By Ralph (209.240.198.62) on Tuesday, October 29, 2002 - 05:31 pm:
| By Ralph (209.240.198.62) on Tuesday, October 29, 2002 - 05:31 pm: |
A continuation of the Greystone Ballroom thread. Mikie, you are ALWAYS thought provoking old friend. Keep talking to us.
| By larry4kevgo (216.23.183.2) on Tuesday, October 29, 2002 - 05:47 pm: |
By KevGo (64.115.26.80) on Wednesday, October 30, 2002 - 05:25 am:
Mike:
Get an outline together, pull that interview you did for Audio or Mix magazines on how the Motown Sound was created, line up all your colleagues, friends and every Motowner you've worked with from Raynoma Singleton to BG himself and submit everything to a publisher. Believe me, YOUR BOOK ON HOW THE MOTOWN SOUND WAS CREATED WILL SELL!!! This will be the equivalent to getting the combination to the locks at Fort Knox. There are enough people on this site alone from Sue to HW to Ralph Terrana to Dennis Coffey (and yours truly)who can (AND WILL) rally on your behalf.
Your friend always,
KevGo
| By Carl Dixon London (195.153.219.170) on Tuesday, October 29, 2002 - 06:29 pm: |
That's an interesting angle Mike - a technical insight to how things were done when you were there. I would certainly be interested in a copy, as long as you would autograph it for me. I think it is a great idea and you should pursue it without a doubt. Your humour and delivery alone would make it a valuable contribution to the Motown Phenomenon compared to the more music-based publications. I can see it now gracing my bookshelf along with Vicki and Ludie's book, Dennis Coffey's, Dave Rimmer's all people who have contributed to soulfuldetroit. I also think David Meikle should put pen to paper to. From a Scottish perspective, the record collection, the visits to Detroit and the history of the studios. It would be fantastic. Why is all this important? Because we need it now and for the future. It keeps us informed and sets the record straight and makes what was done in the past even more for significant.
| By Ed Wolfrum (165.121.215.151) on Wednesday, October 30, 2002 - 09:27 am: |
Mike,
I second that book idea. You will have the time after you retire. I have a few pictures that I would be happy to contribute...of the mastering room with Russ, of GW after the stripout. You are more than capable of telling this story and with your great sense of humor?, I'm certain it would be a commercial success as well.
You could write a thesis on the problems of monitoring systems as a chapter!!! (And perhaps another chapter on the politic of Motown and how you got things done.)
A chapter on Jimmy and Joe Siracuse would be nice as many sessions were done there before you fixed the Snakepit up.
How about one on Martin Vogt. I'll never forget the time you got him on your motorcycle. He used to talk about that all the time to Sue and me. And the great stories about John Windt. Stevie with that Voice of Music recorder of his, always banging down the stairs, to the shop to get it fixed.
The 8 track recorder project is another chapter.
Well, get busy. We're all waiting!!!
Ed
| By larry (12.141.160.25) on Wednesday, October 30, 2002 - 12:20 pm: |
Title of the Book could be called
"The Odyssey of Mike Mclean- Perspectives on the Perversion of Sound".
I say perversion because that is the word Mike used whilst listening to a new unreleased soundtrack to a yet to be released cartoon produced at Warner Brothers. It was a Rock-n-Roll track that a technician had doubts about.
Mike pulled out his Tektronix scope to check the waveform. Waves were squared off at the top which meant Hard Limiting. Of course before Mike scoped the track his face was squinched up in pain from the auditory raping (another Mclean word) of his senses.
I was invited (and jumped at the oppty) to hang with Mike last night.
The man is an inspiration. He's all rennaissance. I thought he was an angry, alcoholic, bitter guy. He jokingly admitted he is, but, in reality...
Mike Mclean has a scientist mind, who never went to school. He got his PhD at Motown.
Cut all his teeth there. He's a nutty professor, uncompromising with the scientist method, ever-searching and exploring the how's and why's of sound, electronics and life.
He's also got a great wit with a big laugh and a ton of jokes (clean to dirty ration 1:9).
He's not lost his inner child (we watched his favorite cartoon inside the Warner Brothers vaults).
He's still inventing things. He's got that T.A.Edison 'thing' big time. He showed me his new 10 channel mixer to be installed at the WB Theatre where all the Bigwigs view new Product. It's a simple Professional unit. One of the main ingredients? "Matched Components!!"
My Ampeg B15's tubes are supposed to be matched.
After hanging with Mike, I want to throw those puppies on a Scope to see for myself. I want to learn circuits and check on the CAPs, resistors et al. and get my Amp REALLY sounding great!
Mike has an issue of some Pro Audio magazine that features him and his work at Motown. SD would really dig this. I didn't have a chance to read it, but the pictures were great; it was a serious spread. Gotta get that scanned Mike and share it with us at SD.
I could go on and on and on....
I'm blessed to have hung with such a Mind.
| By M.McLeanTech (66.218.40.154) on Wednesday, October 30, 2002 - 03:27 pm: |
Larry,
It's true. Larry and I connected up and spent about fours together at work, last night. I showed him how I go about doing my job. I gave him a tour of WB Animation. We went out and had a couple of Chinese chicken salids at $7.50 each, and Larry absolutly insisted on picking up the tab. I had a wonderful time. Larry is a fine professional diplomat in every sense of the word. (We used to call such a person a "Master Salesman" before it became politically incorrect.)
I finally got all my work done at about 3:15 AM, but it was well worth the trouble. Larry was a wonderful tonic for the depression that has been bothering me. We have set up a plan to spend this coming Sunday on various things like going over to my friend George's house and watching some movies. George has full double projector (for changeovers) film capability for both 16 and 35 MM screenings in his home, with a vast collection of old prints. We also are going to spend some time at my house. Perhaps we will make a project of doing that Graystone acetate transfer to CD.
In one of their films, Oliver Hardy picks up Stan Laural at the veterans hospital after not seeing him for 20 years. They are full of joy at being reunited, and Ollie invites Stan over to his home for a nice juicey steak. As they are leaving to get into the car, Ollie asks Stan if he ever got over being so stupid and nutty. Stan replys "Oh! That problem is solved. I'm better now." This is the cue for the start of a series of horrible pratfalls caused by Stan's stupidity, that cause Ollie endless difficulities.
I have been down in the dumps for quite some time, but Larry's wonderful visit has really cheered me up. I'm better now.
One small point, Larry: That device that I showed you is not a 10 channel MIXER. It is a VCA based "10 gang" volume control for a theatre speaker system. The 10 speakers are left, center, right, and subwoofer (all at the screen), and six surrounds: three on left wall and three on right wall: front, mid, and rear. The 10 outputs of the unit are connected to the inputs of the 10 speaker power amplifiers. The 10 inputs of the unit are connected to 10 jacks, and may be patched into from any source: each speaker has a discreet input. The control panel has four DC pots that control: Overall volume (all 10), Surround volume (the 6 surrounds in relation to the 4 fronts), Front left-right balance, and Surround left right balance.
Note that this device has no capability to MIX the sound whatever.
At any rate, I am looking forward to our Sunday. Perhaps I can get Larry to go for a ride on the back of my motorcycle. I'm better now.
Thanks, Larry, for your many kind words. I just wish that I could respond to all the many kind things that have been posted lately. Until I get out from under the grind of this job, in a couple of months, I just don't have the time to do more then blast off like this now and then at my whim. It is not fair, but I just don't have enough time.
Thanks, Larry and all the others.
Mike McLean
| By M.McLeanTech (66.218.40.154) on Wednesday, October 30, 2002 - 03:45 pm: |
Regarding the book:
I have been considering the possibility of such a project for years. I always seem to feel that the best format would be an autobiography, as opposed to a book about "My Years At Motown."
Frankly, I don't see how one could ever understand how I interacted with Motown, unless one had a full understanding of my entire background, which was not exactly like that depicted on the "Rosanne" show starring Rosanne Barr and (was it?) John Goodman.
The big problem about writing a book is that I loath putting inaccurate information into print. All I have is the impressions in my mind about what happened. The mind mixes up the facts after all these years. I guess I would make a good historian, because such activity, if it is to be of any value, must be ACCURATE!
Perhaps if I wrote a preface to the book proclaiming the possibility that the book is full of historical error, and inviting comments and corrections, I could then do a light hearted "brain dump" that would be "somewhere in the ball park" historically, and fun to read.
The trouble is that if one is not careful, that dump that one is taking can drift from the brain to other parts of the body.
It is quite a challange to put together something like that in such a way that it is interesting and fun, while maintaining dignity through careful attention to honesty.
I know that I don't have the energy to do the kind of serious research that is mandatory for a serious book about the history of my activities at Motown. I can just see myself asking Mrs. Edwards if I can dig through all the old files and read all the memos (assuming that they still exist) so I can be sure of the facts about various stories. No way!
I hope that this will help those who have expressed interest to understand the situation.
Thank you for your encouragment.
Mike McLean
| By Ralph (209.240.198.62) on Wednesday, October 30, 2002 - 03:54 pm: |
Hell Mike,
Everytinh i have written on the Soulful Detroit website is from the perspective of my memory. i sometimes have to wonder at this myself. ( I mean it was Ed Wolfrum who corrected me when I mentioned that Tera Shirma Studio A had an old Gates board in the control room when in fact it was United Sound's old Langevin ) So you do the best that you can. after all you will be retired soon and how many clutches can you install before you start to get balmy?
| By Larry (216.23.183.2) on Wednesday, October 30, 2002 - 05:34 pm: |
Mike,
You're very kind (i'm blushing).
Sunday!
| By Ed Wolfrum (165.121.215.151) on Wednesday, October 30, 2002 - 08:32 pm: |
Hello Mike,
I think with all of us we want to be accurate with our perspective but many of the details just don't remain accurate. (After all, its been over 30 years for some of it.) I have been corrected in my thoughts by the many pictures that I had taken.
In any case, just as Ralph says, even if it is not 100% accurate, it must be preserved because those coming after us will have it even less accurate. Just as you corrected me on the Choker Cambell sessions, others, perhaps on the forum, will have good input as well. But we must preserve what we experienced simply for the sake of history. I knew of the history of the Terra Shirma console from what Jimmy & Joe had told me. (Joe loved that old board.)
Another nice thing about the forum is that it gives us a chance to bounce these memories off others who were there with us.
| By Sue (152.163.188.68) on Wednesday, October 30, 2002 - 10:03 pm: |
Hey Mike,
Now you're on my territory -- writing. I can tell you, the best thing someone who's writing a memoir of any kind can do is act like a reporter, talk to the people you knew along the way and their memories will pique yours. People remember different things, and talking to them can prompt you to recall some great stuff.
So I agree one's memories are valuable, but we all can do better. You really can tweak your brain very easily, and get even better and more accurate memories going when you talk to as many folks as possible who interacted with you ...
Just talking briefly to a girl I went to see the Beatles with was wild. I'd forgotten that she was sick, that she was sitting on the curb on Grand River for some time ...that we made up these weird bumper stickers. Blah blah ...
| By john c (12.81.192.73) on Thursday, October 31, 2002 - 01:27 am: |
Mike,
75% of your posts are over my head, and I'm not just talking about the tech stuff. But, man,it sure is entertaining. I love reading them and it does give me a feel for what is was like from a different and important perspective. And you are very funny. Write the book!
| By larry (12.141.160.25) on Thursday, October 31, 2002 - 05:03 am: |
Book! Book! Book! Book!
Thinking of Mike and his involvement with Motown, I'm reminded how any great work, be it music, film, a garden, a fine meal, requires dedication and a striving to do (to be) the best.
It takes LOVE.
That's another thing so great about SD.
Everybody up here is in LOVE with something.
Right on! Peace Out!
| By M.McLeanTech (66.218.59.81) on Thursday, October 31, 2002 - 08:02 am: |
The Graystone Ballroom was the subject!
START PASTE IN
Greystone Ballroom, Detroit
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SoulfulDetroit.com FORUM: SoulfulDetroit Forum: MIKE MCLEAN: Greystone Ballroom, Detroit
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By JSmith (212.39.231.20) on Tuesday, October 15, 2002 - 03:01 pm:
I know a number of threads here have dealt with local Detroit venues from back in the day (20 Grand, Phelps, etc.) but I don't recall much being said about the Greystone Ballroom. As I understand it, Motown owned this at one time and conducted 'Battle of the Band' concerts here. Anyone recall these at all ???
END PASTE IN
Thank you for your stimulating inquiry. I apologize for totally destroying the spirit of your fine question. The present thread should be called "Graystone 2." Let me try to make it up to you:
The following account is only casual recollection. There is a considerable possibility of factual error. I will try to be accurate, but it is a lot of work to be really accurate, so here is the slipshod free job:
It must have been in the early spring of 1963 that Berry Gordy Jr. got the hots and purchased the Graystone Ballroom. I say spring, because by the time we got the place up and running and they were holding events, the weather was very hot.
I remember that at the time we were installing the fancy sound system, Ralph Seltzer had just joined the company, and we had a fellow named Paul Fields working in the Engineering Dept. I am able to establish the date by a convoluted path of memories involving this fellow, and a girlfriend, which would fry everybody (more sex stuff) if I told the details.
I now feel fairly sure that I am correct. (About THE date, not MY date: by the time she got through working us over, my mind was Swiss cheese.) The funny highlight was when Paul got bored standing around while I had my turn, and snooped in her bathroom. He found a jar of "NAIR" depilatory cream in the medicine chest. Just as I was getting things tuned in, I felt a hand touch me. I thought nothing of it. I thought it was a loving caress from her. Next day I discovered a pubic bald spot that looked like it had been made by a red-hot golf ball.
That Paul was one wild and crazy guy. He was part of the crew when we installed the first round of loudspeakers, which proved to be a total failure, and were replaced by the second, mind blowing setup. This was the monster that caused Ralph Seltzer to turn white as a ghost when it almost fell fifty feet from it's position suspended just below the domed ceiling. During that first unsuccessful installation, an incident occurred: Paul had been bragging that he could drink a case of 24 twelve ounce beers in an evening. I wanted to have my crew fully motivated, so I picked up three cases: One for Me, one for Paul, and the rest for the normal members of the crew.
I never saw anything like Paul Fields. He was about five foot four, and weighed about 155 pounds. At the start of the (evening) speaker installation session, he introduced me to his prowess by picking up two Bud long necks in a row and chugging them both down in about 40 seconds. This was a fellow who was serious about being a wild and crazy guy.
Naturally, I reciprocated, in order to save face. Three hours later, Paul's case of beer was full of empties. I was standing on the top of a fifteen-foot ladder, on the very top, doing a circus act pressing a University "sound column" (which contained 6 eight-inch speakers) over my head. I still had nine full ones left, and the crew were begging me to stop showing off. Paul was laughing his ass off. That pissed me off, so I pronounced, as I held the speaker system over my head: "You won Paul, but that's it for you. There is no way that you can finish up the rest that I have left over!"
Half an hour later, he had drunk the rest of the beers from my case, and the funny thing is that he was very helpful all evening. By the time we got through, we had successfully achieved our objectives for the evening.
John Windt, a distinguished and well-known audio engineer, was present on this occasion. He was part of the crew. John and I used to play chess two years before I got my job at Motown. He drove me down to HITSVILLE, in his 1953 Ford, and waited in front of the building while I applied for the job. I spoke to Berry, and returned to the warmth of the car. It was January, 1961. It was cold and bleak, and there was snow all around. He then insisted on going in and applying for the job himself. We were both living with our parents, and barely getting by. At the time, my mind was totally blown away by all that I had been through from the time that I walked in the door. First I had met the receptionist, Janie Bradford (co-writer of the song "Money" with Berry and Barrett Strong,) and had experienced the awesome power that she could hold over a baby from the suburbs as she ran her "dog and pony show" on me. (Not to mention the impression that Berry's interview had made.)
My mind was so totally blown that I didn't care what John did. He spent about as much time being interviewed as I had. As we drove home, we discussed our impressions. John is the son of the man who was, at that time, the assistant to the chief auditor of the Ford Motor Company. His remarks tended to be of a business and fiscal nature, as I remember them. My impression was that we two, as we talked, were at two ends of a teeter-totter: Motown was at the fulcrum, and I was mentally in a tornado of feelings and thoughts about the possibilities (I had the ultra hots for buying an Ampex 351-2), while he was concerned with discussing what he knew about good business practices, and his impressions about the music business (he had a job at the Bell Record Shop, in Redford.)
At any rate, I got the job. Not long after, I hired John. He worked for me for several years. It was John who actually picked up all the pieces of my project to build an eight-track, one-inch multi-track recorder for Motown, and pulled it together and finished it up.
I was bummed out by all the trouble that we had experienced with vendors. We originally ordered the magnetic head assembly from Lipps, Inc. in Santa Monica, CA. Edwin Lipps was a hot family outfit that got going in the late 40's, right after Ampex started happening with the Model 300, and Magnacord, in Chicago, came out with their PT-6 series of cheap equipment. Those were the days. It was about 1951. My Dad had taken me down to KLA Labs, on Woodward Avenue in Detroit, to see the "Audio Show." I remember three things about that evening as clear as yesterday:
1. I heard the first stereophonic sound demonstration that I ever heard in my life. It was a playback on a Magnacord staggered head (dual half track) machine, feeding a pair of the then sensational, and brand new, ElectroVoice "Compound Diffraction Projectors." This was their attempt to take the business away from University Loudspeakers and their status-quo "reflex trumpet" which was something I remember well during the polio scare. There used to be a gigantic complex of swimming pools on Bert Road: The Brennen Pools. Right about the time of the Senator Joseph McCarthy hearings, I took the bus down there, alone. I wanted to go swimming. This was the hip thing to do. I remember this huge group of pools, all packed with people. It was truly awesome.
Dr. Sauk had not invented the polio vaccine yet. I was obsessed with how cool Edward R. Murrow was!!!! Polio was a fear in the heart of every mother. Yet the pool complex was packed. I stared at the sight. At the time, I was nuts about reading books about the story of the great inventor Edwin H. Armstrong. He invented the regenerative detector (which first allowed incoming radio signals to be "magnified",) the superhetrodyne principal (which allowed the selectivity of a radio receiver to be made optimum at all frequencies in the operating range while at the same time providing a vast lowering of cost,) and FM radio (which was the first thing in my life that provided me with a high fidelity signal source with which to explore the possibilities of high quality sound, as a source of "kicks.") Cell phones today are totally dependent upon the superhetrodyne invention that he patented.
I felt myself get sick in my stomach. I didn't want to catch polio from that mass of slobs. I turned to walk out. A sharp voice jolted me, and I turned toward it. It came from a brand-new ElectroVoice CDP horn on top of the pool house (dressing room area.)
You can imagine my horror, as I contemplated the possibility that I might catch polio from this sea of morons, as the very inspiration of my life (stereophonic sound on a pair of Electrovoice CDP horns) was swirling in my mind.
Piss on them! I walked back to the bus, went home, and never got polio. A couple of years later, I heard of cunnilingus. I almost threw up, but this huge thing that knocked my favorite radio tube out of the pocket of my knickers distracted me.
2. I was standing right next to my Dad (he was a fine old gentleman of 65 at the time) as a friend approached him and said, in a tone that gave me a cold chill: Archie, did you hear that Jim Lansing died?
3. I was totally nuts over television. My Dad had just purchased a fancy DuMont "Westbury Series" 19 inch black and white TV set. It had 45 tubes, and cost $550. This was equivalent to about $6,500. today (adjusted for inflation.) A show called "Captain Braddock" was my favorite. It starred Reed Hadley, who played the part of the policeman in charge of a "bunco squad" which investigated confidence crimes. Today, we need "Law and Order: Special Victims Unit" which is about how some degenerate boiled babies in oil in order to overcome his being too cheap to pay for Viagra. At any rate: Little did I know that within a few months, the United States Government would choose Reed Hadley to narrate the official film that was a huge event on national television at the time: the introduction to the people of America of the existence of the Hydrogen Bomb.
At any rate, at this time, I had seen many ads in my Dad's issues of Audio Engineering Magazine, which I used to read over and over from cover to cover. He subscribed only for the section that reviewed classical music recordings (Edward Tatnall Canby.) Edwin Lipps, Inc. had many ads during that period, for their magnetic heads.
Naturally, being a naive fool, I assumed that Lipps heads would be the answer to a maiden's prayer, for the new Motown eight-track machine.
I had ordered an Ampex head assembly for the three track home brew, but now I was trying to save money. At any rate, John Windt helped me crawl out of all that depression. We found a new vendor, got some really great heads, and got the machine working just fine. At once we fell into another absolute horror. I could go on and on. I have only scratched the surface. Ralph Seltzer had a cow.
So anyway, in the early spring of 1963 Berry Gordy Jr. got the hots and purchased the Graystone Ballroom. This was a huge shock for me at the time.
(To be continued)
| By KevGo (64.115.26.80) on Thursday, October 31, 2002 - 11:16 am: |
Dear Soulful Detroit Family:
Please take note of Mike's posting - I do believe we have the makings of his book.
Mike McLean:
Your contribution to the history of American Music must be documented. As I said and has been proven in the last few postings, there are MANY of us who would be willing to help and I'll bet you my salary that Esther Edwards and the Gordy Family would be more than happy to oblige because you made the company successful. I understand the challenges but as I said before we are here to help you...
Your friend and engineering disciple,
KevGo
| By M.McLeanTech (66.218.59.130) on Thursday, October 31, 2002 - 03:28 pm: |
Who is going to pay for the moving van to carry the manuscript? Last night I sat down to try to offer some basic information about the history of the Graystone Ballroom. Now look at the mess I am in: It would take ten more long postings just to clean up all the loose ends I have created.
I will clear one up right now: "Jim Lansing" is James B. Lansing, founder of the Lansing Manufacturing Company (Which ended up as Altec-Lansing), and James B. Lansing Sound, Inc. (known today as JBL.)
If you type "James B. Lansing" as a search term into Google (www.google.com), you will find a fantastic amount of information about him. He is one of the giants of the history of loudspeakers, like Paul W. Klipsch.
In addition to the van, I would need a manicurist for the callous spots on the tips of my fingers from typing.
Mike McLean
| By Larry (216.23.183.2) on Thursday, October 31, 2002 - 04:45 pm: |
Mike,
We'll get one of those 1/4 speed voice recorders. You blab, we'll transpose.
You approve the drafts, we'll assign 'em chapters. You sign the books, we'll keep an eye on your Accountant. Seems so bloody simple.
| By M.McLeanTech (64.236.243.31) on Thursday, October 31, 2002 - 07:09 pm: |
Larry,
Spoken like a true "Master Salesman."
All you have to do is sell it. Then the engineers can get starting trying to build it.
Then, half way through the project, the accounting department can slash the funding for the quality control and proof of performance testing.
Five years later, a pile of junk arrives.
Mike McLean
| By Bastard Salesman (216.23.183.2) on Thursday, October 31, 2002 - 07:23 pm: |
I broke into giggles with your email, then tears.
Life is just full of painful reality checks.
OT, the Lon Chaney documentary was on last night. Excellent. He was the first civilian to be inducted honorarily into The Marines due to his portrayal of a hardassed Sgt..
I miss you Mike and those 1 liners with the slightly demonic John Huston voice.
| By Larry (216.23.183.2) on Thursday, October 31, 2002 - 08:15 pm: |
Mike,
I finally got around to your lengthier post. Riveting stuff. You got a great head, a way with words, it's racey, it's techy, it's hip. It's alot of things to alot of people.
The Henry Miller of the Pro Audio world.
In the middle of it all to remind us what Polio really meant to Mother's and Fathers. I'm no good with words, but, this shit really speaks. And I aint strokin just to stroke.
| By M.McLeanTech (66.218.40.148) on Friday, November 01, 2002 - 05:11 am: |
To continue with the Graystone story:
START PASTE IN
By M.McLeanTech (66.218.59.81) on Thursday, October 31, 2002 - 08:02 pm:
The Graystone Ballroom was the subject!
END PASTE IN
This is to continue from the above posting on this thread.
JSmith,
I started out to provide you with a decent response to a decent question. I guess I got a bit long winded in establishing my confidence in the date that Berry purchased the Graystone.
This was because I got caught up in the mania of all the hype about me writing a book. As I gradually degenerated into a raving lunatic, rambling on in a "stream of consciousness" narrative, I indulged myself by allowing a drift of emphasis to pollute the focus of the point that I had originally proposed to make. Now that that is straightened out, please let me continue:
My point was that I wanted to offer you a formal and proper response to your utterly legitimate original new thread.
The only trouble was that "EYE" became distracted by the "THREAD" and "NEEDLED" you by going into "STITCHES," like a "PRICK," and "SEWED" a bad "FABRIC" of conversation that set a "PATTERN" of my "BOBBIN" up and down trying to keep everyone "STUCK" as to what was the "POINT," which was, of course, not about how I used to "NECCHI" with folks, and "SEW" wild oats, but, rather, about the best "SINGER" that I had ever felt an "ATTACHMENT" towards.
That does it! I am putting my "FOOT" down. I have "HEMMED" and hawed myself into a "THIMBLE," and now I "SEAM" to have gotten "PINNED" down to the "POINT" that my very essence of fun, my "PERQ-ALE" is the "MATERIAL" that has led to it my "TAILORING" myself in such a way that I "CHALK" it up and be sure to "DRESS RIGHT" (as opposed to left.)
This seems to "SUIT' me��. I guarantee it!
At any rate, now that I am focused, I want to continue the thread. Please allow me to apologize to you for all this distracting discussion, which is off the main point that you so elegantly brought up originally. Puns are a horror, and are considered the lowest form of humor.
The basic problem is that they are "CORNY," and don't contain a "KERNEL" of worthwhile wisdom. My reaction to this dilemma is always: Awe, "SHUCKS!"
I was shocked at the time that Berry decided to buy the Graystone, because I was, at that time, deeply in love with my job. I lived in fear about every economic cold wind that would blow through the place. These were more like chills. The Gordy family was very careful to maintain privacy. Mrs. Edwards somehow learned early (perhaps by being married to Michigan Senator George H. Edwards,) about how to get all the legal stuff in first class shape. There were a lot of horrible mistakes that could have been made, on the legal and administrative side, by Berry, as he attempted to build Motown, that were always "SEAMLESSLY" in place, at every turn of the day to day activities.
It is my sincere belief that Berry Gordy Jr., and Mrs. Esther Edwards (brother and sister) have a profound rapport about how to work together in such a way that the absolute maximum synergy (benefits of high efficiency cooperation) are achieved. It is almost as if Mrs. Edwards is like her Mother, Bertha the school teacher, and Berry is like Berry Sr., the hard working person who believes that only through hard work, and "doing right" can anything worthwhile be achieved.
I am very serious when I recommend that any person, on the forum, who is seriously interested in this subject, get off their ass and contact the Motown Museum about purchasing a copy of Pop Gordy's autobiography.
Because of the privacy of the Gordy family, I was not privy to any privates. Naaah! I just couldn't resist that one.
At any rate, I was shocked when Berry purchased the Graystone.
(to be continued)
Love to all!
Mike McLean
| By Lynn Bruce (64.53.143.164) on Friday, November 01, 2002 - 07:50 am: |
Mike, Hunter Thompson is one of my favorite authors,but I have to say that your starting to crowd him out of the way. How about "Fear and Loathing in Motown"
SLAITE VA
Lynn
| By JSmith (212.39.231.20) on Friday, November 01, 2002 - 08:18 am: |
Mike,
Don't apologise for turning my simple question about the Graystone into a mighty technical tome. Detailed info like this is what us British soul anoracks love. The history needs to be told now, as close as you can remember it, or it will be lost forever.
The mystique of how Motown got their sound was an allconsuming topic all thru the 60's. I know my close friend Lou Ragland, when working as the studio engineer for Way Out Records in Cleveland wanted to know the secret more than any other information. As lots of Detroit artists regularily performed in Cleveland, he befriended a few & invited himself over to Detriot to gain access to the city's recording studios. He was close with Bobby Taylor and with Bobby got into the Motown studio. He also visited other local stusio's and was even co-opted into playing the tamborine on the Precisions cut "If This Is Love". Despite his many visits and even though Way Out hired Mike Terry to work on some of their recordings, he never did discover the secret.
| By Anon (195.219.7.4) on Friday, November 01, 2002 - 08:29 am: |
YOU SAID IT,ANORACKS.TRY LIVING AND REMEMBERING SOME OF THE TIMES INSTEAD OF ALWAYS LOOKING IN A BOOK.ANON.
| By MEL&THEN SOME (195.219.7.42) on Friday, November 01, 2002 - 08:39 am: |
Hey Anon,although I agree in parts to what you say,I for one am glad for the so called anoraks as they get me out of anything that I happen to forget or when Ive put my head up the old proverbial after a major error.MEL.
| By M.McLeanTech (64.236.243.31) on Friday, November 01, 2002 - 06:47 pm: |
Anon and Mel&ThenSome,
"ANORACKS" and "ANORAKS" are words that I can not find in the dictionary.
It would be nice if you could let me in on what you are discussing.
Thanks,
Mike McLean
| By Sue the anthropologist (152.163.188.68) on Friday, November 01, 2002 - 10:57 pm: |
Mike --
An anorak is a hooded jacket ... and it's Brit slang for a kind of nerdy collector personality, like folks in Britain who spot trains ...stand out and write down the numbers of passing trains in a notebook ...it came about I guess because the anorak is seen as a nerdish garment ...
This is what doing a term of school in London learns ya ...
| By M.McLeanTech (66.218.60.128) on Saturday, November 02, 2002 - 01:19 am: |
Dear Sue,
Thank you more then I can say for clearing up this matter. It was very kind of you to provide the basic facts, which all, (who love reality) thrive on.
I like that ironic tone of your last remark. I know that you are a good lassie. I want you to go forth in the world and be your beautiful self, and find happyness.
Those hoods have me pegged, big time! I am a nerdy collector personality. No question about it. They call it a "pack-rat" here in the States.
You know, Sue, when all the smoke clears away, I just want to be a successful Daffy Duck! I want to be the center of attention, and be encouraged to make an ass of myself as I shoot my mouth off.
Further, I am a smart ass, like Bugs Bunny. And a Braggart, like Foghorn Leghorn.
Thank goodness that I am not a killer, like Yosemite Sam.
But deep down, I am an old fart, like Elmer Fudd.
I can't thank you enough for your help.
Now I will need to review the realities of the nature of the audiance that is the forum, and try to come up with a new act that will please someone enough that their response will make me so happy that I will be motivated to do the work to offer more.
The horror of the "threads."
Sue, you have helped me more then I can say! Call me anytime.
I think you are the lady on the Warner Main Lot that I spoke with, are you not?
Love,
Mike McLean
| By M.McLeanTech (66.218.60.128) on Saturday, November 02, 2002 - 01:21 am: |
P.S.
In France, it is not considered proper to use that word until a gentleman has known a lady for at least a year.
Mike McLean
| By larry (12.141.160.25) on Saturday, November 02, 2002 - 02:49 am: |
The horror of the threads? Rofl.
(Brando, last scene in Apocalypse Now)
The Horror...The Horror...
END
| By larry (12.141.160.25) on Sunday, November 03, 2002 - 11:18 pm: |
Tonite I was honored by Mike Mclean and heard his Graystone Acetate recording of The Choker Campbell band recorded at the Graystone in +-'63. More on this from Mike, Bob, Ed, Harry on this and the Graystone Ballroom thread.
Two things struck me instantly. Unbelievably natural sounding recording of a really Great Band. In my head I was comparing it to Miles Davis Kind of Blue, however that's not fair since Choker Campbell was a Big Band and Miles Masterpiece had a couple setups, I believe: quartet and quintet.
Still though, the sound is GORGEOUS and the execution of the tunes is first rate. All great players. Really in sync. Mike nitpicked and said the bass might be a bit loud. I didn't hear it. I heard an incredible recording. About 4-5 songs. Way cool. Thanks Mike for the great time.
| By Ralph (209.240.198.62) on Sunday, November 03, 2002 - 11:45 pm: |
Sounds like you had a good experience tonight Larry. Mike can be one extremely fascinating individual.
| By Laurie (64.12.97.7) on Thursday, November 07, 2002 - 04:57 pm: |
I'm sorry, but I have to say this, I just LOVE reading the text between Larry and Mike. And yes Larry, you DO have a way with words! Glad you and Mike hooked up!!!
| By M.McLeanTech (66.218.59.194) on Friday, November 08, 2002 - 04:54 am: |
Dear Laurie,
I have been considering your point ever since I met Larry.
All I can say is that I prefer hamburger, not hot dogs.
If something comes up to the contrary, I will politely (because I have come to value Larry's friendship) remind him that friendship is my goal and I am no man's hole.
I hope that I make myself honestly clear.
I do thank you for your posting, because I feel that there are two kinds of postings: too polite, and too sloppy.
Example of too sloppy:
HAYMOFO GOT TO PHILLYSMASH. BITCHEN!BIGBADFUNKUS COMING AND BITCHEN!: SMOGGO IS LEAD!
Example of too polite:
I apologise. I didn't remember what Mike said, and I now realize that he said it differently.
Optimum:
McLean: You are a horrendous big mouth. Why not stop talking about how much you drink, and give us some of the wisdom that you obviously have to offer?
My answer:
Only by composing postings for the forum sober can I respond to these high stardards.
My question is: If I go to all that work to "do it right" and make it proper and formal, where is the payoff for me?
Who is going to give me feedback that is gratifying enough to justify my efforts to compose the postings?
I am still searching for a formal basis to post my ideas and feelings.
Laurie,
Thanks for the warning. If Larry tries to get fresh, I will, in a kind way, ease him off. I will never tell on him.
I don't expect to have any trouble with Larry.
Sincerely yours,
Mike McLean
| By Laurie (152.163.188.68) on Saturday, November 09, 2002 - 06:10 am: |
Mike,
I didn't mean to imply anything other than he enjoys your company! It's nice to make a new friend. There was no warning there! I like to see him enjoy his life, he is very special to me, and I'm not willing to take him to any BBQ!!!!
Laurie 
| By kim culhan (68.42.41.167) on Saturday, November 09, 2002 - 10:34 am: |
Mike,
As a kid in NE Ohio 'back in the 60's' I listened to Motown and thought about how great it would be to help make those records.
Moving to Detroit in '71 there was barely time to see much of Motown but as good fortune would have it, I met Ken Sands one afternoon on my mobile ham station.
He was only a mile away and invited me over to his 'shack' on Woodmont.
When he told me he worked at Motown I was floored..
We became great friends and he invited me into Studio B a few times -I couldn't believe it.. This was where all the magic was made!
Recently I mentioned in a note to Ralph:
'I can also remember some nights visiting Ken at Motown Studio B, one where
Eddie Kendricks was doing the vocal overdubs on Keep On Truckin'
-man what a gas that was.
I was a just kid then and I did my best to sit in the corner and not say a word
trying to blend into the woodwork -hoping they wouldn't throw me out.
They never did.. What a nice bunch of people they were.
Mike McClean had to make a special trip to the studio that night and straighten out a problem with the mic preamps.
WOW, I thought.. theres' the Chief Engineer of Motown -I must be in the presence of the Gods of recording.
A year or so later I sorta 'got lucky' again and landed a job at Artie Fields, with help from Ken.
Bob Bloom's early console work was there, no Nuvistor preamps by this time..
-kim
| By Sue (64.12.97.7) on Saturday, November 09, 2002 - 12:51 pm: |
Mike,
Answering you from a ways back, no I'm not in L.A. and I didn't meet you there, I'm here in belle Detroit ...happy to oblige with anorak information at all times.