Motown - What's Your View

[Paulb]

I'm interested to find out what the rare soul fans on here think of motown. And by that I mean the tunes that everyone knows. I was listening to the motown gold cd the other day and every single track on it was amazing. Fantastic production, amazing vocals, the lot.

Do people on here share my views that songs such as you keep me hangin on, heatwave, standing in the shadows, hey love, shop around, are all timeless pieces of music or would you tag them as drab and boring?

I know that there is a divide on here with the nostalgia scene / oldies scene v's the upfront and rare scene, but is motown the common ground that both camps have a foot in? Can the above tracks I've listed be thought of in the same way as the snake, dance dance dance, our love is in the pocket, etc or do we all love them?

Does snobbery mean that only rare / un-released motown are worthy of a listen?

I personally love rare soul and funk and listening to new and different stuff is what floats my boat. But I LOVE motown and I always will.

What's your thoughts?

[jocko]

I totally buy your theory, which is just as well given the forum you have put it in...........

[Cunnie]

I totally buy your theory, which is just as well given the forum you have put it in...........

Got the message Jocko & moved to the correct forum

[Paulb]

I totally buy your theory, which is just as well given the forum you have put it in...........

Whoopsie daisy's......

[jocko]

I should have said in among having a laugh at my childish wit I was being serious about agreeing. Some of the greatest music ever came out of that stable, possibly tarnished by being heard too much, but that doesn't make it bad music. I have always said, which crosses with another thread I think (no doubt one of Webbys scattergun approach to threading!), but the Isley Brothers This Old Heart Of Mine, is the Magnetics of Motown to me, its supremely majestic, the guys sing the whole song without taking a breath and never lose the beat, totally fantastic sound.

Just don't play it out every do and off course I feel the need to say FW wouldn't even be in the top 500 Motown sounds, thats how good Motown is.........

[Bigsoulman]

Grew up with Motown in the clubs during the 60ts so it has a special place in my heart, but there are so many gems to be heard other than the usual suspects (which I love anyway regardless), while downloading my British Motown collection on to my PC last week I played The Supremes Nothing But Heartaches and it simply took my breath away as I had not played for so many years, It has been labled as pop music on here plenty times but don't let silly people put you off, just dig deeper, there is so much class stuff hidden away from the front pages

Lenny

[Guest Dante]

Whoopsie daisy's......

Hahaha. Best post I've ever read here. Period.

Now, on the subject. Motown is perfection. It's probably the highest point in the whole history of pop(ular) music.

But I get it, after 30-40 listening to it, you'll want to hear something else. I mean, if you're 15 and only have heard one compilation of Motown tracks, a high-brow-nevermind-the-over-played-motown-sh*te-have-you-heard-Butch's-new-cover-up attitude may seem more than pretentious, but if you're and old geezer with 30 years of soul music experience, I would tag that same attitude as normal and healthy.

Cheers,

Dante (18 and still listening to Motown classics)

[Kris Holmes]

There is some true reasoning behind the generalised quote "Northern Soul sounds like Motown but with out of tune horns & strings". The golden era of Motown (through to the early 70s) is classy. I love it. Unfortunately, as mentioned above, a lot of it has been thrashed to death, but there's reason behind that too.

[Guest SoulRenaissance]

I should have said in among having a laugh at my childish wit I was being serious about agreeing. Some of the greatest music ever came out of that stable, possibly tarnished by being heard too much, but that doesn't make it bad music. I have always said, which crosses with another thread I think (no doubt one of Webbys scattergun approach to threading!), but the Isley Brothers This Old Heart Of Mine, is the Magnetics of Motown to me, its supremely majestic, the guys sing the whole song without taking a breath and never lose the beat, totally fantastic sound.

Just don't play it out every do and off course I feel the need to say FW wouldn't even be in the top 500 Motown sounds, thats how good Motown is.........

And who's playing the saxaphone on this? None other than Mr Mike Terry.

Martyn

[Guest SoulRenaissance]

Grew up with Motown in the clubs during the 60ts so it has a special place in my heart, but there are so many gems to be heard other than the usual suspects (which I love anyway regardless), while downloading my British Motown collection on to my PC last week I played The Supremes Nothing But Heartaches and it simply took my breath away as I had not played for so many years, It has been labled as pop music on here plenty times but don't let silly people put you off, just dig deeper, there is so much class stuff hidden away from the front pages

Lenny

Some truly wonderful music if listnened to intelligently, and in the right setting. Heard "Come see about me" god knowns how many times before? But when on night shift once i had the ghetto blaster on, (which used to echo around the whole factory). Used to listen to the Paul Weller half hour. Then one night the above tune came on at some time throughout the evening, sounded fantastic in the factory pouding out of those speakers. The beat, the vocals, the lot. Has been my favourite commercial Motown sound ever since.The backdrop, a dirty smelly factory full of machines, grease, 15 Indians, me and a few other lads.

Motown

[spirit]

A lot of Motown (and other) pop soul classics can be considered rare or underplayed on this scene, as there seems to be an attitude sometimes that if its popular it must necessarily be rubbish or uncool, and mustn't be played at any costs.

Even most mainstream 'oldies' events are reluctant to play them, and I think its a shame - they may be a familiar part of popular culture, but its frustrating that the rare opportunities I have to dance to them are when I'm surrounded by p---heads.

Just occasionally it would be nice to have a dance to one of them played at full blast out of a proper sound system on a good floor in good company.

[jocko]

Can you explain what you mean by 'Scattergun Approach?' You really shouldn't criticise other members to impress or maybe you have done it to try and justify your mistakes... Both reasons are very poor! Anyway back on thread,l would say most of us got into Northern Soul through Motowm!

Do you want to show me where I am criticising any member, did I say anything was wrong with your approach? I was making jocular reference

to your style of having lots of threads on the go, including one I seem to remember asking for perfect Motown record or something, I

made a similar jocular reference to you before and you laughed, nowt as strange as folk on here right enough.

Back on topic also can someone tell me when a Motown record is a Northern record and when it is not, which might help explain why lots

of dos now advertise Northern AND Motown.....

[Davenpete]

......As has no doubt been said before 'Northern Soul' as we know it(... place your own perspective here please )

was just artists,writers,producers trying to copy Tamla Motowns success from 63 onwards.......

Have to say I totally disagree with this - it's insulting to numerous writers and producers that in many cases Motown poached in later years (the boy Wilson, their most successful producer of all, being a typical example) - the 'soul' sound was already developing in several US cities quite independent of Motown who were actually still fairly directionless themselves in 1963 - look at the Darnells (BG having a stab at Spectre) or LaBrenda Ben (neo-doo-wop), plus of course they were NOT the only label in Detroit at the time; Thelma, Fortune etc were already doing very nicely thank you.

My own view on Motown is that at it's finest it's magnificent, at its worst its a squandering of magnificent talent on making Uncle Tom mush for a fundamentally racist white audience (don't forget that many of the early Motown albums were released with different covers showing smiley white teens sitting around in fields for the southern states). I do think that many of the Motown greats are neglected because in the initial instance everyone knew them at or near the time of release, then later on with say my generation they fell by the wayside amongst kids who hadn't heard them in the first place. Add to this an interesting case in point - 'My Love Is Your Love' - because it was on an ultra naff label no-one bothered buying the album so didn't hear the track and it was only the doo-lally Motown freaks (I have one of my own) that turned it up.

Dave

Edited August 12, 2009 by DaveNPete

[Guest]

A lot of Motown (and other) pop soul classics can be considered rare or underplayed on this scene, as there seems to be an attitude sometimes that if its popular it must necessarily be rubbish or uncool, and mustn't be played at any costs.

Even most mainstream 'oldies' events are reluctant to play them, and I think its a shame - they may be a familiar part of popular culture, but its frustrating that the rare opportunities I have to dance to them are when I'm surrounded by p---heads.

Just occasionally it would be nice to have a dance to one of them played at full blast out of a proper sound system on a good floor in good company.

A 100 CLUB MOTOWN ALL NIGHTER would be brilliant, mixing the lesser known with the classics. Ady?

[Guest]

Have to say I totally disagree with this - it's insulting to numerous writers and producers that in many cases Motown poached in later years (the boy Wilson, their most successful producer of all, being a typical example) - the 'soul' sound was already developing in several US cities quite independent of Motown who were actually still fairly directionless themselves in 1963 - look at the Darnells (BG having a stab at Spectre) or LaBrenda Ben (neo-doo-wop), plus of course they were NOT the only label in Detroit at the time; Thelma, Fortune etc were already doing very nicely thank you.

My own view on Motown is that at it's finest it's magnificent, at its worst its a squandering of magnificent talent on making Uncle Tom mush for a fundamentally racist white audience (don't forget that many of the early Motown albums were released with different covers showing smiley white teens sitting around in fields for the southern states). I do think that many of the Motown greats are neglected because in the initial instance everyone knew them at or near the time of release, then later on with say my generation they fell by the wayside amongst kids who hadn't heard them in the first place. Add to this an interesting case in point - 'My Love Is Your Love' - because it was on an ultra naff label no-one bothered buying the album so didn't hear the track and it was only the doo-lally Motown freaks (I have one of my own) that turned it up.

Dave

Phew....

'Fundamentally Racist White audience'???

You do realise that placing the word 'fundamentally' in such a tense, you are implying that the over riding component of an individual/groups make up is a committed belief in the practise or promotion of racism? A trifle strong I think and verging on JAZZY B territory...

[Davenpete]

Phew....

'Fundamentally Racist White audience'???

You do realise that placing the word 'fundamentally' in such a tense, you are implying that the over riding component of an individual/groups make up is a committed belief in the practise or promotion of racism? A trifle strong I think and verging on JAZZY B territory...

I think you are over defining the implication of 'fundamentally' in this case - but yes I absolutely DID mean what I said (in relation to the US).

Dave

[Dave Moore]

Have to say I totally disagree with this - it's insulting to numerous writers and producers that in many cases Motown poached in later years (the boy Wilson, their most successful producer of all, being a typical example) - the 'soul' sound was already developing in several US cities quite independent of Motown who were actually still fairly directionless themselves in 1963 - look at the Darnells (BG having a stab at Spectre) or LaBrenda Ben (neo-doo-wop), plus of course they were NOT the only label in Detroit at the time; Thelma, Fortune etc were already doing very nicely thank you.

My own view on Motown is that at it's finest it's magnificent, at its worst its a squandering of magnificent talent on making Uncle Tom mush for a fundamentally racist white audience (don't forget that many of the early Motown albums were released with different covers showing smiley white teens sitting around in fields for the southern states). I do think that many of the Motown greats are neglected because in the initial instance everyone knew them at or near the time of release, then later on with say my generation they fell by the wayside amongst kids who hadn't heard them in the first place. Add to this an interesting case in point - 'My Love Is Your Love' - because it was on an ultra naff label no-one bothered buying the album so didn't hear the track and it was only the doo-lally Motown freaks (I have one of my own) that turned it up.

Dave

Hi Dave,

You've certainly bought into the mainstream media's version of Motown's potted history eh?

You seem to have ignored the fact that every 45 ever produced was manufactured for one reason and one reason only...to make money. 'Uncle Tom mush?' I'm sure the late greats including Popcorn Wylie, Uriel Jones, Joe Hunter, James Jamerson, Benny Benjamin, Robert White, Norma Whitfield and the master of the B3, Mr Van Dyke himslelf would appreciate their legacy being dismissed in such derogatory fashion. The FACT is that many of the soul oriented Detroit labels of the early sixties were in fact NOT doing so well which is why Gordy's empire gobbled them up. I would hardly hold the Fortune imprint up as an example of a rival to Motown either. Different eras, different music.

The Isley Bros track you refer to was in fact a version of the The Miracles track from their LP. I first heard both versions back in the late 70s. It's been around turntables since then.

You mention the 'boy Wilson' as being the most successful producer Motown had? I think you'll find that Lamont Dozier is not just Motown's most successful producer but is streets ahead in terms of commercial success than anyone from any label/genre. That includes Elvis, The Beatles..blah blah blah.

Motown directionless around 1963? With licencing developing all over the world, with a number of smash hits in place, the Talent Development Division in full flow, with the corporations Tamla, Gordy and Motown imprints vying for release at the quality control Fridays, the Snakepit running 24 hours a day and the company owning it's own Studios, PR department and publishing company thus ensuring the cash flow yep....all sounds pretty directionless to me. LOL!

The bottom line is...if you speak to 99% of the label owners of the era, (including ones from other cities around the States), they will tell you categorically...they all wanted the success that Gordy had generated. Many of them used his format to try and gain a foothold. Many were successful and many fell by the wayside but the INFLUENCE on other black music makers of the day is absolutely unquestionable. From the Philly DynoDynamics team, the LA Mirwood set up, Carl Davis' output in Chicago, Gamble and Huff's development of TSOP, not forgetting of course the Pied Piper contributions, Revilot, Carnival, Groovesville, Arctic, Shrine, etc etc all heldd up Motown as the beacon to emulate.

The thought of Motown 'poaching' back room staff as the company grew is ridiculous. Many of the later contributors actually went banging on 2648 WGB's door!

So....it's obviously all about opinions but I'd say it was anything but insulting to suggest that Gordy's musical contribution was an example that many thought to repeat but would venture that the more astute amongst them would use his success to further their own aspirations, a great example being LeBaron Taylor who rose to be Vice President of CBS.

To PaulB.... Soak it all up Mate. It's fantastic. All of it. Rare, not rare, uptempo, downtempo, oldies, newies, overplayed, underplayed, 45s,33s, EPs LPS, who cares....just soak it all up. I've been doing this for 35 years and STILL hear stuff for the first time and think WOW whilst the next 45 I hear may be an oldie that did the same 35 years ago. I defy anyone to listen to The Elgins 'Heaven Must Have Sent You' and not recognise the brilliance of it. Forget the baggage...LISTEN TO THE BLEEDIN' MUSIC and the people who created it.!

[Davenpete]

You seem to have ignored the fact that every 45 ever produced was manufactured for one reason and one reason only...to make money. 'Uncle Tom mush?' I'm sure the late greats including Popcorn Wylie, Uriel Jones, Joe Hunter, James Jamerson, Benny Benjamin, Robert White, Norma Whitfield and the master of the B3, Mr Van Dyke himslelf would appreciate their legacy being dismissed in such derogatory fashion. The FACT is that many of the soul oriented Detroit labels of the early sixties were in fact NOT doing so well which is why Gordy's empire gobbled them up. I would hardly hold the Fortune imprint up as an example of a rival to Motown either. Different eras, different music.

The Isley Bros track you refer to was in fact a version of the The Miracles track from their LP. I first heard both versions back in the late 70s. It's been around turntables since then.

You mention the 'boy Wilson' as being the most successful producer Motown had? I think you'll find that Lamont Dozier is not just Motown's most successful producer but is streets ahead in terms of commercial success than anyone from any label/genre. That includes Elvis, The Beatles..blah blah blah.

Motown directionless around 1963? With licencing developing all over the world, with a number of smash hits in place, the Talent Development Division in full flow, with the corporations Tamla, Gordy and Motown imprints vying for release at the quality control Fridays, the Snakepit running 24 hours a day and the company owning it's own Studios, PR department and publishing company thus ensuring the cash flow yep....all sounds pretty directionless to me. LOL!

The bottom line is...if you speak to 99% of the label owners of the era, (including ones from other cities around the States), they will tell you categorically...they all wanted the success that Gordy had generated. Many of them used his format to try and gain a foothold. Many were successful and many fell by the wayside but the INFLUENCE on other black music

Have to say this seems a somewhat selective reading of what I wrote - 'My own view on Motown is that at it's finest it's magnificent, at its worst its a squandering of magnificent talent on making Uncle Tom mush for a fundamentally racist white audience' I don't see how when quoted IN FULL anyone can disagree with this - what's 'Rocking Robin' if not Uncle Tom Mush? The point about aiming to make money is patently obvious. 'Different eras different music' re-the likes of Fortune - surely this was the whole point I was making? - that Motown was not the first from which all grew - you could equally say the same of Motown itself - Mojo Hanna or the Hunch ain't got a lot to do with Down To Love Town sound-wise.

As regards poaching - perhaps this was the wrong term, but the fact is that numerous writers and producers had a meaningful career before they joined Motown (let's say Harvey Fuqua for starters) - like Frank Wilson - as did a goodly number of the artists. As for Lamont Dozier versus FW - well FW certainly had more INDIVIDUAL success at Motown and always says himself that he was their most successful producer (and I'm not dumb enough to even have Do I Love on my radar when talking about him). There are many labels like Chess and Kent/Modern that had success pre and independent of the Motown sound.

Again 'lacking in direction' - it's pretty clear I was talking about MUSICAL direction - NOT business - I don't think anyone can question that there was something of a hotch potch of different sound streams going in Motown around 63.

I'd have to agree with your assessment of the other labels though - in that post-Motown's success they were heavilly influenced, but built on the sound to create their own style - this is a much fairer point than the original one made by webbydublin that I took serious issue with - that everyone else was just a slavish soundalike.

Anyway I thought I was being fundamentally positive about Motown - seems people are more interested in the asides than they are a statement like 'My own view on Motown is that at it's finest it's magnificent' or 'I do think that many of the Motown greats are neglected because in the initial instance everyone knew them at or near the time of release, then later on with say my generation they fell by the wayside amongst kids who hadn't heard them in the first place'. We have shed loads of the stuff upstairs (about 100 albums and 250 singles) so I guess I must like it despite what people seem to think I said.

Dave

PS 'Tie Me Kangaroo Down Sport' by Diana Ross and the Supremes.

Edited August 12, 2009 by DaveNPete

[funkyfeet]

Classic Pop, Soul, Sweet, Funk, R&R, R&B, Disco, Modern, Political, Social, MOTOWN has covered the lot and If you are on here and don't have a soft spot for Motown, I suggest you close your account and f**k off some where else, you are on the wrong forum.

[Dave Moore]

Have to say this seems a somewhat selective reading of what I wrote - 'My own view on Motown is that at it's finest it's magnificent, at its worst its a squandering of magnificent talent on making Uncle Tom mush for a fundamentally racist white audience' I don't see how when quoted IN FULL anyone can disagree with this - what's 'Rocking Robin' if not Uncle Tom Mush? The point about aiming to make money is patently obvious. 'Different eras different music' re-the likes of Fortune - surely this was the whole point I was making? - that Motown was not the first from which all grew - you could equally say the same of Motown itself - Mojo Hanna or the Hunch ain't got a lot to do with Down To Love Town sound-wise.

As regards poaching - perhaps this was the wrong term, but the fact is that numerous writers and producers had a meaningful career before they joined Motown (let's say Harvey Fuqua for starters) - like Frank Wilson - as did a goodly number of the artists. As for Lamont Dozier versus FW - well FW certainly had more INDIVIDUAL success at Motown and always says himself that he was their most successful producer (and I'm not dumb enough to even have Do I Love on my radar when talking about him). There are many labels like Chess and Kent/Modern that had success pre and independent of the Motown sound.

Again 'lacking in direction' - it's pretty clear I was talking about MUSICAL direction - NOT business - I don't think anyone can question that there was something of a hotch potch of different sound streams going in Motown around 63.

I'd have to agree with your assessment of the other labels though - in that post-Motown's success they were heavilly influenced, but built on the sound to create their own style - this is a much fairer point than the original one made by webbydublin that I took serious issue with - that everyone else was just a slavish soundalike.

Anyway I thought I was being fundamentally positive about Motown - seems people are more interested in the asides than they are a statement like 'My own view on Motown is that at it's finest it's magnificent' or 'I do think that many of the Motown greats are neglected because in the initial instance everyone knew them at or near the time of release, then later on with say my generation they fell by the wayside amongst kids who hadn't heard them in the first place'. We have shed loads of the stuff upstairs (about 100 albums and 250 singles) so I guess I must like it despite what people seem to think I said.

Dave

PS 'Tie Me Kangaroo Down Sport' by Diana Ross and the Supremes.

Hi Dave,

You're right I did misunderstand a couple of statements from your initial post. There were obviously successful labels before in Detroit pre Motown but I feel it was Gordy who galvanised the talent, instilled a regime of good business and good product only and laid the foundations for what became 'our' music. Others in the city also played their part but I do feel that Gordy was the inspiration for it all.

Your reference to Chess and Modern are indeed valid as black music labels too. I was refering to the soul-styled content of labels and it was other genres of music that proved to be the foundations of these particular labels. Chess particularly is still revered as a blues label, despite a healthy Soul A&R rosta during the era. The proof of that is in the state of the studios now.

I did laugh at your 'Rockin' Robin' comment as I would have thought that most soul fans would have to acknowledge that by then the signature "Sound of Young America" had actually lost it's lustre by then and had moved way beyond any critical acclaim as far as soul devotees were concerned.

I still think the Uncle Tom comment was the wrong use of phrase and wouldn't have thought it had a place when discussing the work of the people I mentioned in my first reply. But there you go, that's just another of one of them there opinions.

[JOHNNYBETCHA]

Motown?? whats that then? have i missed somat?

[Davenpete]

Hi Dave,

You're right I did misunderstand a couple of statements from your initial post. There were obviously successful labels before in Detroit pre Motown but I feel it was Gordy who galvanised the talent, instilled a regime of good business and good product only and laid the foundations for what became 'our' music. Others in the city also played their part but I do feel that Gordy was the inspiration for it all.

Your reference to Chess and Modern are indeed valid as black music labels too. I was refering to the soul-styled content of labels and it was other genres of music that proved to be the foundations of these particular labels. Chess particularly is still revered as a blues label, despite a healthy Soul A&R rosta during the era. The proof of that is in the state of the studios now.

I did laugh at your 'Rockin' Robin' comment as I would have thought that most soul fans would have to acknowledge that by then the signature "Sound of Young America" had actually lost it's lustre by then and had moved way beyond any critical acclaim as far as soul devotees were concerned.

I still think the Uncle Tom comment was the wrong use of phrase and wouldn't have thought it had a place when discussing the work of the people I mentioned in my first reply. But there you go, that's just another of one of them there opinions.

'Tie Me Kangaroo Down Sport' by Diana Ross and the Supremes. ...God I'd love to hear it - one unissued recording that miraculously has never surfaced.

Don't forget the Uncle Tom comment was in terms of 'at its worst' - doesn't matter which era we're talking as that was never a caviat of the original point.

Dave

[Kev Cane]

I'm interested to find out what the rare soul fans on here think of motown. And by that I mean the tunes that everyone knows. I was listening to the motown gold cd the other day and every single track on it was amazing. Fantastic production, amazing vocals, the lot.

Do people on here share my views that songs such as you keep me hangin on, heatwave, standing in the shadows, hey love, shop around, are all timeless pieces of music or would you tag them as drab and boring?

I know that there is a divide on here with the nostalgia scene / oldies scene v's the upfront and rare scene, but is motown the common ground that both camps have a foot in? Can the above tracks I've listed be thought of in the same way as the snake, dance dance dance, our love is in the pocket, etc or do we all love them?

Does snobbery mean that only rare / un-released motown are worthy of a listen?

I personally love rare soul and funk and listening to new and different stuff is what floats my boat. But I LOVE motown and I always will.

What's your thoughts?

At the Coachman in Darlington last Saturday, in amongst Enchanters, Steve Mancha (Friday Night), Accents, Jock Mitchell, Cashmeres etc, Temptations-I Know I,m Losing You was played, nobody moved from the dancefloor, to anyone or anything getting out of a Spaceship and not being aware of the so called politics would have been none the wiser as the Temps is more than a match for any of the aforementioned tunes and deserves its place in any Soul set, there are more examples, lets have them.

Kev

[Davetay]

I'm interested to find out what the rare soul fans on here think of motown. And by that I mean the tunes that everyone knows. I was listening to the motown gold cd the other day and every single track on it was amazing. Fantastic production, amazing vocals, the lot.

Do people on here share my views that songs such as you keep me hangin on, heatwave, standing in the shadows, hey love, shop around, are all timeless pieces of music or would you tag them as drab and boring?

I know that there is a divide on here with the nostalgia scene / oldies scene v's the upfront and rare scene, but is motown the common ground that both camps have a foot in? Can the above tracks I've listed be thought of in the same way as the snake, dance dance dance, our love is in the pocket, etc or do we all love them?

Does snobbery mean that only rare / un-released motown are worthy of a listen?

I personally love rare soul and funk and listening to new and different stuff is what floats my boat. But I LOVE motown and I always will.

What's your thoughts?

Motown, what do I think, it's what 1st put me on this 40 year roller-coster ride known as the soul scene.

Going back to when I was at school, I was round at one of my mates house playing my records (I did not own a Record Player at the time )

I used to buy what they where playing at youth club, school disco etc.

When the girlfriend of my mate's older brother at looked the records, thats the night I was 1st told what soul music was.

At the time I had no idea that alot of my records which where on Tamla Motown where soul records.

So Christine Champ, wherever you are now it's your fault, thank you for starting me on the journey.

Nothing more to say really.

Dave.

P.S. Paul say helo to your dad for me.

Edited August 12, 2009 by davetay

[Guest WPaulVanDyk]

Ok, my take on this is Motown was and still is the greatest record label ever and i don't mind weather it's a hit, b side, album track, rare track or whatever it is from Motown i can listen to it and enjoy it

What i like is the mix of motown that can be heard on radio shows instead of someone who owns like a few motown gold CD's it's nice if i was to hear say Baby Love followed by Suspicon or Isley Brothers album track or Still Waters or Blinky - Rescue Me etc then to me i am happy cause it's a mix of Motown and you know there are tracks i never heard before on Motown and i always seek them to listen to

would love to hear the Michael Jackson take on 25 Miles from his new Motown album

[BrianB]

Motown, what do I think, it's what 1st put me on this 40 year roller-coster ride known as the soul scene.

Going back to when I was at school, I was round at one of my mates house playing my records (I did not own a Record Player at the time )

I used to buy what they where playing at youth club, school disco etc.

When the girlfriend of my mate's older brother at looked the records, thats the night I was 1st told what soul music was.

At the time I had no idea that alot of my records which where on Tamla Motown where soul records.

So Christine Champ, wherever you are now it's your fault, thank you for starting me on the journey.

Nothing more to say really.

Dave.

P.S. Paul say helo to your dad for me.

Hi Dave,

How are you? Amazing we are still listening to the stuff we heard from Tony Jebb on those Tuesday nights at the Rose Room, and then its successor at the Cricket Club!

Have to agree (again!) with everything Dave Moore says. No wonder he is the editor of the finest soul mag to hit the printing press, or whatever the digital equivalent is.

All I know is exactly what Dave Taylor says. I was sat in the Burnley Mecca on a Sunday night in 1970 aged 15, listening to Its So Hard Being A Loser (Look after that Paul!!!), and I was lost for ever. I listened to it yesterday in the car. I have it on CD, Tamla Motown, Gordy and the MFP LP. Just a beautiful record. Played at the Wheel and nowhere really since.

I listen to I'll Never be Alone by the Vandellas and I am amazed that anything could be that good. The Funk Brothers are perfection musically. Look at Paul Riser, yes Frank Wilson, Norman Whitfield, and Lamont Dozier for ace producers.

The writers, the genius of Berry to have the Tempts, the Miracles, The Supremes, The Tops, Jimmy Ruffin, Marvin Gaye, Stevie Wonder, Jnr and the gang, Brenda, Kim, Marv Johnson......bloody hell, he had them all on the same label at the same time. How could this be!

Northern came from Motown and thank God it did!. I think thats why I sometimes have difficulty listening to crossover/modern. Each to their own, but I just want more of that stuff that moves me. Unreleased, classics, Northern Motown and the classic that you haven't heard for years then all of a sudden you hear Nothing But Heartaches by the Supremes and you think, if that had never been a hit, it would be THE sound on the Northern scene.

I think its great that younger guys like Paul have a broad view and listen with a more appreciative ear than I have for funk/70s/80/ crossover/RnB, but know and appreciate the roots of the older members of the scene. Now I am going to be a grand dad thanks to Paul and Jill I know when we babysit (4 Peronis and a curry please Paul) I will get the usual..."Dad, have you heard this?" No I usually haven't, but it is always good. Long may that continue, but deep down I know where the inspiration for the record usually came from.

Brian B

[BrianB]

Hi Dave,

How are you? Amazing we are still listening to the stuff we heard from Tony Jebb on those Tuesday nights at the Rose Room, and then its successor at the Cricket Club!

Have to agree (again!) with everything Dave Moore says. No wonder he is the editor of the finest soul mag to hit the printing press, or whatever the digital equivalent is.

All I know is exactly what Dave Taylor says. I was sat in the Burnley Mecca on a Sunday night in 1970 aged 15, listening to Its So Hard Being A Loser (Look after that Paul!!!), and I was lost for ever. I listened to it yesterday in the car. I have it on CD, Tamla Motown, Gordy and the MFP LP. Just a beautiful record. Played at the Wheel and nowhere really since.

I listen to I'll Never be Alone by the Vandellas and I am amazed that anything could be that good. The Funk Brothers are perfection musically. Look at Paul Riser, yes Frank Wilson, Norman Whitfield, and Lamont Dozier for ace producers.

The writers, the genius of Berry to have the Tempts, the Miracles, The Supremes, The Tops, Jimmy Ruffin, Marvin Gaye, Stevie Wonder, Jnr and the gang, Brenda, Kim, Marv Johnson......bloody hell, he had them all on the same label at the same time. How could this be!

Northern came from Motown and thank God it did!. I think thats why I sometimes have difficulty listening to crossover/modern. Each to their own, but I just want more of that stuff that moves me. Unreleased, classics, Northern Motown and the classic that you haven't heard for years then all of a sudden you hear Nothing But Heartaches by the Supremes and you think, if that had never been a hit, it would be THE sound on the Northern scene.

I think its great that younger guys like Paul have a broad view and listen with a more appreciative ear than I have for funk/70s/80/ crossover/RnB, but know and appreciate the roots of the older members of the scene. Now I am going to be a grand dad thanks to Paul and Jill I know when we babysit (4 Peronis and a curry please Paul) I will get the usual..."Dad, have you heard this?" No I usually haven't, but it is always good. Long may that continue, but deep down I know where the inspiration for the record usually came from.

Brian B

Too many Marston's Pedigree, I meant My World is Empty Without You, not Nothing but Heartaches.

Brian B

[Davetay]

Too many Marston's Pedigree, I meant My World is Empty Without You, not Nothing but Heartaches.

Brian B

Hi Brian, good to hear from you, trust you are keeping well.

Dave.