|By john lester (220.127.116.11 - 18.104.22.168) on Thursday, May 09, 2002 - 08:40 am:|
Son of Thunder
Did you see that Ken Sands posted that Stevie and Pistol were on Signed Sealed Delivered - not Uriel.....see his posting under Signed Sealed Delivered.
|By Conrad72 (22.214.171.124 - 126.96.36.199) on Thursday, May 09, 2002 - 03:06 pm:|
I see that you did some sessions (?) with Jimi Hendrix during the latter part of his career/life. Do you remember which tracks you played on? Anything to say about the "experience?"
|By BOB BABBITT (188.8.131.52 - 184.108.40.206) on Thursday, May 09, 2002 - 11:10 pm:|
CONRAD72........OVERDUBBED ON TWO JIMMI HENDRIX ALBUMS..."MIDNIGHT LIGHTNING" AND "CRASHED LANDING" THESE RECORDINGS WERE DONE AFTER HIS PASSING AWAY IN NEW YORK AT MEDIA SOUND.......
THE "EXPERIENCE" WAS LIKE BEING A HEART DOCTOR....
THERE WERE OUTAKES FROM SONGS SPLICED TOGETHER,SOME SONGS REQUIRED RE-TUNING FOR THE DIFFERENT SECTIONS OF THE SONG, TEMPOS WERE ALL OVER THE PLACE, THERE WERE TIMES IF THE ORIGINAL DRUMMER WOULD HAVE HAPPENED TO COME TO THE STUDIO I WOULD HAVE PUNCHED HIM OUT!!!!!!!!!!
IT SEEMED LIKE IT TOOK FOREVER TO JUST FINISH ONE SONG........IT WAS AMAZING TO HEAR SOME OF THE SOLOS THAT JIMMI PLAYED ON THE SONGS....I WAS AGAINST DOING THE OVERDUBBING, BUT THE HENDRIX ESTATE WANTED TO DO THIS AND I AGGREED TO PLAY..
|By BOB BABBITT (220.127.116.11 - 18.104.22.168) on Thursday, May 09, 2002 - 11:41 pm:|
IT'S A SHAME........BASS...JAMES JAMERSON
|By Bob Olhsson (22.214.171.124 - 126.96.36.199) on Friday, May 10, 2002 - 12:13 am:|
Here's the relevent part of that NY Times review:
"The cache of premieres includes the crackling music documentary "Standing in the Shadows of Motown," not a competition film, which tells the story of the Funk Brothers, the unheralded session musicians whose distinctive rhythms were responsible for the Motown sound. The musicians telling the stories are so funny and vital that you'd almost rather hear them talk than listen to them play, and play they do behind singers who include Gerald Levert, Meshell Ndegeocello, Chaka Khan, Ben Harper and Joan Osborne.
Steve Jordan, the killer drummer, puts it simply, that the astonishingly talented players cooked up tracks so potent "they could make Deputy Dawg sound good." "Standing in the Shadows of Motown" is a notable choice because it was shot on film, adding a resonant weight to the wholly satisfying anecdotes sandwiched between the "MTV Unplugged" concert settings."
I think he liked it!
|By soulboy (188.8.131.52 - 184.108.40.206) on Saturday, May 11, 2002 - 09:10 am:|
Who played the lead guitar intro on 'it's a shame' by the spinners?
I know Robert white's name was mentioned, but did he play the rhythm and lead line? This lead sounds very much like a 12 string guitar, possibly
the legendary Rickenbacker.
|By Dennis Coffey (220.127.116.11 - 18.104.22.168) on Saturday, May 11, 2002 - 09:32 pm:|
Hi Soulboy. I played on the session. I am not sure what part I played. I may have been playing that figure as a written part or it could have been Eddie Willis. Is Stevie Wonder listed as writer or producer?
|By Ritchie (22.214.171.124 - 126.96.36.199) on Saturday, May 11, 2002 - 09:39 pm:|
You are talking here about one of my all-time favourite records!
Writers: Stevie Wonder / Lee Garrett / Syreeta Wright
Arranger: Paul Riser
The guitar parts are just superb. I couldn't work out that guitar intro till I heard the stereo mix, and realised it was TWO guitars!
|By soulboy (188.8.131.52 - 184.108.40.206) on Saturday, May 11, 2002 - 10:31 pm:|
Thanks for that, i think Ritchie is correct in saying that there were maybe at two guitarists on lead. as well as one on rhythm.
I tried the riff on my telecaster, it's either too difficult or the original was arranged in such a fashion that it just cannot be duplicated.
Brilliant stuff,but most frustrating if you attempt to copy it. if anyone can work it out by themselves please let me know.
|By soulboy (220.127.116.11 - 18.104.22.168) on Sunday, May 12, 2002 - 07:29 pm:|
I think i have at last cracked that riff, what you say about the stereo mix is correct, rhythm guitar on one speaker. (Robert White possibly?) and the lead on the other either Eddie or Dennis. It would be interesting to Know what type guitar is on the lead, sounds nice,
|By Dennis Coffey (22.214.171.124 - 126.96.36.199) on Sunday, May 12, 2002 - 10:25 pm:|
Hi Soulboy. Stevie also played the drums on that record. As far as the rhythm, Robert played a Gibson L5 with his thumb. Eddie played a Gibson 335 and I played a Gibson Firebird. There may have been three guitars on that session.
|By Ritchie (188.8.131.52 - 184.108.40.206) on Sunday, May 12, 2002 - 10:44 pm:|
Yes, that makes sense. There 's a helluva lot of guitar-work in there ;o)
|By harryweinger (220.127.116.11 - 18.104.22.168) on Monday, May 13, 2002 - 12:34 am:|
One of my favorite records of all time - GC Cameron did the main vocal in one take, saving his voice for the powerful ending whch he overdubbed in one take. This whole post makes me curious about the actual instrumentation. Next chance I get I will look at the session reel if it exists and see if I can figure out how many of each piece there are. Generally at Motown the guitars were all on one channel - making it tough to determine how many there were - but at this point it is possible the track was cut on 16-track rather than 8-track, and that would spread things out a bit. However, it's noteworthy that even with the introduction of 16-track circa 1970-71, Motown producers often did not use all the tracks. I have worked with many Marvin Gaye tracks from the period that barely use 11 or 12 tracks of the 16. Later in the decade he and Art Stewart had to sync up two machines, for 16- 32- 48- track recordings, but that's another story...
My apologies to those musicians left out of the credits for this track when it appeared on CD on the Spinners' Anthology I produced. At that time, pre-internet, email and my relationship with Doctor Licks, Bob Babbit et al (1991), semi-educated guessing was a large part of the job when union contracts were tough to track down. I am glad the people who played it are here to testify!
|By Ritchie (22.214.171.124 - 126.96.36.199) on Monday, May 13, 2002 - 07:30 am:|
You and me both - that's one record which has truly stood the test of time! The Spinners are a long-standing hobbyhorse of mine, and I think they were sadly under-recorded while at Motown - something Harvey much regretted. Their first album is still my favourite Motown album, and after 30 years, I finally managed to track down a stereo copy... Even today, some tracks on it have never been released on CD.
Going back to your original point, it would be very interesting to finally learn the full makeup of the record, so I hope the multitrack master does still exist.
A big thank you to all involved. It's A Shame is a piece of Motown at its most magical!
|By soulboy (188.8.131.52 - 184.108.40.206) on Monday, May 13, 2002 - 01:58 pm:|
How did the Spinners/Stevie relationship come about anyway.? Surely at this time Stevie must have been giving great thought to his own career,as he was one of the first at Motown to become an independant artist and this happened around about 1970/71, same time as 'it's a shame'
|By harryweinger (220.127.116.11 - 18.104.22.168) on Monday, May 13, 2002 - 02:52 pm:|
Stevie Wonder was one of the first Motown artists of the 1960s to have a separate songwriter's contract, and he had one at a young age. But while he was writing he did not also have a producer's contract. Only Smokey had one of those! That began to change as Stevie began working on tracks like Signed Sealed Delivered etc. My understanding, from speaking with other Spinners a few years ago, is that G.C. Cameron's voice inspired SW to do that track.
|By Ritchie (22.214.171.124 - 126.96.36.199) on Monday, May 13, 2002 - 03:14 pm:|
Could this be it...?
"Exactly how the Spinners came to record It's A Shame in mid-1970 is not clear, but the record changed the group's fortunes. At the time, Stevie was just beginning to break away from the Motown hit-machine formula. His self-penned-and-produced Signed Sealed Delivered was just around the corner, and he probably felt like trying out his production skills on another artist. As the Spinners weren't exactly on a winning streak, Motown probably let Stevie "have a go". After all, if the record bombed, it would be no major loss. As it turned out, Stevie produced a hit! It's A Shame reached number 14 in the US chart, and 20 in Britain."
(quoted with the author's permission)
|By Ralph (188.8.131.52 - 184.108.40.206) on Monday, May 13, 2002 - 03:14 pm:|
Stevie turned 21 at about this time and this nullified any of his contractual resposibilities to Motown. Stevie would eventulally re-sign with Motown but with a completely different contract. Stevie was realy coming into his own at this time and had a vision where he wnted to take himself. And he did just that.
|By soulboy (220.127.116.11 - 18.104.22.168) on Monday, May 13, 2002 - 04:12 pm:|
Despite the Spinners lack of success at the label, It could be said in hindsight, that this record saved the spinners, and allthough Motown didn't have a (successful) follow-up, it opened the way for Thom Bell to produce a succesful string of Hits for them in the 70s.
|By Ritchie (22.214.171.124 - 126.96.36.199) on Monday, May 13, 2002 - 05:06 pm:|
Actually, the Spinners already had an excellent reputation in the business as one of the hardest-working acts, hit records or no hit records.
When Atlantic signed them, Thommy Bell already knew the group from right back in the early 60s when he'd played in the house band at Philadelphia's Uptown Theatre.
|By soulboy (188.8.131.52 - 184.108.40.206) on Monday, May 13, 2002 - 07:06 pm:|
I was aware that spinners had a reputation among R&B fans for many years before it's a shame, but in the UK before this record happened they had no POP chart success, unlike say the Tempts or the Tops. What i mean is that this record helped establish the spinners as a 'crossover' act. This must have made Thom Bells task of establishing them as an hit-making force on the pop chart that much easier.
|By Bob Olhsson (220.127.116.11 - 18.104.22.168) on Monday, May 13, 2002 - 07:17 pm:|
The Spinners were one of Motown's most outstanding talents right up there with the Four Tops. Motown had no intention of losing them. I understand the company actually tried to kill "It's a Shame" because it had been released by mistake after the group's recording contract had expired. Atlantic ended up winning a bidding war for the Spinners that Motown couldn't afford to participate in.
I did the vocal session at Studio A, "It's a Shame" was 16 track. It was by far my most memorable single Motown session. Watching G.C. nail that vocal in one take had the group's, Stevie's, Syreeta's and my jaw absolutely on the floor. It was a no-brainer after about a minute in that the vocal was a keeper and that "It's a Shame" was probably going to be a huge hit. If I'm not mistaken, "It's a Shame" was also Stevie's first solo production although it was released eight days after "Signed, Sealed, Delivered I'm Yours." I also had the impression at the time that Stevie had played the bass part using his secret keyboard bass. (Harry, I'd love to know for sure.)
|By Eli (22.214.171.124 - 126.96.36.199) on Monday, May 13, 2002 - 07:20 pm:|
I am proud to be part of the hit machine responsible for the Spinners rise to stardom via Thom Bell's spectacular production and including Babbitt and Andrew Smith from their third Atlantic album onward, and what a joy those sessions were indeed!!
Babbitt, I apologize for not being in NYC for the screening of SITSOM.
|By Ritchie (188.8.131.52 - 184.108.40.206) on Monday, May 13, 2002 - 07:21 pm:|
I see what you're saying but I honestly doubt that the UK market even entered the minds of the powers-that-be at Atlantic. Even so, I do agree that the success of It's A Shame really put the Spinners on the map as far as the UK was concerned.
I also think that certain deejays here - such as Tony Blackburn - played a big part in their acceptance. Didn't he insist on playing Ghetto Child off the album before it was a single?
I remember going to see them supporting the Four Tops in 1973 - and it was the Spinners who got the better reaction. In the interval, the crowd were still shouting for encores. There were even a few calls to "bring back the Spinners!" when the Tops were doing their thing - and they were supposedly the headliners!
|By Ritchie (220.127.116.11 - 18.104.22.168) on Monday, May 13, 2002 - 07:29 pm:|
Ah! That explains a few things... like for instance why there wasn't an album to follow the single. OK, there was an album - Second Time Around - but the tracks were mostly already-released singles.
Now I'll just have to imagine what that Stevie-produced album might have sounded like if the guys hadn't high-tailed it to Atlantic!
|By Bob Olhsson (22.214.171.124 - 126.96.36.199) on Tuesday, May 14, 2002 - 12:12 am:|
It's hard to say if there'd have been a Stevie-produced album even if they hadn't gone to Atlantic. G.C. was still under contract to Motown but not much happened for him. Stevie would have been offered a follow-up single but there would have been a lot of competition among all of the producers for the other slots on a new album because that was how it worked at Motown. People earned a release by writing a great song.
Stevie barreled into his first self-produced Stevie Wonder album
|By bobby lewis (188.8.131.52 - 184.108.40.206) on Tuesday, May 14, 2002 - 02:58 am:|
you have so many sites i didn't know which one to
leave a message on. this looks like the most recent one. i left one before, but i dont think i
posted it after previewing it. i gotta get used to this computer thing. i talked to sal garcia in
sarasota,fl. and i mentioned the joan baez incident. ha laughed and remembered it well.
i'll never forget the session you and andrew smith produced on us at gm sound. remember the song "four o clock in the morning" written by
sal? we used this keyboard player that thought he was going to breeze through the session.
eighty seven takes later he got it, but left a
beaten puppy. i think he quit playing after that.
frank fisher was the enginneer on that session.
he had time to sketch the whole scene during all those takes. ive got that picture hanging in my
studio. its great to see you take an interest
in this site. you certainly have a rich history
when it comes to motown and the rest of the detroit music scene. if you can, let me know when the "funk bros. movie will be out. you can leave it on the bobby lewis headliners page.
ill see ya this summer, bobby lewis
|By John Coe (220.127.116.11 - 18.104.22.168) on Tuesday, May 14, 2002 - 07:31 pm:|
Bob Babitt - One of my favorite Motown basslines, which I have never seen credited to Jamerson, is the Temp's "I Can't Get Next To You". Is that you? The notes rumble and percolate in all the right places.
|By Ritchie (22.214.171.124 - 126.96.36.199) on Tuesday, May 14, 2002 - 07:46 pm:|
There was a folow-up to It's A Shame - We'll Have It Made, also written and produced by Stevie, and not even half as good, IMHO. Was this cut at the same time?
|By Dennis Coffey (188.8.131.52 - 184.108.40.206) on Tuesday, May 14, 2002 - 11:56 pm:|
Hey John. I did the low guitar part on I Can't Get Next to You. I am not sure who played bass. After all these years, I have my hands full remembering some of the records I played on. Maybe Babbit remembers. I know it was him or Jamerson.
|By david, glasgow, scotland (220.127.116.11 - 18.104.22.168) on Wednesday, May 15, 2002 - 07:49 am:|
John Coe....welcome to the forum.
|By harryweinger (22.214.171.124 - 126.96.36.199) on Wednesday, May 15, 2002 - 04:39 pm:|
Bob, you have an amazing memory. It's A Shame was started on eight-track, then bumped up to 16 for the final overdubs. I have yet to get a chance to review these masters, though.
We'll Have It Made was cut months later at a different session.
|By Bob Olhsson (188.8.131.52 - 184.108.40.206) on Wednesday, May 15, 2002 - 05:04 pm:|
Harry, I'd sure love to hear a mix with the original eight track generations locked up to to the 16 track overdubs.
I remember that I had to do a live bounce to stack my four passes of backgrounds on two tracks. The nice thing about working with Stevie was that he'd let me try anything. I still really miss spending time with him.
|By Ritchie (220.127.116.11 - 18.104.22.168) on Wednesday, May 15, 2002 - 06:11 pm:|
It would be very interesting to know what the dates were, and how they fit into the timescale, if - as Bob said:
"it had been released by mistake after the group's recording contract had expired"
Of course, G.C. stayed on at Motown...
Sorry, but the Spinners are an all-time-favourite of mine (so you find me in my Sherlock Holmes deerstalker at this moment!)
|By john lester (22.214.171.124 - 126.96.36.199) on Wednesday, May 15, 2002 - 06:17 pm:|
GC Camerson's HDH album was truly magnificent...
You're What's Missing in My Life - superb
|By Ritchie (188.8.131.52 - 184.108.40.206) on Wednesday, May 15, 2002 - 06:22 pm:|
Haven't come across that one.... :o(
|By john lester (220.127.116.11 - 18.104.22.168) on Wednesday, May 15, 2002 - 08:26 pm:|
Its the one where GC poses in a pair of white shorts...it's quite a famous cover...
|By Ritchie (22.214.171.124 - 126.96.36.199) on Wednesday, May 15, 2002 - 09:37 pm:|
Mmmm, John - 1977, I see. I must have been looking the other way when that one sneaked past me. To be honest, I don't think I ever heard anything solo by GCC - (apart from some Levine cuts which shall go unmentioned).
So, did "G. C." really stand for "Garbage Can"?
|By david, glasgow, scotland (188.8.131.52 - 184.108.40.206) on Thursday, May 16, 2002 - 08:26 am:|
Im going to have to ask you to elaborate on your last sentence.
|By Ritchie (220.127.116.11 - 18.104.22.168) on Thursday, May 16, 2002 - 09:24 am:|
This was from an interview with the Spinners - around the time of It's A Shame. He was asked what "G. C." stood for and he replied with a smile, "Garbage Can."
I'm trying to find the exact quote - it's in one of my scrapbooks, but it didn't come to light in a quick search this morning.
|By david, glasgow, scotland (22.214.171.124 - 126.96.36.199) on Thursday, May 16, 2002 - 09:47 am:|
Thanks for the clarification Ritchie.
It's important that everyone is aware it's not just a cheap remark.
|By thecount (188.8.131.52 - 184.108.40.206) on Friday, May 17, 2002 - 12:13 am:|
Richie, is this the picture of G.C. your refering to?also, here is a picture of the flag I got from ONE NATION UNDER A GROOVE,(Funkadelics)we are going to give this our best shot, hope this works this time. If not, b--ch out my wife.
|By thecount (220.127.116.11 - 18.104.22.168) on Friday, May 17, 2002 - 12:17 am:|
|By thecount (22.214.171.124 - 126.96.36.199) on Friday, May 17, 2002 - 12:21 am:|
|By thecount (188.8.131.52 - 184.108.40.206) on Friday, May 17, 2002 - 01:20 am:|
Once again we are trying this flag picture on a different computer..hope it works
|By thecount (220.127.116.11 - 18.104.22.168) on Friday, May 17, 2002 - 02:22 pm:|
ok gonna try it with netscape instead of ie
|By thecount (22.214.171.124 - 126.96.36.199) on Friday, May 17, 2002 - 02:31 pm:|
ok, now lets try george clinton
|By Rich (188.8.131.52 - 184.108.40.206) on Friday, May 17, 2002 - 04:51 pm:|
John Lester you are correct, You're What's Missing in My Life is a great album produced by Brian Holland. Tremendous vocalist. Given the ruffled background, this photo of GC (Clinton not Cameron) looks like it may have been taken at a theatre around '70. Bob Babbitt thread hmmm ... oh here's something, I've read in Goldmine where Bernie Worrell mentions playing on Band of Gold. Don't know if Bob would know anything about that or playing on any sessions with Bernie for HDH/Invictus. I remember that Bernie was not one of the names Bob mentioned as invictus session players on the earlier thread. I gotta give Babbitt his props as well, I had no idea he played on so many great records until I started seeing things here. From Agent Double O Soul to Mighty Love, thats one accomplished rascal.
|By BOB BABBITT (220.127.116.11 - 18.104.22.168) on Friday, May 17, 2002 - 11:44 pm:|
HEY MOTOWN-FUNK'S;.............I HAVE BEEN IN NEW YORK SINCE LAST FRIDAY AND I PROMISE TO CATCH UP WITH QUESTIONS THAT WERE ASKED TO ME THIS WEEKEND.........
THE FUNK BROTHER FILM WAS SHOWN LAST SAT. AT THE ROBERT DINERO FILM FESTIVAL AND THE RESPONSE WAS UNBELIEVABLE!!!!!!!!!!!!!! FILM GUEST ARTIST JOAN OSBORN AND MYSELF WERE THE ONLY ONES FROM THE FILM THERE, AFTER THE FILM WAS SHOWN IT SEEMED LIKE WE WOULD NEVER GET OUT OF THAT PLACE......SO MANY PEOPLE CONFRONTED US AND SPOKE TO US.......ALL POSITIVE COMMENTS WERE MADE!!!!!!!!..... I WAS TOLD AS A RESULT OF THE SHOWING OF THE FILM THAT THE FILM WAS NOMINATED FOR A "LIFETIME ACHIEVEMENT AWARD" FOR NEXT YEARS GRAMMY'S!!!!!!!!!! DEFINITELY MOVING IN THE RIGHT DIRECTION!!!!
I STAYED IN NEW JERSEY WITH MY DAUGHTER AND HER FAMILY (2 GRANDDAUGHTERS)
THEY SAW THE FILM AND WERE TOTALLY FREAKED OUT!!!!!!!! .....SPENT A FEW DAYS IN THE CITY AND SAW AND TALKED TO OLD FRIENDS AS WELL NEW FRIENDS.......ONE PERSON AT THE THEATER I KNOW EVERYONE REMEMBERS WAS KEENER DJ SCOTTY REAGEN.......HE NOW LIVES AND WORKS IN NEW YORK..........
ALSO WHILE I WAS THERE JOAN OSBORN ASKED ME TO OVERDUB BASS ON ONE OF HER SONGS FOR HER NEW CD........IT WAS A GREAT WEEK AND AS I RETURNED BACK TO NASHVILLE I FELT AS IF MORE GREAT WEEKS ARE ON THE WAY!!!!!!!!!!!!!!!!
|By Lynn Bruce (22.214.171.124 - 126.96.36.199) on Saturday, May 18, 2002 - 02:46 pm:|
Babbitt,Lynn here.To grt away from music for a moment. How's your kids doing? The last time I saw them, they were wee toddlers.A lot of water under the bridge since scufflin' for job's in funky-ass bars.Ain't grand-kids great?I,ve got three now.They live 40 miles away &I still live in the same house in dearborn,so I don't see them as much as I'd like to.(everyday). I saw Ollie Bashamie a few years ago at camp dearborn,but haven't heard his whereabouts lately.I'm at a point in my live where I don't have to work unless I want to,unlike those days of eating baloney sandwiches with a G.I.Q of beer and wondering where Norman would book our next gig.I can't tell you how happy I am for you to be getting your propper's finaly!!!I can honestly say I've never heard a musician EVER say something negative about you,not only your playing ability(thats a given)but with your personality!God Bless& Slainte-Va Lynn
|By Son of Thunder (188.8.131.52 - 184.108.40.206) on Sunday, May 19, 2002 - 03:41 am:|
Babbitt,your last post is outstanding.I want to tell you that Collectables just came out with a new Del Shannon collection.It's called "The Very Best Of Del Shannon-Runaway".It contains "Keep Searchin'","Hats off to Larry","Stranger in Town","Little Town Flirt","Do you wanna Dance", and "Handy Man".All tunes you played on.They also have Willis Jackson's The Way We Were" on CD which contains 2 tunes you arranged.You can order thru www.oldies.com or call Nina's Discount Oldies in Pa.(check business directory for #)
|By Davie G (220.127.116.11 - 18.104.22.168) on Sunday, May 19, 2002 - 06:07 pm:|
G C Cameron's full name is George Curtis Cameron.
I'm in a state of shock that his vocal for "It's
A Shame " was done in one take - an astonishing
piece of work.
|By Ritchie (22.214.171.124 - 126.96.36.199) on Sunday, May 19, 2002 - 06:36 pm:|
Thank you for that - I never knew what it stood for, as he's always referred to only as GC, even in artist biographies. I was starting to wonder if his full name had actually been classified by the CIA...
|By Bob Olhsson (188.8.131.52 - 184.108.40.206) on Sunday, May 19, 2002 - 07:28 pm:|
I don't remember exactly where we picked up the tag. Stevie had asked G.C. to stop at a certain spot towards the end of the song in order to save his voice until we knew we had everything right up to that point. G.C. had also just finished singing four passes of backgrounds with the rest of the group and there had been no breaks other than a few moments spent moving the mike.
|By harryweinger (220.127.116.11 - 18.104.22.168) on Monday, May 20, 2002 - 03:30 pm:|
Bob - that makes it all the more amazing. Will someone print that out and post it on the studio wall for the next Pro Tools session?!
|By Ralph (22.214.171.124 - 126.96.36.199) on Monday, May 20, 2002 - 03:58 pm:|
That's a good idea. I always thought the product was incorrectly named. It should be called Amatuer Tools.
|By glenn lasiuta (188.8.131.52 - 184.108.40.206) on Tuesday, May 21, 2002 - 05:00 pm:|
my name is glenn lasiuta i was wondering did you grow up off mt.elliott and oliver, i lived around mt,elliott & lynch rd i worked with johnny powers and tom gelardi at gm studio's now the disk,,,did some cuttin at sound suite,and united sound in the mid 70's with a group called innervision i think you left for ny around then,iam still in contact with johnny and tommy.nice to see your still at it ,good luck with the movie glenn
|By david, glasgow, scotland (220.127.116.11 - 18.104.22.168) on Tuesday, May 21, 2002 - 06:28 pm:|
Welcome to the forum Glenn.
I was up at GM at beginning of the month. It's quite a place.
|By glenn lasiuta (22.214.171.124 - 126.96.36.199) on Tuesday, May 21, 2002 - 10:21 pm:|
you from scottland? johnny powers plays there once a year,he was with motown in the 60''s i believe the first white artist but never released,he was with sun in the 50's ,,see you soon nice site
|By Steve Fischer (188.8.131.52 - 184.108.40.206) on Wednesday, May 22, 2002 - 12:45 am:|
Hey Bob! Since discovering this site, and visiting Detroit again, all kinds of memories and players are popping into my head! If you remember, we played a few gigs together waaay back when, at Jack Scott's Dance Ranch, among others. You, me, Vern Parker, and I can't remember who else. Do you know anything about the whereabouts of Vern Parker? I have often wondered how he was doing. Steve
|By Millie (220.127.116.11 - 18.104.22.168) on Wednesday, May 22, 2002 - 12:54 am:|
We met at Motown years ago...I worked for Ralph on the 5th floor...I believe you were friends with Mike Campbell (aka Champion)and we'd all get together at Studio B periodically and go a little crazy! This would have been the early 70's.
Anyway, I'm working on a fundraiser for the soulfuldetroit.com site, and would like to plan it for September 6th. We would videotape the event and sell it on the site. We would have musicians from all over the Detroit area bring their instruments of choice, and sit in. Lee Alan (if he agrees) will host the event. It would be absolutely wonderful if you could make a trip back to Detroit for this! Any remote possibility? You must have family here and I'm sure they'd love to see you!!! Please let me know your thoughts on this. Thanks.
|By acooolcat (22.214.171.124 - 126.96.36.199) on Wednesday, May 22, 2002 - 04:08 am:|
I guess you worked at Power House Records with Johnny Powers? Was the Innervision 45 was leased to Epic?
If you search the forum you'll find a post of mine asking for info' on "Power House" - please take a look at it and try and to remember what other artists you worked with there. Any snippets of info' would be greatly appreciated.
|By BOB BABBITT (188.8.131.52 - 184.108.40.206) on Wednesday, May 22, 2002 - 06:44 am:|
HEY MOTOWN-FUNK�S...........THE BABBITT HERE......
IF BY SOME CHANCE I MISS A QUESTION FROM SOMEONE PLEASE POST AGAIN............
MILLIE........I THINK I REMEMBER YOU, I KNOW WE CAN�T FORGET MIKE CAMPBELL, AND ALL OF THE CRAZY TIMES WITH HIM............... SEPT 6TH...IF AT ALL POSSIBLE I WILL BE THERE......THE PREMIER OF THE FUNK BROTHER FILM MAY BE CLOSE TO THAT DATE???
THE POSSIBILITY OF FUNK BROTHERS TOURING WITH JOAN OSBORN IS IN THE WORKS AND THERE IS TALK OF SEPTEMBER CONCERTS?????? WILL KEEP YOU POSTED..
GLENN LASIUTA........GO STEELERS!!!!!! SOUTH HILLS HIGH SCHOOL....LIVED IN MT. WASHINGTON AND BELTZHOOVER AREAS.........GM STUDIOS.....DENNIS COFFEY�S �SCORPIO� RECORD CUT THERE ALONG WITH MANY OTHER SESSIONS........THIS IS THE STUDIO THAT ARIFF MARDIN (ATLANTIC) USED WHEN HE CAME TO DETROIT TO RECORD, AND HDH BROUGHT THOM BELL IN TO PLAY KEYS ON SOME OF THEIR SESSIONS.....THEY BOTH WERE PRODUCERS THAT I CONSTANTLY WORKED FOR WHEN I MOVED TO THE EAST COAST (THOM BELL 14 YEARS)!!!!!!!!!! CAN YOU PLEASE TELL TOMMY GELARDI I SAID HI................
KEITH RYLAT.............O�JAY SESSION WITH JACK ASHFORD........WE DID GO TO CLEVELAND A FEW TIMES TO RECORD BUT I DON�T REMEMBER IF IT WAS THAT PARTICULAR RECORDING?? RAY MONETTE WAS FROM DETROIT.................
STEVE FISHER...........GOOD TO HEAR FROM YOU STEVE!!!!!!!!!!! THE GROUP WITH YOU, ME AND VERN PARKER.. THE �AVALONS� WITH THE ORIGINAL ROYALTONE KEYBOARDIST AND DRUMMER.........MIKE AND GREGG POPOFF...............................
ACOOLCAT.............SPYDER TURNER...............�STAND BY ME�......YOURS TRULY ON BASS
BOOGIEBASS......�JUST MY IMAGINATION�..............I DO NOT THINK I WAS YET WORKING AT MOTOWN WHEN THAT RECORD WAS RECORDED, BUT EVEN IF I WAS I THINK THAT JAMERSON PLAYED ON THAT RECORD..................
SONOFTHUNDER.....�IT�S A SHAME�.....JAMERSON...
SIGNED, SEALED AND DELIVERED� YOURS TRULY
DAVE KOVARICK.................HOPE TO SEE YOU IN DETROIT AT THE FILM PREMIER OR SEPT 6TH............I�M STILL ROCKIN�!!!!!!!!!!!!!!!!!!!!!!! IT�S TOO LATE TO DO ANYTHING ELSE............
DAVID FLYNN.................BERT DeCOTEAUX..........WHEN I MOVED TO THE EAST COAST BERT BECAME ONE OF THE ARRANGER/PRODUCERS THAT I DID A LOT OF WORK FOR.....
HE IS ONE HELL OF A TALENTED MUSICIAN, AND A GREAT GUY!!
I PLAYED ON �JUST DON�T WANT TO BE LONELY� BY MAIN INGREDIENT ( WROTE BY THE ONE AND ONLY BOBBY ELI) AND �SUPERNATURAL LOVE� BY BEN E. KING THAT BERT ARRANGED AND PRODUCED............I HAVE NOT HEARD ANY WORD AS FAR AS HIM NOT STILL BEING WITH US BUT THERE IS A SERVICE IN NEW YORK CALLED RADIO REGISTRY THAT MAY BE ABLE TO CONTACT HIM.........212-582-8800
BRADBURGER......................DARRELL BANKS............ THE STAX RECORD PROBABLY WAS UNITED SOUND AND MEMPHIS, DON DAVIS WAS RECORDING AT BOTH PLACES.....BUT THE FIRST RECORDS WERE RECORDED AT GOLDEN WORLD WITH LABARON TAYLOR AND DON DAVIS PRODUCING I THINK DARRELL WAS ON THE REVILOT RECORD LABEL........ �OPEN THE DOOR TO YOUR HEART�...BASS ...YOURS TRULY.........BOB BABBITT
|By soulboy (220.127.116.11 - 18.104.22.168) on Wednesday, May 22, 2002 - 08:07 am:|
Hey Bob, Did you ever get to work with Gamble & Huff, while you were at Philly?? .Surely there was a strong connection Between the two at one time, or did G&H favour a completely different combination of musicians to achieve a different
'musical identity' to what Thom Bell was doing?
|By harryweinger (22.214.171.124 - 126.96.36.199) on Wednesday, May 22, 2002 - 03:17 pm:|
BABBIT - Just My Imagination was cut in 1971 w/Whitfield producing. Basics were done @ Hitsville and overdubs & strings were done @ Golden World (Studio B). I am not sure it's Jamerson but it could be. P.S. Did you get the CDs?
I'll be back in the vault next week and I'll see if I can get time to run through It's A Shame. If so I will start a new thread for those interested. OLHSSON - if I ever have an opportunity to do a remix of it I would certainly lock up the original tracks to the overdubs... Hmmm... taking a trip any time soon - ? !
|By Ralph (188.8.131.52 - 184.108.40.206) on Wednesday, May 22, 2002 - 03:26 pm:|
This thread is getting a little long gang. Lets continue on BOB BABBITT 3