Show Posts - mistercarter2u

Yeah.... ALL artists who recorded and released music prior to December 31, 1962 fall under this UK ruling.  I read an article recently where both Sir Cliff Richard and Dame Shirley Bassey were interviewed about this.  They were both saying how unfair it is that they get NO ROYALTIES from their recordings prior to January 1963.  Because all of the recordings prior to January 1963 are now public domain, any label or company can release them.  That is why there are so many albums and CD's by Cliff Richard, Shirley Bassey, Johnny Mathis, Elvis, frank Sinatra, and early Motown releases on odd labels.  Even seemingly legit labels, like Jasmine for example, grab and release these public domain recordings...    It's sad, though I will say that some nice releases have come out of this.Interestingly, the rule not only applies to RELEASED recordings, but RECORDED things still officially unreleased.  As such, there have been a number of compilations of the Beatles' 1962 recording sessions, Beach Boys sessions, Elvis sessions, etc...   So far, I have not seen any comps of previously unreleased Motown sessions.   To stop that from happening and to keep those tracks out of the bogus label hands,  Motown issued all of their unreleased music as digital downloads.  That way, they maintain control of them, as opposed to the tracks just falling into random hands.This rule is only for the UK.  In the US, the recordings are still copyright controlled by the record companies.  That is why all of the comps and re-releases are coming out of the UK.

I am a huge fan of The Drifters; have always loved their Atlantic recordings (especially those from 1958 onward), as well as their UK Bell & Arista recordings from the 1970's.   The Drifters went through so many changes and different line-ups.  I think they even had more members over the decades than The Temptations!  Somehow, though, they maintained that Drifters sound and were always wonderful.If there are other Drifters fans out there, let's discuss some of the many topics relating to the group.  For starters, Johnny Moore.  He was the longest running member, and his voice was the star of a number of their Atlantic hits as well as most of their 1970's UK recordings.  I thought he was a simply incredible singer....  Other thoughts?   Did Johnny do any solo material?Also, let's discuss what happened to the group after Faye Treadwell passed away and they fell under the control on her daughter, Tina.  Tina fired the group that existed then (the group that was derived from the Johnny Moore group) and replaced them with an all-new group of younger singers.  The previous group had built a reputation and was supposedly in the processing or recording a new album when this took place.  I feel that Tina Treadwell screwed that group over but good....  Favorite Drifters' recordings?  Favorite albums?Let's talk Drifters.

The copyright rule in the UK used to protect music for 50 years.  When a lot of the classic artists started reaching that milestone and their music was scheduled to go out of copyright protection, the rule was changed from 50 to 70 years.  The only issue is that it started January 1, 1963.  All music issued from then on is protected and owned by the record companies for 70 years from it's release date,and during this time the artists still get paid.  Any music issued prior to December 31, 1962 became public domain and can be reissued in any format by any company.  The artists no longer receive royalties on this older music, which is sad....  As for the Beatles, only their first released single, "Love Me Do"  / "P S I Love You" fell under this change, though recording sessions made prior to 12/31/62, if they had not yet been officially released, became public domain as well, and that material has been released over and over by bogus, fly-by-night labels, just as the 1961 and 1962 Motown material keeps being re-issued.

Gang, whatever happened to Mary Wilson's "Clarity" / "Life's Been Good To Me" album?  It was supposedly recorded and produced by the Holland brothers, and a release date was scheduled numerous times several years back.  "Life's Been Good To Me" and "Johnnye Mae (Darling Mother)" were made available as digital singles, and there was an excellent article about Ms. Wilson in Goldmine magazine heralding the release of the album that August, I think either in 2011 or 2012... Then, Nothing!  Zilch!  Nada!Years later, "Time To Move On" came out on the Sweet Feet label, and Ms. Wilson actually had a chart record.  Shortly thereafter, Sweet Feet posted on Facebook that Ms. Wilson had given them several tracks to choose from for her next release.  They said a new Mary Wilson release was coming in the summer of 2016.  Even Miss Wilson said something was coming; she told me they had several tracks to choose from.  Then, again, nothing.  Why the heck did Sweet Feet not follow-upon on Ms. Wilson's first chart record in 36 years with another release?   Why?I know the music industry has changed drastically, and it is difficult for artists to make significant money from streaming and digital only releases; however, there are still many fans who want the music.  Why do the artists choose to sit on their material rather than release it and share it with fans?  I have attended Mary Wilson concerts, and she has fans who line up after her shows wanting to purchase items for her to autograph.   She could move some CD's in that manner, if no other...Is it better to keep music from being released and just let it sit in a vault someplace than to make it available to fans?  I know it costs a lot to manufacture CD's and inserts for them, but there are ways to do so at a reasonable cost.  I believe Ms. Wilson could move enough copies at her shows to recoup the costs of the CD's or albums.   (While I prefer CD's and physical products, I'd even settle for some digital releases.)Thoughts?  Ideas?   (And this is not only about Ms. Wilson, though she is the one I care most about. Other artists may have unreleased material they are just sitting on as well.)RChttps://www.youtube.com/watch?v=zmvElVGQK0A

I am impressed with the song Cindy sang in this broadcast, "Ready For You."  I am assuming that Cindy recorded more material for possible release, including this song, but it never made it to market?  Is that right?  She had that one single, "Dancing Room" on Hi-Hat records.  There are three other songs mentioned in Cindy's Wikipedia profile.   Was there a proposed album in the works?  What happened to it?  Were the tracks ever made available in any form?  Does anyone have copies of them?  I'd love to hear them...Did Cindy do any additional recording as a soloist?  Anything released?  Did she ever record Christian material?  I know she sang "My Tribute (To God Be The Glory)" on some shows...Ron

Silly Wasn't I -  You speak truth!!!!So much of today's music sucks!  It is all so formulaic. Often a catchy chorus, repeated about 9000 times, and a verse or two of mindless rap, usually extolling the virtures of drugs, alcohol, violence... Often by one hit wonders and undeserving acts that the record companies sign cheap and then make a killing from.  My overall opinion of modern music is not favorable.  That said - I have a 16 year old daughter who loves rap and modern pop and rock, so I try to listen and be open...I try to find the good in it, and sometimes I do...  but DAMN! A lot of it is really, really crappy!  As for the Motorcity recordings, I do not think they are bad.  The songs, for the most part, are pretty good, and the vocal performances are also pretty much good.  The electronic instrumentation is what killed - or at least badly wounded! - so many of those recordings.   I wish, how I wish, they had been recorded differently.  Opinions today would be much different had real musicians and instrumentation been used.  That said, I have come around, and after decades of not particularly liking Motorcity tracks, now I have discovered some real gems among them.   Ron

I think the drum machine is definitely annoying on a lot of the Motorcity tracks, but there are some really solid recordings in the bunch.  The vocal performances are mostly very good.  I've actually been listing to the "Shake Me Wake Me-A  Tribute To Holland Dozier Holland" CD in the car, and I find, surprisingly, that I like it.  It's enjoyable.   Funny thing, I've had the CD for like 15 years and never listened to it all the way through until now.  I, like a couple of other members, listened for a few minutes and thought "Nope... drum machine sucks," and ejected the disc.  I put it in a pile of CD's to donate or sell on Ebay. Then, I thought I'd play it first . All these years later, I am giving it another chance, and I find I actually enjoy it.  It's not the original Motown quality stuff, but it's grown on me with time...Ron

I have had tons of the Motorcity label CD's, literally for decades.  In all honesty, until just recently, the only Motorcity tracks I ever listed to were those by the Former Ladies of The Supremes, which I actually think are very, very, very good.  A few of The FLO's tracks - i.e. "Crazy 'Bout The Guy" and "Back By Popular Demand" featuring the Originals - are excellent and really did deserve to be hits.  Had they been properly promoted, they could have been.  As for the other Motorcity tracks, I have always loved "Step Into My Shoes" by Martha and the Vandellas, and Rare Earth's version of "Love Is Here And Now You're Gone" is excellent, and The Fifth Dimension did a great version of Smokey's "More Love" for Motorcity.  Recently, I have been re-discovering some of the other tracks, and there are actually some really good ones out there.  The recordings by Barbara Randolph are really, really, really good.  I bought a CD of her best Motorcity Recordings on Amazon a few weeks back, and I have listened to it repeatedly as I drive to and from work.  I am enjoying it.   I also like the material recorded by The Velvelettes for the label.How about the rest of you?  Any Motorcity tracks you particularly like and would recommend?  This post is NOT about Ian Levine or what you think of him.  Rather, it about the music that was left behind from the Motorcity sessions.  Certainly, a lot of that music is boring as hell, and it can be downright monotonous, BUT... BUT... there are some really rich hidden gems among those nearly 800 recordings.  I am appreciating re-discovering them now.   Would love to hear if any of you have Motorcity favorites you can share....

So, how do Martha fans feel about "Step Into My Shoes," which was released on Motorcity Records in 1989?  Martha herself has said basically nothing about the handful of recordings she and The Vandellas did for Motorcity, other than her remarks about how much she disliked Ian Levine.  The fact is that "Step Into My Shoes" is one of the best in the lot of 800+ Motorcity recordings.   I love it.  I think it harkens back to classic Martha and The Vandellas perhaps more than the majority of the sterile Motorcity tracks.  How do you guys feel?Martha and The Vandellas released a second single, "Angel In Disguise" on Motorcity in 1992, as well as a duet single by Martha and GC Cameron.  Lois Reeves had a solo single, and there were a couple of other Vandellas tracks on the label.  "Step Into My Shoes" was the best of the lot.  (The Andantes also recorded a version of the song.)You can find both the studio version and a live version of Martha's song on You Tube.

I have been listening to a collection of Barbara Randolph's Motorcity recordings that I pulled together, and I have to say I really, really like them. I think a lot of the Motorcity recordings are a tad boring (all sound the same, annoying drumbeat, etc...), but Barbara's Motorcity recordings are actually quite good.   I love "Chasing The Hurt Away" and "Soul Searching,"  and I also like the Motorcity disco version of "I Got A Feeling."   I love Barbara's voice.  I've played her Motown collection a lot over the years, but I had never paid much attention to the Motorcity stuff until now, though I've had the tracks for 20+ years.  Finding them is now a real treat.  Any other Barbara Randolph fans out there?  Your thoughts on her Motorcity work?Actually, I am re-discovering a number of the Motorcity tracks.  I never cared much for most of them in the past, but I am now discovering quite a few hidden gems in the mass of recordings.  One is "On The Beach" by Louvain Demps....  But right how, I'm hooked on Barbara Randolph.

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I purchased this album from Amazon UK.  It's one of those packages that is comprised of material that is over 50 years old and now considered public domain in the UK.  I have steered pretty clear of most of these sets, but I have to say that this one is really nice.  Great cover, well-detailed, and the vinyl record itself is sturdy and high grade.  Thought I have the material on Motown releases (LP's and CD's),  I am well-pleased with this purchase.Several other Supremes and Motown-related CD sets (and maybe LP's as well) consisting of this out of copyright material have come out in the last few years.Any of you purchase any of these types of releases?   

Next should be a great big old collection of '70's Supremes material, as well as the Mary Wilson and album and a legal release of her canned Motown tracks!

George and Faye Treadwell did okay by the Drifters, but when Faye stepped back and handed management of the group over to her daughter, Tina, a few years back, Tina screwed them into the ground.  She fired the group that existed at that time - guys that had become Drifters as part of the ever-changing Drifters family tree and those that descended from the group that had existed with longest-serving Drifter, Johnny Moore - and replaced them with newbies.  The group that had existed had done well for themselves and were attracting some real attention at that time.  They were experiencing a real resurgence. They had recorded one live album and were in the early stages of re-connecting with Greenaway and Cooke who had produced the group's Bell and Arista hits in the 1970's.  Then, Tina Treadwell swooped in and fired them all and hired the new group.  She screwed them over but good!    The Drifters, as a group, still tours in the UK, and undoubtedly people go to see them, but they are not really The Drifters.  They are not even descendants of the Drifters!  They are no more than a tribute group.  Shame.  The Drifters remain one of my all-time favorite groups, especially their recordings with Johnny Moore.  He was incredible!

Diana Ross, at the Kennedy Center this past weekend, was absolutely incredible!  Seriously, her show was fantastic.  She looked great, and her voice was exceptionally strong.  We saw her on Friday night, and her version of "Home" really was a show=stopper.  We were amazed at how strong her voice was and how energetic her entire concert was.  She was much better than we had even anticipated.   The thing that was so cool about the show we saw was how she interacted and engaged with the audience.  She came across as a woman who was really happy to be there, singing and entertaining her fans.  She put out a lot of love....  EXCELLENT CONCERT!!!!