Love’ which somehow lacked any power to make the record buying public sit up and listen, and if I remember correctly, the record failed to make any serious ripples on the charts even though the song had been part written by the much respected Motown producer Ivy ‘Jo’ Hunter.

The closing track on this CD is the gospel flavoured ‘We All Gotta Stick Together’ which was issued as a 45 and again shows the song writing talents of group member Lawrence Payton who co-wrote the song, with Richard Knight, Fred Bridges, and Richard Beasley.

Whilst it is evident that the group never really re-captured their glory days at Motown, they certainly continued through the 1970’s with credibility and determination, at a time when some would argue that ‘real’ soul music had taken a back seat during the disco era, but their music and live appearances still won the hearts of their fans who stood faithful to the group to this day.

This CD will not disappoint anyone with a good ear for soul music and is a most refreshing change from the endless compilations of their earlier Motown songs.

Click here to see the group in action during their days at Hitsville.