Singer/songwriter/producer Lamont Dozier was part of the legendary Motown production team of Holland-Dozier-Holland. A galvanizing force in the '60s pop and R&B chart-dominance of the Detroit-based independent record label, the trio later formed Invictus and Hot Wax Records, and enjoyed gold-record-laced success with the Chairmen of the Board, Freda Payne, 100 Proof Aged in Soul, the Honey Cone, and 8th Day.
After the song-writing partnership of Holland-Dozier-Holland (Edward-Lamont-Brian) left Motown in the late Sixties, they set up the INVICTUS and HOT WAX labels in the States featuring hot new soul acts like Chairman Of The Board, Freda Payne, Parliament, The Honey Cone, Ruth Copeland, Laura Lee etc.
Deluxe remastered edition of this album from cult folk artist Karen Dalton. Recorded over a six month period in 1970/71 at Bearsville, In My Own Time was Dalton's only fully planned and realized studio album. The material was carefully selected and crafted for her by producer/musician Harvey Brooks, the Renaissance man of rock-jazz who played bass on Dylan's Highway 61 Revisited and Miles' Bitches Brew. It features ten songs that reflected Dalton's incredible ability to break just about anybody's heart - from her spectral evocation of Joe Tate's One Night of Love, to the dark tragedy of the traditional Katie Cruel. Known as a great interpreter of choice material, Dalton could master both country and soul genres with hauntingly pining covers of George Jones' Take Me and Holland-Dozier Holland's How Sweet It Is.
"More Hits by The Supremes" is the sixth studio album by Motown singing group The Supremes, released in 1965. The album includes two number-one hits: "Stop! In the Name of Love" and "Back in My Arms Again", as well as the Top 20 single "Nothing but Heartaches". The album opens up with the b-side "Ask Any Girl" from their "Where Did Our Love Go" album, which ironically ended side 2 of their previous album of new material. It was once planned for single release with this new mix. Barney Ales, then an executive vice-president of Motown Records, reported in the August 14, 1965 issue of Billboard magazine the album had advance orders estimated at 300,000. More Hits by The Supremes peaked at #6 on the U.S. Billboard album chart and remained on that chart for 37 weeks. It reached #2 on Billboard's R&B album chart. To further underscore their popularity, each girl's signature was autographed on the album cover. According to Motown data this album managed to sell over 1,675,000 copies.
8th Day were a studio-based congregation on Invictus Records: the post-Motown label from Holland/Dozier/Holland. There wasn't an official group lineup, and the musicians and singers in 8th Day were featured in other Invictus/Hot Wax groups – most notably in 100 Proof (Aged In Soul) – but sweating over the details of who did what and who was where misses the point of the Invictus sound: the sound and the songs took prominence over group membership, and why not? The team at Invictus was tremendous, creating big, "Wall of Sound" productions that were nevertheless nimble, stylish, and lush: a perfect expansion of the Motown aesthetic for the post-psychedelic, smooth, soul era.
The first-ever compilation of the legendary work by this great 70s soul diva! was the lesser-known sister of , and – and during the mid 70s she recorded her best work at the label with the team. This CD features 15 great tracks from those years, including her whole LP, plus bonus tracks. The CD features the northern soul killer , plus nice ones like (12 inch mix), , , , , and (12 inch mix).
For some reason P-Vine Records subtitled this "The New Lamont Dozier Album," a misleading title since these tracks were first released on Invictus Records as by Holland & Dozier. Dozier doesn't even lead "Slipping Away" – Holland does, but the best tracks, "Why Can't We Be Lovers" and "New Breed Kinda Woman," are classic Dozier. Though he later had a few hits on ABC Records, Dozier recorded his most accessible music while at Invictus under the artistry of Holland & Dozier; Eddie Holland, strangely, never sung with the duo, despite having some acclaim as a solo artist before these '70s recordings.
Freda Payne was a onetime flagship of Invictus, the label established by Motown mutineers Holland-Dozier-Holland. Though she only made three albums with the former Detroit hit machine, it was through the first two singles both artist and label became instantly known. Parting with Motown proved the right decision for HDH in their search for more creative recognition. Through Payne's "Unhooked Generation" and " "Band of Gold" they nurtured a newfound soul style. Combining the infectious rhythmic base of their earlier efforts with the Supremes and the Four Tops, HDH ventured into a more funk-oriented approach, with a little less emphasis on the familiar orchestration.
Funk came of age in the 1970s when a term used in jazz circles for the previous two decades crossed over to the dancefloor. Our 16 slices are served up by acts ranging from Parliament -one of the genre's undisputed trendsetters, led by the irrepressible George Clinton- to Afro-rockers Osibisa and Cymande, taking in acts as diverse as girl group Honeycone and legendary 'Hustle' hitmakers The Fatback Band. Chairmen of the Board are one of five artists featured from the Invictus/Hot Wax stable, founded by the writing/production trio of Holland, Dozier and Holland. They struck out on their own after scoring hits with innumerable Motown acts; you can hear a touch of Stevie Wonder in 'Finders Keepers'. From Detroit we travel to New Jersey for our collection's title track, performed by female vocal duo Positive Force, which wrote their name in the last UK chart of the decade. If it's dance music with a heavy bass line and layered guitar, keyboard and vocals you're after, look no further - 'We Got The Funk'!