Marvin in DTS is sweet!

I'll just cut to the chase on this one; a great remastering of a truly brilliant voice and performer that I am sure we all miss. The 3D imagery in the remix is exciting and the only sonic limitations are likely due to the limits of the audio technology available at the time of the original taping. The reason I did not give 5 stars unlike apparently every other reviewer, is for what I found to be an audio shortfall; for some reason the kick drum is never in the subwoofer, though other sources, most notably the bass guitar tracks, are. Am not even sure that would have been possible; perhaps it was not isolated in the original trackings, but whatever the reason I found myself missing the power such a presence would have brought to this amazing remix. Still.. this disc brings to a new height one of the great soulful voices of the 20th century, and in my view is a can-not-miss

More--and less--than any Motown fan could hope for.

When you listen to most '60s-vintage Motown, even the cleanest of the sound tends to be a bit grungy and noisy--apparently an inherent aspect of the Detroit studio where all that great material was recorded and mixed. FOREVER YOURS--a customized sampling of eleven precious Gaye/Motown classics--helps clarify the sonics of the era, with some things in DTS 5.1 predictably enjoyable, near revelatory("Ain't That Peculiar," the Gaye/Terrell collaborations)given the limitations of tracks used(three of four at best). Even so, these have never sounded better, and the remixing people had great fun placing things in perspective. There is nothing crude sounding even on the oldest hit, which is fairly amazing given what we've been hearing since day one.
The 70s material is expectedly better, since more tracks and cleaner sound came to pass. "Let's Get It On" is near-magnificent, "Mercy Mercy Me" even more poignant with instruments and voices separated well beyond the conventional stereo mix. "What's Going On" is uniquely mixed here--it's stripped down in the manner of the mono 45(but, unlike the 45 version and like the Lp track, fades out but doesn't fade back in)but in multi-channel, you can hear every little background detail, with percussion nicely sent to the rear channels.
From 1968, "I Heard It Through The Grapevine" is the most fun, becuase the '60s grunge is gone and the detail and clarity is breathtaking if you're familiar with the original mono or stereo mixes.
This release suffers from just two things: not nearly enough
music(if there were 20 cuts it would just begin to correctly showcase Gaye's suave genius). As great as this disc is, one has to lament such missing classics as "That's The Way Love Is," "Got To Give It Up"(Lp version)and "Inner City Blues," among many others. The other problem is the decided lack of bass on most cuts, very unlike a regular Motown release. I had to push the subwoofer's volume to the max just to get a little punch. Otherwise, absolutely essential, and not just for fans of multi-channel pop music.
Just one last thing: how about more like these? Wouldn't you love a Temptations, Miracles or Supremes disc like this? ...

Poor DTS sound

I have purchased this and was very disappointed with the sound stage : the old tracks sound awful, and the more recent tracks sound worse than the recent stereo remasters. I believe this must be a very early DTS remaster, I hope someone does a better job in the future with the SACD/DVD Audio version.
Then again, what should I expect ? some of the tracks were recorded in the sixties, I'm not even sure they were recorded in stereo at the time.

If you are looking for good DTS records, you should skip this one.