It is an undeniable fact that the history of Motown Records was developed by "men" such as The Temptations, Four Tops, Smokey Robinson and Marvin Gaye. However, if you explore the flow of history a little deeper, you can actually confirm the existence of "women" there. According to the popular phrase “a woman in the shadow of history,” the history of this model record is no exception. On the surface, it is known that the female “stars” such as Diana Ross and The Supremes, The Marvelettes, and Mary Wells, who conquered the world, form an important part of history. Actually, there were more "women" playing an active part under the surface. The history of Motown Records may actually have been supported by them.

Motown considered this Michigan family to be the heirs apparent to the Jacksons; they even let them write, produce and arrange their songs (a luxury they did not afford the Jacksons). Here are the four LPs born of that fruitful relationship, all in print for the first time in years, plus remixes and unissued versions of their key dance cuts and ballads. The Debarges ('81) and the Top 40 LPs All This Love ('82), in a Special Way ('83) and Rhythm of the Night ('85) include the R&B hits Stop! Don't Tease Me; I Like It; All This Love; Time Will Reveal; Rhythm of the Night; Who's Holding Donna Now; Love Me in a Special Way; You Wear It Well; the Heart Is Not So Smart, and more, and you also get extended, instrumental and alternate mixes of their biggest hits!

The Great David Ruffin: The Motown Solo Albums, released in 2004, reissued the Temptations vocalist's first four albums in one package. Limited to 5,000 CD copies, the set eventually sold out, but the Real Gone label re-circulated the albums in 2014 with a couple two-for-one packages. This is the first of the pair, which contains My Whole World Ended and Feelin' Good. The albums were released during 1969, within six months of one another, and fared well – the debut, one of Ruffin's best releases, topped Billboard's R&B albums chart, while the unsurprisingly weaker follow-up peaked at number nine. Among the solid, less-recognized gems here are the stirring "Loving You (Is Hurting Me)," the R&B Top 20 wailer "I'm So Glad I Fell for You," and a muscular version of Dave Mason's (Traffic) "Feeling Alright." There are no bonus tracks.

"Smokey" is the debut studio album by American soul singer, songwriter, and producer Smokey Robinson. It was released on June 19, 1973, by Tamla Records and was Robinson's first solo record after his departure from The Miracles. The album featured the single "Sweet Harmony", which was his tribute to his former singing partners in the Miracles: Bobby Rogers, Pete Moore and Ronnie White. "Smokey" was arranged by Dave Blumberg, Gene Page and Willie Hutch. It also featured the song "Baby Come Close", his first solo hit single, and the single "Just My Soul Responding", a protest song dealing with ghetto life in America, and the plight of the American Indian. "Smokey" peaked at #70 on the Billboard albums chart, on which it spent 19 weeks.

"Motown 25: Yesterday, Today, Forever debuted on NBC on May 16, 1983, and became an immediate sensation. The highlight that caused the most talk was Michael Jackson’s world premiere of the moonwalk (aka six seconds that changed the world) but Motown 25 had an abundance of buzzworthy moments—reunions by the Miracles, the Supremes and The Jackson 5; the first battle of the bands between The Temptations and Four Tops; and the hottest comedian in the world at the time, Richard Pryor, as host…

"Diana Ross" (later reissued rarely as "Ain't No Mountain High Enough") was the debut solo album for Diana Ross. It reached #19 in the USA (#1 R&B) and sold over 500,000 copies. The album was the ultimate test to see if the former Supremes frontwoman could make it as a solo act. With the help of the songwriting-producing team of Nickolas Ashford & Valerie Simpson, Ross turned out a successful album. Ross did extensive work with other producers before settling with Ashford & Simpson, including Johnny Bristol, producer of her final single with The Supremes, "Someday We'll Be Together". Bristol here produces "These Things Will Keep Me Loving You" (which was a UK hit when originally recorded by The Velvelettes); the rest of the LP is fully written and produced by Ashford & Simpson.

"We Remember Sam Cooke" is the 5th studio album recorded by The Supremes, issued by Motown in April 12, 1965. The album is a tribute album dedicated to soul musician Sam Cooke, who had died the previous December. Notable selections on the album, consisting entirely of Cooke covers, included covers of "A Change Is Gonna Come", "You Send Me" and "(Ain't That) Good News" (led by Florence Ballard). It was the second most successful in a series of themed albums enjoying a #5 peak on the Billboard R&B chart. It showcased the versatility of the group with a Brit-pop album under their belt, as well as, a country and western-themed album. According to Motown data, this album managed to sell over 325,000 copies.

Budget price compilation for the Motown girl group. Featuring 15 of the 16 tracks on the closest domestic equivalent (including their hits, 'Needle in a Haystack', 'He Was Really Saying Something', 'These Things Will Keep Me Loving You') along with four additional tracks.

"Everything Is Everything" is the second album by Diana Ross, released in 1970. After the huge success of her self-named album and its accompanying two singles, Motown rushed the release of this album. It reached #42 in the USA (#5 R&B) and sold over 200,000 copies. The track "I'm Still Waiting" was a UK #1 single in 1971 for four weeks and her rendering of Aretha Franklin's "Call Me (I Love You)" was nominated for a Grammy in 1971 in the Best Female R&B Vocal Performance category.

The Complete Motown Singles has been a dream project of Motown and soul fanatics for many years, ever since the first decade of Stax/Volt singles was compiled in an impressive nine-disc box set in 1991. Prior to that, no soul label had its output as thoroughly documented as that set – there had been the Atlantic R&B box, which collected highlights, but it never attempted to capture the label's entire run – and while The Complete Stax-Volt Singles 1959-1968 missed a B-side or two, it was an exceptional piece of music history, and pretty damn entertaining to boot.

The Complete Motown Singles has been a dream project of Motown and soul fanatics for many years, ever since the first decade of Stax/Volt singles was compiled in an impressive nine-disc box set in 1991. Prior to that, no soul label had its output as thoroughly documented as that set – there had been the Atlantic R&B box, which collected highlights, but it never attempted to capture the label's entire run – and while The Complete Stax-Volt Singles 1959-1968 missed a B-side or two, it was an exceptional piece of music history, and pretty damn entertaining to boot.

The Complete Motown Singles has been a dream project of Motown and soul fanatics for many years, ever since the first decade of Stax/Volt singles was compiled in an impressive nine-disc box set in 1991. Prior to that, no soul label had its output as thoroughly documented as that set – there had been the Atlantic R&B box, which collected highlights, but it never attempted to capture the label's entire run – and while The Complete Stax-Volt Singles 1959-1968 missed a B-side or two, it was an exceptional piece of music history, and pretty damn entertaining to boot.

The Complete Motown Singles has been a dream project of Motown and soul fanatics for many years, ever since the first decade of Stax/Volt singles was compiled in an impressive nine-disc box set in 1991. Prior to that, no soul label had its output as thoroughly documented as that set – there had been the Atlantic R&B box, which collected highlights, but it never attempted to capture the label's entire run – and while The Complete Stax-Volt Singles 1959-1968 missed a B-side or two, it was an exceptional piece of music history, and pretty damn entertaining to boot.

The Complete Motown Singles has been a dream project of Motown and soul fanatics for many years, ever since the first decade of Stax/Volt singles was compiled in an impressive nine-disc box set in 1991. Prior to that, no soul label had its output as thoroughly documented as that set – there had been the Atlantic R&B box, which collected highlights, but it never attempted to capture the label's entire run – and while The Complete Stax-Volt Singles 1959-1968 missed a B-side or two, it was an exceptional piece of music history, and pretty damn entertaining to boot.

Two Classic Edwin Starr Albums, from 1968 and 1969, Released on One CD. All Tracks have Been Remastered and Packaging Includes a Full Color Slipcase, Rare Photos, Track Annotations, Release Info and Original LP Artwork.