In spite of the massive commercial success the Motown record label enjoyed during the '60s, there's an argument to be made for the early '70s as being its most creatively successful era ever. And I am not just talking about Marvin Gaye and Stevie Wonder here.
After gradually starting to move their main operation from Detroit to Los Angeles in 1969 (to be completed in 1972), there just was no way turning back.
Evidence A: The Four Tops.
Commercially on an undeserved downhill slide, the Four Tops issued their most artistically accomplished album to date in 1970. Peaking just outside the U.S. Top 10, its title track "Still Waters" was a 2 minute and 41 second triumph.
Even better still was the Tops' cover of Tommy Edwards' late '50s standard "It's All in the Game", which became their biggest '70s hits for Motown, excluding a collaboration with the Supremes, before they left the company for greener pastures at ABC-Dunhill a couple of years later.
But perhaps the strongest cut on the album was a love song (of sorts) to Motown's new hometown, the gorgeous "L.A. (My Town)".
Never a proper single in its own right though, it belatedly appeared as the B-side to "A Simple Game" (1972), one of the Tops' last Motown singles until their return to the label in the late '80s.
Arguably the greatest Motown vocal group of all time, The Four Tops' name will, as it should be, always be synonymous with Motown.
Evidence B: The Supremes.
After parting company with their charismatic leader - one Diana Ross - in early 1970, the Supremes' future prospects were somewhat in doubt. Especially after Motown boss Berry Gordy had vetoed Ross' successor Jean Terrell and "washed his hands" of the group altogether.
Nonetheless, the aptly named "Right On" L.P. appeared in the spring of 1970, its lead-off single "Up the Ladder to the Roof" having just previously hit the U.S. Top 10.
In hindsight at least the change was all good. Prior to Ms. Ross' departure the Supremes sound had become stale and, notwithstanding the fact that their records did not always feature all of the Supremes, somewhat soulless. Surely Las Vegas boomed, but at what cost?
Further Jean Terrell-led albums followed: "New Ways, But Love Stays" (1970), "Touch" (1971), "Floy Joy" (1972), as well as an Jimmy Webb (mostly)written & produced album (all of which were collected on the marvellous "This is the Story - The '70s Albums, Vol. 1, 1970-1973 - The Jean Terrell Years" Hip-O-Select CD set from a few years back), not to mention several albums' worth of collaborations with the almighty and previously praised Four Tops.
And although the hits became fewer and appeared further in between than in their '60s Ross-led heyday, the excellence of said material is indisputable. "Stoned Love", "Nathan Jones" and "Floy Joy", to name but few, all became size able hits in their own right.
To make a long story short, The Supremes continued to record for Motown well into the disco era, although with diminishing commercial returns. But one of their most rewarding recordings appeared on their self-titled 1975 album and, as far as I know, wasn't even issued as a single: Lambert & Potter's perhaps aptly named disco-lite opus "It's All Been Said Before"...
Evidence C: The Miracles.
Another Motown vocal group left in the lurch by its fearless leader at the turn of the '70s, although Smokey postponed his amicable departure from the group after the then three year old Stevie Wonder catchy co-write "Tears of a Clown" surprisingly hit #1 hit on both sides of the Atlantic in 1970.
Three years later though, the inevitable could no longer be postponed. A position as the vice-president of Motown awaited Smokey, as well as a looming lucrative solo career.
His replacement Billy Griffin made his recording debut as a Miracle on the "Renaissance" album in 1973.
A great yet unfairly overlooked album at the time, and so was its follow up "Do it Baby" (1974), although its funky title track became a Top 20 U.S. hit - the Miracles' first in three years.
But, as often is the case, the best was yet to come.
The Miracles' next album, 1975's "City of Angels" (Yet another Motown love letter to L.A.), is undoubtedly their strongest and also yielded their biggest post-Smokey hit in the disco stomper "Love Machine" - a U.S. #1.
Other highlights included the unintentionally hilarious early pro-gay paean "Ain't Nobody Straight in L.A.", which contains this unforgettable nugget: "Homosexuality is a part of society, I guess that we need some more variety..."
In spite of having a number 1 single and a Top 30 album on their hands their next album, "The Power of Music" (1976), failed to follow up its predecessor's success and became the Miracles' swansong for Motown. A move to Columbia proved to be a failure as well and by the late '70s this legendary act had pretty much fallen off the radar.
Nonetheless, their legacy remains undisputed and although their '73-'76 Motown tenure isn't as universally lauded as their late '50s - 'early '70s work with Smokey Robinson, it certainly deserves a reappraisal.
