By 1962, Marv Johnson's role in the foundation of Motown was but a distant memory. Whilst his former mentor Berry Gordy was turning the Detroit label into a musical powerhouse, Marv found himself seeing out his United Artists contract without access to the talent pool at Hitsville, finding it somewhat barren up in New York. Handed over to producer and arranger George Fowler for his third album, the pair opted to return somewhat to Marv's gospel roots, coming up with the religiously slanted I Believe. As far away from his two earlier UA albums as it is possible to be, there is still much to admire on I Believe, not least the chance for Marv to allow his voice to shine. Hallmark.