Motown Spotlight - April 2018

Motown Spotlight – April 2018


Here come the girls! More Motown ladies to be precise, courtesy of the new CD release “Baby I’ve Got It!” from Ace Records, offering a grand twenty-four tracks from names we’re familiar with and some we’ve missed on the way. This month and next they’ll all get a mention, with our thanks for their contribution to laying the foundation of what was to become “The Sound of Young America.” And, like most things I write about, there’s no particular order here because The Lollipops kick off the proceedings. Signed to Harry Balk’s Impact label in Detroit, the group became Motown artists rather by default when Balk sold his label to Berry Gordy in 1967. While Harry became a producer, The Lollipops – Arenita Walker (lead and songwriter), Joyce Walker and Angela Allen – cut nine tracks while signed. The VIP outing “Cheating, Is Telling On You”/”Need Your Love” in October 1969 was originally scheduled for the Gordy label, but here we have the doo-wop inspired “There Was”. Incidentally, on the previous UK compilation “Love And Affection”, their “Go For Yourself” track, which was left incomplete, got its first outing on this CD. I’m thinking that could be it from this relatively unknown trio which is annoying to a Motown writer like myself!

Ashford and Simpson’s “It’s Been A Long Time Happenin’” was recorded as the follow-up to their “I Can’t Give Back The Love I Feel For You” for Rita Wright. Despite the fact this latter single bombed at the time – but later became a much wanted gem – the composing duo were given the green light to work again with Rita, even though Tammi Terrell had already stored her version of the song in the “pending release file”. By the way, Blinky Williams also recorded the song using the same backing track. Rita’s recording of “It’s Been A Long Time Happenin’” wasn’t completed until it was unearthed for this new CD – and it’s brilliant. Ms Wright once said she had rebelled against Motown’s executives’ plans of pushing her into a jazzier direction, preferring to stick with the styling of the Ashford and Simpson compositions. “If I had listened, especially to Mr Gordy, I would have had a more successful run at Motown fame.” So, when Berry suggested a name change to Syreeta, saying it sounded more glamorous, she readily agreed. Life began to change for the young singer: from working with, and later marrying, Stevie Wonder, she took giant steps towards becoming a respected composer and singer. In between times, she recorded demos, including The Supremes’ “Love Child” and Diana Ross’ “Something’s On My Mind”, and when Diana left the trio Berry Gordy considered replacing her with Syreeta instead of Jean Terrell. The move was vetoed by Mary Wilson. Solo success did find Syreeta in the early seventies thanks to hits like “Spinnin’ And Spinnin’”, “Your Kiss Is Sweet” and the biggest selling of all, “With You I’m Born Again”, her duet with Billy Preston. Her sister Kim said at the time of Syreeta’s death in 2004, “She was a totally incredible person. She was always searching, always looking for, I’d like to say ‘enlightenment’ but it sounds too ‘woo-woo’. She was always trying to find out what was right and what was true.”

Tracks by LaBrenda Ben have been featured on the previous “Motown Girls” collections, including “Fugitive”, a heavyweight tune, and here she is again. The singer worked with George Fowler, who introduced her to Motown in 1962. They later married, and when he left the company to become a minister, she went with him. But here, on “Bad News”, LaBrenda Benn recorded with Mickey Stevenson and Jo Hunter as producers, which was originally available during 2014 as a digital download, but due to pressure from fans, it’s now released on CD for the first time. Her second track, “It’s All Right” is her take on The Impressions 1963 R&B hit. It’s so frustrating not to have information about artists like this lady because, like you, I’m a stickler for a complete story. However, what I do know is that the first single credited to LaBrenda Ben and the Beljeans, issued on the Gordy label in 1962, was “Camel Walk/The Chaperone”. The A-side was also credited to Saundra Mallett and the Vandellas on the Tamla label, while “Chaperone” was re-issued on the Motown label to satisfy Northern Soul fans. This was followed by LaBrenda Ben’s solo “Just Be Yourself/I Can’t Help It, I’ve Got To Dance” a year later. It’s not clear who comprised the Beljeans although one suggestion was they were the Andantes. Whatever and whoever, LaBrenda Ben and her group became early roster casualties.

Formerly known as Lisa Miller, Little Lisa was 11 years old when she recorded “Keep Away” with the Funk Brothers. Daughter of Kay of the gifted Lewis Sisters, who were already composing and recording for Motown, Lisa recorded at least twelve sides including the solitary single “Hang On Bill” – a re-working of “Hold On Pearl” by Bob Kayli (Robert Gordy) – issued on the VIP label in 1965. Records show that the young girl also recorded versions of “Sweeter As The Days Go By”, “Baby, I’ve Got It”, and “Honey Boy” released by The Supremes and Mary Wells, a rendition of The Marvelettes’ “Daddy Knows Best”, and “Choo Choo Train” which was added to “A Cellarful Of Motown -Volume 2”. Her mother, Kay, said in the notes for “The Complete Motown Singles Volume 5” – “I really had no idea she could sing. I didn’t have a lot of money at the time, so I always took her with us when we went on Motown dates.” She also remembered her daughter needed to climb up on a box to reach the microphone, and that the intention was for Lisa to record demos for other artists. Still as a teenager and now known as Leeza Miller, she did voiceovers on the Fantastic Four series, playing principally Frankie Ray and Nova. From Motown, she hooked up with Trident Records to release “Does She Know”, before switching to Canterbury Records, owned by Mattel Toys. The operation was overseen by Ken Handler, the real life model for Barbie doll’s partner! It appears her aunt and mother were the label’s A&R directors, writing and producing for Joanie Sommers, Alex Valdez and Yellow Balloon, among others. As Lisa Miller, she worked with the Lewis Sisters to record the “Within Myself” album, from which a Christmas single “The Loneliest Christmas Tree” was lifted in 1967. Cyclone Records were next, where she recorded “Castles In The Sky”, again working with the Lewis Sisters. Then during the late eighties, Motorcity Records’ Ian Levine recorded Lisa as Leeza Miller, on a two tracks “Tomorrow Never Comes” and “Sign Of A Heartache, while her biggest achievement of all was working with Sergio Mendes in 1983 where she sang lead on “Never Gonna Let You Go”.

I’ve mentioned the Lewis Sisters, Helen and Kay, and of course they’re featured on this CD with their self penned “Honey Don’t Leave Me” with – check this out – Gloria Jones, Blinky Wiliams and Edna Wright on backing vocals. Edna, by the way, was working as a secretary in Motown’s West Coast office at the time. The Sisters’ talent gradually came into the public domain as, alongside their two singles, it was surprising, yet gratifying, to learn just how much backroom work they achieved for other acts. Working as writers and recording demo tracks for the likes of The Supremes, it seems they also recorded forty plus songs themselves. Of course, the classic, all-time diamond we know and love, “You Need Me” remains high on any soul fans’ list of favourites; mine included. Atmospherically exciting with echo-bathed vocals, or as one reviewer put it, the song was given “a cavernous uptown sound, with sumptuous strings rising and falling”, it was so untypical of the Motown sound. Kay Lewis said Berry Gordy produced the session – and it was frightening! “He was wonderful. Berry became a really close friend of ours too, but at the time it was a little scary. The added reverb happened when Helen and I went back to Detroit. He wanted it to sound like the Righteous Brothers.” This was the final single although they continued to write for Motown through to 1966, and, of course, they played a cameo role in the 1972 movie “Lady Sings The Blues”, starring Diana Ross playing the lead role of Billie Holiday.

In the extremely informative booklet accompanying “Baby I’ve Got It!” Thelma Brown contacted the compilers to talk about her stay at Motown, and, if I may, I’ll liberate a few words here. In 1963, when she was 12 years old and performing at the Elks Club in her home town of Lockport, New York, she was heard by Harvey Fuqua and his wife Gwen Gordy. They liked what they heard and invited her to stay with them at their Detroit house for the summer to “do some singing”. This later led to her recording four tracks at Hitsville, with talk of her duetting with Stevie Wonder, which, for some reason, never happened. Thelma’s recordings – “Dear Parents”, “Cookie Boy” and “Dance Yeah Dance” (which appeared on the “Finders Keepers – Motown Girls 1961-67”) were among Harvey and Gwen’s first productions, and when their Harvey and Tri Phi labels amalgamated with Berry Gordy, Thelma became a Motown artist. “Cookie Boy”, included here, was recorded in August 1963, and once the summer holiday with Harvey and Gwen was over, Thelma returned home. She subsequently heard nothing from anyone at Motown and certainly remained in the dark as to the fate of her recording sessions. That is, until she heard “Dance Yeah Dance” had been released on CD. Apparently, Thelma never professionally performed again and contented herself with being a wife, mother and grandmother. However, she said, what a great way to spend a summer holiday.

Berry Gordy signed the big-voiced and big-haired Liz Lands to crack the R&B market. With her six octave vocal range, he felt she was the ideal vehicle to give Motown the presence it needed. Of the 100 or so songs she recorded between 1963-64 only a handful were released. Mostly were spirituals or standard tunes, with the exception of “It’s Crazy Baby”, included here. Recognised from her promotional pictures as the lady with the beehive hair atop her head, Liz was born in 1939 in the Georgian Islands and relocated to New York City when she was five years old. Studying classical music, she was tethered to Dr Martin Luther King’s Southern Christian Leadership Conference when she first met Berry Gordy in Detroit. This led to her debut single, “We Shall Overcome” being issued on Motown’s short-lived Divinity imprint during 1963. The inspiriting gospel performance was later re-issued on Gordy with the flipside of Martin Luther King’s resounding speech “I Have A Dream”. Also released in the December was a tribute to the fallen President John Kennedy titled “May What He Lived For Live”. Berry Gordy had supported the young, handsome President and intended to use this song, which he co-wrote, as a means of his respect and love. Copies of the single were actually sent to the White House, whereupon it appears Jackie Kennedy wrote back with her thanks. Berry Gordy needed to push Ms Lands into the mainstream market, so opted to record the above-average pop song “Midnight Johnny” with The Temptations and The Andantes as support vocalists. Using The Temptations was a wise move as “The Way You Do The Things You Do” was rapidly climbing the American chart. “Midnight Johnny” was later covered by Connie Haines, while its flipside “Keep Me” was re-done by The Originals. In hindsight, Liz’s single didn’t stand a chance because she was sandwiched between Motown’s A-team that included Martha and the Vandellas’ “Dancing In The Street”, The Contours’ “Can You Jerk Like Me?”, and, of course, the quickly rising Temptations. With her career a non-starter hit-wise, it ended before it had really started, so she left Motown to join the Chicago-based One-derful Records during 1967 to issue “One Man’s Poison” in particular.

Finally in this month’s tribute to some of Motown’s pioneering ladies of song – Miss Oma Page, sister of Gene and Billy, respected composers and producers. In between his duets with Mary Wells and Kim Weston, it transpired Marvin Gaye had recorded with Oma Heard. However, further investigation led to her surname generating a mystery, to put it mildly. So, let’s see if I can get this right. Oma Heard was introduced to Motown when Mary Wells left with the intention of replacing her. Marvin recorded five duets with her, four of which appeared on the 1990 “Marvin Gaye Collection” box set where she was credited incorrectly as Oma Page. According to “The Complete Motown Singles Volume 4” notes, the confusion arose when their duet tapes, recorded in Los Angeles, were transferred to Detroit, and were filed incorrectly under Oma Page. The situation worsened because there was a genuine Oma Page recording already in the can, a version of Carolyn Crawford’s “When Someone’s Good To You”, and that’s included here. Berry Gordy then made the decision not to sign Oma Page so no further recordings were made with her. Phew, hope that’s right now. But it does prove that a typing error can lead to all sorts of bewildering speculations. (Oma Heard’s Motown releases included “Lifetime Man”/”My Lonely Heart” in September 1964 on the VIP imprint, and in November 1969 as part of the girl group Dorothy, Oma & Zelpha on “Henry Blake”, via a licensing deal with Chisa.)

Aw, have run out of space this time, so we’ll continue next month, visiting the tracks by the more heavyweight artists, like Brenda Holloway, Kim Weston, Patrice Holloway, Martha and the Vandellas, Mary Wells, The Marvelettes, and Gladys Knight and the Pips.

Thank you again for your continued support, and hope you’ve found some interest in my overview of one of this year’s most significant releases so far which, once again, has gone a long way to completing our collections and, probably more importantly, reminding us of the unsung heroines who often go unnoticed, yet their contributions to the fledgling company was so momentous.

 

Nadia Cole 2018 SoulMusic.com Interview

Nadia Cole 2018 SoulMusic.com Interview

Eighteen-year old international R&B / gospel recording artist Nadia Cole has been performing since she was five-years-old. She appeared on ” America’s Got Talent” when she was just nine along with her two equally talented brothers Michael & Avery Cole. The siblings known as Voices Of Glory rose above 100,000 contestants to finished as the top five finalists. Her very first solo single, the upbeat “Today” – produced by award-winning music man Preston Glass – has just been released via SoulMusic Records in association with Platinum Garage Recordings. In this interview with David Nathan, Nadia shares all about her surprising musical influences, her career to date and more…

CLICK HERE FOR LINKS TO HEAR “TODAY” AND TO DOWNLOAD IT

CLICK HERE FOR NADIA’S WEBSITE

 

April Reissue & Recent CD Reviews

April Reissue & Recent CD Reviews

CROWN HEIGHTS AFFAIR DANCE LADY DANCE-SURE SHOT-THINK POSITIVE (ROBINSONGS)

So here’s the deal: three albums across two CDs crammed with dance, funk and ballads. Some have full blown group vocals while others the lead singer with sympathetic support voices, but all melting together in the style so significant in the late seventies/early eighties when competition was fierce. Founded by Donnie Linton in 1967, the group from New York City had a sketchy start until their “Dreaming A Dream” in 1975 registered them as crossover US hit makers. The opening cut on this set, “Dance Lady Dance” shot into the US top twenty and hit the UK top fifty, marking their third chart entry. The guys bought to the table their own brand of disco; a rich, all-inclusive sound, almost on the verge of overflowing with horns, percussion and keyboards. Amidst the dance, the occasional ray of eloquent soul shines through. “Empty Soul Of Mine” is a good example. A strongly flavoured ballad of emotional moments that gently tug at the heart. “Heart Upside Down” is another, with its impassioned vocals against a warm, comforting musical backdrop.

To be fair, the uptempo cuts are on the ball, of the minute, bringing home a healthy blend of decisive beats and attractive hook lines that often are quite inspiring. Check out “Think Positive”, a hard hitting rap track where the repetitious, grinding pace is highlighted by vocal breaks, while “You’ve Been Gone” jogs along like a train travelling over railway tracks. Then there’s the tempo change in “I See The Light” which reminded me of Earth Wind & Fire, and “Use Your Body & Soul”, with a rap section midway through, interrupting blistering vocals over a clipped disco beat. And last but certainly not least, classic Crown Heights Affair with “You Gave Me Love”, their biggest selling UK title, hitting the top ten. Heavy, meaty dance where the high spots are the repetitive ‘whoo hoo, whoo hoo’, and I can just imagine a dancefloor crammed with jumping dancers imitating this chorus. Think I’ll join them.
Rating: 8

M.F.S.B.: THE DEFINITIVE COLLECTION (ROBINSONGS)

I can’t tell you how excited I was to finally receive this Collection because my love for this orchestra is on the same level as my feelings for the Salsoul Orchestra, which, of course, is totally reasonable. Why? Well, when M.F.S.B. fractured due to financial disagreements with Gamble & Huff, several musicians actually switched to the Salsoul Orchestra, spearheaded by Vince Montana Jr. Anyway, back to this review. A pool of thirty-plus hand-picked studio musicians who worked with Gamble & Huff in the Philadelphia Sigma Sound Studios, M.F.S.B. (an acronym of Mother, Father, Sister, Brother, in line with the spiritual views of Gamble & Huff, although another meaning was given to the initials by musicians when complimenting another’s musical expertise) were legendary in providing lush and sumptuous music for artists like Harold Melvin and the Blue Notes, The Stylistics and The Spinners. Comprising a mixture of multi-talented musicians of all ages, some self-taught or classically trained – like Norman Harris, Bob Babbitt, Earl Young, Vince Montana Jr and Bobby Eli – who became household names, unlike, say, Berry Gordy’s inhouse unit because he insisted they remained nameless, despite them being responsible for the very foundation of what is known as ‘The Motown Sound’. Then, in the early seventies, M.F.S.B. thankfully became recordings artists in their own right when their second single, the theme to the US groundbreaking music show “Soul Train” was released under the title “T.S.O.P. (The Sound of Philadelphia)” with the added attraction of The Three Degrees. This timeless slice of sophisticated dance tore the international charts apart, selling over one million copies in America alone. The same combination was used again on “Love Is The Message”, another beautifully orchestrated piece, perfect in every respect, and a true legacy of the Philadelphia sound which would grow into a musical giant across the world. The song became one of the first to be inducted into the newly formed Dance Music Hall Of Fame in 2004.

So, this first “Double Definitive Collection” includes full-length versions of their biggest tracks, including “Let’s Clean Up The Ghetto” featuring the Philadelphia International All Stars. This was a project initiated by Gamble & Huff to support a five-year inner city programme, with all profits earmarked for this cause. What else? There’s “K-Jee” featured in the film and soundtrack of “Saturday Night Fever”; a semi-funk “Backstabbers”; an earthy delivery on “Family Affair”; a spiced up “Philadelphia Freedom” which go hand-in-hand with a mellow “South Philly” and a powerful disco based “Get Down With The Philly Sound”. The entire 2-CD package overflows with a musical elegance, enhanced with a dusting of classy melodies and hook lines that extend far and beyond the confines of session musicians. Whether the track is dance orientated, pulsating up tempo or dreamy ballad, the unique orchestral styling of M.F.S.B. is immediately recognisable, and it’s faultless in presentation. They are the very soul of Philadelphia. OK, I realise I’m biased but can’t help myself.
Rating: 10

HAYWOODE: ROSES: REMIXES & RARITIES (CHERRY RED RECORDS)
The gal with the crazy hairstyle and floppy straw hat! Hey, but that was the eighties. One of our precious homegrown singers, Sid remained the girl-next-door, a fab friend and a great talker, and this never changed when her star began rising with crossover hits. We met regularly, and her CBS press agent discovered it was best for our interviews to be at the close of the day because Sid and I like to party afterwards. Anyway, that aside. Released as the companion to the top selling “Arrival” reissue, Sid’s music on this double CD package has been re-mastered from original CBS tapes, and bring together a selection of her most sought after re-mixes. All from the eighties, these cover some rare sides and previously unreleased titles spanning her stay at the record company. It’s wall-to-wall dance music – pop, hi- energy, hard funk meets classic eighties disco – re-mixed by a host of influential names of the decade, like Mike Barbiero and Steve Thompson, who would later work with Whitney Houston and Aretha Franklin, among others. And their mix of “Roses”, her third single, starts this sometimes frenetic journey. “It’s funky pop and the lyric of not having a man mess me around resonated with me” she said. Her debut single “A Time Like This” here mixed by Nick Martinelli (both 7” and 12”) is quite amazing. Recorded in Philadelphia for her debut US market outing, the track was canned in preference to “Roses”. Bypassing, her second single “Single Handed”, a Detroit extended mix of “I Can’t Let You Go” – which I’ve always loved – has an amazing driving beat. “…totally re-recorded in Detroit with Bruce Nazarian and Duane Bradley it gives the song a more ‘live’ jazzy band feel” said Sid. “(Together with) the sax and piano flavoured pop-soul-funk elements that I was personally vibe with.” Interestingly, there’s a couple of groovy instrumentals here too, “You’d Better Not Fool Around” and “I Can’t Let You Go”, a pleasant diversion for sure.

Talking about “I’m Your Puppet”, Sid’s take on the James and Bobby Purify classic, she explained it was her father’s favourite tune which inspired her to record it. “Music was like food in our house…I was uber-delighted when I found out I was to record it in the home of Philly Soul and work with Nick. These memories of that trip stand out for me.” All credit to her, the song is beautifully constructed and delivered. Sid co-wrote “My Kind Of Hero”, a welcoming ballad sung with a certain commitment – “It does have a Tina Turner feel to the backing track which wasn’t intentional on my part, although she is an inspirational stage goddess for me.” Stock, Aitken and Waterman were the power behind “You’d Better Not Fool Around” which was partly re-recorded and re-mixed before hitting the public as a single. “I like the vocal melody and ‘man, get ya act together’ lyric.” It’s another full-on slice of dance, with a scorching feel and atmosphere. Then, as if that wasn’t enough, the CD, in its eye-catching packaging, closes with The Haywoode Mega-Mix comprising five belting tracks that take no prisoners. Summing up, this package is overflowing with energy, youthful enthusiasm and Sid’s total commitment to her music. And there’s more to come as a new album is in the planning stages for release this year, with a promise of UK dates. What more could we want? “Thank you from the bottom of my heart for your interest and support of my music over the years. It truly means the world to me.”
Rating: 9

NORMAN BEAKER BAND: WE SEE US LATER (WEINERWORLD)

Inducted into the Blues Hall of Fame during 2017 as a legendary blues artist, Norman Beaker wrote and produced this studio album, which I believe has previously been available digitally, and features sixteen tracks covering different styles – but all with a deep rooted blues feel. I’ve seen the Norman Beaker Band perform at my local theatre several times, both as support to Chris Farlowe and as a separate unit, where their music bounces from the stage into the standing room only audience. They really are party nights. Although Norman is deadly serious about his music, he performs with a sense of humour which he believes is a good balance between the music and old comedy, like that delivered by Tony Hancock, whom he also loves. This is openly apparent when the group perform with Chris Farlowe because they’re for ever scoring points off each other. Seriously though, Norman and the guys have toured extensively with the likes of Graham Bond, Chuck Berry and Van Morrison, and worked as session musicians for James Booker and Jack Bruce, among others. The opening track here, “Only I Got What The Other Guys Want”, sets the pace, and the journey into the world of the blues according to Norman begins. Particular highlights are “Time And Tide” featuring Steve Ellis on vocals, and “I Don’t Want A Lover” with Larry Garner supporting on vocals and guitar. Also highly recommended – the earthy “Hard To Be Somebody” and the tormented “Cheating Love”. Norman Beaker has been at the forefront of British blues for over four decades, and although the genre isn’t a particular favourite of mine, I’m grateful to him for educating me through his visits to my town.
Rating: 7

 

 

 

Otis Redding 50th Anniversary Of "(Sittin' On) The Dock Of The Bay"

Otis Redding 50th Anniversary Of “(Sittin’ On) The Dock Of The Bay”

50th Anniversary Of “(Sittin’ On) The Dock Of The Bay” – Otis Redding

Singer songwriter and SoulMusic Hall Of Fame inductee, Otis Redding was born on 9th September 1941 in Dawson, Georgia.  In 1960, he moved to Los Angeles where he began releasing singles. He returned to Georgia a year later and recorded “Shout Bamalama.”  Redding befriended guitarist Johnny Jenkins and joined his band “The Pinetoppers”. During one of Jenkins’ recording sessions at Memphis’ Stax Studios, Redding recorded a ballad he’d written titled, “These Arms of Mine”. The song quickly took off reaching number 20 on the R&B charts in 1963. What followed was the release of many hit singles, including classics “I’ve Been Loving You Too Long,” “Respect” and “Try a Little Tenderness”.

“(Sittin’ on) the Dock of the Bay” became the singer’s first million-seller and first Billboard Number One single when it was released 50 years ago. But the legendary soul singer never got to hear the finished version of his breakthrough single: He had died in a plane crash on December 10th, 1967.

Deezer’s Soul Editor Yannick Fage commented: “Like so many great talent, Otis Redding passed away too early in life, yet his contribution to soul still continues to influence us today. In honour of the 50th anniversary of ‘(Sittin’ On) The Dock Of The Bay,’ we wanted to celebrate his achievement with a special playlist that includes all of his greatest hits, as well as those of other soul legends that have filled us with so much emotion and joy.”

Deezer music streaming serviceTo commemorate 50 years since the release of “(Sittin’ on) the Dock of the Bay”, music streaming service Deezer has created two special playlists, ‘Essential Otis Redding’ and ’50 Years of Soul’

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Motown Spotlight - March 2018

Motown Spotlight – March 2018

Can it really be over fifty years ago that one of the most groundbreaking programmes was screened on prime time national television?  Well, indeed it is, and for people as young as myself, we settled in to watch an event that, in my opinion, was a first, not only for Motown fans, but the British public in general. As Rediffusion covered the  London area, and I lived in East Sussex, I needed to secure the indoor television aerial in just the right position to pick up a viewable signal.  Quite an art I can tell you, but possible. So, what am I talking about? The Sound Of Motown, screened at 9.40pm on 28 April 1965 on Associated Rediffusion Television.  To say it was the most exciting of programmes would be a total understatement. It was a dream come true, an ambition realised, and, although not recognised at the time, the programme made significant inroads into breaking down the barriers erected in the entertainment world.

So, how did it come about?  As years passed, different stories emerged but I think it’s fair to say that this is probably what happened. However, let’s backtrack for a second to another programme which, to all intents and purposes, was the launching pad for The Sound Of Motown.  On 9 August 1963, Ready Steady Go, a brand new, and innovative music programme was screened for the first time by Rediffusion. I won’t dwell too much on this because the series – which lasted until 23 December 1966 – has been well documented over the years, but suffice to say, it revolutionised the way in which music was presented to viewing audiences.  Originally filmed in the small Studio 9 in London’s Kingsway, where participating acts mimed to their songs, Ready Steady Go was later transferred to the larger Studio 5 at Wembley, enabling artists to perform live, with an orchestra tucked away somewhere which was difficult due to the layout of the studio floor.  Artists performed on different mini-stages, often in the middle of a dancing audience; occasionally from studio gantries, or from the top of a staircase. As if this wasn’t tricky enough, the ever present cameras were large with rotating lens turrets rather than zooms, and weaved around the audience, often careering into unsuspecting individuals.  But, hey, that was part of the fun and no serious damage was done. RSG was glorious organised mayhem, broadcast live, bringing into our living rooms some of the best soul music of the time, alongside the major names in popular music.

The best remembered presenters, Keith Fordyce and Cathy McGowan, steered the programme as best they could, often stumbling over their lines and presenting acts that weren’t ready to perform.  Joining them was the now solo Dusty Springfield, riding off her first hit single “I Only Want To Be With You”.  A regular visitor to the programme as a member of The Springfields, and as a member of the audience, Dusty was a Britain’s top female singer and a huge coupe for the RSG team. Besides she loved to party!  By now, of course, it was no secret that The Beatles and Dusty were avidly flying the Motown flag, mentioning the company in interviews and singing its material on live and television shows. What better ambassadors could Motown have had!  “I suppose I had a lot to do with promoting them,” Dusty once said. “I didn’t realise it at the time.  It’s only when people have told me that, including Motown people themselves.  (Motown was) running my motor so to speak, so it never occurred to me that I was doing PR for them.  I was just entranced.”

Due to her immense drawing power it was decided to give Dusty her own television programme and, as she and Martha Reeves and the Vandellas were now best friends, -after meeting up when Dusty appeared on Murray The K’s Rock ‘n’ Roll Extravaganza at New York’s Fox Theatre with a host of American acts including a Motown contingent – they were lined up to be her special guests.  This was to change, Dusty told me, when Berry Gordy planned to send his first Motown Revue to tour Britain to celebrate the opening of the Tamla Motown label during March 1965. Following a licensing deal with EMI Records, it was deemed logical to include all the touring acts with Martha and the girls. Besides it was a brilliant marketing tool to promote the new label, marking the longest free advertisement for a relatively unknown American artist roster on black and white commercial television.   The Motown Revue was to kick off at the Finsbury Park Astoria on 20 March, before hitting venues in Bristol, Cardiff, Glasgow, Edinburgh, Newcastle, Wolverhampton, among others.  Twenty-one towns in twenty-four days, with a television programme to rehearse, film and complete before they left London.  No mean feat!

Shortly after 7am on Monday, 15 March 1965, the Motown contingent arrived at London Airport on their chartered Boeing 707.  Berry Gordy’s artists were accompanied by lawyer George Schiffer, Maxine Powell, chaperones Evelyn Johnson and Ardena Johnson, road managers, assistants and hairdressers, while Berry Gordy brought his three oldest children (Hazel, Berry and Terry), his mother and father.  Carrying customised B.O.A.C. Cunard flight bags advertising the Tamla Motown label, they were all enthusiastically welcomed by members of Dave Godin’s Tamla Motown Appreciation Society.  Prior to the visit, Berry had written to Dave confirming that 15 March was a red letter day because his new label would be launched on that date. “It is as a result of such loyal and devoted efforts as yours that such an historic event is possible. All the artists and entire staff join me in thanking you for your loyal and unwavering support of Tamla Motown and its artists.”

Once everyone was settled in the Cumberland Hotel in Marylebone, meeting up with The Temptations was first for obligatory photo shoots around London’s tourist attractions. This was supervised by Motown UK’s Peter Prince and, my, how those historic visuals have remained relevant through the decades.  Almost magical. Next was free time where they explored the West End. Incidentally, The Supremes were the only group to occupy the penthouse suite next to the Gordy family, confirmed by the ladies in later press interviews. They also talked of the gifts Berry lavished on them, including diamond rings.

Anyway, back to the plot, and following hasty meetings between Dusty and Vicki Wickham, producer of Ready Steady Go, Rediffusion were asked to approve the  revised plan for the television programme.  Dusty was now to host a Motown show featuring Martha and the Vandellas, The Temptations, The Miracles, The Supremes, Stevie Wonder and The Earl Van Dyke Sextet, whose membership was the company’s finest – Jack Ashford, Eli Fontaine, Robert White, Bob Cousar, Tony Newton, led by their leader, keyboardist Earl Van Dyke.  Not surprisingly, Berry Gordy wouldn’t allow his two most valued musicians, drummer Benny Benjamin and bassist James Jamerson, to tour. They stayed in Detroit to head up the remaining musicians, to keep recording sessions flowing in the artists’ absence. Martha Reeves was happy with this new concept. She still had an ace up her sleeve.  By the way, The Temptations, who weren’t on the Revue, were already in Britain on a promotional trip, and returned to Detroit following the show’s taping. Stevie Wonder was also in town prior to the Revue arriving, while Gordy’s most in-demand soloist Marvin Gaye was unable to join them due to a serious viral infection.

Originally, called Dusty Springfield Presents The Sound Of Motown, it was during production abbreviated to The Sound Of Motown, although the concept remained untouched.  Music journalist, Bob Dawbarn, who attended the rehearsals at the Wembley studio wrote “It was the usual shambles as the fast-moving show was assembled. With artists streaking like greyhounds in and out of dressing rooms for quick costume changes and sweating cameramen given only seconds to switch from one group to the next.”   Supremes, Florence Ballard told him – “We’ve brought fourteen changes of costume on this trip. The big problem is sizes.  Finding something that we all liked, that will look right in all our sizes.”  However, Bob’s immediate impression was one of complete and polished professionalism of the participating artists which, he wrote, “makes some of our miming monsters look the rank amateurs they really are.”

The acts worked for twelve hours solid at the studio, with no retakes, singing live to pre-recorded tracks although upon viewing it did seem Earl Van Dyke’s musicians were also playing in the moment.  The studio itself was more like a large industrial yard and looking at a picture of it now, showing all the acts for the finale, there was scaffolding to one side of the studio, the audience seated on the other, with a backdrop of the artists’ names littered across the skyline of Detroit. Immediately in front of the backdrop was a raised area for the dancers which stretched from one side to the other; in front of this, the musicians, who looked out onto the huge space in front of them. On this particular picture, Martha and the Vandellas were next to The Temptations and Dusty on one side, in the middle The Miracles and Stevie Wonder, and on the other side The Supremes.  Scattered around them were cameramen, steering cumbersome equipment, varying in size.

However, although the running order was planned in advance, it became apparent that as rehearsals progressed Berry Gordy was calling the shots. Martha Reeves, who was Dusty’s first choice, noticed these changes, as she recalled in her autobiography “Dancing In The Streets”. “I took offence when Berry began moving acts around until The Supremes were in a co-starring position.  The Supremes didn’t even know Dusty but suddenly they were incorporating a cover version of Sam Cooke’s ’Shake’ to supply them material for an additional spot.”  She also commented that The Supremes’ records were just starting to sell in Britain, while she and the Vandellas had toured once before, cementing a solid fan base, therefore her group should have been awarded the extra spot.  She told Berry of her feelings and balked at his response which went along the lines of that The Supremes were on the top rung of the ladder and Martha and the Vandellas were on the lower one. “My disappointment showed clearly on my face and in my voice. As we lined up for the finale, I was directed by the producers to a spot where the camera did not reach.  Standing off to the sidelines for the finale, I must have looked real ugly because I was so sad and hurt.”

However, what Martha didn’t realise at the time, because the comments came from the television viewers, her duet with Dusty on “Wishin’ And Hopin’” was voted as one of the programme’s highlights, even to this day.  “I could see Diane in the wings eating her heart out because she hadn’t been chosen to do it,” Martha further wrote in her book. “On another number (‘Can’t Hear You No More’) we also sang backup for Dusty.”  I’ve just watched a video of “Wishin’ And Hopin’” and smiled because  Dusty is gooning around part way through the song, which I suspect, is a reaction to being plagued by nerves.  In her book “Dreamgirl”, Mary Wilson wrote that she enjoyed working with Dusty.  “Her and the crew treated each one of us like a star, but it was clear that Martha and the Vandellas were their favourites.  That was okay. I always thought there was room for all of us at the top.”

Once the cameras had rolled for the last time and the programme was in the bag, the Motowners  headed for a party hosted by singer Dana Valery in Holland Park.  There they joined Vicki, Dusty and her brother Tom, members of the Rolling Stones, Madeline Bell, Sandie Shaw, Goldie and the Gingerbreads, among others. A who’s-who in British music, all wanting to bask in Motown’s magic.

So, it’s now the evening of 28 April and The Sound Of Motown is about to start.  And one by one, we’re introduced to the Sound of Young America on a whistle-stop tour of classic songs, iconic dance routines and lifetime memories.  We salivated to Martha and the Vandellas with “Heatwave”, “Nowhere To Run”, “Dancing In The Street”;  The Supremes and “Baby Love”, “Stop! In The Name Of Love” and “Where Did Our Love Go”.  We loved The Temptations impeccable choreography while performing “My Girl”, “It’s Growing”, “The Way You Do The Things You Do”, while soaking up The Miracles’ smooth deliveries on “Ooo Baby Baby”, “You’ve Really Got A Hold On Me”. Little Stevie’s “I Call It Pretty Music But The Old People Call It The Blues” and “Kiss Me Baby” was compulsive viewing as, in one instance, he performed on top of a pedestal without falling off.  Then, before you can catch your breath or believe your eyes, the finale “Mickey’s Monkey” with all acts singing and dancing, rounded off this once-in-a-lifetime programme, in true Motown style!   “The actual sound of Tamla Motown is always distinctive and unmistakable” said Dusty at the time. “The music is light, lifting but strong..and never boring. The songs are excellent and because of this many have become standards.  The artists are as exciting as their records. All professional and knock-out performers. There’s the phenomenal Supremes, and Martha and the Vandellas.  Their ‘Heatwave’, ‘Live Wire’ and my all-time favourite ‘Dancing In The Street’ make them one of the most exciting acts I’ve ever seen.”

As time passed fans were desperate to own a copy of the programme, but nothing seemed to be available either legally or not. Dave Clark International bought the rights to the programme and it appears refused, for some reason, to make it commercially available. Then in 1985, “Ready Steady Go! Special Edition” was released, featuring The Sounds Of Motown including a clumsy insert of Marvin Gaye singing two songs, “How Sweet It Is” and “Can I Get A Witness”.  Until 2018, Dave Clark retained the rights, whereupon it was announced that BMG Rights Management had acquired ancillary rights to the whole Ready Steady Go series which I’m assuming, includes the Motown special.  Could it be a re-issue is on the horizon?

There’s much more that could be written about this extraordinary time in Motown’s British history, and the programme that’ll always remain a highlight, but I just thought an overview of how/where/when it came about might be of some interest. Sure, I realise I’ve neglected the actual Revue, so maybe we’ll get to this another time.

As always, thank you for being with me this month and, believe me,  there’s loads more coming your way this year.

Watch the entire show on YouTube…