DENIECE WILLIAMS 2017 SoulMusic.com Interview

DENIECE WILLIAMS 2017 SoulMusic.com Interview

In the UK for a “Soul Explosion” show at London’s Indigo 02 with Barbara Mason, The Valentine Brothers and Randy Brown, musical mainstay Deniece Williams (celebrating over four decades as a solo best-selling global hitmaker, songwriter and performer) buy klonopin from mexico reflects on her British visits, how she became an ‘unexpected’ recording artist, the late Maurice White and more in a conversation with David Nathan…

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MOTOWN SPOTLIGHT (March 2017)

MOTOWN SPOTLIGHT (March 2017)

First off this month, a very happy 73rd birthday to Miss Diana Ross, who, as I write this, is pulling in the crowds in New York. Undoubtedly a remarkable woman who will, among other things, always be the Queen of Motown. So, to celebrate her birthday, am playing her 1981 compilation “To Love Again”. Why this one? Well, apart from being produced by Michael Masser, it holds some glorious material, probably considered rather twee now of course, like “One More Chance”, “Stay With Me”, “Cryin’ My Heart Out For You”, an alternate version of one of my favourite songs “Touch Me In The Morning”, and the theme from the 1980 film “It’s My Turn”, starring Michael Douglas and Jill Clayburgh. Ironic title really, as this could have been written for her pending departure from Motown following a reputed $20 million deal with Capitol/RCA. As you know, the album was re-issued during 2003, with additional tracks, including a pair of previously unissued titles “Share Some Love” and “We’re Always Saying Goodbye”. So, as the music gently flows in the background, let’s TCB…

While I was looking through Keith Rylatt’s “Hitsville!” book, I noticed a picture of a serious looking young guy standing next to Earl Van Dyke. Also in the picture were smiling faces from Dave Godin, Robert White, Jack Ashford, Uriel Jones and TMAS member Steve. This reminded me of the man I knew when I flew Motown’s publicity flag working out of EMI Records’ London offices, and he was vice president of the Motown International Division also based in the city, a short walk away. Yeh, I’m talking about Peter Prince!

So, I thought I’d re-visit a chat I had with him which covered not only what his job entailed, but how he got into the business in the first place. I recall it was meant to be an hour’s session to contribute to Motown’s 30th anniversary promotional activities, but it lasted three and, I suspect, could have extended beyond that. As the purpose of the Division he headed up was relatively unknown outside their offices, he explained he worked closely with Motown/USA, reporting directly to Lee Young Snr, and was responsible for all territories outside the States. The offices could have been situated anywhere in the world, he said, but as the UK was closest to Europe, London seemed the most appropriate place to be. “As we’re responsible for doing licensing deals outside America, my job is to make sure everything is in accordance with our agreements, and to ensure artists and records are released and marketed correctly” he told me. He added that sometimes it was necessary to push local companies to encourage them to do the very best for his artists, but, generally speaking, he enjoyed a great working relationship with all licensees. On top of ensuring releases were overseen, Peter’s office also co-ordinated artist visits and phone interviews, which often became complicated, when different countries wanted different artists. And this was on top of me putting in requests for the same thing. So, imagine the pressure when an A-list artist released a new album across the territory – we were all vying for the same person!

Born in London, but living in Essex at the time of the interview, Peter grew up with music, mastered playing the drums, with ambitions to become a jazz musician. He left school to work as an office boy in the publicity department of the film company, Republic Pictures, where he stayed until he joined the RAF as a gunner. Three years on, he was demobbed and joined EMI Records’ press office, but all the while supplemented his income by playing the drums. From EMI he switched to Pye Records, before returning to EMI as a promotion manager. Then came the Motown connection, as Peter gradually built up a solid working relationship with Mrs Esther Edwards. To prove this he showed me letters from her including one about The Supremes who had recently visited London, thanking him for taking care of them during their stay. The letters also made reference to the fees from the BBC for two screenings of the “Baby Love” promotional film totalling £39 7s 6d for each showing, and, as the Top Of The Pops studio was in Manchester in those days, the plane fares were £22 for two people. From the paperwork, 1964 was indeed a busy year because The Miracles visited London and stayed at the President Hotel, Kim Weston appeared with The Beatles on Ready, Steady, Go, Martha and the Vandellas charted in the New Musical Express listing with “Dancing In The Street”, and Record Mirror presented The Supremes with an award for “Baby Love” which had topped the UK chart. “I worked with all the artists at that time…they were a great example for Motown. There were no problems and they were always on time.” They were also well organised, keen to do anything that was asked of them to promote their music and the company – “I wouldn’t say they were ordinary people because they were exceptionally groomed on stage and off, and were real professionals even though most of them were at the beginning of their generic form of klonopin careers.”

The sixties were the perfect learning curve for Peter, for not only was he on hand at the start of the Motown’s gradual breakthrough in the UK, but his hard work and dedication paid off when he was offered the position of vice president of the international office – “Being offered (this) was something I’d always dreamed of because of my early association with the company.” He went from strength to strength, moving with Motown as it lost its newness to become a major player in the music business. One of the biggest changes that he later noticed though was the company’s lack of control over its acts. “When I was first here, (Motown) had its own management which worked really well, and I think it was beneficial for new artists because they were groomed and trained to become good performers.” However, times changed, and with the likes of Stevie Wonder and Marvin Gaye not only taking control of their careers, but also their music with the release of concept albums, an unheard of phenomenon at the time, and new signings being self-sufficient, Motown had little choice but to bow down to the new demands.

In time, Motown International took over responsibility for Jobete about which Peter confirmed, “If we didn’t have it our publishing would have to be handled by another company. Now we hold a catalogue of fifteen thousand working titles. The songs seem timeless…and record producers are regularly made aware of Jobete’s wealth by sample albums featuring one minute of all the songs available.” Out of the one hundred albums in the national chart, he said, at least twenty hold a Jobete title. Big business indeed, and one he didn’t want to let go!

One thing that had bugged me was – what happened when, say, the UK didn’t want to release a single Motown/US had, and wanted to choose a title of its own. Well, this is where Peter stepped in to agree or not, an alternative release, while citing it had a massive drawback. “If a territory wants to release a different single it puts extra pressure on that territory to make it a hit. If it doesn’t happen, I try to treat it as an occupational hazard.” On the other hand, if the UK, or any of the territories, followed the American lead, and didn’t chart the music, it was so frustrating. Giving examples of Smokey Robinson’s “Just To See Her” and Stevie Wonder’s “Skeletons”, Peter felt both were hit titles but really needed the artists to visit to give them the push they needed. When that didn’t happen, the singles were lost and, of course, the knock on effect meant lower album sales. “I get worried when records are not successful, but that’s part of this business, and something I have to live with.” When Marvin Gaye left the company, Peter was devastated, because he’d built up a great working and personal relationship with him. “As a person I got on with him very well and got to know him better when he recorded his ‘In Our Lifetime’ album over here. …His talent outshone any discrepancies in his character.” He was also upset when Diana Ross left for pastures new, although was thankful Motown had a huge catalogue of her work, some of which was, at the time, unreleased.

I could go on and on, but with limited space, hope these few words about Peter Prince has shed some light on what the Motown International Division was all about during the eighties, and although there’s more to this marathon session with him, hope I’ve selected the more interesting parts. Incidentally, some of the quotes were published in B&S 502. Sadly, Peter passed away on 18 January 2011, at the age of 73 years, in Florida. He had been frail following extensive cancer treatments, then fell and broke his hip. A memorial service was held at St Patrick’s Church in London’s Soho Square, on 16 June, followed by the wake at Ronnie Scott’s Club. A move he clearly would have approved of, don’t you think? This quietly spoken, unflappable man, was a delight to work with, and, boy, did he know his business. Motown was so lucky to have him taking care of their business.

And last but not least, just to give you the heads up about Peter Benjaminson’s new hardback book “Super Freak: The Life Of Rick James” published this month. This follows the singer’s own 2007 autobiography “The Confessions Of Rick James – Memoirs Of A Super Freak” which was a fascinating read but probably one-sided according to Peter, as, for instance, Rick left out several incidents that reflected badly on his character. So, for his new book, Peter has pulled on court records, newspaper archives and interviews with Rick’s family, friends, lovers and group members, to present a more rounded story. Can’t wait to read it. Priced around the £24.99 figure on most websites, this is the author’s third book about Motown artists (Mary Wells and Florence Ballard), not forgetting his much respected “The Story of Motown” from 1979.

That’s it for this month, so do join me again in a few weeks’ time when we’ll keep the Motown flag flying as high as we can.

Verdine White (of Earth, Wind & Fire): Voice Your Choice with David Nathan

Verdine White (of Earth, Wind & Fire): Voice Your Choice with David Nathan

From our SoulMusic.com archives, we present this 2012 session of ‘Voice Your Choice’ in which the legendary SoulMusic Hall Of Fame inductee Verdine White of supergroup Earth, Wind & Fire shares his reflections on seven klonopin generic clonazepam favourite songs from EW&F’s vast catalogue and three favourites by others…

CLICK HERE FOR THE EARTH, WIND & FIRE (UK) STORE AT SOULMUSIC,COM

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GORDON CHAMBERS 2017 SoulMusic.com Interview

GORDON CHAMBERS 2017 SoulMusic.com Interview

Renowned singer/songwrter and producer Gordon Chambers was inducted into The SoulMusic Hall Of Fame in March 2017.  Gordon shares with SoulMusic.com founder David Nathan his reaction to the the induction and how the events of the past few years buy klonopin with mastercard have helped shape the music on his latest CD, “Surrender,” which includes the standout track “I Made It” (featuring Eric Roberson and Steff Reed)…

Click here for the GORDON CHAMBERS page at SoulMusic.com

March 2017: Reissues and New Music Reviews

March 2017: Reissues and New Music Reviews

a-woman417ROZETTA JOHNSON: A WOMAN’S WAY – THE COMPLETE ROZETTA JOHNSON 1963 – 1975 (KENT)

This compilation seems to have slipped through the net and for that my apologies. However, as they say – better late than never. The lady from Tuscaloosa, Alabama, who carved a place for herself in music history through her slices of southern soul, is more than amply represented here with her releases from the sixties and seventies. I was surprisingly impressed at the way Rozetta effortlessly wanders through the hopelessness of unreturned love, stirring up a gamut of emotions, while, on the other hand, ruthlessly persuades her listeners that she’s not to be messed with. Or, perhaps she’s a blank canvass that can be coloured in from track to track. Anyway, it seems her first documented single “I Understand My Man” b/w “Willow Weep For Me” was released under the name Rosetta Johnson and the Organettes on NRC, before she switched to the Jessica imprint with “That Hurts”, a more mainstream sound, and “It’s Nice To Know You”. She then left the recording scene behind her to concentrate on live dates until signing with Moonsong/Clintone to score a pair of top three R&B hits with her first two releases, namely “A Woman’s Way” and “Who Are You Gonna Love (Your Woman Or Your Wife)”, written by Sam Dees, with whom she recorded her best work. Alongside regular releases, there’s the extended version of “I’ve Come Too Far With You” complete with alternate vocals, plus previously unheard support and lead vocals on “I Can Feel My Love Comin’ Down”. The fact that Ms Johnson is no longer with us, makes this compilation more vital to her fans, and connoisseurs of authentic soul music.
Rating: 8

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pied-piper419 VARIOUS ARTISTS: PIED PIPER FINALE  (KENT RECORDS)

This is the last in the trilogy of this Pied Piper series, and we have Jack Ashford to thank because the titles come from his  personal collection. Among the gems here is the previously undocumented Lorraine Chandler song “Ease My Mind”, co-penned by the aforementioned Funk Brother and the singer. And it’s quite something too. Jack recruited members of the Funk Brothers to play on these sessions, and, I believe, many of the Pied Piper releases.  Wonder what Berry Gordy made of this!  However, their involvement does make this compilation that more interesting.  I instantly zoned in on the tracks by the Pied Piper Players, notably “The Bari Sax”, with its total funky groove, which kick starts this compilation. The Hesitations’ “Soul Superman”, a much-needed R&B top fifty hit, is equally compelling, plus the couple from The Metros, namely “No Baby” and “Sweetest One”.  Add into the mix Reggie Alexander’s “It’s Better” and Freddie Butler’s “Deserted”; both are prime exponents of a kindred soul spirit.  Then there’s “Gambler’s Blues”, another diamond in the mine. Although this song by Nancy Wilcox was included in the first of this series, the ungraded version here was discovered on master tape in Mr Ashford’s collection.  Ady Croasdell wrote in his excellent CD notes – “The rare soul world is indebted to Jack Ashford, Shelley Haims and the Pied Piper singers, musicians, arrangers, producers and songwriters for making such enthralling and inspiring soul music.”  And so say all of us!
Rating: 8

manhattansoul3416VARIOUS ARTISTS: MANHATTAN SOUL 3 (KENT)

This compilation is the ninth of Scepter/Wand and Musicor/Dynamo recordings issued by Kent, and the standard never slips. The two New York labels were linked by Luther Dixon who put Scepter on the success path with the likes of The Shirelles and Dionne Warwick, before switching to Musicor to work with Tommy Hunt and The Platters, among others. So, the resulting compilation covers most musical genres, for instance I’m listening to Johnny Moore’s “Haven’t I Been Good To You” which, for the world, sounds like The Temptations’ “I Know I’m Losing You”. The CD opens generic of klonopin with Dan and The Cleancuts’ “Open Up Your Heart (And Let Me In)”, a super smooth, intense soul sound, while the previous unreleased Shirelles’ “Two Stupid Feet” is so cute – and two twee for the ladies who made such a huge name for themselves on the R&B scene. Still smiling! Van McCoy’s “What’s The Matter Baby” is also heard here for the first time. Yet again, it’s a strange one. Lots of galloping music and a piano break. Thankfully, Melba Moore returns to normality with a traditional ballad formula in the shape of “Does Love Believe In Me”. Add these to tracks from Big Maybelle, which sounds a little off key but hey; Billy Adams, Tommy Hunt and Brook Benton, it’s an extremely credible compilation and one that I’ve enjoyed playing, although when I first started out I had a few reservations. Persistence is the key!
Rating: 8

random418RETROSPECTIVE FOR LOVE: RANDOM ACTIVITIES OF A HEART (WORMFOOD RECORDS)
Um, wasn’t quite sure what to expect when this CD arrived as I reckoned it could well be outside my comfort zone. However, there’s something about this new sound that’s captured me, and wanting more. Hailing from Sicily, Davide Shorty (vocalist, musical director and producer) wanted to bring back the love, and to do this gathered around him a family of similarly soul-centric musicians from his homeland, together with others including Parisian co-vocalist Leslie Phillips. The group is now based in London, the obvious place to be seen and heard, and this, their debut release embraces a wide range of genres, from smooth smouldering soul, into a little jazz and slices of hip-hop. I also spotted a smattering of Coldplay melodies in the mix too. Honest. The pace is set with the opening track “The Picture You Show Me”, an easy, almost moody sound, then it goes a little haywire into “Water N Dust” and “Wanna Get To Know Ya”. What follows though is a mass of changing music, covering love lost and found, with some of the music stripped down only to be built up again. The promise of better things to come is so relevant as the listener is lifted into another musical world that’s so easy to get lost in, while enjoying the isolation. No doubt about it, the music is unique, often raw yet crafted with considerable thought, with the sole aim of pushing home a pot pourie of sounds. Well done to all concerned, and this debut is certainly one I’d highly recommend.
Rating: 8

northernsoulreimagined415PAUL STUART DAVIES: NORTHERN SOUL REIMAGINED (PSD)

With support vocals from Annette and Rosalind, the original Vandellas, and the Voice of Africa, Paul Stuart Davies revisits the very heart of the music heaven lovingly tagged by Dave Godin as Northern Soul, with the release of his “Northern Soul Reimagined”. With his interpretations of “Long After Tonight Is All Over” and “Wherever I Lay My Hat (That’s My Home)”, a couple of high ranking soul slices, Paul adds a positive, clear attitude as his voice takes command of these classics. Recording live is, I’ve discovered, a rather dicey procedure, but he’s got this covered as well with resulting excitement and atmosphere. Check out “You Don’t Love Me” and, of course, that almighty NS favourite “Do I Love You (Indeed I Do)” which, of course, is the title of the charity record spearheaded by Paul and featuring, among others, Chris Clark and Tommy Hunt. Recently released, their aim is to raise much needed funds for the Jon Bates appeal. Anyway, back to the subject in hand, “Northern Soul Reimagined” is a brief – yeh, too short Paul! – but, my, did fond memories of my too-rare visits up North return. Am still smiling! (Available from Paul Stuart Davies)
Rating: 7

Congratulations To Our Latest Inductees Into The SoulMusic Hall Of Fame

Congratulations To Our Latest Inductees Into The SoulMusic Hall Of Fame

Congratulations to our latest round of inductees into The SoulMusic Hall of Fame:

CONTEMPORARY SOUL MUSIC ARTIST/GROUP or DUO

mary-mary-2015-press-billboard-650MARY MARY

 

 

 

 

FEMALE ARTIST

melisamMELI’SA MORGAN

 

 

 

 

MALE ARTIST

leon-wareLEON WARE

 

 

 

 

GROUP/DUO

martha_reeves_and_the_vandellasMARTHA REEVES & THE VANDELLAS

 

 

 

 

LEGACY (POSTHUMOUS) AWARD

kashifKASHIF

 

 

 

 

LIFETIME ACHIEVEMENT AWARD

smokeySMOKEY ROBINSON

 

 

 

 

R&B PIONEER

sweetinspsTHE SWEET INSPIRATIONS

 

 

 

 

INSTRUMENTALIST/MUSICIAN

lonnielsLONNIE LISTON-SMITH

 

 

 

 

PRODUCER/ARRANGER

dexter_wanselDEXTER WANSEL

 

 

 

 

SONGWRITER/SONGWRITING TEAM

gordoncGORDON CHAMBERS

 

 

 

 

 UK SOUL ARTIST/GROUP or DUO

juniorgJUNIOR GISCOMBE

 

 

 

 

MOTOWN ARTIST/GROUP or DUO

teena-marieTEENA MARIE

 

 

 

 

VOTE NOW FOR THE NEXT ROUND OF NOMINEES RIGHT HERE

Motown Spotlight - February 2017

Motown Spotlight – February 2017

My apologies for being late this month – blame it on the boogie, that’s all I can say.  So let’s TCB……. I was astonished to learn that in its first year in London Motown:The Musical has recouped its £5.5 million costs in a mere twenty-eight weeks. Not only that, bookings are being taken through to February next year. Does this mean, the musical has performed better in London than New York?  Well, according to some critics, the UK production is slicker and, in some instances, better cast.  This has slightly confused me, as with hand on heart, would have said it was the other way round. At least that’s what I felt when I saw the British show on 27 February last year. Anyhows, I’m planning to see Dreamgirls next month at the Savoy Theatre, which, I’m told will blow me away, so watch this space, because it’ll take a mighty big wind to do that!  Although this show – very (very) loosely based around the story of The Supremes –  is packed to the gunnels for most performances so it doesn’t seem to have affected ticket sales for Motown:The Musical, proving, of course, the sound of Young America never dies. Let’s move on..i_cant_help_myself_label_jpeg

It wasn’t difficult to choose the music this time – as will become apparent as you read on –  because I’ve loved this album from the first day of its release in January 1965.  It’s the group’s first official Motown release – “Four Tops” written and produced in the main by Holland, Dozier, Holland.  Kicking off with “Baby I Need Your Loving”, released in July 1964 as a single: that wonderful, hypnotic ballad so full of love and warmth.  We move into the equally mesmerising “Without The One You Love (Life’s Not Worthwhile), another single in the November, followed by “Where Did You Go?”. This leads into the third single on the trot “Ask The Lonely” penned by Ivy Jo Hunter/Mickey Stevenson, with a single release in January 1965.  In between, there’s “Your Love Is Amazing”,  “Love Has Gone” and “Call On Me”, with two further Hunter/Stevenson compositions “Don’t Turn Away” and “Tea House In China Town”, ending with Marv Johnson’s “Left With A Broken Heart”.   Adding support vocals are, naturally, The Andantes, and that all important music from the Funk Brothers. Motown at its mighty best!  My original album is rather worn from constant plays over the decades, but happily it was re-issued a few times so have back up copies when this one finally disintegrates.

Last week a film crew from a London university came to my house in East Sussex so’s I could contribute my bit to a documentary Charlene Campbell is shooting about early Motown in the UK.  Due to the ongoing train problems in my area, getting to London is still very hit and miss, so Charlene and her three assistants drove to me, which I thought was really above and beyond. Lynne Pemberton, who ran The Temptations fan club, joined us. Anyway, after chatting away about my involvement with Motown during the sixties, it got me thinking about how I actually came across the music that inspired a generation of youngsters at the time, and how that same sound has continued to live through future generations and decades. As far as I know, it was Dusty Springfield who opened my eyes to this new kind of soul music, and with her influence, and that of Dave Godin who spearheaded the Tamla Motown Appreciation Society, I was hooked. What my actual first Motown record was now escapes me, but am thinking I started my collection with the Four Tops’ “I Can’t Help Myself” in 1965, which in turn led me to investigate other artists from this mysterious label in Detroit.  So I started my journey with a successful act and then worked my way back to those acts nobody – outside cult or underground fans – had heard of, much to our shame. As record shops in my locality didn’t stock any type of black music, let alone Motown, I placed a repeat order at my local shop for any disc carrying the Tamla Motown label. So that was in 1965: my, I had a lot of catching up to do!  Later on, I’d travel to London on the train (yup! steam trains weren’t prone to strikes) to shop in Soul City where a large stock of imported Motown records could be found, blowing my hard earned money in one fabulous musical fest.

Anyway, that got me thinking about the Four Tops fan club which I started on 20 January 1968, the same year, I believe, as individual clubs opened up across the UK for several other acts, like Jimmy Ruffin, The Temptations, Marvin Gaye and so on.  With Hitsville’s Margaret Phelps’ help in sending over photos and bits and pieces which were reproduced for club members, the annual membership fee of 5 shillings, I believe, in hindsight, the club was pretty good for what it was. No coloured visuals though: way too expensive! Believe it or not, sitting on my desk is a copy of my first newsletter: one of those stencil-type thingies which I ran off at my place of work once everyone had gone home.  Here’s the first paragraph – and it’s so twee, but, so me!  “This is a great buy brand klonopin online occasion for Levi, Duke, Larry, Obie and myself, as this is the first newsletter of the official Four Tops Fan Club of Great Britain.  We welcome you all with open arms and hope you enjoy your stay! We also want to thank you very warmly for your support. Every member will be a part of the huge Motown Family and, with your help, I want to spread the name of the Four Tops all over the country – then everyone will know of our tremendous, exciting and fantastic foursome!”  Then there’s some blurb about how much needed to be done before getting to the first newsletter, and the promise that I was dealing with memberships as quickly as I could.  This meant I didn’t have time to answer individual letters (remember I had a full time job) so I recruited the assistance of Bernadette from Dartford, Kent, who was well known to the group.  Also my mum helped me collate and staple the newsletters together, and then carry the few hundred bulging envelopes to the nearby box which must have delighted the postman no end!

I was able to thank my mum sometimes for her help because should the Four Tops, or any other group/act for that matter perform in Brighton (which was the nearest town to Uckfield where we lived) I’d get tickets.  I recall one show in The Dome, Brighton where, after the group had left stage, mum and I hi-tailed it to the stage door, where, after flashing our fan club cards, we were ushered into their dressing room. The guys made such a wonderful fuss of us, shared their champagne and chatted away like we’d known them for years.  I was so proud and pleased and, I think, deep down so was mum.  Then we realised my dad was waiting in the car outside the theatre to take us home.  Hell’s bells, did we get it in the neck: he wasn’t happy.  We were though – full of champagne and Four Tops love!

When the individual fan clubs closed, and with the blessing of the guys in Detroit and EMI Records in London, Motown Ad Astra was born in 1969, the year several of the secretaries, including myself, moved to London to live at 34B Sherborne Gardens, Ealing, W13. So, with our very own stencil printer in the lounge, the industry of promoting Motown began in earnest.  Once again, we all had full time jobs, so evenings, weekends (and sick days!) were crammed with Motown – answering letters, writing our little TCB magazine, listening to records (many of which were mailed directly from Detroit until the import duty was higher than the cost of the actual vinyl). Financing MAA was through an annual membership fee but also we contributed a percentage of our salaries to keep us afloat. Aw, devotion way and above eh? However, EMI Records were overly generous with merchandise, records and concert tickets, on the understanding that when any act arrived in London, they were given our contact details.  We either met them at the airport, or, if they hadn’t touched base beforehand, contacted them within a couple of days of their landing. It was through this unofficial path that we were so lucky to befriend a lot of artists like Jimmy Ruffin, Martha and her Vandellas, The Temptations, The Supremes (although Diana Ross was rarely with Mary and Cindy).  Then, in the years that followed with Blues & Soul, I was so lucky to continue those friendships, plus make new ones, every one I cherish.

maa414I’ve also found in my treasure trove of goodies, an interview Jackie Lee, Lynne Pemberton and myself gave to one of the magazines during the late sixties. It’s now sepia in colour, rather dog eared but still readable (thank goodness I had the foresight to stick it to a piece of cardboard).  Under the title “Pete Meets The Fan Club Secretaries”, the journalist claimed “MAA is a fan’s best friend”.  In case you’re interested in what the article was all about, here’s a few lines from the opening paragraph, when we said, “When The Temptations were over here recently, Otis came round to the flat for a cuppa.  We also set out a plate of biscuits.  Otis proceeded to take a bite from each biscuit until he found one that suited his taste.”  What!!!!  I laughingly remembered when I first met Mary Wilson, which I assume was after the trio’s performance at Talk of the Town. “I was talking to her through the window of her car, then she began rolling up the window, not knowing that my hand was inside. It wasn’t so funny at the time though.”  I can explain why my hand was where it was. I had a small arrangement of flowers to give to her, while another two in my party had similar flowers each to give to Diana and Cindy.  They had no problem – and no sore hand!

And on that note, that’s it for this month.  Isn’t it ironic how so many memories can flood back from an interview in my dining room?  Oh sure, there’s plenty more, but another time, or maybe I will get serious about writing an autobiography of sorts. Who knows.

Thank you for your continued support and do keep on flying the Motown flag.

 

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A PERSONAL TRIBUTE TO LEON WARE

A PERSONAL TRIBUTE TO LEON WARE

It is with profound sadness that I learned this morning of the passing of my dear fellow Aquarian friend and colleague, the great Mr. Leon Ware. One of the most talented music men I ever had the privilege to interview and get to know, buy zanaflex normal dosage, Leon always provided great opportunities for conversations about life, sex and music.  When we found out that our birthdays were a day apart, that further cemented a bond that began back in 1976 when we did our first interview for Britain’s Blues & Soul magazine, reprinted here.

One of my fondest memories of Leon was watching him enchant an audience in Paris in July 2009, just a few months after I came back to live in London. He was simply magnificent, weaving his musical magic through songs from his then-latest album “Moon Ride” as well as doing his versions of songs that had been recorded by others, most memorably Marvin Gaye’s “I Want You,” the title track of the classic 1976 LP that Leon had originally recorded for himself (that he then produced on Marvin), “If I Ever Lose This Heaven” (recorded by so many
greats including Quincy Jones, The Average White Band and others), “I Wanna Be Where You Are” (cut by Michael Jackson and Zulema among others), “Inside My Love,” cut by Minnie Riperton and later revived by Trina Broussard. Leon’s work with contemporary soul man Maxwell resulted in the hypnotic “Sumthin’ Sumethin'” and there’s no doubt that Leon’s timeless recordings (think “Rockin’ You Eternally,” “That’s Why I Came To California”) impacted
later generations: his music was often sampled by rap and hip-hop artists who loved the sensual textures that were at the very heart of his art.

There is so much more I could say about Leon: he was funny, smart, naughty, spiritual, profound and yet always real. You can listen to a great inteview we did in 2013 that gives just a taste of the kind of conversations we had. My thoughts today are of the great times we spent together over many years, of seeing him in action on stage and the easy-flowing conversations we had. My deepest love, blessings and prayers go to his wonderful wife Carol and his family. His spirit lives on through his unforgettable work.
RIP, my Aquarian brother.

David Nathan,
Founder, www.soulmusic.com
February 23, 2017

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Motown’s Musical Masseur
By David Nathan, February 1977
(C) SoulMusic.com, 2017

Some guys get all the best album sleeve sessions! With his “Musical Massage” set, Leon Ware has come to the fore of Motown’s influx on new recording talent, to follow his success as a songwriter and producer with many of Soul’s favourite sons and daughters…

IN THEIR efforts to broaden their own musical horizon in the past eighteen months, Motown have certainly unearthed some dynamic new talent. Via his debut album for the company, Leon Ware has certainly proven to be one of them and although the “Musical Massage” album hasn’t exactly set the charts on fire, the critics have favourably reviewed it and that usually suggests that a new star is in its ascendency.

Despite this being Leon’s first actual recording success, it is neither his first recording experience and nor is it his first taste of actual success because he has been a prominent songwriter and record producer for the past decade.

“I’ve been involved in music for all but three of my thirty six years,” Leon points out. “Admittedly, it wasn’t until I was twenty three that I really became involved.”

The story really begins in 1954 when, in his home town of Detroit, he formed a little vocal group called the Romeos — and the group included Lamont Dozier and Ty Hunter, who is now one of the Originals of “Down To Love Town” and “Baby I’m For Real” fame. It seems that the trio had been at the same school together — along with, apparently, Aretha Franklin and Smokey Robinson. However, after three years, the group split up — with Lamont going more into songwriting/producing and Ty into solo work.

Having finished school — and having met and turned down Berry Gordy — Leon signed with ABC and stayed there for almost four fruitless years. It left a sour taste in his mouth and he returned to regular commerce until 1964 when he finally accepted a post with the growing Motown company.

And it was during that one year stay that he had his first taste of success — as a songwriter for the Isley Brothers’ “Got To Have You Back” hit.

In 1965, he joined Groovesville Music in an independent production capacity and worked with the Holidays, Pat Lewis and Terri Bryant during a two year stretch. From there, he moved on to another disappointing spell — three years with Bell and many of the projects simply were not released.

It was at the end of 1969 does generic klonopin look like that he started working with the Righteous Brothers — just before their split. He also was involved in some of the things on the MGM distributed Venture label on acts such as Johnny Nash and Kim Weston.

The year between summer of ’69 and mid-’70, Leon concentrated on writing and in 1970 he started to write with Bob Hilliard — until the latter’s untimely death in 1972. However, one of the songs that they wrote together was “Come L’Amore”, a song that did some business for Bobby Womack and that, incidentally, Leon is currently recording on an Italian artiste, Laura St. Paul.

Leon moved on to work with Ike & Tina Turner and wrote most of the material on their ‘”Nuff Said” album It was during this era that he recorded his own first album for U.A.

1973 saw him working for A&M and trams involved with Quincy Jones. Leon was involved in the “Body Heat” album, writing such songs as “If I Ever Lose This Heaven” and “Body Heat” itself. Leon considers that “If I Ever Lose This Heaven” is one of his best compositions yet and is especially proud of the way Donny Hathaway handled it on his “Extensions Of A Man” album for Atco.

But it wasn’t until 1975 that Leon came home to Motown and that’s really where it has all happened for him. His main claim to recent fame comes via his involvement in the Marvin Gaye album, “I Want You”.

“Some of the songs had been recorded for my own solo album but when Marvin Gaye heard it, he wanted them and I was more than pleased to turn it over to him completely,” Leon explains. “That’s really why there is such a similarity between the sound of my “Musical Massage” album and the “I Want You” album.

“It’s similar because it is my concept that was turned over to Marvin — and I couldn’t have been more thrilled about it, I can tell you. I think I respect Marvin as a man and a talent more than anybody else in the business. It’s certainly enhanced my career and I’m proud to add that it’s been the biggest album in Marvin’s career, too.

“It’s funny, too, because I was also heavily involved with Quincy Jones’ biggest album. I have just completed an album on Syreeta and I’m keeping my fingers crossed that the trick can work for her, too.”

Although the “Musical Massage” album was begun in 1975, it wasn’t until the spring of 1976 that it was completed.

“I had recorded “I Want You” and “All The Way Around” for my own album and they were among the first ones we did. The co-producer, by the way, was T-Boy Ross, who is Diana’s brother and whose real name is Arthur. Anyway, at the same session, we cut “Instant Love” (a song that Leon had written in earlier years with Bob Hilliard and which had been recorded by the Main Ingredient earlier on), “Share Your Love” and “Body Heat”.”

One of the more interesting aspects of the album is its provocative sleeve — and you can see the full photo on this page and you’ll better understand my choice of words!

“Yes, it is a sensual concept,” Leon admitted gently. “But it says it all, doesn’t it? Love, hate, sex, religion. One reviewer called it the most motivated sleeve in a while.

“The model’s name is Azerzee Houri and she’s been on several other album sleeves in the past. She was a centrefold in “Playboy” last year, you know. And that’s me there, too — they are my hands! Yes, I guess they could persuade me to do a centrefold for “Playgirl” — I’m not the inhibited kind, you see!”

However, one of the lesser broadcast facts about the “Musical Massage” album is that it features guest spots by Marvin Gaye and Bobby Womack.

Currently, Leon is heavily involved in two projects. Firstly, there is the album that he has been recording in Milan, Italy on Laura St. Paul and that’s what will bring him to London during February. And he is just completing his own second album.

“It’s going to be called “The Whole World Is My Home” and it deals with the same basic realities,” he enthuses. “It should be out in April and by that time, “Musical Massage” should have died down.”

But his forthcoming trip to London will be his first and he is thrilled about the way that he has been accepted over here already. Given the breaks, Leon could certainly develop into being another of Motown’s new-wave superstars.

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Listen to David’s “Voice Your Choice” interview with Leon from 2008

Part 1

Part 2

Part 3

Click here for articles and features on LEON WARE in THE SOULMUSIC.COM VAULTS

The Leon Ware Page at SoulMusic,com

Al Jarreau: A Personal Tribute

Al Jarreau: A Personal Tribute

He had style: from his cool sense of dress to his one-of-a-kind vocalize…

It in with much sadness that I learned of the passing of the great Al Jarreau on February 12 after a recent hospilization in Los Angeles at the age of 76.  My first interview (for Britain’s Blues & Soul magazine) with Al took place around October 1975 and I remember vividly that he and then-manager Patrick Rains came to my Hollywood apartment on North Formosa to conduct it, one of the handful of times when I played host to artists in my own abode.  He was mild-mannered, aimiable and a little nervous as he shared about his life and the musical journey that had led him to a major recording contract with Warner Brothers Records.  Al’s scintillating debut set – “We Got By” – had already become one of my personal favourites of the year and he had become the ‘talk of the town,’ with critics marvelling at his distinctive vocal dexterity.  

dn-aljarreau-dec75

I became a firm supporter and a few months later, we did our second interview (reprinted below) on the eve of his first European tour; over the years, Al created a solid and loyal audience among UK audiences in particular who loved his unique approach to singing, his innovative jazz-veered artistry and his genial personality – so much so that he recorded an entire album live in London in November 1984. He inspired other artists with his interpetative skills, prompting illustrious singer/songwriter Brenda Russell to express her own feelings about his prodigious musicality in 1983:

Over the years, we did a number of interviews and I witnessed him onstage, transforming classic tunes and his own original material into musical works of art, none more thrilling than attending the live studio sessions for his brilliant 1994 LP, “Tenderness.” In person, Al was cool, funny and a great conversationalist with a deep passion for his art and for music, as well as an acute awareness for whatever was happening in the world. Our personal chats were illuminating and richly rewarding. A seven-time Grammy awardee, Al’s prodigious talent was forever unique and his self-expression as an artist, rare, sensitive and soulful. His magic with a song will be truly missed along with his gift to the world. RIP, Mr. Jarreau, your contribution to life and art lives on.

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APRIL 1976 INTERVIEW – AL JARREAU with DAVID NATHAN

“IT SEEMS like but a short time since we last spoke to a talented gentleman who has been hailed by many of his peers and people in the know in the music industry as one of the brightest and most exciting discoveries of the seventies. His name is Al Jarreau and his debut Reprise album, “We Got By” caused something of a sensation when it was released late last year. Since then, Al has picked up a strong following wherever he’s performed and his every appearance has brought further accolades and compliments. Right now, he’s getting ready to conquer Europe with his very unique style and on the eve of his departure, we got the chance to rap with the genial gent.

“Since we talked last, I guess I’ve mostly been involved in performing and getting our second album ready,” Al commented. “I seem to have spent a good deal of time on the East Coast — places like Boston, Philadelphia and Washington D.C. have been very good for us — the response has been pleasantly surprising. Yes, I feel that the momentum is picking up slowly and we’re getting over to the cities and markets that are really important when you’re trying to establish yourself.” Al’s acceptance in the East has prompted him to seriously consider the idea of getting an apartment in New York for a few months. “It’s much easier to operate from New York because the cost of running back and forth to the West Coast — where I live — is, frankly prohibitive. But nevertheless, I still dig living in L.A. — the living is nicer and there’s clonazepam to buy more space. “But I would have to also say that living in New York can add to your creativity — there’s a certain tension that keeps you on the go.”

Al has been the recipient of strong critical acclaim in recent months and he confesses that “I feel as if I’m just coming out of the blocks. In all truth, of course, I haven’t just started out but what I am doing is going out there constantly in front of brand new audiences so every night is a challenge. Particularly as most people haven’t even heard of me!” People may not have heard his name but by the time Al finishes mesmerising everyone with his special style, they certainly remember who he is. “It’s like with the first album. I’ve almost forgotten that it happened and it seems so far back in the past so it’s surprising to hear people still talk about it. It’s almost like a delayed reaction, you could say.”

Much of Mr. Jarreau’s energy of late has been concentrated into his second album and in some ways, it will differ from the first. “I guess we learnt a lot from the first album — oftentimes, you can get caught up so much into your own little world that you become unaware of what’s going on outside. Maybe it was a mistake for us to put the album out there with completely new material, presenting a new artist, and a new style all at the same time. So, for this album, we’re gonna do a couple of other people’s songs although the balance of the material will be my own.

“We’ve done Elton John’s “Your Song” and we did a whole number on Sly Stone’s “Somebody’s Watching You” — I guess you could say we’ve given it an ass-kickin’! I’ve also cut an old Oscar Brown Jr. tune, “Hum Drum Blues” but it may not be on the next album. I feel that this album — which is being produced by Al Schmidt (who produced the first one) and Tommy LiPuma — presents a more even texture and mood than the first one.

“My main objective in recording is to work in such a way as to ensure that whatever we do can be easily recreated on stage so this album will probably be a lot less orchestrated — that’s something I learned from the first album.”
Although Al kicked off his recording career with an album, there was no hit single to emerge from it. How much importance does he attach to having a hit? “You bet I really want a hit! It’ll open a lot of doors for me and give me the opportunity to do some other things. I think we may have a hit in one of the tracks we’ve done. It’s called “Hold On” and it’s less than two minutes long and it’s accapella. I have a feeling that it may just jump off the album!”

Al says he’s confidently looking forward viagra online to his European trip and it looks likely that he will gain a good measure of acceptance whilst on the Continent. “I feel pretty confident about it all because I feel that I’ve grown by leaps and bounds from just working in the studio again. So far, my performing growth has been somewhat stunted by not having a regular group of musicians to work with — that can definitely be a handicap. Once we can get that situation sorted out, I know things will only continue to get better.”

With the new album — tentatively tabbed “Glow” — ready to re-inforce Al’s acceptance and acclaim both at home and overseas, the future looks particularly bright for this dynamic young performer. If you get the chance, check him out — he really has something different to offer.”
(C) 2011, David Nathan/SoulMusic.com

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Listen to AL’s 2011 ‘Voice Your Choice” session with JEFF LOREZ for SoulMusic.com

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CLICK HERE FOR THE AL JARREAU PAGE IN THE SOULMUSIC.COM ARCHIVES

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CLICK HERE FOR THE AL JARREAU (UK) STORE AT SOULMUSIC,COM