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Found 42 results

  1. News/Article/Feature Highlight: The Story of Motown Songwriting Team Holland Dozier Holland. Available in Hardback 10th October 2019 View full article
  2. The Story of Motown Songwriting Team Holland Dozier Holland. Available in Hardback 10th October 2019 Brian Holland, Edward Holland, and Lamont Dozier, known as Holland-Dozier-Holland or H-D-H, were the greatest songwriting team in American pop music history. Seventy of the songs they wrote reached the Billboard Top 40, with 15 of these reaching No. 1 on the Billboard Hot 100 pop chart. No other songwriting team or individual has come close to equaling, let alone surpassing, this record. They've been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. As tunesmiths for the legendary Motown Record Corporation, and for their own corporations, Invictus Records and Hot Wax Records, they wrote and produced hits for Diana Ross and the Supremes, including Baby Love, Stop! In the Name of Love, Where Did Our Love Go, You Keep Me Hangin' On, You Can't Hurry Love, I Hear a Symphony, Come See About Me, Back in My Arms Again and Reflections. Now the legendary composers are ready to reveal the inspirations and stories behind their chart-topping hits, providing millions of fans with the first complete history of their songwriting process, and detail the real-life experiences that led them to write each of their most famous tunes. They will also reveal their creative and intimate relationships with Motown's biggest stars. added by site Product details Hardcover: 336 pages Publisher: Omnibus Press (10 Oct. 2019) Language: English DAVE THOMPSON is the author of over 150 books, including co-written memoirs with New York Doll Sylvain Sylvain, Motown legends Brian and Eddie Holland (forthcoming), Hawkwind s Nik Turner, the Yardbirds Jim McCarty, Fairport Convention s Judy Dyble and more. A columnist for Goldmine magazine, his work has also appeared in Rolling Stone, Alternative Press, Mojo, Record Collector and many other major publications. He has contributed to music documentaries produced by VH-1, A&E, the BBC and others. Born in the UK, Thompson is now a resident of Delaware, USA.
  3. News/Article/Feature Highlight: The current BBC Radio 2 schedule throws up for the next few days a Motown weekend to mark the 60th Birthday of Motown Records. View full article
  4. News/Article/Feature Highlight: Hitsville: The Making Of Motown. More firmer details have been released by Showtime on their upcoming documentary film Hitsville: The Making Of Motown, with the first TV broadcast scheduled for 24 August 2019 View full article
  5. The current BBC Radio 2 schedule throws up a handful of motown radio shows over the upcoming weekend, billed as a Motown weekend to mark the 60th Birthday of Motown Records. Lined up are 9 radio shows including a top 100 countdown from Craig Charles and Trevor Nelson, a Richard Searling Motown Northern Soul show, a Ken Bruce Motown cover version show and more. The current list of the BBC Radio 2 motown weekend shows follows below... Saturday 03:00 am The King Of Motown - Berry Gordy Marshall Chess tells the story of Berry Gordon Jr. and the Motown "family". Saturday Night 21:00 Motown At The BBC - Part 1 Tony Blackburn presents the first of two shows celebrating Motown at the BBC. Sunday 03:00 Motown On The Mersey Another chance to hear Craig Charles celebrate the heyday of Liverpool's Mardi Gras club. Sunday 21:00 Motown At The BBC - Part 2 Tony Blackburn presents the second of two shows celebrating Motown at the BBC. Monday 12:00 Motown Top 100 Countdown with Craig Charles - Part 1 Craig Charles starts Top 100 Countdown to celebrate Motown's 60th year Monday 15:00 Motown Top 100 Countdown with Trevor Nelson - Part 2 Trevor Nelson continues the Top 100 Countdown to celebrate Motown's 60th year. Monday 18:00 Motown Covered with Ken Bruce Motown cover versions at the Radio 2 Piano and favourite choices presented by Ken Bruce. Monday 20:00 Motown Loves Northern Soul Richard Searling highlights the foundations of Northern Soul and connections with Motown. Tuesday 03:00 Can't Slow Down: Johnnie Walker Meets Lionel Richie Johnnie Walker interviews Lionel Richie in the BBC's Maida Vale studios. More information on the shows can be had via the BBC Radio 2 website Motown Weekend pages... https://www.bbc.co.uk/programmes/m0007wk0/broadcasts/upcoming
  6. Hitsville: The Making Of Motown More firmer dates and details have been released by Showtime on their upcoming documentary film Hitsville: The Making Of Motown, with the first TV broadcast scheduled for 24 August 2019 Hitsville: The Making Of Motown is the Showtime documentary film that looks at Motown during the period beginning with the birth of Motown in Detroit in 1958 until its relocation to Los Angeles in the early 1970s. Directed by British directors brothers Benjamin and Gabe Turner this feature-length film is being billed as the definite article. The film includes previously unseen footage from the label archives and Berrys Gordy's personal collection. Universal Music Group involvement means that the films makers have had access to the label's vast catalog of songs by the Supremes, Stevie Wonder, the Temptations, Marvin Gaye and others. Release Dates USA Dates 23 August 2019 - Detroit premiere more info via Detroit Free Press 24 August 2019 - Showtime TV broadcast more info via Showtime UK Dates In UK and Irish Cinemas September 30 - For One Night - Further details to follow HITSVILLE: THE MAKING OF MOTOWN Rated TV14 • 113 minutes Documentary film that focuses on the period beginning with the birth of Motown in Detroit in 1958 until its relocation to Los Angeles in the early 1970s. The film tracks the unique system that Gordy assembled that enabled Motown to become the most successful record label of all time. The creation and initial success of Motown was achieved during a period of significant racial tensions in America and amid the burgeoning civil rights movement.
  7. News/Article/Feature Highlight: Just heard on Radio 4s Front Row programme that a new Marvin Gaye LP is out. View full article
  8. You're The Man contains several previously unreleased tracks and is issued to celebrate what would have been his 80th birthday this week. added by site You’re The Man is the first-ever planned “lost” Tamla/Motown album from Marvin Gaye. Fifteen (15) of the album’s 17 tracks are on vinyl for the first time and three tracks are newly mixed by SaLaAM ReMi. The album also includes the rare long LP version of Marvin Gaye’s cancelled Christmas single from ’72, as well as an unreleased vault mix of its instrumental B-side, and new essay by Marvin’s biographer, David Ritz. The release will coincide with the 60th anniversary of Motown as a label and also Marvin Gaye’s 80th Birthday (April 2). While the tracks have been issued on various collections and deluxe editions, this is the first time they have been placed in their proper context. In addition to context, You’re The Man was the album that was proposed to follow-up the monumental What’s Going On, and it contains all of Marvin’s solo and non-soundtrack recordings from 1972 (his next two albums in quick succession: Trouble Man and Let’s Get It On).
  9. News/Article/Feature Highlight: This week we turn our attention to the wonderful Temptations as our Artist of the Week. View full article
  10. This week we turn our attention to the wonderful Temptations as our Artist of the Week. The incredible recording career of the members of this group has witnessed various line up changes over the years - so difficult to choose a favourite! The Temptations Discography (Soulful Kinda Music Link) >>> THE TEMPTATIONS <<< The Group, The Various Lead Vocals & Solo Performance, etc.
  11. News/Article/Feature Highlight: The latest addition to the Soul Source Review feature takes a timely look at an 'Out Today' title... View full article
  12. MOTOWN – THE SOUND OF YOUNG AMERICA BY ADAM WHITE and BARNEY ALES PUBLISHED BY THAMES and HUDSON LTD Not another Motown book, I can hear some/many of you mutter, and to be honest, I have to include myself amongst them. My bookshelves contain numerous titles on the sound that could be judged as the stepping stone to Northern Soul and beyond, with an assortment of authors, artists and those associated with the Detroit label telling their versions of the phenomenal story that took over our lives all those years ago. All those books have their own merits, with some enjoyed more than others. This latest title, however, is a real heavyweight compared to the others and would put any bookshelf under severe strain with its 400 A4 pages. At first glance, this is an excellent, no expenses spared publication, from its kaleidoscopic montage of Motown acts which appear on the hard cover through the transparent ‘M’ of the dust jacket, to the stunning use of colour and black and white images within its numerous pages. Many of which have never previously appeared in book form before. It must be added though, that a considerable number of the 800 odd images used are album covers and picture sleeves, along with a smattering of single scans, and no, Frank Wilson is nowhere to be seen. Equally interesting are the odd bits of memorabilia, such as the ‘Motown Fan Bag’, concert posters, adverts and ‘HitKit’ magazine – anyone got a copy? From the opening pages it paints a picture of Detroit in those harsh mid-sixties days of segregation, before taking you on a whistle stop musical tour, criss-crossing the Atlantic, emphasising just how Britain embraced this new sound. Moving on from the thumping, dance floor friendly beat, to the funkier sounds of latter years. Well written by Adam White, former editor-in-chief of Billboard and Barney Ales, the one-time right hand man of Berry Gordy, the contribution of the latter giving it a big plus point, the book, however, unfortunately falls short of standing alongside the ‘warts and all’ titles previously published and tends to ignore the ‘also-rans’ amongst the all-star Detroit cast, dwelling on the big name stars perhaps a little too much. The contribution Holland-Dozier-Holland made to the success of the label is all but ignored, as is the equally telling support role of the Funk Brothers. While the likes of the Supremes, Temptations, Four Tops, Marvin Gaye, Stevie Wonder, the Commodors and the Jackson Five feature strongly, others, such as Barbara Randolph, Kin Weston, Brenda Holloway, Jimmy Ruffin and the Velvelettes are conspicuous by their absence. Ok, they are far from being major players, but does Dusty Springfield deserve more mentions than Edwin Starr, Jimmy Ruffin, Kim Weston and the Contours put together? Even the Beatles receive more than twice the mentions than that illustrious quartet In all honesty, I do not think this book sets out to be anything like a definitive history of the label that we all love and know so well and as the Press Release states, it was “published to coincide with the opening of the critically acclaimed show “Motown: The Musical” in London’s West End”. Looking at it from this angle, it does the job for someone not overly familiar with the label and wanting to know more. From a personal point of view, I think an October/November release date would have been more beneficial sales wise, capturing the Christmas market, as many might find the cover price of £39.95 (which clearly reflects the overall quality of the publication), a little off putting for a story that they already know off by heart. However, I have found it priced on Abe Books at £24.23 or on Amazon at £25.97, which might make it that little bit more appealing. So, star rating time. Overall quality of the publication - 5* as this certainly cannot be faulted. Illustrations – Going to split this in two. 4.5* for the images used, some of which are excellent and for not using the same old, same old, but only 3* for the over heavy use of album covers and lack of images of some of the acts. Value for money – If you get it online at a reduced price – 4* Iain McCartney March 2016 added by site Hardcover: 400 pages Publisher: Thames and Hudson Ltd (14 Mar. 2016) Language: English ISBN 9780500518298 27.70 x 21.60 cm 1,000 illustrations in colour and black and white First published 2016 https://thamesandhudson.com/ http://www.amazon.co.uk/Motown-The-Sound-Young-America/dp/0500518297
  13. Thanks to Dave M, a chance to read a great review of "Standing In The Shadows Of Motown" that was posted on Soul Talk Take it away Dave......... I waited nearly a year to see this was it worth the wait........read on........ SITSOM-THE MOVIE Styrene45 and myself have just spent an hour and half in the company of a group of Detroit's finest,(via celluloid mind!), and for those who are unfortunately not in a position to see the movie yet, here is our review. As a devotee of TSOYA for most of my "fully growed up" life, and a musician (bad one at that), that has listened in awe to "The Bros" for more years than I care to remember, this will obviously be a completely unbiased view! The film hits the spot in just about every way. It is obvious that everyone involved has treated it as a labour of love. The music obviously speaks to a new generation of fans and will probably continue to do so long after the disappearance of CDs, DVDs, Laser Discs, Techno music, synthesized music or the latest "en vogue" musical fashion whatever it may be. But the real stars of the movie (and in fact the subject matter), are The Bros themselves. There are a number of hair on neck raising incidents in the film and without spoiling it for the likes of my fellow Amigos, DF, DC, and NB etc, Jack Ashford gelling the guys on an impromptu version of Ain't too proud to beg" was worth the admission fee alone. The criticism of the vocal performances and the question of their relevance has missed the whole point of the magic. To have had Diana, Martha, Levi, Stevie etc heavily involved in performing would have turned the whole thing into a Motown" revival theme and once again placed the Bros back into the Shadows of Motown as opposed to the spotlight which was the intention.To see the likes of Uriel Jones banging the skins next to (The Late) Richard "Pistol"Allen while keeping time with Jack Ashfords tambourine and Joe Messinas guitar I wouldn't have missed for the world.The sight of Joe Hunter attempting the splits in a brilliant impromptu flashback to the "Snakepit days" said it all for me. I felt privileged to own their records. He is indeed a man amongst men! The final stage performance of the movie is a little gut wrenching (I won't spoil it for Alan Pollard), and I now remember why I fell in love with their music in the first place. The vibrancy, the little impromptu licks, the identifiable pick ups, complete control no matter how frantic the pace, and, probably the most important ingredient...the teamwork and enjoyment.If you're a fan of Benny and James, see the movie. The "Heartbeat and breath of TSOYA" is getting on a bit and I for one am extremely grateful to Mr Slutsky and his team for recording moments in time, with the people who created them, that shaped my life before they all shook off this mortal coil. They really did reach down inside you, grab your soul with their immense talent, rip it out, plant a big wet kiss on it and replace it with the force of one of Bennys sticks on the snare drum!! AWESOME. Regards, Dave
  14. News/Article/Feature Highlight: In the week that a commemorative stamp was issued in America on what would have been his 80th birthday we would like to celebrate the music of Marvin Gaye. View full article
  15. In the week that a commemorative stamp was issued in America on what would have been his 80th birthday we would like to celebrate the music of Marvin Gaye. Marvin Gaye Biography (Wikipedia) Marvin Gaye (born Marvin Pentz Gay Jr.; April 2, 1939 – April 1, 1984) was an American singer, songwriter, and record producer. He helped to shape the sound of Motown in the 1960s, first as an in-house session player and later as a solo artist with a string of hits, including "Ain't That Peculiar", "How Sweet It Is (To Be Loved By You)", and "I Heard It Through the Grapevine", and duet recordings with Mary Wells, Kim Weston, Diana Ross, and Tammi Terrell. He earned the titles "Prince of Motown" and "Prince of Soul". During the 1970s, he recorded the albums What's Going On and Let's Get It On and became one of the first artists in Motown (joint with Stevie Wonder) to break away from the reins of a production company. His later recordings influenced several contemporary R&B subgenres, such as quiet storm and neo soul. Following a period in Europe as a tax exile in the early 1980s, he released the 1982 Grammy Award-winning hit "Sexual Healing" and its parent album Midnight Love. Read more at Wikipedia This entry is from Wikipedia, the user-contributed encyclopedia. It may not have been reviewed by professional editors and is licensed under an Attribution-ShareAlike Creative Commons License. Marvin Gaye Discography (Soulful Kinda Music Link) >>> Marvin Gaye <<<
  16. Thanks go to Andy Rix for making this article available to all. Originally written and published to accompany the fairly recent auction (2009) of the 45 via John Manship and for inclusion in a special catalogue that was distributed to those who subscribed, given the recent sad news regarding the passing on of Frank Wilson yesterday Andy had passed on what could be called the 'definite' story ... ‘Do I Love You (Indeed I Do)’ — The Story “Music has always been part of my life. In 1960, I lost my athletic scholarship after participating in the civil rights sit-in demonstrations in Baton Rouge, Louisiana, and thought I had sacrificed my big chance to escape an ordinary existence. I was given a ticket to Los Angeles by the Congress Of Racial Equality. Yet when I arrived there, I never imagined, ‘This is the place where my dreams will be fulfilled.’ I now know each step was directed; meeting Hal Davis, Marc Gordon, Brenda Holloway and Berry Gordy Jr. Interestingly, when I went into the studio to record 'Do I Love You' it was just another day at work. I was excited to be in the studio doing anything and getting paid to do it, but I have learned that God moves in mysterious ways. That one day at work spent recording ‘Do I Love You’ essentially as a demo, was soon forgotten, and yet, it turned out to be a life changing experience. I am proud of what I did and humbled by the affection shown to me by so many people from all over the world.” Frank Wilson March 2009 Frank Wilson — Do I Love You (Indeed I Do) — Soul 35019 As Motown celebrates its 50th anniversary there could not be a better time for their rarest, and most coveted, record to come to the market. The big question is, that given its status as the most expensive soul 45 ever sold, how much will it sell for on this occasion. The last time it traded hands, over a decade ago, It achieved a price tag of £15 000. It is almost beyond belief that a song, which didn’t get a commercial release until some 14 years after it was recorded, now finds itself sitting alongside million-sellers on the Motown 50 CD. The featured tracks were chosen by public vote, and the inclusion of ‘Do I Love You (Indeed I Do)’, which has never achieved chart success, clearly demonstrates the significance the song now holds for fans of the Motown Sound. For Motown collectors this 45rpm record is the ultimate Holy Grail and only two genuine original copies, as far as can be established, are known to still exist. As a rare Motown record it does not stand alone; there are others that approach, or even match, its scarcity. 45s by Patrice Holloway (VIP 25001), The Charters (Mel-o-dy 104) and The Andantes (VIP 25006) have eluded virtually every Motown collector for a lifetime. Yet none of them have reached the iconic status that has been achieved by Frank Wilson and none of them are desired as much as this one. The story of the journey that ‘Do I Love You (Indeed I Do)’ has taken to reach this exalted position could not have been written by even the most gifted of authors. It is a story surrounded by mystery, and myth, which has, over the years, become legend. Frank Wilson was born December 5th 1940 and moved, from Houston, to Los Angeles at the age of 18. His initial passion was gospel music and he became a member of a local group called the Angelaires. As Frank recalled, when interviewed by Bill Dahl, he decided to turn secular upon hearing Brenda Holloway. “Brenda’s voice is what inspired me to start writing pop music … up until then, I had been writing all contemporary gospel. But when I heard Brenda Holloway singing, I… decided that I would like to write a song for [her]”. When Berry Gordy decided to open a West Coast Motown office, following his visit there to attend a disc jockey convention in 1963, he asked L.A. veterans Hal Davis, and Marc Gordon to take charge. Frank had already done some work with this dynamic duo and when they offered him the opportunity to become part of the team, he didn’t think twice. It must have been a good trip as he also signed Brenda Holloway after seeing her perform, dressed to kill, in her tight gold pantsuit. From this moment on Frank became integral to the progress being made on the West Coast. His compositions for Jobete, the publishing arm of Motown, increased at a prolific rate and he was rewarded when the first record released from the West Coast connection, the aforementioned Patrice Holloway 45 in December 1963, featured his name on the writing credit. During 1964-65 Frank saw an increasing number of his compositions being released either on Motown artists or by other independent companies; Mary Love, The Ikettes. Jeanie King and Connie Clark were just some that benefited. Frank cut a few singles of his own but preferred to adopt a fictitious identity on every occasion. He released 45s as Sonny Daye (Power), a duet with Sherlie Matthews credited to Sherl Matthews & Sonny Daye (Power), Eddie Wilson (Tollie) and Chester St. Anthony (A&M); they remain collectors’ items to this day. Frank was eager to learn all he could and soon found himself assisting in producing, and supervising recording sessions. In addition he cut most of his own songs as guide vocals for others. As he recalled, “(I) often became the vocal vehicle for my own material”. Both Brenda Holloway and Chris Clark recalled using these demos to learn the songs; when Brenda was asked about ‘Just Look What You’ve Done’ she replied, “I listened to Frank's version ….his (demos) were the best. I loved Frank Wilson's voice. I loved his delivery, his phrasing and everything… I loved recording all of his songs”. At some point in 1965 the decision was taken to launch Frank Wilson as a Motown artist in his own right. At the latter end of the year, almost certainly during October, he went into Armin Steiner’s 8 track Sound Recorders studio, in Los Angeles, to cut some songs. This recording session, one of so many, would soon be forgotten, as other developments took priority. Years later what happened on that day would make an impact on the lives of a new generation thousands of miles away. Frank had composed ‘Do I Love You (Indeed I Do)’ and decided to cut this track in addition to ‘Sweeter As The Days Go By’, which he had co-written with Marc Gordon. Frank Wilson, Hal Davis and Chris Clark Chris Clark recalls she listened to Frank’s cut of ‘Sweeter As The Days Go By’ to learn the words prior to recording her own version on December 5th 1965. That rendition eventually surfaced on her Soul Sounds album released in 1967 Chris went on to record her own version of ‘Do I Love You (Indeed I Do)’ soon after. Her initial vocal was overdubbed on Frank’s track on January 2nd 1966, again on January 19th 1966, and for a third time on August 7th 1967. It was scheduled as her next 45 but was cancelled. It finally got a commercial release on the CD Tamla Motown Connoisseurs, in 2001. The session musicians for the day were pulled from the studio regulars that included Billy Strange, Glen Campbell, Hal Blaine, Al De Lory, Carol Kaye and Tommy Tedesco. Frank seems to think that he played keyboard but clearly recalls that he sang backing vocals with the help of Brenda and Patrice Holloway. Both tracks were produced by Hal Davis and Marc Gordon. As far as it can be established the tapes were dispatched to Detroit, at the beginning of November 1965, where they were mixed by Lawrence Horn for submission to Billie Jean Brown. As Head of Quality Control, Billie would decide if a song was up to par; if it was she would take it to the infamous Friday morning product evaluation meeting. It was here that a vote was taken to decide what would get released, and what would remain in the can. Frank’s songs obviously got the vote as the next stage of the process, preparing for a release, went ahead. It is from this point that determining the chronology of events becomes a little more difficult. There has been much debate about the proposed release date for Soul 35019. In his discography Don Waller suggested 31st December 1965: his source for that date cannot be established. In the Sharon Davis book, Motown: The History, the former head of Tamla Motown in the UK, Gordon Frewin, simply indicates December 65. Given the amount of archive research conducted by Gordon, on his frequent visits to the Los Angeles tape library in the 1980s, it is highly likely that he had sight of paperwork that is no longer available. Extensive research conducted by the team responsible for The Complete Motown Singles CD compilations were unable to add anything more of substance. In essence there was nothing left to find. When looking at the chronology of release dates Soul 35018 was issued on November 29th 1965, and Soul 35020 was issued on March 11th 1966. Any date between those two would be plausible for Soul 35019, but so would any other date — they didn’t issue the singles in numerical order at all. As Frank recalls “release dates for singles were changed all the time”. However, it is relevant that the Soul logo design was updated with effect from Soul 35020 and all copies of the Frank Wilson 45 adopt the original design. What is known is that the record was pressed in November 1965. The Motown ‘Quality Control’ file copy has the date 11/23/65 written on the label, which was a Tuesday, and the annotation ‘ok’ alongside the initials of Norman Whitfield. It is highly likely that this is the copy heard at the infamous ‘Quality Control Committee’, the aforementioned product evaluation meetings. This fits into the time frame for the allocated RCA pressing reference number which is stamped into the dead wax of the record. Frank was elated that he was about to get his first Motown release, but in the blink of an eye everything changed. His recollection of all that occurred, over 40 years ago, is a little hazy, but he seems to think he visited Detroit for a short time before making a permanent move there in 1966. It was almost certainly during this visit that the life-changing conversation with Berry Gordy took place “I went to Detroit, and I hadn’t been in town more than a week”, Frank said. “We were standing backstage at the Fox Theater, [where] they were having a Motown Revue, and [berry] said, ‘Frank, now you know I’m getting ready to release this record on you. We’re excited about it. But I want to ask you a question. Do you really want to be an artist, or do you want to be a writer and a producer?’. And it was right then and there I told him I wanted to be a writer and a producer. And it was decided that he would not release that record on me”. Berry was aware of Frank’s growing ability as a songwriter and producer. As Frank recalled, “Berry Gordy came out several times (to L.A.) and during that brief period of time, I got to know him, and I began to write for Motown. And then, I guess, it was a year later, Berry and I and Hal and Marc, we were taking Mr. Gordy to the airport, and I said, ‘Hey, Mr. Gordy, how about a producer's contract?’, and he said, ‘What makes you think you can produce?’, I said, ‘Because I've been producing much of the stuff that you've been hearing’. So he turned to Marc and Hal. He said, ‘Is that right?’ And they said, ‘Yes, that's right’”. Just prior to his move to Detroit, the West Coast office, where Frank worked as an office worker for $50 a week, was closed down but Frank stayed on the payroll. Berry “wanted to know if I’d stay on and work out of my house, and they would raise my salary …About six months later the legal team came back out, and mentioned that Berry Gordy wanted to know if I’d be interested in moving to Detroit. And I agreed to do that”. Within a few days of being in Detroit Frank made an immediate impression when he wrote, and produced, ‘Whole Lot Of Shakin' In My Heart (Since I Met You)’ for The Miracles. Recorded on 11th May 1966 the track became their next single. The story should have ended there but sometimes the strangest things can happen. It’s the 1970s and in England the Northern Soul scene is firmly established. Up and down the country thousands spend their weekends, at all night dance clubs, where they worship discarded soul records from 1960s America. The need to constantly find previously unknown records, to feed the dancers, is a full time job and Simon Soussan is a master at doing just that. It’s 1977, and in Los Angeles, Simon has just been introduced to Tom de Pierro by the celebrated Northern Soul DJ, Ian ‘Frank’ Dewhirst. Tom is on staff at Motown working on a project that would result in the release of an album of previously unreleased recordings called From The Vaults. Motown are considering signing Shalamar, who would soon hit with their Motown-medley ‘Uptown Festival’. Simon, Ian and Neil Rushton are all involved in the project. A few people had been privileged enough to see the immaculate archive where copies of all the Motown records were stored. It is believed that two copies of the Frank Wilson 45 were there: one in the Motown Record File, and the other in the Jobete Music Record File. It would appear that by 1979 both were missing. We will never truly know what took place but, by fair means or foul, Simon Soussan became the new custodian of Soul 35019. The record was perfect for the Northern Soul scene and Simon, who had been a long time supplier of records to many of the top DJs, knew exactly what to do with his latest ‘discovery’. He cut some acetates of the track, at a slightly faster speed and sent them over to select DJs. In order to protect the origin of the record, and not for the first time, Simon invented a whole new identity for the track. Those who received it were led to believe the singer was Eddie Foster, a West Coast artist, whose ‘I Never Knew’ on ‘In Records’ had been a very popular spin. Simon knew that using a known name would bring instant recognition and interest. ‘Eddie Foster’ made his debut in November 1977 and was greeted with wild enthusiasm by dancers and collectors alike. Repeated exposure across the country, and particularly at Wigan Casino, turned it into one of the most in-demand sounds of the day. Simon had frequently bootlegged records, from his base in L.A., shipping them over to UK record dealers to satisfy the demand that had built up in the clubs. He made no exception on this occasion, and in February 1978 copies of ‘Eddie Foster’ became available to the masses to buy for £1.25. The cover-up had worked as nobody had any idea that this was a Motown recording. Had it been cut in Detroit we might have had our suspicions raised, but without Benny Benjamin’s drum roll, James Jamerson’s bass or a Mike Terry sax break our points of reference were missing. As time went on rumours began to circulate that all was not as it seemed. Every week a new theory was put forward about the real identity of ‘Eddie Foster’; some said it was definitely Lou Ragland, others countered claiming it was an unreleased recording by the Servicemen, many believed, myself included, that it had been rescued from the Mirwood vaults. Nobody connected it to Motown. It would be July before the truth began to emerge. Simon decided to sell his record collection to Les McCutcheon, a UK based record dealer and collector and, as Neil Rushton recalled “Just about the last record he was handed was ‘Do I Love you (Indeed I Do)’…Les is said to have gone white with shock when he saw it was a Motown recording. He did not realise he had unwittingly been selling a bootleg as Simon, as was his way, had lied convincingly”. At last the truth was out. The Motown ‘Quality Control’ copy was now a British resident and over the years it has been owned by various people. In 1979 it was put up for sale, by Jonathan Woodliffe, for £500. Kev Roberts eventually acquired the record for £350 worth of funk/soul albums and 12” records. In 1989 Kev sold it to its current owner Tim Brown, a highly respected collector and dealer, for £5 000. Despite the fact that the ‘Eddie Foster’ bootleg had sold thousands of copies, UK Tamla Motown decided to issue the record. The original tapes for both sides of Soul 35019 were requested to be sent to London from America. However, when the tapes were received, they were stereo masters and not the original mono masters. UK Tamla Motown label manager, Gordon Frewin, instantly spotted the technical differences and corrected them at Abbey Road Studios, with the help of his engineer Chris Blair, and the benefit of a copy of the ‘Eddie Foster’ 45 taken to the studio by Motown collector John Lester. TMG 1170 was thus taken from stereo masters but folded into mono for its eventual release on 9th November 1979. The DJ copies were presented in a special promotional sleeve. The stereo master version of ‘Do I Love You (Indeed I Do)’ was eventually issued in 1997 on the UK-issued CD Soul Survivors. Meanwhile, an alternate vocal take appeared as a bonus track in 1995 on the USA issued CD The Sound Of Young America — 1966. The original mono versions of both ‘Do I Love You (Indeed I Do)’, and ‘Sweeter As The Days Go By’, are both featured on the award winning The Complete Motown Singles Vol. 5: 1965, issued in 2006. Frank Wilson had finally got his first solo commercial release as a Motown artist, although at the time he knew nothing about it. It was around the time of the UK release that Motown took steps to try and recover their lost record. Despite trying they were unable to locate it and eventually gave up. In Los Angeles Tom de Pierro waited for Simon to return the record. He died prematurely refusing to believe that Simon had sold it. For many years the ‘Quality Control’ copy remained a one-off but, as often happens, another copy surfaced. The late Ron Murphy was a legendary Detroit-based record label owner, producer, engineer and avid record collector. Over the years he had assembled one of the best Motown collections in the world. He told the story of his find on the Soulful Detroit Music Forum. “The prime pressing plant for Motown was American Record Pressing (ARP) located in Owosso, Michigan…now this plant was destroyed by a fire in 1971 but later in the early 80's I contacted some of the former employees to see if they still had saved any of the records pressed there”. “Well I got lucky and found a few thousand records pressed at ARP starting from 1952 when the plant started right up to 1971. I visited and purchased records from about 25 former workers, (then) one day I received a call from a former manager saying he had about 300 records to sell and this guy ended up having the best Motown items “Included in those boxes were the Frank Wilson (Soul 35019) and a test pressing of VIP 25034 a ‘MISSING’ number which was the Chris Clark version of the same Frank Wilson song, which had Clark overdubbing her lead vocal over Wilson's track”. Now here is exactly what he told me when I asked him how he had all these mint records including the Frank Wilson on Soul: “We would press six copies and send three to Motown for approval and keep the other three copies on file”. Then he said one day the owner told him to get rid of all the older records on file because they were taking up a lot of space BUT instead of throwing away all three copies he saved ONE copy of each and took those home, “and that's what I got”. “So IF the former ARP manager that I got my copy from was correct”, Ron continued, “and the other two copies the plant had were destroyed then besides the one copy stolen from Motown's files that would leave only two possible other copies to exist”. Ron eventually sold his entire collection, in 1994, to Martin Koppel, a record dealer based in Canada. It is from this collection that Kenny Burrell purchased an original copy of ‘Do I Love You (Indeed I Do)’ for £15 000. Exactly how many copies were originally pressed has been debated at length for years. Many refuse to believe that Motown would go to the trouble of just pressing six copies but no concrete evidence has ever been presented to contradict the story as told by Ron. The fact that cannot be disputed is that the two known copies come from a primary source; both are clearly related to the initial stage of the production of the record. No other copy has surfaced, outside of this inner circle, despite thousands of collectors searching everywhere, through millions of records, for the past 30 years. Despite this there have been numerous reports of more copies: Berry Gordy allegedly has one, so does Billie Jean Brown, a Motown collector in London, a record dealer in Detroit and another in the Carolinas. Frank certainly never had a copy: “I had NO idea an original even existed!” Marc Gordon, who co-produced the track, also confirmed that he had never had a copy. The possibility that more exist cannot be totally, and absolutely, refuted but until these reports are confirmed, with hard evidence, they have to remain as unsubstantiated claims. If we believe that only six copies were pressed then two remain unaccounted for. The popularity of ‘Do I Love You (Indeed I Do)’ has grown steadily over the years. It has been featured on numerous compilations and generated a further surge of interest when used by KFC for a national advertising campaign. As previously mentioned, the song eventually gained a USA release, in 1995, when it was included in The Sound Of Young America CD series as a bonus track on the 1966 volume. The version used featured an alternate vocal take. The auction of ‘Do I Love You (Indeed I Do)’ is about to add another chapter to one of the most incredible stories ever told and as Frank has said, “I consider it one of my life's greatest achievements!”. I don’t think any of us would disagree with that. Footnote: The 45 sold for £25 742 to an anonymous bidder. Andrew Rix March 2009 AndyRix@aol.com @Andy Rix The following are thanked for their contribution: Frank Wilson, Brenda Holloway, Chris Clark and Marc Gordon. Keith Hughes, Bill Dahl and Harry Weinger - The Complete Motown Singles Volume 5. Chris Jenner, John Lester, Paul Nixon, Neil Rushton, Ian Dewhirst, Robb K, Stuart Cosgrove, Tim Brown and Ian Levine. With additional thanks to the members of http://www.soul-souce.co.uk http://www.soulfuldetroit.com and release.at/projekte/motown50 Special thanks to Keith Hughes and the incredible ‘Don’t Forget the Motor City’ http://www.dftmc.info And finally to Donna, for her support, encouragement and love Frank Wilson 5th Dec 1940 - 27th Sep 2012 RIP https://www.soul-source.co.uk/articles/soul-artists-sad-news/sad-news-frank-wilson-has-died-r2563/
  17. According to Joe Billingslea of the Contours, "some inhospitable Southerners fired rifles at the Motor Town Special tour buses, many of the hotels on that famous 1962 Motown trek were dumps, the buses was hot and rickety, but overall it was a fabulous tour. In 1962, a Detroit photographer came along for the ride, and Curtis E. Woodson’s new book about the trip is being launched this week. “Memories of The 1962 Motown Revue — A Photographic Journal” captures scenes from Motown founder Berry Gordy, Jr.s road show, that featured Marv Johnson, Mary Wells, the Marvelettes, the Miracles, Marvin Gaye, Martha Reeves & the Vandellas, the Contours, the Supremes, Singin Sammy Ward and the Choker Campbell Orchestra. Woodson was the shows official photographer but for more than 40 years, the 100 odd photographs, shot during performances in Washington, D.C., Boston and Birmingham, Ala., have never been published or seen by the public. Photo: Diana Ross, left, Mary Wilson and Florence Ballard of The Supremes and Rosalind Holmes of the Vandellas.
  18. Rob Moss delivers his view on the recently broadcast BBC4 TV programme Motor Citys Burning - Detroit from Motown to the Stooges I love Detroit — ‘Motor City’s Burning’ The title sounded fantastic. ‘Motor City’s Burning’ — ‘A documentary looking at how, during the 1960s, the blue collar Midwestern city of Detroit became home to a musical revolution that captured the sound of a nation in upheaval’ and ‘Detroit from Motown to the Stooges’ to quote the BBC’s own promotional blurb. Surely this would be a detailed examination of the circumstances that created one of the most influential musical styles in popular music — ‘The Motown Sound’? The title implied that some scrutiny of the causes and effects of the 1967 Detroit riots would feature in the programme too. And wouldn’t the BBC, an institutional universally respected and admired, with a substantial budget provided by the British taxpayer, be able to gain access to unique footage, interviews and other journalistic extras that would create a truly ground breaking, and long overdue, assessment of an essential era in a unique age? Adherents to the genre could almost predict the content. A brief history of Detroit, tracing its initial role as a fur trading settlement in the 18th century to the arrival of Henry Ford at the beginning of the 20th century and the creation of the automobile industry, the important role the city played in the escape of slaves from the South during the 19th century, the strained race relations that dogged life in the city throughout most of the 20th century as huge numbers of black families migrated north, and the affluence of the post war period, culminating in the 1960s, that spawned a generation of superbly talented and creative people in and around Detroit. This would be followed by an assessment of the social and cultural landscape around the city in the 1950s, and how this impacted on Berry Gordy Jnr. A brief description of Gordy’s family background, writing career and musical grounding would provide an insight into how he set up his business operation, and, perhaps more importantly, who was involved in the earliest recording sessions and organizational structures he put in place... note from the soul source team - sorry but all Robs non-current articles are now clipped due to a future book release - watch out for news of that! BBC Blurb Documentary looking at how Detroit became home to a musical revolution that captured the sound of a nation in upheaval. In the early 60s, Motown transcended Detroit's inner city to take black music to a white audience, whilst in the late 60s suburban kids like the MC5 and the Stooges descended into the black inner city to create revolutionary rock expressing the rage of young white America. With contributions from Iggy Pop, Alice Cooper, George Clinton, Martha Reeves, John Sinclair and the MC5. Fri 7 Mar 2008 22:00hrs https://www.bbc.co.uk/programmes/b009372j
  19. News/Article/Feature Highlight: Rob Moss delivers his view on the recently broadcast BBC4 TV programme Motor Citys Burning - Detroit from Motown to the Stooges View full article
  20. Reported that 'Soul' a new play all about Marvin Gaye's life and death will be having its world premiere in Northampton during May 2016. The press night is scheduled for May 24 and the play running from May 20 to June 11, James Dacre, the Royal & Derngate theatre's artistic director said to the BBC "It's a dramatic thriller, not a musical," and "It will have the spirit and energy of Motown and will include music from the time." Williams' play will be set within the confines of the Los Angeles home that Gaye bought for his extended family. "Whilst the piece looks at three generations of a post-war African American family, everything roots back to the home and what happened in the course of 18 days underneath that roof," Dacre told the BBC. More info can be read via the BBC and Guardian articles via the links below, with the Guardian being the more lengthy ...Williams says: “I wanted to avoid doing a standard biopic and play about with form a little – push myself as a writer and push the play. The play begins with his death and it works backwards, and it’s his two sisters and the ghost of his mother telling the story. It’s really about how they all dealt with having such an icon in their lives, and them trying to find their own identities and their own selves within the world of Marvin...” http://www.bbc.co.uk/news/entertainment-arts-34945808 http://www.theguardian.com/stage/2015/nov/30/roy-williams-play-marvin-gaye-soul-royal-derngate
  21. Busy times, heres a few scraps of news, thanks to David F and Neil The Motown Connection Cd complied by Jo Wallace is due out soon, Junior Walker - Good Rockin Marvelettes - Goddess of love Carolyn Crawford - Forget about me Earl Van Dyke - How Sweet it is Billy Eckstine - I wonder why nobody loves me Tammi Terrell - I cant believe you love me Martha Reeves - My baby loves me Smokey Robinson and Miracles - Can you love a poor boy Fantastic Four - Just the lonely Fantastic Four - Cant stop looking for my baby Monitors - Say you Temps - Hey Girl Jimmy Ruffin - Everybody needs love Gladys Knight&Pips - Hes my kind of fellow Four Tops - Im Grateful Edwin Starr - Dont tell me Im crazy Spinners - Shes gonna love me at sundown Edwin Starr - Running back and forth Martha Reeves - Love, guess who Edwin Starr - There you go Stevie Wonder - Light my fire Gladys Knight - Who is she Eddie Kendricks - Date with the rain Marvin Gaye - Come get to this Ripped from echoes The Motown Connection Vol 2 These Old Shoes co-promoter and DJ Jo Wallace has put together an excellent collection of less well-known Motown treasures which is due out soon on Universal. Almost every track is a must have addition to any serious Detroit fans collection, with many gracing the silver disc format for the first time. With everything from NS crowd pleasers to rare grooves this collection has something for everyone. Jo and fellow Shoes sideick Paul Thomas-Peter came into the soul 24-7 studios as guests of the Bee Cool show back in March, when the album was due for imminent release. despite a petulant mimi disc player that seemed to select tracks in a random fashion, we managed to give many of the cuts an airing and during the broadcast Jo and Paul did their best to fill the enforced gaps with informed background information. However, as these things tend to happen, the release date was pushed back and now looks like the CD will be in the shops in early August. But rest assured, its well worth the wait. Still a guaranteed floor filler, Junior Walkers Good Rockin dates back to 1963 when it first appeared on Harvey Fuquas eponymous label. A no-nonsense belter. Then theres Gladys Knight&The Pips Who Is She And What Is She To You which, although later covered by Creative source, is still damned funky. The 80s rare groove crowd are well catered for with Eddie Kendricks Date With The Rain from his 72 album People Hold On, and Stevie Wonders Light My Fire which first appeared on his My Cherie Amour LP. Jo has managed to pull together some not so obvious contenders such as Billy Eckstine,Earl Van Dyke, Tammi Terrell, Martha&The Vandellas,The Fantastic Four, and the Monitors AD truly one for the Tamla connoisseur. With any luck, a more detailed review will be in the next issue.
  22. News/Article/Feature Highlight: The last in the series available now<br />Press blurb below from Universal<br />5-CD set brings acclaimed series to an end... View full article
  23. A quick festive motown alert. Radio 2 has a two hour motown connected radio show lined up for your ears this Christmas day. Titled 'They Wrote The Songs: Motown's Writers with Ralph Johnson' its set to broadcast at 22:00hrs 25 December The programme hosted by Earth Wind and Fire's Ralph Johnson takes a look at the writers of Motown's golden era with an emphasis on Holland/Dozier/Holland, Ashford & Simpson and William Smokey Robinson. With Ralph Johnson giving us his personal selection of both the well loved and the rarely aired... BBC Radio 2 programme link via http://www.bbc.co.uk/programmes/b08599k4
  24. Recently seen this on Facebook and thought it worth sharing.................hope it's in appropriate section. Exciting News from MODUS The House Of Soul We are on schedule to publish our first book at the beginning of November 2016 'HITSVILLE The Birth Of Tamla Motown' featuring 192 pages written by Keith Rylatt and designed by Stuart Russell, detailing the origins of Tamla Motown in Britain and the work done by Dave Godin, Clive Stone and the Tamla Motown Appreciation Society to bring it's artists to these shores. The book contains many never before seen photos and memorabilia from the Clive Stone Collection. For more information visit our website at http://www.house-of-soul.co.uk/ .
  25. News/Article/Feature Highlight: Thanks to Dave M, a chance to read a great review of "Standing In The Shadows Of Motown" that was posted on Soul Talk View full article

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