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Found 45 results

  1. Dates were recently announced of upcoming The Four Tops and The Temptations eight date Uk 2020 tour... Original group members, Duke Fakir and Otis Williams, of the Four Tops and Temptations respectively, are said to be delighted to be returning to the UK for the 2020 8-date concert tour in October and November. 'We are thrilled to be coming back to the UK, says Duke Fakir. We always have such a great reception from our fans here, it always feels like home. It makes it so special to perform for the folks in Britain.' 'We want to thank our British fans for supporting and inspiring us over a half century. I've had such memorable trips to Britain dating as far back as the early 70's, including meeting the Archbishop of Canterbury to recording our Live at London's Talk of the Town album. As we mark our 60th Anniversary in 2020, the Temptations want to pay special tribute to fans in the UK and worldwide. We invite everyone to join us in celebrating this special milestone during next year's tour" says Otis Williams The Four Tops and The Temptations 2020 tour dates go like this... Thursday 29 October Cardiff Motorpoint Arena Friday 30 October Nottingham Motorpoint Arena Sunday 1 November Manchester Arena Monday 2 November Liverpool M&S Bank Arena Tuesday 3 November Leeds First Direct Arena Wednesday 4 November Birmingham Arena Saturday 7 November Bournemouth International Centre Sunday 8 November London O2 Arena Tickets available from: www.ticketline.co.uk, 24-hour ticket line 0844 888 9991, or from the venues direct.
  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 Story of Motown Songwriting Team Holland Dozier Holland. Available in Hardback 10th October 2019 View full article
  4. News/Article/Feature Highlight: Berry had originally purchased the Detroit Mansion in 1967 but even though moving out to LA in 1972 he continued to own it until 2002, when he then sold it to the attorney Cynthia Reaves. In 2016 the attorney decided to sell the mansion and to clear... View full article
  5. The Recent Sale of Berry Gordy’s Former Detroit Mansion on the 20 October 2017 It is well known amongst Motown & Soul fans that the Motown Records company moved all of its operations to Los Angeles (LA) in June 1972, with a number of artists, among them Martha Reeves, the Four Tops, Gladys Knight & the Pips, and Motown's Funk Brothers studio band, either staying behind in Detroit or leaving the company for other reasons. James Jamerson did move out to LA but later moved back to Detroit. Berry had originally purchased the Detroit Mansion in 1967 but even though moving out to LA in 1972 he continued to own it until 2002, when he then sold it to the attorney Cynthia Reaves. In 2016 the attorney decided to sell the mansion and to clear the items left behind by Berry Gordy (when he finally left Detroit) via a public auction There is a lot of Motown history associated with the mansion, summer garden parties, compiling & writing songs sometimes well into the early hours and many other events. So is a crucial part of Motown’s history. The sale was on Friday 20th Oct 2017, which beforehand made news across most of Detroit via the local media and television networks. News highlights focused on the historical significance of the mansion and primarily BG’s 1927 Steinway Piano, frequently played by Smokey Robinson and many other Motown artists. With the auction as well the piano then giving many others the opportunity to secure smaller items to then own a part of the Motown Phenomenon, it created a lot of interest, albeit in Michigan State. As well as the piano being the “Star” lot the catalogue listed gowns & costumes worn by the “Vandellas” “Contours” “Laura Lee” “Freda Payne” and others, plus many other Motown artefact’s and documents. However what really focused my attention was the 600 plus (unplayed) records, that were also discovered as being left behind by BG when he sold & left Detroit for good. I wanted to find out what these were and any treasures left behind. Amazingly the majority of the 45’s were not Motown Labels as I expected but “Anna” “Tri-Phi” “Harvey” including the Rare “Message” singles (subsidiary of Tri-Phi with only 3 Gospel based issues). This no doubt related to the BG purchase and take over of Harvey Fuqua & Gwen Gordy’s (the then wife of Harvey) record company’s. This must have been unsold stock that Berry then put into his basement. As I uncovered the “lots” I was amazed: Three Piles of Harvey’s “Any Way You Wanta” totalling around a 100 X 45’s all mint all unplayed! Estimate was $1000 and they sold for $1100. And then the other lots: ( Note The Tamla issue!!!) there then being around another 6 or 7 similar lots The Finale Now the most amazing thing of all, one of the rarest of the rare featuring in the top 20 of the rarest of the Motown issues, being Saundra Mallet & The Vandella’s “Camel Walk” on Tamla. La-Brenda Ben issued “Camel Walk” on Motown 1033 (very rare) & on the Gordy label Gordy 7009. One of the Final Lots of the Sale with an Estimate of $2500 was a Batch of 27 Mint Un-played copies of “Camel Walk” in their original sleeves. (2 others sold in the other batches of singles) What Dreams are Made of! & to then top it all off, sold to an internet bidder for $550. Irony is what used to be a £700 plus 45 now with 29 copies turning up it is now probably worth half of that. How many in the UK even knew anything about the Auction? It took me some time to track down the Auction results only hearing about this auction in Feb of this year. Motown Forever! Graham Jarvis Pictures Courtesy of Aaron Estate Sales Ltd
  6. 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/
  7. News/Article/Feature Highlight: Thanks go to Andy Rix for making this article available to all. Originally written and published to accompany... View full article
  8. 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.
  9. 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
  10. Just had word of this new mainstream motown book... Motown Encyclopedia by Graham Betts Three years in the planning and writing and already an international best seller*, the Motown Encyclopedia by Graham Betts is one of the most detailed books ever written about the iconic label, its artists, writers, producers and key personnel. Rather than follow the Motown story in chronological order, the book gives every artist who had a record released (and in some cases merely scheduled for release) their own biography, including those whose only Motown connection was a track on a soundtrack or compilation. To these are added the key executives who ran the label from its formation in 1959 through to its sale in 1988, the musicians who made the famed Motown sound and the writers and producers who came up with the goods on a regular basis. Every single and album that made the Top Ten (and, for British fans, those EPS that similarly made the Top Ten when there was a separate chart) in either the UK or US is given an entry, as well as the soundtracks that were issued on Motown. There are entries for every film instigated by Motown Productions and details of the various label imprints, both those within Motown as well as those outside the organisation that licensed repertoire from or to Motown. The 1,178 entries, therefore, feature: 684 Artists 13 Executives 16 Musicians 23 Producers 19 Writers 222 Singles 84 Albums 5 EPs 17 Soundtracks 9 Films 50 Labels 36 Other The book, which contains nearly half a million words, details virtually every aspect of Motown, the Sound of Young America that resonated around the world. Yesterday, Today, Forever. ABOUT THE AUTHOR — GRAHAM BETTS As a Press Officer for Pye Records and later CBS Records in London, Graham handled the publicity for several former Motown artists, including Gladys Knight & The Pips and Edwin Starr whilst with Pye (through their licences with Buddah and 20th Century Records respectively) and would work with Gladys Knight & The Pips (again!), Billy Griffin and Marvin Gaye whilst at CBS Records. As a journalist for Melody Maker, Blues & Soul, Record Buyer and several other outlets, he has interviewed many Motown greats, including Stevie Wonder, Diana Ross, The Temptations, The Commodores, Hal Davis, High Inergy and Harvey Fuqua, among others. During the course of writing the Motown Encyclopedia, he has re-acquainted himself with many former Motown artists, checking facts and feats and getting the background stories to some of the greatest music ever produced. In short, nearly forty years of music industry experience has resulted in the definitive book about Motown. RELEASE INFORMATION: Publication Date: 2 June 2014 ISBN: 9781311441546 Smashwords: https://www.smashwords.com/books/view/446043 Apple URL: http://smarturl.it/MotownEncyclopedia ASIN: B00KQGSHNU Amazon URL: http://www.amazon.co.uk/Motown-Encyclopedia-Graham-Betts Publisher: AC Publishing *#1 in its genre on Amazon.com, Amazon.co.uk, Amazon.ca and Amazon.fr
  11. News/Article/Feature Highlight: Just had word of this new mainstream motown book... View full article
  12. 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
  13. 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
  14. 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
  15. 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
  16. 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.
  17. 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
  18. News/Article/Feature Highlight: This week we turn our attention to the wonderful Temptations as our Artist of the Week. View full article
  19. News/Article/Feature Highlight: Heres some worthwhile info/background gear by Keith Hughes from Detroit City Limits by Graham Anthony View full article
  20. 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
  21. 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
  22. 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
  23. 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/ .
  24. 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.
  25. In 1953 Berry Gordy started a record shop with partner Marv Johnson by 1955 It had gone bust. Its name was 3-D Record Mart. Also in 1953 he married Thelma Coleman who started Thelma and Ge-Ge Records by 1956 she filed for divorce. In 1957 he co-wrote “Reet Petite” with local musician Tyran Carlo, who went under a pseudonym known as Billy Davis. It launched Jackie Wilson solo career. The first record Berry Gordy produced in 1957 “Ooh Shucks” for The Five Stars issued on George Goldner,s Mark-X label. Two members of The Five Stars were Walter Gaines and C.P. Spencer who later were members of The Originals. The first two singles by The Miracles were on the End label “Got a Job” and the ultra rare “I Cry”. The label again was owned by George Goldner. Kudo a small mostly gospel label. Issue four more Gordy productions Marv Johnson “My Baby-O” Brain Holland only known recording “Shock” The third co-written with Janie Bradford “Cry Baby Heart” and sung by Nancy Peters. The final production on Kudo “This Heart of Mine” by The Falcons who release it again but in a more polished fashion. 1958 to 1961 The Anna label ran from, and In 1958 a release on this label by a group known as The Voice Masters “Hope and Pray”/”Oops Im Sorry” Three members of this group were lead singer Ty Hunter (writer at Motown) Walter Gaines C.P. Spencer (Originals) and a late addition to the line up was Lamont Dozier and making his first appearance on vinyl David Ruffin. Anna Records were distributed by the End Label. Also in1958 Berry Gordy co-wrote with his sister Gwen a single “Tunedrops” “Cant You See (Im in Love with You) Performed by Malcolm Dodd’s Check-Mate Records a Detroit label was a subsidiary of Chess Records of Chicago. Gordys next venture, (It’s True Believe Me) is a combination of a Boutique/Beauty Parlour/Candy Store. Known as the House of Beauty, were Berry Gordys second wife Raynoma gets her hair done. The owner is known as Carla Murphy, who wants to front money for a record label. The label goes by the name of H.O.B. Records. It’s first release is by Herman Griffin “I Need You” Backing vocals is by The Rayber Voices, named after Raynoma and Berry. It is also the first song to be published by Gordys publishing company Jobete. The venture ended after this one release, but H.O.B.Records continued as part of a group of labels owned by Mike Hanks (D-Town Wheelsville and MRC among others) The first vocal group signed for Tamla in 1959 were The Satintones as The Miracles hadn’t any releases on Tamla besides test pressing, so officially the honour fell to The Satintones. The Miracles first Tamla release (“The Feeling Is So Fine” 1960) is withdrawn to be replaced by a completely different song “Way Over There” and to complicate matters both songs have the same catalogue number Tamla 54028. Still not content Gordy calls this song back so strings can be added. In 1962 “Way Over There was released again, and to complicate matters even further the second release had a different catalogue No Tamla 54069 The second release did far better than the first reaching the lower end of the pop charts. Through national distribution The biggest lose of all must be The Miracles recording “The Feeling Is So Fine” It’s similar to “Way Over There” but more raw, faster, and jerkier with a flat baritone sax. Sadly there are only four known copies of this track. Less rare is The Miracles second release on Chess. “I Need a Change” because the single “Bad Girl was leased to Chess, the label demanded a follow up. So in 1960 this track was given to Chess Records it went nowhere in the charts. Even “Shop Around” (Tamla,s first R&B number 1) gets the once-over twice treatment. The first version is a little slower, and the Saxes are louder. In 1962 The Miracle label merges with Gordy Records. There were 12 releases on Miracle but only 9 have been found. The other 3 are Jimmy Ruffin,s first recording of The Valadier,s “Greeting” (This is Uncle Sam) The second is by a group known as The Equadors “Someone to Call My Own” Nothing is known about this group who disappeared into thin air. Thirdly Freddie Gorman (Originals) only known solo effort “The Day Will Come” 1962 was the year that the Gordy and Mel-O-Dy label became. Gordy Records would join Tamla and Motown to become the three primary labels.Mel-O-Dy was soon discontinued, but there are four note worthy recordings on the label. The Creations “This Is Our Night” a rip off of a similar song by The Shirelles. “Mind Over Matter” credited to The Pirates who are actually The Temptations under a pseudonym. The Vells whose members were later-day members of The Vandellas released “There He Is(at My Door) The fourth release in 1962 is “Dearest One” sung by Lamont Dozier. It is not only his first recording for Gordy, It is also the first Holland –Dozier and Holland collaboration There were a group signed to V.I.P known as The Mynah Birds whose line consisted of Goldie McJohn (Steppenwolf) Bruce Palmer (Buffalo Springfield) and Neil Young of (Crosby Stills and Nash) fame. Motown and Some Interesting Facts of Detroit Artists and Record Labels Skylines “Since I Feel For You” was the first release on V.I.P. Yet there two known copies stamped with the Motown Logo and It had a catalogue number M1046 The groups members were Sidney Barnes George Kerr and Andre Williams Little Freda Payne (“Band of Gold” fame) record an acetate for Motown titled. “Save Me a Star” It was on a Hitsville Acetate. Also Ten Queens “He’s Seventeen” again on a Hitsville Acetate. Unissued Singles- Charter 5 “Trouble Lover’s” / ”Show Me Some Sign”Mel-O-Dy Andre Williams “Rosa Lee” Miracle 4. Little Iva and Her Band “When I Need You” Miracle 2 (Little Iva was actually Raymonda Gordy. His second wife. Majestics “Say You” V.I.P (25028) unissued Merced Blue Notes “Do The Pig” – “Thumping” Soul 35 unissued The Five Scalder,s before they were known as The Falcons “If You Were Mine” Sugar Hill As Above on a label called Drumond a release titled “Girlfriend” There were two different coloured Drumond labels Blue and Maroon. Also the one I mentioned issued on Sugar Hill was also issued on Drumond cat No 300. After releasing there first single "Lady In Green"/Heart Made of Stone" The Magnetics changed there name to The Volumes Wired but true a record by Mike Power "I Love Paris" issued on Zelma which derived from the Thelma label. The first time Edwin Starr appeared on vinyl was with a group know as The Futuretones, "I Know" issued on Trees-2 Doni Burdick of "Barri Track" fame. Is a white Italian American. His real name is Don Doninquez Lorraine Chandler actually sang backing vocals on "Tie a Yellow Ribbon Round the Old Oak Tree" by Dawn These are all true facts taken from a Detriot discovery I have had for a number years. Given to me by an old friend who I meet in Detriot in 1975. Who still lives in the city and we still keep in touch. Regards, Robbie Dunn (Dunnie)


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