| Author | Message | ||
  Jimmy Mack (luke) 5-Doyen Username: luke Post Number: 212 Registered: 4-2004 Posted From: 68.198.48.201 |
As in never had a top 50 record. Barbara Randolph--hmmmhmmmhmmm-silky,s ultry,powerful. Sam Harris--his voice can blow the roof off. | ||
Robb_K (robb_k) 5-Doyen Username: robb_k Post Number: 293 Registered: 4-2004 Posted From: 66.81.176.175 |
Yes, Barbara Randolph. But other than "I Got A Feeling" and Hurtin' All Over" (both released on singles), they gave her relatively poor material (as Motown standards go). I was EXTREMELY disappointed in ALL the previously unreleased material on her, put on her recent CD. It's been my experience that the unreleased (on vinyl)recordings for most of the Motown artists was at least as good as their released recordings. It seems as if Barbara got the shaft, in terms of writing quality of songs. Maybe she and her producers had something to do with that. Also, I think Frances Nero, Carolyn Crawford,Kim Weston, Brenda Holloway, Patrice Holloway, Gloria Jones, Marv Johnson, The Versatones, (The mellow non-novelty)Contours with Dennis Edwards and/or Joe Stubbs on lead, The Serenaders, Equadors, Emanuel Lasky, J.J. Barnes, Parliaments, Oma Heard, Pronouns, Liz Lands, Cornell Blakely, Mickey McCullers, Rita Wright (Syreeta), Velvelettes, Elgins, Linda Griner (Lyn Roman), Andantes, Fantastic Four, Freddie Gorman, Originals, Creations, Wade Jones, Spinners, Blinky Williams, Barbara McNair, Lamont Dozier, Eddie Holland, Merced Blue Notes, Dave Hamilton, Eddie Palmieri, George Bohannon, Grover Wahington Jr., Barbara Mercer, Rose Batiste, Courtship, Monitors, Chris Clark, Terry Johnson, Hattie Littles, LaBrenda Ben, Hal Davis, Jimmy Ruffin, Mabel John, Sherrie Taylor, Herman Griffin, and many, many others could have been much, much more successful with Motown. The Isley Brothers didn't stay long enough for my taste. Motown had only so much opportunity to push only so many artists. Many, many of the artists who passed through had loads of talent. In other situations, they could have been very successful. I also would have liked to hear more Motown records with songs written and produced by Don Davis, Don Juan Mancha, Tony Hestor, Bob Hamilton, Thelma Gordy, Sonny Sanders, Popcorn Wylie and other Detroiters who spent most of their careers with Correc-Tone, Thelma, Wingate's Labels, Solid Hitbound's and other competing Detroit labels, only passing through Motown for short stays. (Message edited by Robb_K on June 10, 2004) | ||
mike s (mike_s) 2-Debutant Username: mike_s Post Number: 23 Registered: 4-2004 Posted From: 195.93.33.10 |
Funny how the Dramatics never ended up on Motown?maybe BG thought they would compete with the Temps too much. | ||
Kdubya (paladin) 3-Pundit Username: paladin Post Number: 37 Registered: 5-2004 Posted From: 206.185.64.23 |
Interesting comment Mike, I for one am glad they didn't. Tney were in the Tempts shadow for quite a while. Wee-Gee was a David Ruffin clone but not as talented. When he left and LJ Reynolds came on the scene the Dramatics began to blossom in their own fashion. They are without a doubt one of the top vocal groups ever to put on patent leather shoes. I think they would not have been as successful at Motown( see Robb K's post) Don Davis/Tony Hester and later Michael Henderson put them on the R & B hit list for years to come. | ||
StingBeeLee (stingbeelee) 1-Arriviste Username: stingbeelee Post Number: 3 Registered: 4-2004 Posted From: 155.139.68.10 |
I recently heard an interview with Ron Banks of the Dramatics and he was asked about Motown. The Dramatics were asked to come to Motown, but Ron stated that at the time, Motown had 71 or 72 artists and they thought they would end up being lost at Motown. | ||
DyvaNaye (westside314) 6-Zenith Username: westside314 Post Number: 516 Registered: 4-2004 Posted From: 209.212.74.198 |
Florence Ballard, Mary Wilson, Martha Reeves, Kim Weston, Brenda Holloway, The Andantes, The Waters. | ||
johneflat (johneflat) 4-Laureate Username: johneflat Post Number: 80 Registered: 4-2004 Posted From: 149.174.164.24 |
heheheheh...ME! | ||
DyvaNaye (westside314) 6-Zenith Username: westside314 Post Number: 536 Registered: 4-2004 Posted From: 209.212.74.198 |
for that matter, ME! LOL! | ||
Reese (reese) 3-Pundit Username: reese Post Number: 68 Registered: 4-2004 Posted From: 12.15.168.76 |
I would say Kim Weston. After listening to her recordings, its almost criminal to me that she didn't become a much bigger star. To my knowledge, the only Top 50 record she had was the duet with Marvin Gaye, IT TAKES TWO. As a solo, I think her biggest hit, TAKE NE IN YOUR ARMS, might have scraped into the Top 50, but I'm not sure. | ||
Livonia Ken (livonia_ken) 3-Pundit Username: livonia_ken Post Number: 31 Registered: 4-2004 Posted From: 136.1.1.33 |
"Take Me in Your Arms" went to #4 R&B, but as Reese indicated, it peaked at #50 on the Pop charts. Regards, Ken | ||
Sean (livesey) 2-Debutant Username: livesey Post Number: 12 Registered: 5-2004 Posted From: 80.225.81.168 |
Doubt we could class The Originals as not making it at Motown, but they could have been much bigger than they were if other factors were in favour of the group. I.E: Promotion and the like. We can't really complain about the material the guys got or can we? Should they have got more of the sure hit stuff or were they good the way they were? I'll let you debate that one. :-) | ||
Ron Murphy (ron_murphy) 3-Pundit Username: ron_murphy Post Number: 68 Registered: 4-2004 Posted From: 68.42.90.140 |
Motown's plate was so full as it was, there is only so much room at the top and Motown really had their share. The Velveleetes, The Spinners and a few others that were there during Motown's big years certainly had what it takes to be at the top if room had been there for them. | ||
johneflat (johneflat) 4-Laureate Username: johneflat Post Number: 81 Registered: 4-2004 Posted From: 205.188.116.13 |
.....hehehheh....they'll never know what they missed, will they DYVA?? | ||
Jimmy Mack (luke) 5-Doyen Username: luke Post Number: 214 Registered: 4-2004 Posted From: 68.198.48.201 |
Tell us tell us!!! | ||
Rodmann (rodmann) 5-Doyen Username: rodmann Post Number: 179 Registered: 4-2004 Posted From: 12.221.220.110 |
Here's my list: CHUCK JACKSON - He had one of the best voices in Soul music IMO. I'm not sure why he didn't get more respect at Motown and on the other labels that he recorded for. I prefer his Motown material to the Uptown Soul/Pop numbers that he recorded on Wand. (He did record some good Soul on Wand towards the end of his contract with them by himself and with Maxine Brown). My favorite Motown numbers by Chuck are 'Baby, I'll Get It' and 'It Must Be Love Baby' with Yvonne Fair. YVONNE FAIR - This lady was bad! She signed with Motown sometime in the late 60's, released 'Stay A Little Longer' in 1970 and her excellent "The Bitch Is Black" album in 1975. That's not much released material on an artist that was with a label for at least 7 or 8 years! I've never seen a full Y.F. discography but to my knowledge she didn't have any singles released between 1969 to 1973 except 'Stay A Little Longer' in 1970. Yvonne was a raunchy Soul belter and I don't think that her style was appreciated in females at Motown. IMO she did the definitive version of 'Let Your Hair Down'. I also like 'Stay A Little Longer', 'Love Ain't No Toy' and her unreleased duet with Chuck Jackson 'It Must Be Love Baby'. SISTERS LOVE - More raunchy female soul belters. These women only had one hit ('Are You Lonely?' on A&M) but they left a trail of excellent singles behind! My favorites are 'I'm Learning To Trust My Man', 'Mr. Fix-It Man' and a take on 'Give Me Your Love' that puts Curtis Mayfield and Barbara Mason's versions to shame! They also had some good stuff on A&M records like 'Now Is The Time' and their only hit 'Are You Lonely?' that was produced by Gene Chandler. CHRIS CLARK - This lady could sing for real! I've always felt that the production and material that she got on Motown did not do her justice. She should've been on Atlantic or Stax recording the type of things that Dusty Springfield was in the late 60's. THE PARLIAMENTS - Not one single released on Motown! I'm not sure how their material was considered not suitable for release on Motown? The Revilot Records singles that I've heard ('All Your Goodies Are Gone', 'Don't Be Sore At Me' '(I Wanna) Testify', etc) have been fantastic! SingBeeLee has the right idea, there was simply an overabundance of talent on Motown in the 60's and 70's. A lot of these artists would have been better off recording for other labels where they would have gotten more attention and had their singles released. Today's young artists have Teena Marie to thank for them being able to get their singles and albums released. She sued and won a lawsuit against Motown for having her under contract and refusing to release any of her material. A few other artists that I wish would've gotten more attention at Motown are: Kim Weston, Thelma Houston, Scherrie & Susaye (as a duo and/or solo), Blinky, Tammi Terrell (solo), Sylvia St. James and Billy Proctor. | ||
Don (don) 5-Doyen Username: don Post Number: 192 Registered: 4-2004 Posted From: 68.75.62.210 |
I agree with the posts. I come to the conclusion that why did Berry Gordy want to sign all these artists in the first place only to hold them back? I assume he didn't want compitition for his artist who's records he was pushing, also in the same regards as well as the charts. That's silly. Well, I guess that's why they call it a write-off. | ||
Don (don) 5-Doyen Username: don Post Number: 194 Registered: 4-2004 Posted From: 68.75.62.210 |
In all fairnness Motown did have artist under contract, and it has been said that they leased their artists to other labels would've been an rightous thing to do, I think they should have continued on doing so. | ||
Michael/Cleoharvey (cleoharvey) 2-Debutant Username: cleoharvey Post Number: 24 Registered: 4-2004 Posted From: 4.167.241.51 |
Thelma Houston, Thelma Houston, Thelma Houston.... She had several hits including the one we all know, but she should have been a huge star. The lady still can sing the walls down and has such a lively, positive personality. I also believe that they should have done what Destiny's Child did with their members, with The Supremes and left room for Florence Ballard and Mary Wilson to have hit records in their own right. It didn't hurt Michael Jackson or the Jackson Five for Jermaine to have solos and hits while at Motown. It is a tribute to the Florence, Mary, and Cindy that they are as well known as they are in 2004. | ||
Don (don) 5-Doyen Username: don Post Number: 197 Registered: 4-2004 Posted From: 68.75.60.32 |
Hi Michael, You make an interesting point. I'm just learning of some her very early recordings from reading past post. I only know of her back and forth transition with Motown and MCA. Michael, you made an excellent point. | ||
S.R. (fury13) 2-Debutant Username: fury13 Post Number: 12 Registered: 4-2004 Posted From: 12.2.196.4 |
Gino Parks! | ||
Eli (phillysoulman) 6-Zenith Username: phillysoulman Post Number: 556 Registered: 4-2004 Posted From: 68.163.20.36 |
The Serenaders. Timothy Wilson, Sidney Barnes and George Kerr were in the group at the same time!! Rockwell Switch | ||
mike s (mike_s) 3-Pundit Username: mike_s Post Number: 48 Registered: 4-2004 Posted From: 195.93.33.10 |
I have got to agree with Kim Weston. Maybe she lacked that something special for crossover to pop audiences (for that time) but what a voice...and could she really belt out a song. Just Loving You has the best finale of any Motown record (I think)..still gives me chills. And the opening of I'm Still Loving You with her and the Andantes at full throttle tells me she was not gonna leave her man!! | ||
Don (don) 5-Doyen Username: don Post Number: 215 Registered: 4-2004 Posted From: 68.75.186.229 |
I know this may sound far-Fetched but was actually there making nitch there at Motown before the push for Mary Wells to be Motown's # 1 Female million selling artist (No disrespect towards Mary). I know Motown has always painted a fairy tale piture of their humble beginings. Regardless of what has been said in many acticules and interviews made over the yrs. I assume that many things said has been downplayed even by the artists themself in regards to their actual orgins with the label has left a void in the actual subbliminal truths. Least that's what I was told. Still Standing in the shadows of Motown? |
