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Carl Dixon

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    Carl Dixon
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    'Girls are out to get you' The Fascinations

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  1. Hi everybody. Sadly, I have decided to cease my membership of Soul Source today. There are many on this forum with exceptional talents and expertise, but my musical conquests are taking so much time up these days, that I miss many of the threads, am not an expert in the general subject matter on here and actually feel guilty posting my new releases and indeed rather intimidated at times, so it's best I do not engage now or in the future. One particular thread today has made me reconsider and question what I can contribute to Soul Source. But, I have enjoyed many of the threads, whilst others, I find some of the comments rather acrimonious, derogatory and often offensive. I would like to thank all those supportive of my musical efforts in the past including members and the moderators for tolerating my point of view whilst being passionate about the past, present and future of this style of music. And thank you to those in particular who have engaged with my releases in the past, listened to the songs or maybe even downloaded the free versions of some of the songs or better still actually bought them. It really is appreciated. Thank you. In the past I have shared trivia, my demos, information about my releases, my professional comments and advice publicly and via PM's. Finally, and maybe controversially I would just like to say as a song writer who adores the 60s/70s genres, well some of them, that songs are written to be hits, to become popular, making money and acquiring funds for the next release hopefully. Whether it is 1968 in Philly trying to sound like Motown or even Golden World trying to sound like Motown, or releases in 2017 that are trying to sound like Motown or Philly, they never will and they are just pop songs, just like those in the past. Yardsticks are to be used and enjoyed. Anyway, if you want to keep in touch, I am on Twitter as Carl Dixon, 55motown, Youtube as 55motown & Bandtraxs too. Facebook I tend not to accept any new contacts these days, but pm me on there if you wish etc. Also I really do not have time for the politics these days and would rather be writing a song :-). Mike..please delete me and my promotions etc. Your pm this evening suggesting that I am unprofessional was the last straw. 'Nevertheless', Happy New Year to you all.
  2. MBarrett - The Destinations. Shocked too. Fantastic song and production. Truly overwhelmed with this. Well found.
  3. If there are no words yet, there is no completed melody. The lyricist who writes words will be defining part of the melody and in that case would need the appropriate split with the PRS/MCPS for the song writing. Also, would be good if the singer had a performer PPL id, so when you register it with your ISRC number and declare those who performed on it, they would get a royalty from airplay (as well as the 'label' -you?) :-) I think some hand claps on the 2/4 would work on certain bars - real ones - at least three, recorded separate tracks. Do not loop hand clap single bars, do at least 4 and 8 if you can. If you do hand claps pan right (or left) then pan you tambourine the opposite. You probably know all this. Sounds like a 1975 cut with elements of the 60s. Nice one.
  4. Baseball cap - I wonder David. Imagine having a dance at an event with that on, to a Ric Tic track.
  5. If I am allowed to post on this thread (hopefully). All music was once new and fresh, so hearing the hopefuls (like my material and songs) recorded today can be interesting when comparing to the yardsticks of the last 50 years or so. The question is, why bother being creative now as there was so much good stuff back in the day....and also being discovered now. So for me I am creative. I sit at a piano and I like to play a few old tunes, then I try and compose something new with similar nuances. That is who I am. I think as long as there is a good groove, melody and sincerity behind the new music, why not enjoy it. Like I say, Motown was once new and a great yardstick for me to write my songs. Many say try and come up with something new, but how can I? I want to bake a great cake eventually and Motown and Philly are my main influences growing up in the 60/70s and I feel their individual styles are unique. As for new music, I listen, but find the melody excursions poor sometimes, but they grow on me in time. I have just released a new 12 track album called 'She's always mad about something' by The Delgonives, in fact officially released today, 20th December 2017. It's a production that reflects TSOP or Detroit and I guess somewhere in between, a sort of 60/70s groove. It does not have the lushness of Philly, but the groove is there plus the live instrumentation, drums, bass, guitars, sax, trombones, trumpets etc. And because it is expensive to do, I try and exploit the scenario with different mix ideas hoping they tick the boxes for some. Some like a vocal, some don't, so I try and keep the top line melody with the sax, organ and vibe instrumentals for example. I do go a bit wild with the vibes, normally at the end, as I love what Vince Montana did. This version I have just uploaded to Soundcloud is track 9, the Rhythm Plus mix, which starts with solo horns and builds up to a full instrumental. It is not as long as the extended versions, but nevertheless, I think works. It is refreshing to read that others experiment with new releases, it gives hope to the industry whether releasing original material or covers. See what you think about this and also, I have just uploaded a news article on Soul Source about the release (thanks Mike(?) for tweaking the art work to fit, and font sizes): 'She's always mad about something' by The Delgonives - Rhythm Plus Instrumental Mix
  6. Looks like it David. That label still holds its head up high doesn't it! Al Kent's 'Ooh! Pretty lady' was a track I analysed back in the early 90s when I was planning to become a song writer. A great yardstick.
  7. Don't forget the squeaky kick drum on 'Groovin at the go go'. The pedal squeaked and on a 45 not so noticeable :-)
  8. Not nice to see this type of thing happening. I would never transfer my song writing copyrights to anybody. The unscrupulous in the business even at song writing level can hear a good completed song and try and manipulate the author into believing it needs changing, then claim a percentage of it. That's why I tend to write, produce, release the way I do.
  9. How about this: 'Working on a groovy thing' by Garrett Scott
  10. Hi Kirsty Someone will own that recording somewhere. Whether it is the executive producer or somebody who bought the masters from them, or their estate if they have sadly passed away etc. The person who owns the master now may not have a clue what it is, if that makes sense. Paul Mooney may have a much better idea than me, but respectfully there are moral rights to a recorded work. When I do my productions there are sometimes 30 different versions as the song takes shape. The song and production evolves and the end result could be better or worse than a previous take in the studio for example. I would not want my earlier versions released of my songs as they are sub standard in mixing terms and indeed, never been mastered. BUT...I like trivia too, so hearing different versions can be a historical real eye or ear opener. Of course the question is, who owns the original release master? I think they would own subsequent version/takes in the studio as part of the deal etc.
  11. I had the 'Liquid Smoke' version and never knew about 'The Casualeers' original. The original version is on another level. This is an article about one of the writers of the song, Rod McBrien, with a little trivia :- 'Dance Dance Dance' - The Song. Rod McBrien interview
  12. And those very early first CD's were sub standard in many cases, perishing over the years. Also many new CD compilations back then had some re-makes of popular cuts with the original artist singing with a new backing track. They were awful. The PRS/MCPS and PPL are fighting for writer/performer royalties constantly. The different territories are getting together with todays technology and are creating massive database of songs/recordings that they share to help everybody try and control the old and new songs/recordings. Pity the labels did not respectfully acknowledge the changes in the business and maybe remunerate with a bonus or something to those involved vocally or musically, despite what the contract said. It would be an honourable thing to do. I released a track called 'Soul recession' by Philly group Double Exposure in 2009. The day it was released, somebody bought every mix, hacked it to pieces, added extra drums, guitars etc to the front and gave it away suggesting people should check the original out. Our song/production was bastardised by a very good re-mixer, but we do not stand a chance if that is how it works. The Philly Grooved 3 Tom Moulton remix was licensed officially from us. Sadly digits (recording techniques/mixing and mastering) are making labels and artists re invent themselves which is not a bad thing. So you are right tomangoes, there is no financial gain at all being a song writer, producer, mixer, masterer, singer, label at my level. I do not shift much vinyl wise or digitally, but it still costs thousands to cut some of my songs. And then......there is Youtube where I guess much of it is posted illegally with the 'I do not own the copyright' bs disclaimer and the millennium digital safe harbour rubbish. On saying that, in this territory now, song writers can report th eurl and get a royalty despite the label or artists getting anything.
  13. Here is an interesting one. The Fortunes and 'Storm in a tea cup'. Written by the UK's Lynsey De Paul and Ron Roker as a soul style tune for somebody like The Tams, back in the early 1970's. It was their first co-write together and it was hoped to be placed with the likes of a popular soul group, but never worked out. But, it was a smash for The Fortunes. It will never be regarded as a soul tune I guess, or blue eyed soul, but from a writers perspective they wrote it and hoped for a hit, just like all the other writers did then and do today. Even Ron and Lynsey were writing in a specific style hoping to attract a certain genres attention, and as the term for that is not welcome on this thread I will not say it, but I will say with something 'bespoke' for a soul group. I wonder if The Drifters or even The Tams had recorded it, where would it stand today and how different it may have sounded? Ron also wrote 'Guilty' by The Pearls which was covered by First Choice in Philly. He also wrote 'Stone cold love affair' for The Real Thing which is quite a good song. So whether blue eyed soul performers or writers, there is a place for their efforts for sure. Ron also wrote 'Rupert the bear' and produced 'Honey Honey' by Sweet Dreams...and..it is his male vocal on the release with Polly Browne. My point: Ron Roker blue eyed and a legend.
  14. Did anybody see 'The Jersey Boys' when they were sent away with a flea in their ear?

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