By Ralph (209.240.222.130 - 209.240.222.130) on Thursday, June 06, 2002 - 06:01 pm:

Anyone who has a personality bigger than life itself will naturally accumulate many threads in a discussion forum. Bob Babbitt is one such individual. Carry on Babbitt fans.

By Son of Thunder (65.129.28.200 - 65.129.28.200) on Friday, June 07, 2002 - 02:36 am:

Babbitt,I am originally from Detroit and was a close friend of Andrew Smiths'.He always spoke of you.He told me of that first 3AM session he did with you.He said you came in with a black gig bag and that you had a bounce in your step.He took an immediately liking to you.He also said the two of you would call each other"BIENBOSKI".He shared alot with me over the years.I could tell you meant alot to him.

By john coe (12.81.192.241 - 12.81.192.241) on Saturday, June 08, 2002 - 06:07 am:

Mr.Babitt,
First, thanks for taking the time to share your experiences. I am blown away by the great recordings you played on. I posted this question about a month ago, but I'll try again. Who played bass on I Can't Get Next To You by the Temptations. I have never seen Jamerson credited for that one, but it sounds like him. Was it you?

By Caleb (65.129.32.154 - 65.129.32.154) on Sunday, June 09, 2002 - 05:13 am:

Babbitt,can you comment on the record "You And Me"by Alice Cooper.You played some very nice bass on this one.What was it like working with him and producer Bob Ezrin?

By BOBBABBITT (205.188.196.27 - 205.188.196.27) on Sunday, June 09, 2002 - 10:04 pm:

HEY MO-FU�S..........THE BABBITT HERE....................
SON OF THUNDER.........YOU MUST OF BEEN CLOSE TO ANDREW SMITH, KNOWING THE NAME �BEINBOLSKI� IS LIKE KNOWING SOMEONE�S COMPUTER PASSWORD..
I HAVE POSTED A MESSAGE ABOUT ANDREW ON BABBITT # 3............
ONE THING THAT I FORGOT TO MENTION IS THAT AFTER I MOVED TO NASHVILLE ANDREW AND MY SON ALSO DEVELOPED A VERY CLOSE RELATIONSHIP, WHEN ANDREW PASSED IT WAS REALLY LIKE FAMILY............
CALEB.......ANDREW SMITH IS BURIED AT WESTLAND CEMETERY.....MICHIGAN AVE. DETROIT....I JUST SPOKE TO ANDREW�S SISTER AND HIS MOTHER, THEY ARE DOING WELL BUT ANDREW�S BROTHER BOBBY PASSED AWAY WITHIN ONE YEAR AFTER ANDREW.....
JOE COE........�I CAN�T GET NEXT TO YOU� BASS...JAMERSON (ONE OF MY FAVORITE�S)

ALICE COOPER...I DID SEVERAL ALBUM PROJECTS WITH ALICE....RECORDINGS WERE DONE IN NEW YORK AND THE BIGGEST PERCENTAGE IN TORONTO......AT THAT TIME ALICE WAS INTO DRINKING BEER MIXED WITH SOME KIND OF HARD STUFF (RUM?)
FROM WHAT I REMEMBER HE WAS AN EASY GOING GUY WHO CALLED ME �BIG GUY�
I HAVE A GREAT PICTURE OF ALICE BEATING ME AT ARM WRESTLING !!!
HIS PRODUCER BOB EZRIN WAS ONE OF THE TOP ROCK & ROLL PRODUCERS IN THE BUSINESS....THE PROJECTS THAT I RECORDED WITH BOB WERE FILLED WITH CREATIVE ENERGY AT IT�S HIGHEST PEAK!!! HIS PROCESS IN THE WAY OF PUTTING TOGETHER A FINAL TAKE WAS DIFFERENT ...HE WOULD RECORDED SEVERAL TAKE�S AND MAKE NOTES, EXAMPLE ..TAKE # 1....GOOD FIRST VERSE...TAKE # 2....GOOD INTRO AND SECOND CHORUS.. TAKE # 3..ECT. ECT...THEN THE BAND WOULD TAKE A BREAK AND GO TO A RESTAURANT TO EAT WHILE HE WOULD SPLICE THE GOOD SECTIONS TOGETHER.
THE ONE NEGATIVE THING WAS THE TEMPOS.. WE DID NOT USE A CLICK AND IF THE TEMPO VARIED FROM ONE TAKE TO ANOTHER THE SECTIONS WOULD BE GOING UP AND DOWN....WE WOULD HAVE TO CALL FROM THE RESTAURANT TO SEE IF THE EDITED VERSION WORKED AND HE HAD A TAKE........ANTICIPATION WAS ON THE FACE OF EVERYONE WAITING FOR THE ANSWER........WAS IT OK, OR DID WE HAVE TO GO BACK TO THE STUDIO AND STILL RECORD MORE TAKES?? THERE WERE TIMES WHEN HE WOULD BE HAPPY WITH THE ONE TAKE THAT WOULD BECOME THE FINAL ONE!! HE COULD BE VERY DEMANDING AT TIMES, ONE THING ABOUT EZRIN WAS HIS ABILITY TO ACTUALLY PICK UP YOUR INSTRUMENT AND PLAY WHAT HE WAS LOOKING FOR !!!! MY EXPERIENCE PLAYING FOR BOB AND SOME OF HIS SIDEMAN, GUITARIST, SONGWRITER, PRODUCER DICK WAGNER AND KEYBOARDIST, SONGWRITER, PRODUCER MICHAEL KAMEN, OPENED MY MUSICAL JOURNEY TO ANOTHER WORLD....BUT EVEN IN THIS WORLD MY DETROIT ROOTS STILL WERE PRESENT.........BOB BABBITT

By BOBBABBITT (205.188.196.27 - 205.188.196.27) on Sunday, June 09, 2002 - 10:05 pm:

SORRY JOHN COE..

By Millie (63.212.146.194 - 63.212.146.194) on Sunday, June 09, 2002 - 10:34 pm:

Hi Bob!
Hope you had a chance to look at the Motor City Musician's Reunion thread...without you there, I can't imagine why anyone else would want to come (lol)! Seriously, please check out the date (May 24/25 weekend) and book it dan-o! David will be joining us too. If there's anyone you can think of who would also enjoy the event, please don't hesitate to contact them...we want everyone in Detroit that weekend!! Are you in touch with Mike Campbell? I had a number for him in San Diego, but can't remember where I put it. If you have his number, please call him, or send it to me and I'll call him. Take care...only 50 weeks to go!!
Millie

By Ralph (209.240.222.130 - 209.240.222.130) on Sunday, June 09, 2002 - 11:00 pm:

Millie,
I received an e-mail from Joe Messina today and he asked me to keep him informed. I'm sure he will attend. One Funk Brother down...a few to go.

By Ralph (209.240.222.130 - 209.240.222.130) on Sunday, June 09, 2002 - 11:04 pm:

OOOPS...Sorry Dennis. I know you'll be there. Two Funks down...a few to go.

By Caleb (65.129.36.145 - 65.129.36.145) on Monday, June 10, 2002 - 12:06 am:

Babbitt,I see you did some work with Tim Curry from The Rocky Horror Picture Show.What was that like?He was quite a character.

By Son of Thunder (65.129.48.115 - 65.129.48.115) on Monday, June 10, 2002 - 12:55 am:

Babbitt,another album you and Andrew did was for Dionne Warwick produced by Jerry Ragovy.This too was an excellent album.Both of you in top form.Yes,I was very close with Andrew. I lost track of your career in the early 90's.How has everything been in Nashville?

By Paul Manoogian (64.173.104.134 - 64.173.104.134) on Monday, June 10, 2002 - 04:05 am:

Bob , Came across this site and couldn't believe it. I don't know if you remember me , my name is Paul Manoogian and you came to my house to play and possibly get a band together. YOu had just told me about Jeff Beck who you jamming with for awhile. I moved to LA shortly after. I still play guitar and have a band. Email me if you get a chance.There is a lot of players from Detroit out here. Tony Newton and I played a little out here in 1974 , but then I went on the road with the Archies. Anyway, take care and I hope to here from you.
potter22@yahoo.com

By david, glasgow, scotland (213.122.18.136 - 213.122.18.136) on Monday, June 10, 2002 - 07:53 am:

Welcome to the forum Paul.

By Lynn Bruce (68.41.108.38 - 68.41.108.38) on Monday, June 10, 2002 - 08:14 pm:

Bob,I still live on geneva st about five doors down from where Jim Saladis parents lived.I was outside talking to my 87 year-old neighbor about me stil playing music,when he said something interesting.He talked about calling the cops on this loud-ass band that used to practise down at the Saladis house and the band used to draw all these girls & undisirables to oxford park behind the Saladis.Remember when we would go out &practice in his back-yard and draw a crowd?I told him we always wondered who the ass-hole was that broke up practise when it was starting to get good!!!
Jim Saladi passed on last year.I never saw him much.I remember that he taped just about everything we did in his house.I wish I could have got those tapes,just to hear how we sounded back then(mainly I,m curious to hear the music we played then.

By Friday (65.129.42.40 - 65.129.42.40) on Tuesday, June 18, 2002 - 03:45 am:

Greetings Bob Babbitt,speaking of Andrew Smith I saw an album by Yoko Ono with you and Andrew on the cover.The both of your heads sticking up out of the sand.Can you comment on this experience.What was she like and did John Lennon show up at any of the sessions?

By BOBBABBITT (64.12.105.36 - 64.12.105.36) on Tuesday, June 18, 2002 - 06:20 am:

HEY MO-FU'S..SORRY I HAVE NOT ANSWERED SOME OF THE QUESTIONS BUT I WILL BEFORE THIS WEEK IS OVER..BEEN BUSY IN THE STUDIO HERE IN NASHVILLE
BOB BABBITT

By BOBBABBITT (64.12.105.48 - 64.12.105.48) on Wednesday, June 19, 2002 - 11:33 am:

FRIDAY.......YOKO ONO...NERVOUS, ECCENTRIC SCREAMING HYENA,
ANDREW SMITH AND I RECORDED AT THE RECORD PLANT IN NEW YORK CITY ONLY ONE DAY WITH HER, WHAT I REMEMBER WAS THAT THE VOCAL BOOTH HAD A COUCH AND A END TABLE WITH A LAMP ON IT, SHE SAT ON THE COUCH WHILE SHE WAS SINGING ???
ON THE END TABLE THERE WAS ALSO A BOTTLE OF HER FAVORITE ALCOHOLIC BEVERAGE, NOW FROM WHERE I SAT I COULD ONLY SEE THE END TABLE AND THE FAR ARM OF THE COUCH, IT SEEMED LIKE ALL DAY EVERY TIME I LOOKED OVER THERE I SAW HER ARM REACH OUT FOR THE BOTTLE...........THE OTHER THING THAT I REMEBER ABOUT THAT SESSION WAS ON ONE OF THE SONGS ANDREW PLAYED A BRUSH ON HIS SNARE DRUM AND ASKED THE ENGINEER TO RUN IT THRU A PHASER.........WOW. .WHAT A SOUND..
ANDREW REALLY WAS A POWERFUL FORCE!!! NO JOHN LENNON THAT DAY, BUT SHORTLY AFTER THAT ANDREW AND I RAN INTO YOKO AND JOHN�S SECRETARY, MAY PANG, WHO WE HAD MET ON THE SESSION, SHE WAS THE ONE THAT JOHN HAD AN AFFAIR WITH, SHE SAID THAT YOKO AND JOHN WERE REALLY INTO THE MOTOWN SOUND AND THAT JOHN WAS TALKING ABOUT USING US ON ONE OF HIS PROJECTS...
THAT NEVER HAPPENED................
CALEB...........TIM CURRY.......I DID 3 OR 4 ALBUMS WITH HIM, HE WAS A SOULFUL BRIT,
MICK JAGGER, DAVID BOWIE TYPE, HIS ALBUM �READ MY LIPS� WAS MY FAVORITE ONE THAT I RECORDED WITH HIM.......I ALSO WROTE SOME SONGS WITH HIM AND TOURED WITH HIM........THE PHILADELPHIA INTERNATIONAL DRUMMER CHARLES COLLINS, WHO ALSO REPLACED ANDREW FOR THOM BELL WHEN ANDREW STARTED GETTING BUSY ARRANGING AND PRODUCING, WAS ALSO CURRY�S DRUMMER, CHARLES WAS ALSO A PRETTY BIG GUY AND CURRY WOULD CALL US �THE TWIN TOWERS� THERE ARE SOME GREAT TIM CURRY STORIES THAT I WILL TALK ABOUT IN MY BOOK............
SON OF THUNDER.......NASHVILLE.........SINCE 1986........2 YEARS TOURING WITH JOAN BAEZ, 2 ALBUM PROJECTS IN MILAN ITALY WITH ROBERT PALMER, 8 YEARS TOURING WITH BRENDA LEE, LIVE AND IN THE STUDIO WITH DR. HOOK LEAD SINGER AND GUITAR PLAYER, CURRENTLY IN R&B BAND AND DOING SESSIONS WITH LA DRUMMER ED GREENE,WHO LIVES HERE NOW, ALSO RECORDING AND PRODUCING WITH SEVERAL NORWEGIAN ARTIST, WHO COME TO NASHVILLE TO RECORD, HAVE BEEN ON TOUR 5 TIMES WITH ONE OF THESE ARTIST IN NORWAY, I ALWAYS PLAYED A LITTLE PIANO SO I GOT INTO PROGRAMMING AND HAVE A MIDI STUDIO AT HOME, I HAVE FINISHED ONE BOB BABBITT CD AND I AM WORKING ON ANOTHER.......I ALSO STUDIED ACTING FOR 5 YEARS........... I AM STILL ACTIVE IN THE STUDIO SCENE HERE BUT TO GIVE YOU AN IDEA OF WHAT GOES ON DOWN HERE Y�ALL..THE FIRST 5 OR 6 YEARS THAT I WAS HERE EVERY TIME I RAN INTO A PRODUCER OR TALKED ON THE PHONE THEY WOULD SAY, �GIVE ME YOUR PHONE NUMBER, I GOT A PROJECT YOU WOULD BE PERFECT ON� WELL NEVER ONCE DID ANYBODY CALL, IT�S LIKE THEY CAN�T SAY NO TO YOU AND TELL YOU THAT THEY USE SOMEONE ELSE,IF THERE USING SOMEONE ELSE THATS COOL WITH ME, I CAN UNDERSTAND THAT, BUT YOU GET THIS FEELING OF FALSE SECURITY AND IT REALLY SUCKS... ADDED TO THAT, SOME OF THE KEY MUSICIANS THAT WERE SAYING THEY HAD PLAYED ON MOTOWN RECORDS EVEN THOUGH THE DIDN�T, �THEY KNEW THAT I KNEW WHAT THEY KNEW� NO HELP FROM THEM, JUST DISTANCE............AFTER I HAD BEEN HERE ABOUT 5 YEARS, AND EXPERIENCED WHAT WAS GOING ON I TOLD A FRIEND OF MINE THAT THE NEXT PRODUCER THAT TELLS ME HE IS GOING TO USE ME ON ONE OF HIS PROJECTS I AM GOING TO PUNCH HIM O0UT!!!!!!!!! I THEN WROTE THE FOLLOWING.....
�NASHVILLE HAT'S"
IF YOU PLAY R&B YOU CAN�T PLAY COUNTRY,
IF YOU CAN PLAY COUNTRY YOU CAN PLAY R&B,
IF YOU PLAY ROCK & ROLL YOU CAN�T PLAY COUNTRY,
BUT IF YOU PLAY COUNTRY YOU CAN PLAY ROCK & ROLL,
JAZZ, FUSION GOSPEL, LATIN, ECT ECT..................BOB BABBITT

By Rich (162.33.234.231 - 162.33.234.231) on Wednesday, June 19, 2002 - 02:03 pm:

That was a great read Bob, insightful as always. This was somewhat covered in one of your posts from a few months back, regarding who's playing bass, as far as how the actual players identities were often masked but ... can you offer an opinion as to WHY identities were kept hidden & fixes were done very queitly at Motown & Invictus, neither of which were known for giving musician credits. In the mid-to-late-70's, Motown seems to have muddied the waters even further by listing certain musicians on albums that they hadn't played on, or listing some musicians but not others, or listing the vocalists live band or even listing a conglomerate of musicians, all of which continued to mask the identity of who was actually playing. The liner notes to Marvin Gaye's 1978 album Here My Dear go as far as to say something like, thanks to all the musicians, but there are too many to list. Its a gategfold double album for cryin' out loud, too many to list ... sheesh. No propers!

BTW, your Talking Heads quiet-fix story was classic as well as quite amusing, I read a recent interview with Bernie Worrell (formerly of p-funk) in which he mentions Buster Jones doubled Tina's bass lines at many of the T-Heads live shows. Wonder who's bass was louder in the mix - LOL

By Son of Thunder (63.61.181.53 - 63.61.181.53) on Wednesday, June 19, 2002 - 06:50 pm:

Babbitt,you mentioned your son in your last post.Andrew told me you had a son who could really write a song and that he was quite a singer(top notch in both areas).Andrew was working as an A&R guy for an independent label and wanted to sign him to the label.Sounds like you've been pretty active down there.Good to hear.

By BOBBABBITT (205.188.201.141 - 205.188.201.141) on Wednesday, June 19, 2002 - 10:29 pm:

RICH........I GUESS BARRY THOUGHT IF THERE WERE CREDITS ON ALBUMS COMING OUT OF MOTOWN EVRYONE ELSE WOULD BE USING THE MUSICIANS FOR THEIR RECORDS.......
WHEN YOU THINK ABOUT IT IF THAT DID HAPPEN THE SUCCESS OF THE MOTOWN SOUND MAY HAVE NOT BEEN AS BIG?? BOB BABBITT

By HW (68.37.218.243 - 68.37.218.243) on Thursday, June 20, 2002 - 12:13 am:

In defense of Marvin Gaye (sort of)... Marvin was never good with details. All of the credits from his albums of the 1970s are there only because he dictated them out loud, if someone at Motown asked for them or if he wanted them on the LP jacket sleeve - and those were credits he could remember, high or not. The only reason there are lyrics on What's Going On, for example, is that he dictated them over the phone to Motown employee Georgia Ward - and even then they're not exact. In working on the several reissues of Marvin's 70s output, we've discovered much missing info, from engineers to horn players to core musicians. Most of those records don't list horn players as they overdubbed later, after the basic rhythm tracks, even though Marvin asked for certain guys specifically. Sometimes Marvin would pay them out of his own pocket and perhaps proper credits would have confused the union. Don't know for sure. BTW - it's DON PEAKE on Let's Get It On's famous intro, not Wah Wah Watson, although WW is on the session elsewhere. And that IS from a union contract and some pretty amazing personal memory banks

I have been able to connect some of the dots due to engineers like RUSS TERRANA and ART STEWART especially, who (thank God) would often scribble in a player's name on the session track sheet.

So, to bring this back to our man in Nashville, BOB BABBIT, and to clarify a stupid misprint in the deluxe edition of WHAT'S GOING ON... even if I've posted it before, this is a Babbit thread, so read on:

Babbit is the bass player for ALL the tracks from MERCY MERCY ME through - not 'and' - INNER CITY BLUES. Jamerson played the entire first half of the session, Babbit played all of the second half of the recording.

Peace
HW

By Caleb (63.61.181.64 - 63.61.181.64) on Thursday, June 20, 2002 - 03:39 am:

Babbitt,can you speak of what it was like working with Marvin Gaye on the "What's Going On" album?

By Rich (67.193.139.228 - 67.193.139.228) on Thursday, June 20, 2002 - 03:12 pm:

Bob & Harry, Thanks.

By Conrad72 (63.97.240.1 - 63.97.240.1) on Friday, June 21, 2002 - 03:28 pm:

Questions for Bob Babbitt:

I'm sure it varies, but how much time do you usually spend constructing/composing your bass lines for a song?

What is your preferred way to approach a song (a quick look at chord sheets, improv, a completely composed bass line, etc)?

I have heard (or read?) that Jamerson used to get a little bit offended when Valerie Simpson would write out bass lines for him and make him stick to them. Does that sort of thing bother you?

Thanks! Conrad

By john coe (12.2.233.107 - 12.2.233.107) on Friday, June 21, 2002 - 07:31 pm:

Mr. Babbitt.

I am really interested in your answers to Conrad's questions. Could you give some examples of the process you went through for a few specific songs? Also, if you come up with a bassline that ends up being a signature hook, shouldn't you get some composing credit for the song...something like Cool Jerk?

By Ed Wolfrum (165.247.229.13 - 165.247.229.13) on Friday, June 21, 2002 - 11:15 pm:

TO JOHN COE:

Session musicians and engineers are just PART of the creative process. If that were not the case considering all of the input from the great sessions players working on these projects as well as the producers and engineers there would not be room on the albums for liner notes to make room for the credits, or enough money in the bank to pay for the creative process. It is simply part of the job. And, if your ego is bigger than that, then you have no place in that part of the business. Russ Terrana, Ken Sands, Bob Ohlson, Bill Beltz, myself and Danny Dallas and Bob DeOrleans in particular have probably been left off more album credits than we have been put on. That goes even more so for the musicians, look at all the early Detroit product with no credits at all!!! The Funks played on numerous jingles for Artie Field as well, and were a big part of that creative process. He could give no credits other than a fair wage for the work done. And to add insult to injury many of the agencies he worked for ran the spots without record keeping and did not pay Artie his creative and replay fees either.

Andrew Smith and I once discussed this matter at great length, the results of this discussion can be summed up: ... this is a CRAFT, we are not artists. The credit we need comes from the personal satifaction of using the skills God gave us and giving the client the good product he paid for, and the check we put in the bank to feed our family. Thank You!!!

Pax,
Ed Wolfrum

By Son of Thunder (63.61.181.76 - 63.61.181.76) on Sunday, June 23, 2002 - 05:07 am:

Babbitt,do you remember a tune you did with Andrew and Perry Boyd called"Goodbye Love(We're Through)".The artist was Act 1 on Spring Records.Perry Boyd was on fire vocally.Tune brought tingles to the body.

By Ralph (209.240.222.130 - 209.240.222.130) on Sunday, June 23, 2002 - 03:15 pm:

Ed makes a good point. the reason all are in the studio together in the first place is because they are professionals. For creative input to be withheld by any one individual for reasons of lack of monitary gain would have been totally unprofessional.

By Bob Olhsson (68.32.101.228 - 68.32.101.228) on Sunday, June 23, 2002 - 03:24 pm:

What's funny is that Nashville and the west coast both tend to accuse every other recording center of a "non-professional" attitude. From what I've been able to figure out over the past 40 years, great records are almost always great collaborations. Collaboration is what's missing from too many projects today and it shows in the feeling.

By John Lester (213.1.128.99 - 213.1.128.99) on Sunday, June 23, 2002 - 05:46 pm:

Son of Thunder

You and me must have been painted with teh same brush....nobody I have ever known has even mentioned that song to me, let alone consider a great one.

Right behind you there mate..I got it as a b side....

By Davie Gordon (213.251.162.249 - 213.251.162.249) on Sunday, June 23, 2002 - 06:25 pm:

Re Act 1's "Goodbye Love" - probably my
favourite track on the album - I could never understand why it was not promoted as an
A-side

By John Lester (213.122.204.149 - 213.122.204.149) on Sunday, June 23, 2002 - 07:10 pm:

I seem to recall it WAS flipped over a couple of times....

The top side was Tom the Peeper (UK Mercury) which was one that this old 'un used to dance to a few years ago now...but I do recall hearing Goodbye Love (We're Through) on the radio..

By Friday (63.61.181.116 - 63.61.181.116) on Sunday, June 23, 2002 - 09:47 pm:

John Lester,is it possible to get a cassette copy of "Goodbye Love(We're Through)"from you.I will compensate-if so,do you have an e-mail address for address information. Thank you

By JOhn Lester (213.1.135.92 - 213.1.135.92) on Sunday, June 23, 2002 - 10:07 pm:

FRiday.....

Nothing is impossible but at present..I am a bit overloaded with sending out (SIGNED) copies of Dennis's book....

Davie, Son Of Thunder..can you help out here

By Friday (63.61.181.117 - 63.61.181.117) on Sunday, June 23, 2002 - 10:55 pm:

Davie Gordon,looking to get a cassette copy of "Goodbye Love(We're Through)".Can you help with this.I will compensate.

By BOBBABBITT (152.163.207.52 - 152.163.207.52) on Monday, June 24, 2002 - 02:41 am:

HEY MO-FU'S..........THE BABBITT HERE..........
NEED A FEW DAYS TO ANSWER QUESTIONS........

By Son of Thunder (63.61.181.95 - 63.61.181.95) on Tuesday, June 25, 2002 - 03:01 am:

Babbitt,I checked out the trailer for the movie.The bass sound is phenomenal.Also,Joan Osborne is the real deal.

By detroit gal (64.12.107.31 - 64.12.107.31) on Tuesday, June 25, 2002 - 03:31 am:

Joan Osborne was a big surprise, when I saw some footage! She can sing, and seemed to like the Funks a lot.

By BOBBABBITT (205.188.200.52 - 205.188.200.52) on Tuesday, June 25, 2002 - 06:08 am:

HARRY W......THANKS FOR THE MENTION OF THE CREDITS ON THE WHAT�S GOING ON CD...................

CALEB........MARVIN GAYE.......TALENTED, CREATIVE GENIUS..
I PLAYED LIVE WITH HIM SEVERAL TIMES BEFORE RECORDING WITH HIM...........I REMEMBER HIM JOGGING TO THE STUDIO FOR SOME OF THE SESSIONS THAT I HAD DONE FOR HIM........AGAIN THE �WHAT�S GOING ON� ALBUM WAS ANOTHER DAY AT THE OFFICE FOR THE FUNKS........NOT REALIZING THE IMPACT THAT IT WOULD HAVE ON THE MUSIC WORLD AS WELL AS THE ENTIRE WORLD.......ALTHOUGH I DO RECALL THAT THE FEELING ON THE SESSIONS WAS THAT SOMETHING DIFFERENT WAS HAPPENING...MARVIN DID PLAY THE PIANO....
THE STORY I HEARD WAS THAT BECAUSE OF THE LYRIC CONTENT BARRY DID NOT WANT TO RELEASE THE RECORD..........WOW! CAN YOU IMAGINE THAT????.

CONRAD & JOHN COE...............THE CREATIVE CONTRIBUTION OF A STUDIO MUSICIAN, DOES NOT NECESSARILY MEAN IF YOU PLAY A SIGNATURE HOOK LINE YOU WOULD GET CREDIT FOR COMPOSING, (THERE WERE A FEW RECORDS IN NEW YORK THAT I PLAYED ON THAT I CAME UP WITH A BASS PART AND THE WRITER (S) ALSO GAVE ME CREDIT FOR COMPOSING) THE ABILITY TO READ IS VERY IMPORTANT, A PRODUCER OR AN ARRANGER MAY WANT TO DEFINITELY HEAR THE WRITTEN PART, MAYBE JAMERSON�S CONCEPT OF WHAT HE THOUGHT SHOULD HAVE BEEN VALARIE SIMPSON�S BASS PARTS WAS NOT WHAT SHE WAS LOOKING FOR, IF HE REFUSED TO READ EXACTLY WHAT WAS ON THE MUSIC THERE MAY HAVE BEEN A PROBLEM, AS FAR AS MYSELF, NO PROBLEM...IF THE WRITTEN PART FEELS GOOD I WILL PLAY IT NOTE FOR NOTE IF THAT�S WHAT THEY WANT, BUT IF THERE IS SOMETHING THAT BOTHERS ME I WILL MENTION IT...... WHATEVER WAY, TO GET INTO THE FEEL AND THE HEART AND SOUL OF THE SONG IS THE MAIN THING...........

SON OF THUNDER.........THE ACT 1 GROUP ON SPRING RECORDS.......
GREAT ALBUM.. WOULD LOVE TO HAVE IT!! ANDREW SMITH AND MYSELF NOT ONLY PLAYED ON THE ALBUM, BUT WITH ACT 1 VOCALIST PERRY BOYD WE WROTE SOME OF THE SONGS...PERRY MOVED FROM DETROIT THE SAME TIME ANDREW AND I DID...I THINK THAT THE ACT 1 ALBUM FEATURED ANDREWS FIRST STRING ARRANGEMENTS.........

MATT.........�ROLY POLY MICKEY LOLICH�.......1968 DETROIT TIGERS WIN THE WORLD SERIES, IT�S A WEDNESDAY AFTERNOON, AFTER THE GAME I WROTE THE SONG, CALLED UP GEORGE KATSAKIS, BARI SAX, MARCUS TERRY, DRUMS, AND GUITAR PLAYER SHERRILL PARKER, THE 3 PLAYED IN A BAND CALLED THE COURT JESTERS, AFTER THEIR CLUB GIG THEY CAME TO RICHARD BECKER�S PAC-3 STUDIO FOR A 3 AM SESSION.. WITH YOURS TRULY ON BASS THE 4 OF US CUT THE TRACK, I THEN OVERDUBBED GARY SALISBURY ON VOCALS, THE NEXT DAY I PERSONALLY PUT A COUPLE OF KEYBOARD PARTS ON, SOME SOUND EFFECTS, AND MIXED IT....THAT NIGHT (THURSDAY) I PLAYED IT FOR CARL CISCO, WHO HAD A RECORD COMPANY WITH TOM SHANNON, A LOCAL DJ WHO ALSO HAD A TV SHOW........THEY LIKED IT, PRESSED SOME RECORDS AND 2 DAYS LATER ON SATURDAY IT WAS PLAYED ON TOM�S TV SHOW!! RADIO STATION KEENER (SCOTT REAGAN) PLAYED IT FOR ONE MONTH AND THE SALES EXCEEDED 100,000!!!!!!!!!!!! THAT�S ANOTHER RECORD I DON�T HAVE A COPY OF.........

MOTOWN FUNK'S.........MIKE AND RAY......SOON!!

By Friday (63.61.181.25 - 63.61.181.25) on Tuesday, June 25, 2002 - 07:05 am:

Babbitt,I see you did some work with Elton John.Can you share a little bit about the sessions you did with him and what he was like?

By HW (68.37.216.64 - 68.37.216.64) on Tuesday, June 25, 2002 - 12:01 pm:

Babbitt & the group - we are putting the 'regular' version of What's Going On album back in print on CD this fall (right now the 2-CD deluxe edition is available), and we'll get the credits tweaked/restored for that one, even correct the cover (put Van De Pitte's name back on it). Speaking of credits: Babbitt or Ralph or Russ or Bob or Ed or... - do you remember an engineer named Nate Jennings?

Babbit - rock on - the stories are great

By Ralph (209.240.222.130 - 209.240.222.130) on Tuesday, June 25, 2002 - 01:20 pm:

Yes Harry. I remember Nate very well. A very talented, intelligent guy.

By hw (12.110.192.128 - 12.110.192.128) on Tuesday, June 25, 2002 - 03:52 pm:

Thanks Ralph. As these things happen, he surfaced after the deluxe WGO and Ben Edmonds' book had already come out. He still lives in Detroit. I'll see if he wants to join us. Maybe we should start an engineers' thread.

So, anyway, we'll get to put Nate in the list of credits now, after 31 years.

HW

By JL (213.122.204.37 - 213.122.204.37) on Tuesday, June 25, 2002 - 04:47 pm:

HARRY - make sure you are clear about his check letter.

By Ralph (209.240.222.130 - 209.240.222.130) on Tuesday, June 25, 2002 - 07:21 pm:

Harry,
I think it would be great to see Nate here. An engineering thread might be a good idea.

By HW (68.37.216.64 - 68.37.216.64) on Wednesday, June 26, 2002 - 02:09 am:

JL - what do you mean re Nate's check letter? I don't know what it is. If you mean ask him what his was, I will.

Ralph, if you like we can swap info re Nate privately.

By Ralph (209.240.222.130 - 209.240.222.130) on Wednesday, June 26, 2002 - 03:24 am:

No problem Harry. I don't have a lot but I'll tell you what I know about Nate.

By BOBBABBITT (64.12.103.31 - 64.12.103.31) on Wednesday, June 26, 2002 - 06:05 am:

MIKE AND RAY

AT A SESSION AT GOLDEN WORLD FOR ED WINGATE I NOTICED TWO FACES WATCHING ME FROM INSIDE THE CONTROL ROOM....AFTER THE SESSION THEY APPROACHED ME AND INTRODUCED THEMSELVES....MIKE CAMPBELL AND RAY MONNETTE....
BOTH OF THEM SANG AND WROTE THEIR OWN SONGS AND AT THAT TIME I THINK THEY WERE SIGNED WITH JACK ASHFORD AS ARTIST, RAY WAS ALSO A GUITAR PLAYER AND MIKE WAS THE MAIN SINGER, I TOOK A LIKING TO THEM AND THE THREE OF US GOT TOGETHER TO JUST PLAY SOME MUSIC, MIKE ALSO PLAYED CONGO�S AND HARMONICA, WE STARTED TO WRITE SOME SONGS THAT WERE RECORDED BY SOME OF THE LOCAL ARTIST, BY THEN THE FRIENDSHIP WAS GROWING, AT SOME POINT THEY WERE NOT SIGNED WITH JACK ANYMORE AND WE THEN DECIDED TO DO A SELF CONTAINED GROUP THING, WITH NOT ONLY THE CONCEPT OF THE R&B FEEL, WHICH RAY AND MIKE BOTH HAD A HANDLE ON, ( THE FIRST SESSION THAT I DID WITH RAY WAS �COOL JERK�) BUT ALSO TUNES WITH A HARD EDGE FUNK SOUL ROCK, A BEATLE�S FLAVOR, POP SOUNDING, SLY AND THE FAMILY STONE, JIMI HENDRIX, AND CREAM MIXED TOGETHER, WE THEN ASKED ANDREW SMITH TO PLAY WITH US AND WHAT HE CONTRIBUTED TOOK IT YET TO ANOTHER LEVEL........................... BY THE WAY WE STARTED THIS BEFORE THE COMING OF SLY AND HENDRIX........ WE MADE DEMOS, SIGNED A DEAL WITH CAPITOL, THEN AFTER WE RECORDED THE ALBUM AT TERA SHIRMA STUDIO UNDER THE NAME �SCORPION� CAPITOL REFUSED IT AND WE HIT THE STREETS AND POUNDED THE DOORS IN DETROIT, L A, AND NEW YORK WITH NO LUCK WITH THE EXCEPTION OF ARMAN BALADIAN (WESTBOUND RECORDS) BUT WE TURNED HIM DOWN THINKING HIS LABEL COULD NOT DO THE JOB.........THEN SOMEONE FROM TOWER RECORDS (PINK FLOYDS LABEL AT THAT TIME) HEARD THE ALBUM AND WE MADE A DEAL WITH THEM.........BUT.......CAPITOL, WHO REFUSED IT ORIGINALLY, OWNED TOWER RECORDS......... AND EVEN THOUGH THERE WAS HEAVY PROMOTION STARTED BEFORE THE RELEASE OF THE ALBUM, CAPITOL FIRED EVERYONE THAT WAS BEHIND US AT THE LABEL AND DEFUNCT THE TOWER RECORD LABEL............ANOTHER ALBUM I WISH I COULD LOCATE..............AFTER THAT THE GROUP SIGNED WITH MOTOWN AND THE FIRST THING THAT HAPPENED WAS THAT THE RARE EARTH GROUP OFFERED RAY THE GUITAR SPOT, WE THEN RECORDED SOME THINGS WITH PAUL WARREN PLAYING GUITAR, BUT ANYTHING WE HAD RECORDED FOR THE SCORPION GROUP NEVER WAS FINISHED OR RELEASED, SHORTLY AFTER THAT THE DETROIT MOTOWN DAYS WERE HISTORY.. MIKE MADE THE MOVE TO MOTOWN LA WHERE HE GOT INTO ACTING....AS AN ACTOR HE APPEARED IN QUITE A FEW MOVIES AND COMMERCIALS BUT DECIDED IT WAS NOT FOR HIM, HE NOW HAS 4 KIDS AND LIVES WYOMING OR MONTANA, I THINK HE IS SELLING CARS? AND RAY LIVES IN DETROIT AND IS STILL WITH THE RARE EARTH GROUP..

By claudezachary (64.209.76.85 - 64.209.76.85) on Wednesday, June 26, 2002 - 06:09 pm:

Hey Bob could you talk about "Midnight Lighting", what was the deal with that? Who is Alan Schwartenburg? Why did someone decide to add to a Hendrix recording after he died?

Also, am I correct that you play on the first song of the first Funkadelic record?

Your the only person other than Buddy Miles who's been on a Hendrix & Funkadelic album?

By Conrad72 (63.97.240.1 - 63.97.240.1) on Thursday, June 27, 2002 - 05:08 pm:

OK, I'm showing my age here (really a lack of age)...Anybody care to recommend some "essential" albums featuring Bob Babbitt on the bass? I am really interested in those that he plays on from start to finish if possible. There are just so many to choose from, which makes it difficult. Your opinions are greatly appreciated...and perhaps Mr Babbitt has some opinions of his own on this topic?

Thanks

Conrad(born in)72

By david, glasgow, scotland (62.252.128.5 - 62.252.128.5) on Thursday, June 27, 2002 - 05:32 pm:

I think that's an excellent question CONRAD.

One that Bob will surely thrive on.

Look forward to it.

By john lester (213.122.201.39 - 213.122.201.39) on Thursday, June 27, 2002 - 05:43 pm:

Just nmake sure it has the Chairman of the Board's TRY ON MY LOVE FOR SIZE.

That bass line is just orgasimic!!

By soulboy (213.105.242.198 - 213.105.242.198) on Thursday, June 27, 2002 - 06:59 pm:

From what i remember that was the 'b' side of 'working on a building of love' It sounds like the bass is using an octave type pattern, maybe using the 'slap' bass style that was common in 70s.

By RALPH (209.240.222.130 - 209.240.222.130) on Thursday, June 27, 2002 - 09:00 pm:

HEY GANG...LETS CLOSE THIS THREAD. GETTING A LITTLE LENGTHY......THIS THREAD IS CLOSED....GO TO BOB BABBITT 5....NOW CLOSED................................................................./////////////////////////////..................................>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<???????????????????::::::::::::::"""""""""""""""""}]]]]]]]][[[[[[[[[[