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SoulfulDetroit.com FORUM: Archive - Beginning May 30, 2003: DEKE RICHARDS..3

DEKE RICHARDS 2 01/28 06:56am

By Ralph (209.240.198.62) on Monday, January 27, 2003 - 10:12 pm:

Deke,
As I said you are HOT, HOT, HOT. Carry on with your good stuff.

By Deke (12.229.234.28) on Tuesday, January 28, 2003 - 11:37 am:

Hi Soulkiddies,

Thanks so much for staying in touch. Page 3? I guess I'll have to get going and find a goodie for you for this page. Be patient, I kept a mini diary, some chicken scratches on pads and some tapes. I'll really try get something together for you when things calm down this weekend.

Now a quickie note for PROMISES KEPT:
You have a good ear. You are right about "You're Love Makes It All Worth While". I don't remember how it went down, but Detroit got a hold of that Multi-Track master tape. (Note: I think it was put on a tape with some other masters from Detroit, so it got sent back to them. Then, when it came time to finish the final mixes, since the tape was there, they mixed it. I was looking the other way (or just wasn't paying attention), or I would have requested a re-mix. I have always had the most respect for their mixes, but this one . . . they sure messed it up. I even recall they used the wrong lead or double lead in some spots. I have to check it out again.

My best to you all,

Deke

By cleoharvey (160.79.83.208) on Tuesday, January 28, 2003 - 03:13 pm:

Deke

I think that it was I who made the comment about Your Love Makes It All Wothwhile (not that it makes any difference). I loved the Corporation work on "Black Magic" and the mix on that song was strange. The Martha Reeves I Want You Back is smokin.

You may have already answered this but what are you working on now my friend? I hope that you have projects up the wazoo.

I think it would be incredible if they people around Diana let her go back into the studio and do an album with you, Clay McMurray, and Frank Wilson. Give her a new start be revisiting the quality that you guys once cushioned her with. Despite her problems, I feel that there is another hit album inside of Queen Bee. Not trying to keep up with the hip hop girls but doing quality, melodic music.

Of course the fans would die and go to heaven if Diana, Mary, and Cindy would do another Supremes album. Not likely, but I can dream can I.

By Deke (12.229.234.28) on Tuesday, January 28, 2003 - 03:33 pm:

Michael,

Sorry, you're right. Oh-Oh! I turn just one page and there's 'Trouble in River City'. (Smile)

Diana and Supremes Dreams?
That would be nice. I wouldn't like to see Ms. D go down the Cher road either. I mean, Lady Day was, and will always be Lady Day. Dreams are a good thing. You'd be surprised, sometimes they do come true.

What am I working on?
Unfortunately, some non-music related biz right now. However, I'll let you know if and when . . 'Deke Strikes Back!'

Take Care,

DR

By Promises Kept (12.227.139.195) on Tuesday, January 28, 2003 - 04:25 pm:

Ooooh! Cleo! Another DRATS LP, indeed! I love this idea! Cheer Diana up.....give Mary some exposure.....and make Cindy's day! Now my friends, just how much would you all pay for such a hot CD to be in your hands? Or maybe one new song and 11 unreleased gems? Give me a pig-foot and a bottle of O'Douls!

By cleoharvey (160.79.83.208) on Wednesday, January 29, 2003 - 11:51 am:

To Deke:

The best of luck to you on whatever you are doing!! Any other stories about creating music at Motown that are impossibly gurgling inside of you and need an outlet, please share them with us. I for one, and I am sure everyone on this forum will be absolutely delighted. Besides my friend it would force you to work on and finish that book that is so obviously part of you.

As for Diana Ross and the Supremes, lord knows dreams do come true and it would make fans delirious. I am going to keep whispering the words "Deke Richards" in Mary Wilson's ear.

Promises Kept

LOL!!!!!! Can you imagine Queen Bee, Mary, and Cindy going back into the studio with Deke Richards and Frank Wilson, or Clay McMurray...... Excuse me I have to go take a cold shower. LOL!!!

Michael

By John Perrone (152.163.188.68) on Wednesday, January 29, 2003 - 07:59 pm:

Deke...unfortunately, I just found your "Love Child" installments...fortunately, I was able to read them all in one sitting without the grueling
wait that others had to stand. I would just like to add that your writing is totally captivating, motivating so much excitement and suspense, giving such interesting details so that we can get a real feeling for the
process you and your partners went through. I think what I enjoyed most is your sense of humor
and that your story weaving really showed the humanity of all those involved.
I have enjoyed your music with Motown for many, MANY years. I have a radio show out of Provincetown, Cape Cod (on a non-commercial station...WOMR 92.1 FM)where I play mostly Motown
...and so many of your songs are staples of my show. Thank you for the music! John

By Deke (12.229.234.28) on Thursday, January 30, 2003 - 11:08 am:

John Perrone,
. . . and thank you for your kind words. Good to hear you help to keep Motown alive and kickin'. How about forwarding your address of your station there. If I get in your area, I'll get in touch.

Best Regards,

Deke

By John Perrone (205.188.209.38) on Thursday, January 30, 2003 - 10:32 pm:

Deke....just a little info about the station and my show...WOMR 92.1 Fm and live on the internet at www.womr.org is a non commercial, listener
funded station with an eclectic roster of shows...
jazz, reggae, world, classical and opera (we have the only presentation on Cape Cod of Live at the Met), many talk shows related to environmental issues, health, gay issues. My show "NIGHTFLIGHT"
airs on alternating Tues 9P-12M (this past Tues),
Alternating Sun 1AM-4AM (2/2) and alternating
Thurs 12m-Fri 3A...all ET/USA. The address is
9 Center Street, Provincetown, MA 02657. The toll free number is 1800-921-womr. I specialize in Motown 60's-80's. I'll air a show this Sun..of all live Motown performances...sort of an ENORMOUS MOTORTOWN REVUE. You can email me at
jpatpt@yahoo.com I'd love to have an opportunity to chat with you further...maybe have you on the phone during a show for a chat...maybe
to answer questions fans have. It would be great to expand on the wonderful things you've shared about your involvement with Martha Reeves, the Clan, etc. Thanks so much for your input on Soulful Detroit. It's really nice to have you around, Deke. Thanks so much. John

By Promises Kept (12.227.139.195) on Thursday, January 30, 2003 - 11:51 pm:

Cool! and Double Cool!!

By Deke (12.229.234.28) on Monday, February 03, 2003 - 05:20 am:

I'm back, Soulkiddies.

Here's another tale from my 'Midnight At Motown' archives. This is the story of . . .

"The White Boy, The White Girl and The White Label"

I hadn't been with Motown very long before I heard about Chris Clark. Berry had signed me to a producer and writers contract and Debbie Dean to a artist and writers contract in 1966. Debbie was the first white artist on Motown in the early '60's. I was under the impression Debbie was still going to hold that title the second time around. Berry wanted to put Debbie on his new label V.I.P. However, then I heard this record on another white female artist he signed to the VIP label. It was Chris Clark. Her record was "Love's Gone Bad". I always thought that was a great record. I also believed it could be rough getting two white female singers, on the same label off the ground at the same time. However, what did I know about these things? I just kept thinking to myself, 'Mr. Gordy must know what he's doing'. During my first 1-1/2 years with Motown, I had casually talked to Chris on different occasions at Gordy Manor, and at Hitsville. I got along fine with Chris. She definitely had a bit of an attitude, but I soon realized it wasn't because of her connection with Berry. It was simply a part of Chris' personality. She just had confidence, that's all. She carried herself well, had a soft voice and a dry, sometimes 'stinging' sense of humor.

Now I have to jump down to early 1969. Not only had "Love Child" been a smash; but Motown enjoyed it's best time in history during December of 1968 on the Billboard charts. Stevie's "For Once In My Life" and Marvin's "Grapevine" kept 'Love Child' company at the top of the pop charts. What a glorious time it was for Motown. The 'Love Child' experience had helped to create a strong bond between Berry and myself. We both had gained a good amount of respect for one another. He gave me a 'second chance', and I came through for him; while at the same time saving my own face. So when he asked me to come up with something for Chris Clark, I told him I would do my best. At least, the timing was right. I was no longer recording Debbie Dean. Debbie had only one release in 1967, "Why Am I Loving You?. Motown never released a second record. You see, Debbie had competition; Chris Clark had moved into town . . . Motown that is. I believe Berry had finally come to the conclusion that one white 'female' artist was all he could handle at a time. I wouldn't doubt if Chris Clark may have had a few words with Berry about it as well. The situation might have been different had one of the girls gotten a hit record, but they were both 'hitless'. They both needed a special kind of attention. Debbie saw the potential problems and after meeting with Berry, decided to let her artist career go and concentrate more on writing. Now, that helped relieve Berry of his personal conflict of interests: 2 white female artists.

You need to keep in mind, many producers had only recorded Chris for a couple of reasons: 1) Either Berry made a personal request directly or via the A&R Department, or 2) Producers felt they would get a decent 'shake', If they did get the release on Chris. At least, they knew Berry would do his best to help promote the record. After all, she and Berry were close. You didn't have to have eyes in the back of your head to know that fact. However, some producers still vacillated when it came to cutting great tunes on Chris. It was not a question of Chris' ability to handle the material. More than likely, some writers simply wanted to save their better songs, for the bigger name artists. After all, this was Motown. Wouldn't you rather have had your 'hit' song recorded by the Tempts, Supremes, Martha, Smokey, Stevie, etc., instead of Chris Clark? On the other side of the coin, a rose, is a rose, is a rose. In other words, a hit, is a hit, is a hit; no matter who it's on.

While I was in Detroit, I went ahead and cut three totally different types on songs on Chris. I just wasn't sure what direction would be right for her. One of the cuts, "Can I See You In The Morning?" was my favorite and I had written it especially for her. After I completed her first vocal overdub, Chris liked it and took home a tape copy for Berry to hear. I didn't think much of it at the time, because Chris played everything for Berry that she was currently recording. However, Berry gave me a call at my hotel and told me he liked the song and felt it could be the next single for Chris. I told him I was scheduled to go in the studio to do the various BG vocals and horn overdubs. Chris' tune was on the list. Then, I was taking a day off before returning to LA. Berry said, "Fine. Chris and I are leaving for California tomorrow. Call me when you get in, so we could hear the finished production." So, I completed my sessions, kicked back for a day and then left Detroit.

With bags in hand, I walked into my place in LA, and saw the message light on my answering machine. Nothing much, just 4 calls from Berry. He wanted me to come up to the house as soon as I got in. I partially unpacked, grabbed the tape from the session, threw some water on my face and jumped in the car. When I got to Berry's house, I heard the tune playing on the pool speakers. 'They're playing my song. That was a good sign', I thought. Then all of a sudden I heard the horns and BG vocals. What's going on here? I just finished that 3 days ago in Detroit. I was the only one who had a copy. Wrong! Berry had already ordered a rough mix sent to him from Detroit, and he and Chris had been listening to it for the last two days. (Note: See the neat things you can do when you're the President of Motown? I could just see him going to Paris and telling his long time assistant/secretary Rebecca Jiles, "I'll be at the hotel at 2 PM. Have an acetate cut from Deke's session on Chris, and sent to me there. I want it to be on the turntable in my room when I arrive!". It somehow reminded me of 'The Eyes In The Sky' in Las Vegas.) Well, we all sat for a minute and some suggestions about the song were passed back and forth. Then, out of nowhere Berry just blurted out, "I want you to cut Chris Clark!" Right! Yea? So? Great, I thought. "Isn't that who I just recorded and who we were listening to?", I said. Berry, lightly laughed. "I mean I want you to cut an entire LP on Chris", he said. Now, Chris was in the room at the time. They had to have been discussing this for a while. Between Chris getting along with me in the studio; Berry and I working together closely on 'Love Child' and Berry and Chris liking 'Can I See You In The Morning", I had just secured a brand new 'job offer'.

How could I have known, that my response was going to take me into a new and exciting world of independance? This would become the second phase of my life at Motown. If I decided to do this LP, would I be saddled with Chris Clark forever? Was I being moved into the 'white sector' of Motown? Was I ready for "The Politics Of Dancing"? Would I ever again be able to record my favorite artists on Motown; or would I find 'my favorite artists' on another label?

. . . to be continued

By John Lester (62.49.61.57) on Monday, February 03, 2003 - 10:57 am:

.....and just when I was starting to get some early nights!

Is this leading to a celebration! LOL

By Steve Litos (209.100.86.4) on Monday, February 03, 2003 - 11:10 am:

Deke's back with a vengance! Look out! I think we have another winner here.

I guess you were one of the "in crowd" since you had an answering machine back in 1969!

By KevGo (64.115.26.80) on Monday, February 03, 2003 - 12:00 pm:

Deke:
Once again you amaze us with your anecdotes of the Motown days.
I'm setting up my own record label here in NYC. Please let me know if you have any new songs my artists can record.
Best always,
Kevin Goins - KevGo

By John Perrone (64.12.105.177) on Monday, February 03, 2003 - 01:32 pm:

Deke...another wonderful series has started....and with Chris Clark!!! What a surprise! I certainly appreciate the delicate honesty with which you write about these artists.
You are one CLASS ACT!!! Thanks so much! John

By TonyRussi (68.18.226.42) on Monday, February 03, 2003 - 01:57 pm:

DEke this is such an interesting tale,however, I do have an unrelated question:"People Gotta Be Free" that you did on Martha Reeves "Natural Resources"LP...is that Lois Reeves & Sandra Tilley on backgrounds?I think I hear Lois' voice.Thanks for all the great music!

By Nish (66.119.33.170) on Monday, February 03, 2003 - 03:06 pm:

What an opener! I can tell this latest chronicle is going to be as good as the love child saga!

By cleoharvey (160.79.83.208) on Monday, February 03, 2003 - 05:06 pm:

Deke:

So, my friend what draft of your upcoming, exciting, insightful book are you on? I think some titles to be considered are:
I Can't Dancing to the Music You're Playing: A History of Motown behind the scenes.
Love Child: Saga of a Producer/Writer of Motown
Berry and Me (oops, that one is taken)
A Producer's Story
Motown, Queen Bee, and Me
or simply Deke Richards

In any event, I hope you are compiling these wonderful stories. You and Clay McMurray are the reason I return to this forum time after time.

Question: who was the quickest study at Motown in terms of learning a new song? There are stories of artists having to be fed every line and taught how to sing and there were those who could do a song in two or three takes.
Peace,
Michael

By stephanie (207.94.146.229) on Monday, February 03, 2003 - 08:38 pm:

Deke
When I listened to the Supremes Box Set one of the songs I listen to the most is
The Beginning of the End of Love it sounds so mystical and I wish they had released it as a single.....you have a habit of making things sound mystical or dreamy like Love Child...
Stephanie

By Deke (12.229.234.28) on Monday, February 03, 2003 - 09:04 pm:

Just wanted to jump in and say thanks for the continued interest and support. Here are a few answers to the last round of queries:

�� By Steve Litos (209.100.86.4) on Monday, February 03, 2003 - 11:10 am:

I guess you were one of the "in crowd" since you had an answering machine back in 1969!

Steve,

Funny you caught that. I had one of the very first answering machines. I think it was called Tron or Tac Tron. One of my electrical genius friends had somehow gotten a hold of it in Japan from his electronic contacts there. It used a small reel to reel. Then he made some modifications and changed the voltage. It was a weird, but it worked.

�� By KevGo (64.115.26.80) on Monday, February 03, 2003 - 12:00 pm:

Deke:
Once again you amaze us with your anecdotes of the Motown days.
I'm setting up my own record label here in NYC. Please let me know if you have any new songs my artists can record.
Best always,
Kevin Goins - KevGo

Kev,

I'm presently going through all of my tapes now. I'll have to hear a sample of your artists first, then I'll see if I have anything that makes sense.

�� By TonyRussi (68.18.226.42) on Monday, February 03, 2003 - 01:57 pm:

DEke this is such an interesting tale,however, I do have an unrelated question:"People Gotta Be Free" that you did on Martha Reeves "Natural Resources"LP...is that Lois Reeves & Sandra Tilley on backgrounds?I think I hear Lois' voice.Thanks for all the great music!

Tony,

Bingo! On that cut, It was the girls . . the real Vandellas Lois and Sandra.

�� By cleoharvey (160.79.83.208) on Monday, February 03, 2003 - 05:06 pm:

Deke:

So, my friend what draft of your upcoming, exciting, insightful book are you on? I think some titles to be considered are:
I Can't Dancing to the Music You're Playing: A History of Motown behind the scenes.
Love Child: Saga of a Producer/Writer of Motown
Berry and Me (oops, that one is taken)
A Producer's Story
Motown, Queen Bee, and Me
or simply Deke Richards

Michael,

Thanks for all the titles. That's tough one right now . . . we'll see.

Question: who was the quickest study at Motown in terms of learning a new song? There are stories of artists having to be fed every line and taught how to sing and there were those who could do a song in two or three takes.
Peace,
Michael

I have to say it was Smokey.

Smokey, was easy. What a pleasant artist to work with. As good as he is (writer and producer), he always gave me full attention and respect. An easy dub in.

Gladys Knight would be my alternate choice. She was a dream as well.

That's it for now Soulkiddies. I was going to post the next episode tonight. However, we have had crashes all day. I'm going to have to spend the night cleaning up my disk and then reinstall everything. With all the junk that's floating around, you can't too careful. Plus, I don't want to pass anything on to anyone . . . just in case.

See 'ya Tamale,

Deke

By John Lester (217.40.231.105) on Tuesday, February 04, 2003 - 02:19 am:

Deke

You are not the first person to nominate Gladys Knight...Clay is a big fan of Glady's too.

So put on your list to tell us about your work with Gladys!

By Deke (12.229.234.28) on Tuesday, February 04, 2003 - 02:40 am:

Stephanie,

You're so sweet. Thanks for the nice things you always say. Brian Holland always loved that tune and the feeling of the track. I was honored then, as I am now.

Take Care,

Deke

By PhilH (203.220.96.117) on Tuesday, February 04, 2003 - 06:27 am:

Hi Deke,

Too much! Looking forward to the next instalment(s) of the CC Caper! And "The Beginning Of The End Of Love" is my favourite of the unreleased tunes from The Supremes box, many thanks to HW for unearthing that gem!

cheers,

Phil

By KevGo (64.115.26.80) on Tuesday, February 04, 2003 - 11:15 am:

Deke:
Thanks for the response. If there is a way to send the CD of my artists to you please send it to my email address (kevingoins@juno.com). My musical director Darryl Walker is a lifelong fan of your work, especially the Jackson 5 classic "One More Chance" from the ABC album.
Best regards,
Kevin Goins - KevGo

By TonyRussi (68.18.227.123) on Tuesday, February 04, 2003 - 11:46 am:

Thanks for the answer Deke.As I go back through my record collection I'm sure I'll have more questions.Can't wait for the next Chris Clark installment.

By cleoharvey (160.79.83.208) on Tuesday, February 04, 2003 - 01:22 pm:

Deke:

No, my friend, thank you. I cannot believe that you are gracing this forum and providing answers to questions that have been burning in us "diseased" Motown fans for years. I write myself and I feel that you have a literary talent that exceeds many of the books I have read that have been thrust upon the public about Motown. As you know, writing is difficult and I amazed at what seems to flow from you on the any particular subject. The reader not only gets a sense of what is going on but a feeling for you as the writer/participant. It is not an easy feat. So, I will not be satisfied until I read that there is a new book to appear on Motown from Deke Richards.
Michael

ps: You seem to be in agreement with many former Motowners about Smokey and of course, the amazing Gladys Knight.

By stephanie (207.94.145.102) on Tuesday, February 04, 2003 - 10:41 pm:

Deke
With your literary talent Im shocked you didnt write a Motown book when everyone else did!!! I can tell yours would be more along the lines of a Weldon McDougal and not a tell all if you will.

Its more along the lines of the music and the history and sessions. Thanks for your talent.
Steph

By Deke (12.229.234.28) on Tuesday, February 04, 2003 - 11:55 pm:

"The White Boy, The White Girl and The White Label"

Episode II
'A Job For Superman'

I thought this would be a great idea. Up until then, I was only doing single cuts. This would give me the chance to cut an entire LP. However, I never said 'yes or OK' right away to Berry. I remember I said something like, "Let me think about that one". Berry smiled. Chris looked a tad shocked. The 'Big Cheese' just offered me a deal and I said I'll think about it? I think I got Chris that time. Berry never came back at me with, "What do you mean?" or "You'll do what I tell you to do!", etc. I think it gave him a chuckle to have someone around him that didn't say 'Yes, Mr. Gordy" or "Whatever you say, BG". The truth is, I liked him and I owed him, and would have done anything he wanted me to do. I also would have backed down from my initial response if he had pressed me, but I just felt it was time to gamble. So, I left the house that day with the Chris Clark LP hanging in mid air. I didn't have a game plan yet, but I did decide on one thing: I was going to 'take it to the max". A few days later I called Berry and told him I would do the LP. However, I wanted to meet with him and Chris first, regarding the project. "What's on your mind? ", Berry quipped. No, I wasn't going to talk to him on the phone about it. I wanted to see them both in person.

First, I had to tell Berry my feelings about 'white artists' on Motown. I simply believed that program directors and DJ's were not going to ever be that receptive to playing a Motown Record by a white artist. Forget about the black stations. What were they going to do? Try to let a white 'blue eyed soul' artist, pass for black? When would they reveal the artist was indeed 'white'? The company was not geared for it. Even though the Motown hits were crossing over to the pop charts now, people wanted to hear that 'Motown Sound'. Well, that sound included the artists they had come to know and love like The Supremes, The Temptations and The Four Tops. Chris Clark? Sorry, no dice.

So I told Berry, I wanted to create another label for Chris. The new label would have to 'look' like a white artist label. There was a catch to my madness. I didn't want Motown's name anywhere on the LP jacket or record itself. I even wanted the sleeves to be plain white. NO reference was to be made anywhere that this label was a subsidiary of Motown Records. The sales department was supposed to handle this like some little existing label they picked up. Whatever. Next was the name. The 60's was the era for free love, hippies and out spoken, pot-smokin'; activists as well as an extremely diverse assortment of recording acts. So I said I want to call the new label "WEED". Then I added the simple double-meaning slogan, "Your favorite artists are on . . . WEED". Next I needed to design the label artwork. I studied tons of logos and labels. I'm almost positive I finally got the idea from the Stax logo of the snapping fingers. I had a shot taken of my hand making a peace sign. What schlock I thought, but then again, it wasn't. I liked it. I made the label all black. Black can be ominous, or mysterious or just plain classic. Then came the lettering for the name. I wanted something organized and straight, but with a little 'vine' look to it. At one point I was going to have a 'tagger' (well, back then it was a Graffiti Artist) do the name with shades of that psychedelic look. However, it was the end of the 60's and I thought it would look too dated.

While Berry and Chris were munching on all my ideas from 'the other side' of my mind, I threw him a curve ball. This was the last and strangest request of all. I wanted to change her name. WHAT? Deke, now you've gone too far!, I thought. Well, I did believe, if I kept the name Chris Clark, those who played or knew of her previous records might trash it, saying "Oh here comes Berry's Blue Eyed Soul Sister again." So I wanted to change her name . . . without changing her name. "To keep the mystery, I want to call her simply "CC". After all, what's in a name? The Beatles seemed to prove that point quite nicely.

The last part of the concept was to change her image and get her away from R&B or 'white sounding black' songs. Black is black, white is white and soul is soul. In the record business at that time, these simple facts got all mixed up. A black act could sound white, but with few exceptions, a white act sounding black didn't always work. It's funny. When I played gigs in the 60's before I signed with Motown, all I played was R&B. I played black clubs, white clubs, mixed clubs; it didn't matter. You were accepted for your colorless soul; but making and breaking records was a different ballgame. If you sounded too black, the pop stations might not play you. If you wern't black or didn't sound black enough, you weren't going to fool anyone, including the black stations. So, I just felt this (R&B or Black Sound) was not a good road for Chris to travel.

Well, my friends, what can I say. Chris was game and the 'Big Bear' went for it as well. "OK, Berry, I have one last request to seal the deal". "Jesus, Deke!" What else could you possibly want?", he replied. "Well", I said and then stammered. "Well, . . . " I started up a second time. Then I took a breath and just said it quickly in one mouthful. "I want to give musician, engineer, writer, arranger and producer credits on the jacket." "Say what?", Berry said. "No, that's OK , I heard you the first time. I'll have to think about that one. We already give Producer and arranger credits, don't we?" "Yes and No", I said. "Arrangers don't get credit on the albums, just singles. If its a mixed album, the producer with the most cuts usually gets the credit. I want to break this down." I knew what bothered him the most was the musicians. I'm sure he felt this would set in motion a pretty serious 'chain reaction'. He was still sensitive about the HDH situation, so I didn't think it would fly, but at least I tried. When the dust settled, I got everything else I asked for.

___________________________________

Now, before I go any further, I must give credit where credit is due. There are things I've said here, that are important.

� Berry let me change the name of his pet artist.
� Berry let me create and have control of my own label.
� Berry agreed not to put 'a division of Motown' on the label or jacket.
� Berry let me copyright the Weed name and logo in my name, so that the name Motown wouldn't even show up in tiny print.
� Berry let me be the first to give producers, arrangers, writers and engineers credits on an LP.

But why? I could understand if I were Holland � Dozier � Holland. I could also understand if I were Smokey or Norman Whitfield, but I wasn't. Why did he do it then? Was I that good of a salesman? I don't think so. I really believe Berry had guts, faith and he took chances. He showed me he was a great man with foresight as well as insight. You can tell, he obviously believed in me. It made me want to come through for him, not only for myself. I really wanted to show him he made the right move, just like he did with me on "Love Child". You need to know these things; mainly because he had a lot to do with shaping part of my character. Sure, the man wasn't perfect, but who is? We disagreed, plenty of times. So don't judge anyone anyone too quickly, especially when input comes from a negative source. Throwing dirt back and forth is cheap stuff. Anyone can do that. Remember, it is always so important to learn and embrace the 'good that men do', because it is all forgotten too quickly. Bad men, don't do good things. (Excuse me ladies, for not being politically correct.)

___________________________________

The Material

Now, here is where there was a time problem. Maybe CC was putting on the pressure, I don't know. As an artist, she had been waiting; maybe not patiently, but she had been waiting none the less. Now, it was her turn. There wasn't time to come up with a fresh batch of new songs for CC. Berry wanted to get her in the studio, yesterday. So, there also wasn't the time to come up with a true identity for CC, or a total concept for the LP. I just thought to myself, 'You've got to work fast, Deke and don't look back..' So far, I only had four original songs and tracks and only one was complete. I had to figure only two out of the four would make it to the album. I needed six to eight more tunes and arrangements . . . right now. Hey, no problem Deke. I knew exactly what I was going to do. This was a job for . . . SUPERMAN.

. . . to be continued

By Nish (170.224.224.102) on Wednesday, February 05, 2003 - 12:15 am:

Let the sweet drama of waiting for the next installment begin!!!! THANKS!!!

I really think your writing style (and your great character) is just BEGGING for you to get out the ol' typewriter and crank out a book! I can't reiterate how thankful I am to be getting an inner glimpse into these fascinating stories. And no smutty mudslinging involved, I love it. Thanks, Mr. Richards. :-)

With great respect,

NISH

By Edgar (200.46.12.128) on Wednesday, February 05, 2003 - 07:43 am:

Deke: simply wonderful! Now I want "CC Rides Again", yesterday! Is Harry Weinger reading this?
What's more, I love the feeling of "culture of peace" within your words.

By KevGo (64.115.26.80) on Wednesday, February 05, 2003 - 10:18 am:

Damn, Deke! Great chapter - shows how gutsy Gordy really was back then. Onward to the next chapter!
Kevin Goins - KevGo

By John Perrone (152.163.188.68) on Thursday, February 06, 2003 - 09:18 am:

Deke....WONDERFUL! I'm hoping that the stories you've posted thus far are just the tip of the iceberg with much more to come. You've become an
important....rather...THE important source of
Motown history for all of us. Much gratitude, sir!
John

By Carl Dixon London (195.153.219.170) on Thursday, February 06, 2003 - 01:57 pm:

Now, I wonder what the connections are to Superman? This is thrilling. I have even started to bite my nails again. I will have to have a word with my old friend Jimmy Olsen or even Lois, to see if they know what is coming up next! It sure is a bizzaro world.

By Deke (12.229.234.28) on Thursday, February 06, 2003 - 10:25 pm:

I'm back, Soulkiddies.

I had some time off today , so I thought I'd write a while. Looks like we have another chapter here. Enjoy.

"The White Boy, The White Girl and The White Label"

Episode III
'The Merrie Melodies'

Superman Indeed! That's exactly who I needed now. A ton of work to do in a thimble full of time. Unfortunately, there were no men running around on the streets in blue tights and red 'booties' at the time. So, I knew there was nothing I could do, but quit 'looking to the skies' and just go, "Straight Ahead"!

Barry wanted me to record the album in LA. This way he could keep daily tabs on what was going on. We were all there in town anyway, so it made sense. To save time, I told Berry I would cut it live. This would also save on overdub sessions and excess studio time. I decided to use one of the arrangers I worked with in Detroit, David Van de Pitte. Although I was a self taught musician, I always wrote most of my own rhythm charts. However, when it came the sweetening charts (strings and horns), I was slow as a snail. I didn't have time on this project for that kind of nonsense. I just felt David could write the entire score. After all, these type of gigs are the easiest and most fun for true arrangers. They get to do what they are supposed to do...ARRANGE, not fill in the area that's left over. (Note: When I first came to Motown, I was pushed in Dave's direction. I really wanted to use guys like Paul Riser or Willie Shorter, but they were currently busy with other producers. So Hank Cosby, head of the Arrangers Department, was trying to balance the load.) David was fairly new at Motown and hadn't done much, but he turned out to be an easy arranger to work with. I usually knew what I wanted certain instruments to play. David really didn't mind writing the various parts I recited. He never took it personal. We actually ended up becoming very good friends. So in a way, this project was a way for me let him 'do his thing', without me being in his face all the time.

It was time to get some songs together. The minute I thought of changing Chris Clark's name to CC, I thought of the Chuck Willis classic, "CC Rider". Mitch Ryder had also put it in his 'Jenny Take A Ride' single in '66, but it was more 'Jenny' than 'CC'. Besides, I wasn't out to copy his version. Next, I just thought of doing a few covers of songs that were big hits. This was the fastest and easiest way I could show off CC. So I just opened up my Billboard and started looking over the titles. All of the tunes I chose, fell within a 60 day period. I picked tunes that either been a hit, were a hit now, or were moving up and I believed, would be a hit.

I remember thinking . . . A Program Director would just HAVE to hear how she handled The Beatles smash, "Get Back" On the other hand, a PD might say, " . . .now just what could this chick possibly have done to the Joe Cocker classic, "With A Little Help From My Friends"" or, "a girl doing the Elvis classic, "In The Ghetto"? This I have to hear!"

___________________________

What's that you say? You smell a little P.T. Barnum here? Well, in a way, I guess that's true to a certain degree. Right or wrong though, I had to stand by it. You see, if I spent my time looking for new material, I'd want each tune to flow, or paint some kind of picture of CC. Otherwise, what would be the sense of it? I'd only end up with another 'mixed bag' of tunes on the LP. If I tried to write them all myself I would have been too picky, because I would have wanted each one of them to be perfect. After all, it was MY debut LP as well. I had to go with the common denominators of the sound and her treatments of these name value songs for the audio part of her image. Believe me, these were not easy things to decide; especially when time, was noton my side.

___________________________

Three Dog Night were on their 3rd hit single. It was the Harry Nilsson song, "One". This one I used because not only because of it's chart action, but because it was a statement for CC. 'One is the loneliest number, etc." CC was going out there alone with a new name, a new image, etc. I thought it was an appropriate choice..

I took "Good Morning Starshine", because it was a Top 10 hit, and I had a slightly different idea for the arrangement. The play 'Hair' was such a big hit, but everyone was doing the Aquarius tune. Zodiac signs were in, unbelievably in. Personally, I got a little bored with that crap. God, you couldn't even meet someone new without the first line coming out of their mouth, "What sign are you?"

Blood, Sweat & Tears were hot as a pistol. As you know, their first big smash was one of Berry's tunes, "You've Made Me So Very Happy". I needed to bring some of the dough back home. I thought Berry would appreciate that. I was sure he'd show up when I was going to dub in CC, and have some fun getting involved. "Spinning Wheel"? Well, that was also a smash and just happened to be a BS&T tune as well. It wasn't because I was going BS&T crazy. Like I said, the first BS&T tune was for 'Home and Country' (Berry and Motown)'.

That leaves us with the last two songs that were mine, "Can I See You In The Morning"? and "How About You". 'Out of the 5 I actually cut, I felt only these 2 were worthy. Can I See You . . ", you already know about. "How About You? was the only off color tune of the batch. This one I added for 3 reasons. 1) It was a 'white sounding standard' type of tune. I added this one just in case a PD thought CC sounded good in a 'mellow mood'. 2) I used a new contract writer that wasn't getting much action, Sandra Saunders to write the lyrics to one of the verses. I had already written the rest of the song. I wanted to give her a shot to get a little credibility, since I knew the song would be released in the LP. Then, maybe some other producers and writers would use her. 3) At the same time I wanted to give David a taste of something, so I gave him a small percentage of the song. I thought, if it did get some play, it was the type of tune that others might cover. So, that was my way of saying a little extra thanks. (Note: It worked out fine, since I recut "How About You" and put it on the Diana Ross 'Everything Is Everything" LP.)

Well, I think that covers all the tunes I finally used on the LP. Now I had to self indulge myself with a few 'Merrie Melodies': Romeo & Juliet, The William Tell Overture, and Also Spake Zarathustra. What in the world you ask, did these 3 items have in common with CC?

1) Also Spake Zarathustra" is Richard Strauss' unforgettable theme from "2001 Space Odyssey". This was always a favorite classical piece of mine. I felt it would be perfect to open Side Two as the intro for "One".

2) "Love Theme from Romeo And Juliet" was another hit on the charts. Franco Zeffirelli's film version was a big hit and listening to the "Love Theme from Romeo & Juliet' just put you back in the theater with the 2 star-crossed lovers (Leonard Whiting and Olivia Hussey). So, I wanted to set up "You've Made Me so Very Happy" with Romeo & Juliet.

. . . and last , but not least

3) "The William Tell Overture" was made famous to millions of TV and moviegoers as the theme for the Robin Hood of the Wild West, "The Lone Ranger". There is a mixture of reasons why I chose this ditty. First, I already envisioned what the cover of the album was going to be. This Overture would play a major role, but I'll get into that later. Second, when I was playing in clubs with my band, we used to do a version of this for laughs. We would hit the final note, sustain, and then break into Booker T's "Green Onions". The crowd loved it. Third, I thought it would be fitting and fun for my new strange artist "CC", who was preparing to sing "CC Rider", to be introduced by the theme for "The Lone Ranger".

The live sessions were so much fun. We recorded for 2 days. It was actually 4 sessions; a double session on each day. Everybody had a ball. I had fun producing, CC had fun singing live with the orchestra, David had fun writing and recording, the musicians had fun playing the charts and Berry had fun watching it all go down. When the dust cleared, everything was done except for the background vocals. CC also had to redo some lines here and there. Even though the sessions went well, and we were on target time wise, this was no time to rest. Not yet, anyway. Now, I had get started with the visual part of the project. It was time for me to get crazy . . . and go out and have some more fun.

. . . to be continued

By stephanie (206.214.1.77) on Friday, February 07, 2003 - 02:59 am:

Deke
Two things are going on here. Either you have a ghostwriter in your home or you were an A student in English..now which is the truth? Has anyone ever suggested that you be a writer AND a musician? I have never in my life been so compelled by any musicians writing style such as
yours....man I went to school for Journalism and I cant write as well as you. You and Whithall ought to get together and do a Motown book like the other folks.....amazing truly amazing...
Steph

By Deke (12.229.234.28) on Friday, February 07, 2003 - 01:23 pm:

I was just getting ready to walk out the door and saw this message. This is a fairly easy one so I'm going to write right back.

Steph,

There you go again. You almost make me blush like a kid with your compliments. One thing I'll tell you about me, I'm cursed. All of my life, I've always tried to do better. You want to know why I never wrote a book before? First, there were too many other books out there. The second reason, and this might shock you, I didn't feel worthy. You see I never considered myself a great songwriter. I always wished I was a Burt Bacharach or Hal David, Barry Mann or Cynthia Weil or ,Carole King, etc,. etc,. etc. "Up On The Roof", "Save The Last Dance For Me", "You Made Me Feel Like A Natural Woman", "Bridge Over Troubled Water", "The Look Of Love", "On Broadway", etc. Now THESE were songs, great songs. After being at Motown a while, I started to study Berry, Smokey, Norman and Eddie Holland. These writers added some more great songs to my list.

It's taken me a long, long time to accept what I've done, and live with it. I have finally decided, I was a part of musical history; not a big part, but none the less, I did contribute something. I started 'bubble gum' (well, at least that's what I told a writer for Time Magazine many years ago when I was interviewed). It's kind of funny. I'll tell you how that really happened. During the interview, I told him the story of the first song I wrote. It was the story of a guy who's trying his best to make it with this girl. However, everytime he gets close to her, or they get ready to kiss, she would blow a big bubble in his face. She was a chronic gum chewer. You got it. It was called "Bubble Gum" So he took this and was half putting words in my mouth saying, " . . so this is what you would call this new sound you've created of half white, half black, soul-pop . . . Bubble Gum?" Well, I guess it's like naming your first born. I must have said, " OK:" or "Why not?, that's a good name for the kid." I don't remember how he finally wrote the article, but the term, has been used ever since.

I got off the track....

I really have to thank writers like R.Dean Taylor and Pam Sawyer for this curse I've lived with all these years. Believe me it's been hell just wanting, and trying to become a better writer and lyricist. Someday, maybe I will be the writer I want to be. In the meantime, you'll just have to watch me grow.

My very best to you,

Deke

By KevGo (64.115.26.80) on Friday, February 07, 2003 - 02:23 pm:

Deke:
Come on, my friend - you of all people! Your songwriting and production work is admired by so many of us both in and out of the business! It's alright to say you're still growing but hell, give yourself some credit, my friend! When I told one of the artists I manage that I've been emailing you & you were part of "The Corporation", he said "Don't tell me you know the dude who wrote 'One More Chance' & 'I Found That Girl' for the Jackson 5! Man, those songs were the best!!!"

Like I said before, keep on keepin' on my friend!

Kevin Goins - KevGo

By cleoharvey (160.79.83.208) on Friday, February 07, 2003 - 02:27 pm:

Deke:

I think we have seen your growth on this forum my friend. It is amazing that you that you still want to be a better writer when you have been part of songs that are considered "classics," it makes me admire you even more. I hope you feel the tremendous excitement you are creating by being on this forum. And beyond that, I hope it inspires you to the greater things that you desire.

Your seeming humility amidst greatness reminds me of something that happened with Mary Wilson some years ago. I was with her and several other people at the home of a friend of mine on the Upper West Side of New York. She was regaling us with her beauty, humor, and general "down to earthness." At one point, Queen Bee came up and Mary fiercely defended her and berated the people in the room who said anything untoward about her. Everyone in the room was surprised because it was not the image of the rancor that supposedly existed between them. In the conversation there was reference to Diana's fame and Mary said, (paraphrased) "There are so many things I want to do. I don't feel like I have accomplished or done anything." At this point I became very upset and said, "Mary, please do not say that. You have accomplished more than you know. When I was an overweight, dysfunctional, young, black kid who felt out of place in the world, I would watch you three ladies and feel beautiful and that the world was an okay place. It was not just Diana but the three of you who created the image that stands until this day. Three black women cannot put on gowns without being referred to as "Supremes-like." They do not say "Diana like." I can deal with the mind fuck that Diane has over other Black women, but not you!" I had tears in my eyes and rather than be angry, she hugged me for what I said to her. I loved her even more after that moment.

So, Mr. Deke Richards you are a great writer/producer and the world will know when that book of yours.

By the way I will be at the 10:30 pm show of La Wilson at BB King's this evening. I support my inspirations no matter what form they may take.
Peace, my friend,
Michael

By Scratcher (65.134.147.230) on Friday, February 07, 2003 - 02:54 pm:

Deke, you detailed very well how the Clan worked but how did the Corporation (Deke Richards, Freddie Perren, Fonce Mizell & Berry Gordy) write and produced?

Collaborating with three others might be OK at first but I imagine it can be a drag after awhile, particularly when the grouping didn't happen naturally but was orchestrated. I hear what you're conveying...you would have felt better about those songs if you had been the sole writer or producer.

Not to mention the writers' individual percentages. People assume when they see four names credited as songwriters that all four receive the same royalty, which is often not the case. On a very popular Motown song (not one by Clan or Corporation), that has four or five names credited, one of the writer's share is only one percent.

By Deke (12.229.234.28) on Friday, February 07, 2003 - 03:44 pm:

Scratcher,

You are gonna have to be really patient on this one. There is a LOT to tell, I don't want to start giving out pits and pieces like crumbs of bread. I haven't wrote a word of this yet. I have to find a time when I will be able to have 3-4 days of peace and no phones and I will write it all at one time. Then I have to break off what I can share and what I will save for the book. I know it's a drag Scratch, but please understand. Just one Corporation or J5 answer "here", will open a 'Pandoras Box' "there" and make you want to know more, etc. You'll have to trust me here. All I can tell you now is . . .It's the best story of all.

Deke

By Deke (12.229.234.28) on Friday, February 07, 2003 - 03:52 pm:

To Kev and Mike,

It's just that I haven't written a word in 12 years until you got me up on this Forum. I didn't know what I was going to say to you. However, I have found that writing is like riding a bike (uh, another example comes to mind as well), and you just get back up and ride. It's just taking me a while to get fluid, plus I'm the slowist typist in the world.

It's friends like you that make me know I could write another hit in a 'hot minute'. You never know, if I hear too much junk on the radio, I just might do that.

Thanks for your kind support,

I'll be back,

Deke

By KevGo (64.115.26.80) on Friday, February 07, 2003 - 05:33 pm:

Deke:
"...if I hear too much junk on the radio, I just might do that..."

PLEASE DO!!!

Deke, music nowadays needs that shot in the arm and a kick in the behind - in other words HOOKS! MELODY! HARMONIES! A GREAT STORY! A BEGINNING A MIDDLE & END! As our dear Mr. Clay McMurray would say, you could teach these PUPS out there about REAL songwriting and producing!

I'll be meeting with my artists for the label I'm putting together. I'll have a CD-R ready for you pronto. Let's work together.

Kevin Goins - KevGo

By stephanie (205.187.255.89) on Friday, February 07, 2003 - 09:47 pm:

Deke,
I know where you are coming from. Someone like me on this board idolizes you where as you may compare yourself to HDH and think Motown fans may know me but Im not a household word like Smokey Robinson or Berry Gordy. Believe me amongst songwriters and musicians and Motown fans you are WELL known. I remember all of the Motown products I liked the most had the name Deke Richards next to them!!!!

I wish there was some way we could change the music industry and make it good again if you will.
I myself feel like I have not accomplished as much as I would like to but I have grown comfortable with that and know that I have time God willing. You are very humble and that tells a lot about you. If you had never done anything else other than Love Child you would go down in history.

You truly have a gift. Now Im going to stop feeding your ego.
Steph

By Nish (170.224.224.134) on Friday, February 07, 2003 - 10:53 pm:

Mr. Richards,

Your latest installment is just fantastic, Mr. Richards. After reading Contracts cases all day, this is a treat. To add to all the superlatives being thrown your way, I think your modesty might be from a myopic view. It's really hard to think of yourself as a "SUPERB" writer, I would imagine, because you hear what's going on around you - many other talented writers. But I think you belong in that category, and thank God for the music you have written for us.

I look at it like this... you were a central part of the team that revived the most visible Motown act at a very critical time in the company's history. That's a FEAT. You helped introduce the world to THEEE most important pop figure of the last twenty years. Your imprint on the pop world is quite significant. THANKS.

And most certainly, we need some Deke Richards product on the market. That would be great.

By Ralph (209.240.198.62) on Friday, February 07, 2003 - 11:05 pm:

Deke,
Can you please e-mail me at Ralph@soulfuldetroit.com. I have something to forward to you.
Thanks,
Ralph

By Deke (12.229.234.28) on Friday, February 07, 2003 - 11:14 pm:

OK Gang. Its time for me to go back in the cellar and write a little before hy head explodes. You are all too much! I know what it is . . . you're all after one of my gold records when I die. (smile)

Gotta get back to CC, before she comes looking for me.

Easy,

Deke

By P.J. (12.227.39.40) on Saturday, February 08, 2003 - 09:20 am:

Deke,
What a lead in!!! Imagine that!!!.................
"CC Rides Again...............................
This Time......................................
Looking For Deke"

By Deke (12.229.234.28) on Saturday, February 08, 2003 - 05:10 pm:

Hi Soulkiddies. It's time for another chapter of . .

"The White Boy, The White Girl and The White Label"

Episode III
'Hi-Yo Silver'

Did I really need to go 'crazy' just to have some fun? YES!

INTERMISSION
(There is a small amount of relevancy in this brief interruption of my story)

Some of you who are producers in the music business will understand. I believe there are 2 types of Record Producers; "Hands-On", and "Hands-Off". Both producers get the job done. It depends on just how talented they both are, side by side, when it comes to actual results. Let me explain.

Hands-Off: These producers, surround themselves with talented people including engineers, song writers, arrangers, vocal arrangers, etc. In the studio, many times it is these people that do the creating and the 'Producer' approves or disapproves. The 'Hands-Off producers don't exactly know how to change it, fix it, augment it or enhance it. However, they have their gang of pros at their side, to do this work for them. Then, they takes what they like or don't like.

Hands-On: These producers have their hands on everything. Whether it's a change in the arrangement of the track, to giving out vocal parts, to knowing what changes to make on the console for the sound, to changing a line in the song. In turn, these type of producers make themselves responsible for every action and reaction, command and execution. They accept the role of Commander-in-Chief as well as the troops doing the physical fighting.

Now, I personally, am a Hands-On producer. I HAVE to and like to, be involved in everything; from counting off the track in the studio to mixing the record. It is a tremendous amount of work. With all due respect to those hard working folks out there. . . An 8 hour day of this style of Hands-On producing can sometimes be the same as a person at a straight job, working 3 days straight. Only because we wear so many hats at the same time, it is more of a mental drain. Even though it can be exhilarating, sometimes it is totally exhausting.

On the other hand, I am familiar with or personally know a few well known 'Hands-Off' producers. They simply sit back in the studio and their 'gang' takes care of everything. They don't know exactly how to change something, but they do know it needs to be changed. They find, and surround themselves with talented people. Smart. So, they might say to one of their team, "I don't like that. Try something else". At the end of the day, they still look 'cool as a cucumber', without a single drop of sweat.

Both of these producers get the job done quite nicely, and just as well. I must admit, as much as I enjoy 'being in the trenches' , I do envy the good 'Hands-Off' producers. On a few occasions, I found myself saying, 'Why don't I do that?" Well, I guess you just can't change a Leopards' spots.

So, when I say 'go crazy' and have some fun, this is where I was coming from. This sessions went so smooth, I not only felt confident; I think I got a little 'giddy' or maybe even silly that day. Well, us white guys can't be 'cool' all the time. It was one of the few times I had energy left to burn. That energy made me want to go crazy and have some more fun. I wanted to get started right away with CC's visual image. I had no solid ideas yet, except, I wanted the images to cry out for curiosity. Don't forget, I was doing a little P.T. Barnum here. I had to do something to portray CC as a weird, strange chick. The freakier the better. There was just too much competition out there. Hey, they say, "curiosity usually killed the cat." I knew whoever saw the jacket, would just HAVE to listen to the LP inside. That was the whole idea. I wasn't worried because, the music inside was NOT junk. It was the only shot I had. Remember, this was the first release on my new label, "WEED". I didn't know how Berry was going to figure how to promote it, without getting involved or letting the cat out of the bag. I was all alone on this one. I was given all the rope. God, I just kept thinking, "Don't blow it Deke, and go and hang yourself". I was on a roll and closer to BG, than ever. There were those in the company who had been trying for quite a while to get this close to the boss, and there I was.

Here we go. I've always loved magic. So, I called up 'The Magic Castle' in Hollywood. For those of you who are not familiar, I will loosely fill you in. This is a strange castle in the middle of Hollywood. It is perched above one of the main well traveled 'side streets' one block north of, and running parallel to, Hollywood Blvd. It is actually a private club for Magicians. They come and hang out, have dinner, and try out their latest magic for friends or peers. As I recall, there are 2-4 small 'showrooms' where some would perform. Each magician might go from room to room. Some rooms were quite small. The general public could not enter the castle, without a courtesy card or being accompanied by a member. I had a few magician friends, and had been there on many occasions. There was plenty of atmosphere in that place. This would be my first stop for some pics of CC. I got special permission to enter during the day. Unfortunately, It wasn't as mysterious in the daytime, as it was at night. However, I didn't have a choice. I would never be able to go there and shoot at night with all the guests. So, I took CC in all the different rooms and shot her in various poses with any props I could find handy. I took some strange shots as well as some "artsie" shots. I even took her in the men's bathroom. I was only thinking the 'weirder the better'. I wanted PD's to say, "What in the world . . . ?" "Who IS this CC and what is she doing?", etc. Even though I was only going to be able to use one or two shots, I wanted to make sure I was covered. We rapped it up and I dropped CC off at Berry's. Then, I went to pick up this great prop chair I had reserved from the 1938 Flynn classic, "Adventures Of Robin Hood". I was going to use it for tomorrow's shoot.

The next day I took CC to a place I recall being called, 'Train Town'. This was a place in the valley like a miniature Ghost Town. When I say miniature, I don't mean it was a small street with only a couple of store fronts. I mean this was a place where the munchkins from the Wizard Of Oz would have come to hang out. Everything was small. The train, the buildings, etc. With CC being so tall, I thought I might get a few shots of her looking like a 'real giant'. In fact I even got a shot of the two of us in one of the buildings. I even took a couple of shots of her sitting in that great 'Robin Hood' Chair. Unfortunately the only backdrop were the long, dry grass and weeds. I really thought it looked stupid and pointless. Oh, well you can't win 'em all. There wasn't much else to do out there, so we packed up and split.

Finally ,it was time for the finale . . . the LP cover shot. Now, just about this time CC was getting a little cranky. It was hot that day and 'Train Town' and those buildings were warm, to say the least. Along with the chair from 'Robin Hood', I had picked up a white cowboy hat, a holster and gun, and a black mask. I had already made special arrangements with the people at our next stop. "OK, here is where we get your cover shot", I said., as we pulled into the Animal Compound.

_________________________

NOTE: You see, CC loved animals. At one time she even had a cheetah or leopard, I can't remember which. That was the whole thing. She was always so sure of herself and always acted totally fearless. Then she would strike an attitude. Most of the time, it didn't bother me. Sometimes, she took it too far. She would make you feel like YOU were the sissy. Fearless? Hell with that. That cat scared the crap out of me sometimes. I remember quite clearly, getting some cute scratches from her 'little baby'. You just look at a cat the wrong way, and they just make these sudden moves on their own. Remember now, this was not your little 'poopsie' that jumps on your lap to watch TV with you and play with the buttons on your shirt. I'm talking, somewhere in the vicinity of 'Leo The Lion' here.

_________________________

However, she was a bit confused on this move. "Don't worry, you're gonna love it", I said. I didn't dare tell her earlier what was going on, or she may have backed out. I knew once she was there, she had go through with it. CC was a real Tom-Boy. She wasn't about to let someone think she couldn't handle it or let something a guy might do, get the best of her. We met with the trainer and I told him to bring 'Betsy' over to meet CC. In the meantime while we were waiting, I gave CC the holster and gun, the white cowboy hat and the black mask. 'What are you up to. Deke", she said lightly chuckling. "I look like The Lone Ranger". "Bingo! You hit the nail on the head. I'm going to have you rear the animal back with your gun blazing in the air." CC was now semi-laughing with disbelief, but she was game. After all, she was Sheena, Queen of the Jungle. So I said, "The only problem is, I couldn't get an all white horse". About that time Jack, the trainer, came over the hill with Betsy . . . . The Elephant. 'You have GOT to be kidding", she said. "Nope, there's Silver, I mean Betsy", I said. Well, I was really trying to hold back the tears, I wanted to laugh so bad.

Ready CC? It's time to ride! "Hi Yo Silver, away!"

. . . to be continued

By Deke (12.229.234.28) on Saturday, February 08, 2003 - 05:14 pm:

Oh-Oh

For those who are counting, That should have been Episode IV

I'm losing it...

DR

By John Lester (217.40.198.101) on Sunday, February 09, 2003 - 03:43 am:

So Deke...in that picture of CC in the hut, she is on the right and you on the left! Aha.

....you have a horse shot on the front and the elephant's, err, Betsy's behind on the back!!

By DanMan869 (4.60.68.161) on Sunday, February 09, 2003 - 12:34 pm:

Actually John, CC is riding a donkey/burro/ass *g* on the front cover of CC Rides Again. And here, for the seven or eight years I've owned the LP, I thought that the pic of Chris riding the elephant on the back was simply the combination of CC standing/sitting (on, say, a bench) and looking backwards and then a picture of an elephant's huge posterior was superimposed in front of her!

Deke, like everyone else, I must profusely thank you for sharing these terrific experiences with us. In addition to your extensive music background, you've got a tremendous writing talent that needs to be discovered by the world. I hope that one day you will publish a book that details your experiences at Motown and beyond!

And now... on to the next episode! Hi-ho Silver! Awaaaaaaaaay! *and the elephant slowly schlumps off*

By Andy (205.188.209.38) on Sunday, February 09, 2003 - 04:57 pm:

Deke,

Where do I begin? I rarely post on the board. Mostly, I read and keep up to date, but I just had to respond to your incredible posts. Thank you for sharing these inspirational stories. Whatever you do, DON'T STOP! They are too good, informative, educational, and addictive. From Love Child to CC Rides Again, I just can't get enough.

I also wanted to thank you for, and share a story about "The Beginning of The End of Love." While we were working on the Supremes box set, it was one song Harry Weinger and I agreed needed to be included, it's such a strong song. I had a tape of it for many years, but finding it in the vault was a challenge, the only listing was for The Beginning of The End, which is another Supremes song with the shortened title (written by Margaret Johnson). We found it and I was thrilled, but then after the box came out our friend John Lester pointed out that my old tape has a better mix! Shades of the Love Child mixes all over again. LOL. One day I hope we can get that killer mix out there.

When you get the to appropriate point in the story, please share with us the story behind "If You Let Me" (I understand you Produced this incredible unreleased Supremes track led by Mary Wilson, a personal favorite. I believe it was recorded circa 71-72). Also, how did it come about that you remixed The Supremes Rodgers And Hart collection in 1986?

Thank you for bringing so much inspiration then and now. Your work inspired all of us then, and now, both you and Clay are inspiring us all over again. I can't say it loud enough or proud enough, thank you.

Andy Skurow

By Deke (12.229.234.28) on Sunday, February 09, 2003 - 07:20 pm:

Hi Soulkiddies. It's a double-hitter this weekend . . . Enjoy.

"The White Boy, The White Girl and The White Label"

Episode V
'Pokey To The Rescue'

I could see the little 'brat' coming out of me again. No, maybe not. I was just being a 'little devil'. "Come on CC", I thought, "you can take it!" I mean afterall, she was starting to get a bit 'testy', and it was putting an edge on me as well as my photographer, Ken Kim. I just wanted to break the ice.

Now, It was time to 'hop up' on Betsy. Hop up? This should be good. The trainer got Betsy to lie down on her side. CC donned her costume and got aboard. The the trainer, with one command and his prod behind her ear, got Betsy to stand up. (I always thought that 'fireplace poker' was so cruel.) Woah, there she goes. Up, up and away is right. CC was up in the clouds. Great. I really wanted to have her on the edge of a cliff with a good backdrop of the mountains and sky. However, there were no 'Cliffs Of Dover' to be found at the compound. We had to settle for the top of a small rolling hill. Oh well . . so much for what you want and what you get. The next step was to get Ken and the camera in position. We had to take into account Betsy was going to rear up on her hind legs, so I made sure she would be in frame. All set. "OK CC, get out your gun!", I said. "When Betsy goes up, I will only have a few seconds, so just stick that gun in the air , and strike a fearless pose. Remember, this is NOT an Elephant, this is your trusty steed, Silver." Here we go. Jack gave the command, and another prod, and up she went. "WAIT a minute", cried CC. "Put me down!". 'What's the matter?", I asked. "I wasn't ready" she replied. "OK, let's do it again", I said. Up, Up and away. "STOP!" CC cried out. "I can't do this" Oh, oh, I could see she was visibly shaken. I couldn't believe it. Sheena afraid? Secretly, the 'little devil' in me was saying, "Got Cha!".

Well, I must admit I felt bad for her. I really think it was the height. Secondly, I did say, she was "fearless", NOT Sabu! Elephants, unlike cats, just don't sit around your house watching TV with you. Think about it. You are already up about 10' and now heading for 15-20'. I has to be a little scary. So, I had compassion for the situation, even though, I really DID want the shot. "It's OK, Chris", I said sympathetically. "I'll figure something else out". Just then, she threw the holster, gun, mask and hat on the ground and lashed back at me. "You G-- Da-- better! Then, a few other superlatives directed at the crew on the ground, starting flowing out of her mouth. What?, I thought, "Was she going to go to BG when we got home and blast me? I was trying to be understanding and nice. Well, CC was downright upset and acting like a spoiled brat. I was embarassed. Jack and Ken didn't know what to say. I turned, looked up at her and said, "I'm sorry Chris, I didn't realize it would be that difficult. Hang on, we'll get you down. First let me get at least one shot of you on Betsy, so we have something. No since in it being a total bust." "All right, but hurry up and then get me down!", she quipped.

NOW, I was mad. She had just blasted us all. So I went over to Ken and called Jack over. Then, the three of us walked further away, in the oppisite direction, so CC couldn't hear us. "What can we do here, Jack?" I whispered. "I need to get something on film. Anyone have any ideas?" Well, a few things got tossed around and I heard CC call out once., "Hey!", but I didn't look up. I just hollared, "We'll be right there". Ken, Jack and I kept on thinking out loud. Then I heard, "D-e-k-e!". "OK, CHRIS! JUST A MINUTE!" I yelled. Jack had an idea, but before I could think it out, Chris faintly shouted, "H-E-Y, YOU GUYS!." Finally, I looked up and . . . Holy Sh--, they were gone! Swell! Now, how in the hell do you lose a 6' blonde on top of a 5 ton Elephant in less than 30 seconds? They were nowhere in sight. "Jack," I said with a worried tone. "Where'd they go?" "Don't worry, Betsy, just decided to go for a walk. She's probably on the other side of that hill.", he said. I had to laugh, I could still hear Chris in the distance, "H-e-y you guys. D-e-e-e-k-e! H-e-l-p M-e-e-e! So, I looked at the guys and said, "What do you think? Think CC's having a good time?" Jack, volleyed back with, "I really think Betsy likes her!". "That's good," I chuckled. "I did have my doubts for a minute there." Just then, another shrill came over the hill and pierced through the trees in front of us. "D-e-e-k-e!" I could have sworn a saw some of the leaves shaking. "Oh well", I said. "I guess we better go and get her. Don't want her to have too much fun." So, Ken grabbed his camera and tripod, and the 3 of us went to the top of the ridge and looked down. There was Betsy all right, and CC was still aboard. "She's (CC) doing good, don't you think so, Jack?", I said. Jack laughed. They wern't all that far away, and Betsy was only walking slowly. Thank god she wasn't in 'Charge' mode or on her way to a fire with that hose of hers. When we finally caught up to them, Jack told Betsy to halt. CC said in a sardonic tone, "Thanks guys. It's about time!". However, before I got her down I wanted Ken to get one shot of CC on board Betsy. One more? Hey, I never one to begin with, remember? So, while Ken was setting up, Betsy got bored, and decided to take off. OH, NO, here we go again!. As they started down the path, CC looked back at me and said, "Damn you De--" CLICK!. And there my friends, is the back cover of the LP!

Now, since my cover concept was shot, I had to think of something fast. The LP was originally going to be called 'CC Rider'. There would be that great satiracal Lone Ranger shot of her on the cover. Crazy, nuts, totaly insane, but it would have been fun and definately caught some eyes. However, that was all over now. Dead! Fini. My whole idea concept was shot. Besides, I didn't want to use a white horse. That would make it too close to the real image of The Lone Ranger. Man, I was screwed. Then, it came to me. I thought of the old serial 'The Lone Ranger' and the sequel, "The Lone Ranger Rides Again". Ah-Ha! What if I make this out to be her second album, even though she hasn't had a first yet. Seems in context with the other crazy things I've been doing so far. I thought. Now, what If I make her a total embarassment. I mean, 'our hero' CC, is not really that well equipped; as hereos go anyway. Hmmmm . . . maybe. What if her 'trusty steed' is in fact, something you can't trust. What if, 'her firey horse with the speed of light' turned out to be an old hag? NO, better yet . . A DONKEY! Y-e-a-h!

"Hey Jack, do you have a Donkey out here?", I asked. "I've got one, but he's difficult. We call him Pokey", Jack said. "Perfect! Pokey The Donkey! Just what I need." I replied. Well, it took me almost an hour to get that damn Pokey up on that ridge. Geeze, the sun was already going down. I didn't have too much time and I couldn't come back here. For all I knew, Chris was going to quit me cold after we left the compound. So, I tried various shots of CC and Pokey. I had her pulling Pokey by the reins, pushing Pokey from behind, talking to Pokey, scoulding Pokey, pointing off in the distance (showing Pokey where the 'trouble' was, etc.) None of it looked right. So, I had CC mount Pokey. However, Pokey was NOT going to move another inch. That was it, he was done for the day. The sun was sinking fast behind the hills. So I decided to make the most of it. I could just envision 'CC' getting ready to go 'to the rescue', jumping on Pokey, drawing her gun and saying, Hi-Yo Pokey, away! . . . and they just sit there. CLICK! Well, there you have it. Our hero, on her trusty steed, for the another go around, with her second smash album, "CC Rides Again".

It was a rap. I thanked our host and trainer and said good-bye to Betsy. We got our gear together and drove off. As we got half way into the city, the sun was more visible. We still had a little time left. Chris had melted down, and was laughing in the car. We were all harmlessly joking about Betsy. However, one thing still bothered me. She hadn't really apologised to Ken or Jack, before we left the compound, for her, shall we say descriptive comments while on Betsy. So, I thought to myself, I'm going to have to have this out with her once and for all and just clear the air. Either we would be friends or foes. I still had the Robin Hood chair in the back of Ken's station Wagon. As we passed over a bridge, I looked down and saw the L.A. River. We used to call it 'the wash' when I was a kid. I saw these great psychedelic green swirls running through it. I turned to Ken and quickly said, "Pull over! Stop the car." Ken pulled into the dirt on the other side of the bridge. "What's the matter!", they both said inquisitivly. 'We still have that famous chair from 'Robin Hood'. I'm not going to take it back without getting at least a shot of CC sitting on it", I said. "Here?", she said, looking at the side of the freeway. "Well, not exactly. Down There.", I said as I pointed into the river. "What?', said CC. Ken looked on in a puzzled way, trying to figure where I was going with this. "Come on Chris, this will look great with you sitting in the chair with all the water flowing around you. Just this one last crazy shot, OK?"

I went to the middle of the bridge and looked down, framed it with my fingers and said, "Yeah, this will look great!" So we got the chair and all headed down the dirt sides of the embankment. I went over the concrete wall first and they lowered the chair. Ken helped Chris from above while I steadied her from below, then jumped down himself. Now, we were all standing on the dry part of the basin in the wash. The river was about 15 feet away. It was the middle of summer, so the river wasn't that high. Chris mostly always went barefoot, although she did sport sandals on occasion. Today, she was barefoot. We walked over closer to the water. The green swirls I saw from above was indeed, fungus. Pretty, but still. . . funky fungus. "Hmmm I said, CC you didn't bring any shoes?". "No", she said. "Deke, that's gross out there" I know, but it will look great on film and we'll only be a minute" So, I carried the chair over to the middle of the gunk. Then, I told Chris that Ken and I would get her over there. So Chris sat in our linked arms and we carried her over to the chair. Perfect. "OK Ken, let's go". "Go where", CC said. "We have to take the shot from above.", I replied. So Ken and I left her there, on the chair, in the middle of the LA River. We climed back up, and went to the car to get Ken's gear. Ken started quizzing me while we were preping and setting up on the bridge. I told him I was going to ask Chris to apologise to him, or I was going to leave her there in the river. Now, I was kidding, but I didn't want to tell him that. "It's OK, Deke, forget it." "No, Ken", I said."She was really nasty. I don't give a damn who she is or who she knows. There's no excuse for what she said. " I thought Ken was going to have kittens. He was seeing his relationship with Motown slowly going down the drain, or should I say . . . down the river. It was a beautiful sight from above. CC had to cross her legs. She and the chair was sitting in about 6-8" of green slime. So, we did a few poses. I wasn't going to have her do anything crazy, like stand up. God, I didn't really want her to fall in that junk. Then I told Ken to start packing up while I went down to the river.

I went over to Chris and we had a few words. We talked about the day, the things we did and the craziness of it all. 'Did you have fun', I asked. "Well, to a degree.", she quipped. Then I told her how this was all my crazy idea and I didn't mind if she got miffed at me. However, the other 2, Jack and Ken, were just following orders, so to speak. None of this was their doing. I told her how nice of a guy Ken is. "He's a pretty sensitive person, Chris", I said. "He's not a game player nor does he have a caustic sense of humor, like us. His little son treats me like a second 'daddy'. I have kept company with him and his family for some time. I just felt he didn't deserve to get crusified by that sharp tounge of yours. There was a pregnant pause as she looked at me. OK? Ready to go home?" She nodded and I yelled up to Ken, "Ken, give me a hand and lets get our artist out of this crap". During the ride home, in her own way, CC apologised to Ken. It had been one hell of a day.

. . . to be continued

By Deke (12.229.234.28) on Sunday, February 09, 2003 - 08:27 pm:

* * * BONUS PICS * * *

For those of you who don't have the album, "CC Rides Again" Here is the actual front and back of the LP and the labels:

FRONT COVER
BACK COVER
LP SLICK
45rpm SLICK

Deke

By dvdmike (12.84.7.195) on Sunday, February 09, 2003 - 08:56 pm:

Deke, I saw on the back cover that the album was engineered by Mickey Crofford, who worked out of RCA. Was that where the LP was recorded?

By Deke (12.229.234.28) on Sunday, February 09, 2003 - 09:04 pm:

dvdmike,

RIGHT YOU ARE! (All the live tracks that is.) "Can I See You In The Morning" and "How About You" were cut in Detroit at Hitsville.

Deke

By Deke (12.229.234.28) on Sunday, February 09, 2003 - 09:23 pm:

Boy, what would we do without a spelling checker? Now, if I could only learn to use it. Episode V is a dilly.

I was just beginning to think I was getting better on the keyboard. Oh well . . .

By John Lester (217.40.231.28) on Monday, February 10, 2003 - 12:05 am:

Incredible Deke, just incredible!

By P.J. (12.227.39.40) on Monday, February 10, 2003 - 12:17 am:

Deke,
"The White Boy, The White Girl, The White Label" has been a fascinating read (but then again which of your wonderful remembrances has not been!) Thank you for clearing up so much for us concerning 'CC Rides Again', the photos and the stories behind them.
However, there is one point that you have not yet mentioned.... In Episode II, 'A Job For Superman', you highlight that Berry (Gordy) agreed not to put 'a division of Motown' on the label or jacket. The regular issue of 'CC Rides Again' is as described, but the white label promo issue record label clearly reads on both sides WS-801DJ A Trademark of Motown Record Corp. @1969.
Will the next episode explain this discrepancy on someone's(?) part? That someone was probably not Berry, but who authorized it? Were there any repercussions? Does this have anything to do with the reason that there are no other releases on Weed?

By Deke (12.229.234.28) on Monday, February 10, 2003 - 11:02 am:

PJ,

You're a sharp one.

I almost forgot about the Promos. It was simply a screwup that I caught just before the final LP was pressed and sent out. I was upset, believe me.

Deke

By P.J. (12.227.39.40) on Monday, February 10, 2003 - 01:11 pm:

Deke,
Just a few alternate possibilities for the title of your book, all culled from this thread. I believe that you've planted the clues hoping someone would see them and mention them.
"Midnight At Motown" - Intriguing & Mysterious; association with the 24/7 atmosphere at Hitsville in its heyday, its absence from Detroit once California-bound, and Motown UMG's resurgence via the cd re-issue market and web sites such as Soulful Detroit. Com
"The New Boy In Town..... Motown" or simply "The New Boy In (Mo)Town- nostalgic play on words reminiscent of a non-Motown hit (The Eagles) and of another published Motown tome; The "New Boy" in the title might be interpreted to mean you (Deke), Berry , or Motown.
"Black Magic"- borrows from Martha Reeves and the Vandellas' fabulous swansong and draws the reader in to the wonderful work done by you and others at a company(Motown) that was at the forefront of integration in America and other parts of the world. I can almost envision a cover depicting you surrounded by/interacting with some of the artists (black, white and other) with whom you have worked at Motown.
Kind sir, Please keep the memories coming but allow yourself ample time to work on the book.

By Deke (12.229.234.28) on Monday, February 10, 2003 - 02:26 pm:

PJ,

You are definately good. You caught or should I say picked up on 2 of my working titles.

We'll see . . .

DR

By P.J. (12.227.39.40) on Monday, February 10, 2003 - 03:19 pm:

Was/Is another "The Politics of Dancing"?

By Deke (12.229.234.28) on Monday, February 10, 2003 - 04:19 pm:

PJ,

Yes, but I thought it might be a little too 'distant sounding'.

DR

By KevGo (64.115.26.80) on Monday, February 10, 2003 - 05:48 pm:

Deke:
What a lesson on how to deal with artists! Your Chris Clark posting should be mandatory reading for all music managers (especially those handling "difficult" artists!).

Kevin Goins - KevGo

By Deke (12.229.234.28) on Wednesday, February 12, 2003 - 02:41 pm:

THE FINAL CHAPTER . . .

Coming this Friday, Valentines Day

The conclusion of

"The White Boy, The White Girl and The White Label"

Episode VI
'One-Way Ticket To Hell'

By stephanie (207.221.193.245) on Wednesday, February 12, 2003 - 09:54 pm:

Yeah I love you too Deke..LOL I dont mind waiting until Valentine's Day. I get the strangest feeling you enjoy all of this writing.
Some producers wouldnt care to say all of this but I forgot you are hands on!!!!

Dont forget when you are finished with CC Rides Again then you have to tell us the Beginning of the End of Love story on the Supremes Box Set..
Stephanie

By cleoharvey (160.79.83.208) on Thursday, February 13, 2003 - 10:26 am:

Deke:

I love the fact that you talk in "book terms." I will be the first at Barnes & Noble when it is published.

Michael

By KevGo (64.115.26.80) on Thursday, February 13, 2003 - 11:01 am:

Deke:
Can't wait for the final chapter AND your book!
Kevin Goins - KevGo

By Deke (12.229.234.28) on Friday, February 14, 2003 - 12:54 pm:

Hi Soulkiddies and Happy Valentine's Day to all the Ladies in the house.

It's time for the FINAL CHAPTER. Here is the conclusion of. . .

"The White Boy, The White Girl and The White Label"

Episode VI
'One-Way Ticket To Hell'

Chris and I were just getting to know each other. Sometimes you have to go through a little 'sparing' with your partner, artist, etc. I don't know. I have also felt that people should just be themselves, for better or worse. However, when you're in charge and responsible for many aspects of a project, you can't always be 'Mr. Nice Guy'. You've got to make it all come together. So, my first thought was always trying to have people have at least 'some sort' of respect for the others working on the same project. It's one big team and everyone is important. Sure, people can just do their job, no more, no less. However, It's nice when others, go out of their way for you. You get that extra special care and attention. Sometimes, money can't buy this treatment, but respect can.

Well, at least the photos were out of the way. I just kept my fingers crossed. At least, the setups looked fine to me when we were shooting. Now, it was time to get back to the Music. I originally cut the tracks for CC at RCA Studios in Hollywood; with the exception of "Can I See You In The Morning?" and "How About You", which were cut at Hitsville in Detroit. The engineer at RCA was Mickey Crofford. I really liked Mickey. He was a small guy in his late 40's or early 50's and reminded me of an amicable and pleasant version of Mickey Rooney. He was a great engineer and had been with RCA for years.

1969 was a very busy year for me. Not only was I working with CC, but I also started working with the J5. I'm pretty sure I had completed CC, but some of my old notes indicate I was working on both artists simultaneously at one point. Sometime during early part of that great year of 1969, Berry and I had gone over to meet Guy Costa. Guy was the nephew of arranger-conductor Don Costa. Besides his own LP releases as an artist, Don was responsible for starting Paul Anka's career as well as working with Sinatra for many years. Guy, together with his dad Leo, and Don owned a studio on Fairfax in LA. It was a part, or asset of DCP (Don Costa Productions). Now, Guy was knowledgeable in electronics as well as engineering. They had installed a new 16 Track Machine at DCP. It's funny. Many of us got so used to recording on 8 Tracks. I remember thinking, 'Why do we need 16 tracks? What are we going to do with all the extra tracks?" It wasn't until we all started using that new format, did we realize how really great it was. Not quite sure about that vocal take? Just switch tracks and do another take, and another, etc. We all became Scarlet O'Hara's i.e. "I just can't think about that vocal now. I'll think about it tomorrow!"

So as it turned out, CC and the J5 were the first very 2 artists to get transferred from 8-Track to 16 track. Since RCA was a bit costly, we worked out a deal with Guy for some block booking of time at DCP. It was a good situation for both of us. We got a better rate and DCP got a decent steady cash flow. The one small room upstairs was functioning for overdubs, but the big room downstairs was still under construction. Guy was the perfect 'guy' to have around. We needed someone really sharp and with experience, and he fit the bill to a "T". So, the overdub work load got shifted to DCP, but until Guy was totally set up, I would still do the final mixes at RCA. (I did the final mixes for CC, the J5 single Want You Back", and Diana Ross and the Supremes final single, "Someday We'll Be Together" at RCA.) I had already completed half of CC's dubins and punch ins at RCA. I did the remainder at DCP. By this time CC and I were getting along great. She began to really trust me and working with her was easy. CC didn't have a big range so I just couldn't go too wild with the melodies. I don't have a big range myself, so I tried to keep her parts as natural as possible, without making her sound like she was reaching for notes she had no business reaching for. The few times you do hear her on the edge was the result of her bout with Streptococcus. God, I worked that girl so hard, and she stayed and took it without a complaint.

I'll never forget the night we were doing 'Get Back'. CC was sick as a dog and could barely stand up. Her sister Jane, had driven her her to the studio that night. It was too late to see her doctor, so if she got worse tonight, she'd have to go right to the hospital. It was the last tune to do and I knew I had to get this LP finished, like yesterday. We were at DCP and she was singing the notes, but that's about all. There was no fire, no life. I was merciless. I kept going, pushing her harder and harder. She never let out a whimper. Then, I could see was starting to fade, so I told Guy to quickly set up another mic across from hers, pointing in the opposite direction. "Put the input on another track and put out an extra set of phones. I pushed the talk back button, "Chris", I said, "I know you're sick. From the way you sound, you're probably going to be down for a couple of weeks in bed. Without this song finished however, we're dead in the water. So, I want you to concentrate on the melody and look at the words. You may only have one more shot at this. You have just GOT to give it every ounce of energy you have left. Now, you also have a choice. You can stop now and we'll just wait until you get well. It's your call, but keep one thing in mind. Once we start, I will NOT stop. Understand?" CC glanced up at me in the control booth with a sheepish look, but said, "Hell, let's do it."

I started the tape again from the top. CC started to sing. Just about then Berry walked into the control room. There couldn't have been a worse time for anyone to walk in, much less BG. The control room was dark, so CC didn't see him come in. CC started to sing again. Line after line was painful. I turned to Jane and quickly said, "You better call an ambulance, unless you are going to take her to the hospital". I started out the door of the control room and turned and said, "Berry, cover me here." He didn't know what I was up to and I didn't have time to explain. I hustled out of the control room and into the studio. I put on the headphones and said, "Guy start the tape again." I looked over at CC and said, "I'll gonna be right here with you, OK?" CC smiled, and she started to sing. I jumped in and started to sing with her. I was trying to keep her focused and at the same time, keep her energy level up. I sang with her, under her, over her, around her. As we got near the end I could see she was losing it. She was getting weak in the knees and dizzy. She fell back a little and then down on one knee. I reached over and lowered her mic. As we approached the finale she was screaming 'Get Back' with everything she had left to give. However, she was now down on both knees. I grabbed her mic stand and swung it down closer to her. She slowly fell back on her behind and went on her side, and I got on the floor beside her just barely balancing the mic to her face. The whole scene was like a sic parody of a James Brown live performance. The only problem was, Chris was not going to jump up, throw off her cloak, and go into 'Please, Please, Please". The track ended. I let go of the mic, (I knew Guy was wincing) grabbed her in my arms and pulled her up to a sitting position. Her head was on fire. It felt like her temperature was 150° and I thought her head was going to explode. '"You were absolutely fantastic," I said. "We're gonna get you out of here now". CC looked up smiled in a pathetic sort of way. Her voice was gone. Just then, the door to the studio swung open and there was Jane. CC was out of it. She tried to stand up, but started to weave so we helped her up and Jane took her off to the hospital. (NOTE: Now, this is weird! Even though my old notes simply say 'Jane took here to the hospital", I still remember having visions of an ambulance driver arriving at the studio and coming through the studio door with Jane. I don't know, maybe that was just a bad dream I had.)

I walked back into the control room, looked at Berry and said, "Did you get it?". Berry was in a trance, a mild state of shock, but had a semi-smile on his face. "Yeah, it was great. Jesus Deke, you and Jim Brown and women.", he said. (Note: BG was referring to the actor/football star Jim Brown, who had recently gotten some bad press over his treatment of women or his girlfriend, I can't remember.) "You kill yours off in the studio", he said. "I know, terrible, wasn't it?", I said. "CC wanted to go for it. I told her she didn't have to. I gave her a choice. She's one hell of a trooper." When it was all said and done, I used most of that performance in the final mix. However, when it got closer to the end. it was just too brutal. You could hear me banging the stand holding the lyrics and moving the mic. I tried recording a few of her earlier lines over to a 2-track and then punching them back onto the master 16 Track in those spots. I was going to erase my track totally, but CC wanted me to keep it. I know I redid a few of my lines as well, where there was too much banging and clanging. It was all over. Time to mixdown.

CC was now at home recovering from a serious case of Streptococcus. During the next couple of weeks as I mixed, I also worked on the graphics and layout for the album. The one funny note is: the shot in the LA River. Unbelievable. As great as it looked that day, it just didn't come out with the effect I had hoped for. So, I experimented I had 4 more slides made up with the hue adjusted to the colors: Blue, Red, Green and Yellow. I ended up using the blue and a green like filters. I put them on top of the original slide and shifted them just a bit to make it look a little psychedelic. CC almost looks like she's sitting on the Moon. After going through tons of slides, checking exposures, making color corrections, etc., I completed the layout. Now, I had gambled again. I did a mock up of the LP so BG could see it. I had never told him of my plans to go with a double jacket. I just figured once he saw what it was going to look like, he couldn't refuse. I knew he would like most of the images, if not all of them. There would just be no way to show them all, unless she had a double jacket. He thought it was weird and strange, but at the same time he liked it. So, Berry told me it was OK to go ahead. The layout and double jacket had been approved.

While I was there at the house, Berry told me there he had another meeting scheduled after ours he wanted me to attend. "This meeting involves you, Deke", Berry said. I was really feeling great about everything with the CC LP. In fact I was feeling downright cocky. I had accomplished a major feat. Just then, Phil Jones and Tommy Noonan from the Sales Department showed up. Now, I never was really in on any of these sales meetings, so I thought this would be good experience for me. I was always out to learn as much as I could. I sat quietly while the meeting began. Soon, it became quite clear what was going on. Sales had come up with a new label for white acts. It was going to be called "Rare Earth". Now what does this mean?, I thought. What the hell are these 'wise guys' up to? They went on to explain that the first group to be signed was going to be called of all things, "Rare Earth". Now, I didn't say anything, but I just couldn't believe my ears. Here, I had come up with a total different concept for a new label, a white label to boot. Now, here come these clowns and they have an idea for a white label. I just sat, listened and bit my tongue. I really knew this was not the time to get emotional about what was going on in that meeting. I do have to say, I believe Berry was secretly getting a little kick out of it all. After about 10-15 minutes of laying it all out for Berry, they turned their attention to me. Phil explained how he was quite aware of the 'CC Rides Again" LP and the "Weed" label, and commended me for the work I had done. I nodded back as if to say 'Thanks, sucker'. However, it was the next batch of garbage that came from his mouth that really got to me. "We'd like you to join us and bring CC over to Rare Earth.", Phil said. WHAT!!! Now, I was really fuming, but I stayed cool as an ice cube. Berry turned to me and said, "What do you think, Deke". Now, I was on the spot. I felt like I should be asking them to convert. So, that's exactly what I said. "Hey, why don't you guys bring your acts and come over to "Weed'? After all, "Your Favorite Artists Are On Weed"? Berry, looking at me, smiled and lightly chuckled and then he turned to Phil and Tom waiting for a reply. They came back with a sardonic smile and explained how they could appreciate my feelings, etc. However, they said they had already spent a certain amount of time, and money, getting the concept and label ready to go. What the hell did they think I'd been doing all this time? I returned with, "I understand guys, but hey, so have I." Berry never said a word. His head just went back an forth as if he was watching a Tennis Match. Now, I was almost sure he was loving this exchange. It was definitely 'the kid against the system'. Phil and Tom also told me how the Sales Department was already prepared and geared up to promote the Rare Earth label. I kept thinking to myself, "What a pisser!" Here, I had come up with this total concept, the artist, label etc., and I had more that likely made the big boys in Sales look like they had just sitting around the campfire. So, they decided this 'golden boy' was not going to make them look bad. God forbid my WEED LP would come through, be a hit and make them all look silly. Well, after our verbal exchange had no place left to go, Berry said to me, "Well, it's up to you Deke. It's your baby. What do you want to do?".

Well, my friends, I just couldn't, and I wouldn't give it all up. "No," I said. "Thanks, but no thanks. I'm going to stick with WEED. Just barely 25 years old and I was so-o-o-o-o smart. Well, in reality, I was dead man. I just wrote my own one-way-ticket to Hell. I was surely going to suffer, crash and burn for the decision I made that day. What in the world was I thinking? Did I really believe that after I rejected the offer to go over to Rare Earth, that Sales was going to promote CC and Weed Label without hesitation? Obviously, I guess so. Fair is fair, right? We're all in the same family, right? WRONG! How could I have been so dumb after all of the great moves I had made? The funny thing is, it never even dawned on me what I had done. I never even saw the punch coming. I was just too confident and too cocky. Like. . . "I don't need you guys. I'm D-E-K-E!"? What a joke. Was I going to hit the trail in my car with boxes of LP's in my trunk? I don't think so.

The label and group, Rare Earth debuted in the later part of June 1969. The groups first big single "Get Ready", was only the beginning of a successful string of hits for the group. It was like a warning, "Get Ready, Deke". Weed's debut album, "CC Rides Again", was held back and not released until late November 1969. Although it was ready long before November, it's release date kept getting pushed forward. Sales wanted to make sure that CC did not interfere or conflict with the release of their Rare Earth product line. What finally became of "Weed Records"? Well, the last I heard in the later part of 1970 was, "CC Rides Again" had sold a little over 200 copies. Yes, sales were definately picking up in Puerto Rico.

Fini.

* * * BONUS PICS * * *

Here are the actual pics that were inside of the LP, "CC Rides Again" :

INSIDE LEFT
INSIDE RIGHT

Thanks to all of you who have been so supportive on the forum and have listened to my stories. Now, It's time for me to ride off into the sunset with CC. Ride, Pokey, Ride!

My very best to one and all,

Deke

By KevGo (64.115.26.80) on Friday, February 14, 2003 - 01:22 pm:

Ahhh Deke:
A wonderful trilogy...Looks like the "corporate types" that spoiled this industry had a much earlier start!
Thank you for sharing this with us.
Kevin Goins - KevGo
(PS - I'm getting CD's pressed with my artists & their tunes - how do I get a copy to you? You may send me your address via my email kevingoins@juno.com)

By TonyRussi (68.18.227.143) on Friday, February 14, 2003 - 02:25 pm:

Oh Deke,lordy man I know you were only 25 and how we felt at that age that good & right will conquer.Those dudes showed you how the strings were pulled by Corporate types not artistic types.You're the one with God-given talent.Think about that book cause you are a good writer in more ways then one.Thank you.

By dvdmike (12.84.41.138) on Friday, February 14, 2003 - 10:00 pm:

Deke, did you produce the J5 at DCP? I thought they cut at The Sound Factory.

By stephanie (199.183.163.237) on Friday, February 14, 2003 - 11:58 pm:

This goes to show you were ahead of your time Deke with the Weed concept and they just came and stole your idea with the Rare Earth label. You stuck to your principles and did the right thing.

I know two people who have the CC rides again album they found it in a collectors store so there are more copies out there than what you may think..
Stephanie

By Deke (12.229.234.28) on Saturday, February 15, 2003 - 12:17 am:

dvdmike,

I did the tracks at the Sound Factory and then the vocals at DCP.

Deke

By Clay (66.73.217.201) on Saturday, February 15, 2003 - 08:16 am:

What's up Deke?
Just thought I'd say Hello and compliment you on your "Tales From The Inside"LOL. I hope all is going well with you,it's been a few years since we've seen each other but it's good to have you aboard the forum for some factual content LOL. Do you still play? Well good buddy stay strong in health,mind and spirit. Peace

By Ralph (209.240.198.62) on Saturday, February 15, 2003 - 09:38 am:

Deke,
Yeah pal, looks like you got caught in the crossfire. I think it should be noted though that the Rare Earth label was in it's formative stage as early as 1968 when Berry brought in Harry Balk to get it up and running. Harry was doing a lot of the work for this label at Tera Shirma. I honestly don't think you got out manuevered by some Corporate types. Phil Jones was a decent, hard working guy. Like you said, you were young and cocky and caught a case of bad timing. what I am wondering is if Berry was so hot on Chris, why didn't he try and counsel you on this bad decision? After all you did a ton of work on the album that represented quite an investment by the company. I don't understand why it was allowed to fold. Oh well Deke, we all have our tales of woe partner, but we're still around to talk about them. Thanks again for the great story. you're an ace pal.

By Deke (12.229.234.28) on Saturday, February 15, 2003 - 09:43 am:

Clay,

Hey Dog! Big Bad Clay! What 'cha up to man? 'Ol Ike T. nearly did me in, but I'm still kickin'. Hung out late with my Valentine last night. Just wanted to say a quick 'ditto' hi to you. It's early here now and my brains aren't straight yet. I need an I.V. of caffeine then I'll drop you a line on your thread later.

Easy,

Deke

By Deke (12.229.234.28) on Saturday, February 15, 2003 - 10:18 am:

Ralph,

Thanks for the info. I didn't mean to give the impression I 'hated' those guys for how it went down. It was just a 'white collar-blue collar thing'. They just never mentioned in that meeting they were prepping for that long. Well, like I said a couple of times, I thought Berry was enjoying the exchange. You know, when you have hits, money and power, what's left? Games? I was probably given just enough rope, etc. However, I just loved that guy, no matter what he did. You're right, I survived, but Chris? Why was she sacrificed? I guess I would have understood if BG came back to rescue her from this when it was over. I don't know. Maybe he thought, 'what if Weed DOES make it?' Maybe it was her call. Maybe she was tired or had enough. Well, at least CC came back and ended up with 'Lady Sings', I ended up with the J5, and BG ended up with the results from both. When I think about it, we all came out. It was just a long and winding road.

Take Care,

Deke

By Aljaydu/Creole (68.18.98.97) on Saturday, February 15, 2003 - 02:11 pm:

Hello there, Deke,
Glad to meet you. I've read your posts and let me tell you...you are quite the man!!!! Back in the good old days, I was more than just a guy that bought the music, I read the album covers from front to back. I know a lot about your productions. The stories that you brought to this thread really makes ME feel good because now, I've come full circle. Being familar with your work and NOW reading about what you've personally accomplished in this music business...there are no words!!! I just wanted to thank you.

I noticed that you posted on Levi Stubbs thread. Levi is my all time favorite singer and the Four Tops...well, they're my all-time favorite group. Would you please share with us your work with the Tops? From what I understand, the Tops were the easiest people to work with and most of the time, recording them was more about getting the music right as opposed to getting the vocals right.

Please, share with us your fondest memories of working with the T O P S .

Tahnk You,

Alan Duhe'

By Deke (12.229.234.28) on Saturday, February 15, 2003 - 03:20 pm:

Clay,

So what's the 'Paul Bunyon' of Motown up to these days? God, I've give anything for one good whiff of 'The Pit' right now. It's too healthy here, up North in WA. I ran into so much bureaucracy in the business after I left Motown. I really got discouraged. The record companies weren't too bad until they had me do about 6 themes for different films for soundtracks. I gave them what they wanted, and they still couldn't make up their minds. What in the world happened to the good 'ol days when someone (A&R) heard something they liked and said, "Let's put it out!". I still love to write. I just don't like to play Football at the same time. I'm slowly getting in the mood to raise hell again. The more crap I hear on the radio, the madder I get.

My chops are a tad rusty. I tore down my studio I built in LA just before I moved up here. Everything went into storage. Some of the gear is outdated, so I've been dumping a little on eBay. Computer music is OK and has it's place. I don't mind it for demos, but I still love a live band. That's the only way to go for me . . . personality. I miss the guys, and of course JJ and Robert White. One of a kinds, they were and always will be.

There are a few others I need to say hi to as well that were 'there' as well, and saw the magic. I have to catch up with a lot of threads

I gotta jump now. Tell you what . . . this time, I'll post this first letter on both our threads just in case. Then, we can just post on each others thread and keep each other alive, for a minute anyway. Best to you and your family.

Easy, Big Fella . . .

Deke

By Clay (66.73.179.16) on Sunday, February 16, 2003 - 08:17 am:

Deke
Go to my thread I left you a message. Man, It ain't over until it's over. I think the first new camp to capture the NEW Motown sound could be a charm. I feel like nothing gets rusty but nails and nothing gets old but clothes LOL. Peace

By PhilH (203.221.54.228) on Sunday, February 16, 2003 - 09:48 am:

Deke,

What can I say? THANK YOU, THANK YOU, THANK YOU for taking up my CC suggestion - now all I have to do is find a copy of the album for myself, LOL! (Got any lying around your garage?) Can I make another suggestion for your list of topics? (But answer some of the other ones first!) Diana's "Doobedood'nDoobee". I hope you won't mind if I say that (putting this as diplomatically as I can) it's not amongst my favourites of your compositions, but I am curious as to how the song (particularly the title - I've never been able to say it!) came about.

Cheers,

Phil

By Deke (12.229.234.28) on Sunday, February 16, 2003 - 11:49 am:

Phil,

That's a easy one and a quickie. I had recorded 'Doobee' and 'I'm Still Waiting' for the 'Everything Is Everything LP. I went over to play them for Berry. He didn't like 'I'm Still Waiting' , but he DID like 'Doobee'. The 'Doobee' was simply supposed to be this 'ditty' you (Diana) would sing because you're happy. However, that was never going to be the title . I might have put 'Doobee' on the session notes or my chart when I recorded the track. The actual title was going to be "I Just Started Living". Berry is the one who loved the 'Doobee' part so much, he thought it would be a great name for the title. So, I remember that day I sat there as he played it over and over spelling the whole ditty out. He made up his mind, and that's what he wanted me to call it. "OK, BG if you feel that strong about it", I said. To this day, I think it's still the longest one word song title.

Deke

PS. As far a a copy of the "CC Rides Again" LP goes, it's sad. I had a complete box of factory sealed LP's (25 or 50) that was destroyed in a fire along with many of my other sealed LP's and session tapes. All I have left is 2 sealed cut-out copies for myself I found some years ago. I do have one extra cut-out copy I was going to auction on eBay. (The pics I posted are from that copy. As you ac see it is fairly clean). It's not sealed, but the vinal is in nice shape and has only been played a few times.

By stephanie (205.186.129.56) on Sunday, February 16, 2003 - 04:19 pm:

Man
Doobedoobe was my favorite song on the Everything is Everything album!!!!

Listen to the music..
In my soul..
I just started living the day you started giving your love to me...
Great Vocal by Diana by the way ..
Thanks Deke
Stephanie

By cleoharvey (65.144.208.45) on Friday, February 21, 2003 - 08:50 pm:

Deke:

I happened to be doing some work on the computer and put on some lps in the background (a lot times I prefer lps because of the warmer sound). All of a sudden I heard a song and stopped what I was doing to listen (a good sign that it is great song). The song was We Need You from the Diana Ross Touch Me In the Morning album. Imagine my shock when I looked at the back of the album and realized that you had produced and written the song! It is strange, that album is such mishmash of producers as though it was put together to back up Touch Me In the Morning. Your song and Michael Randall's songs are wonderful. You guys seemed to innately understand Diana's strenths and weaknesses.

I keep finding gems that you were involved with as I go through my old albums. Makes my already incredible respect for you grow even more. Here's hopiing that you go back into the studio and very soon. Maybe you and Clay McMurray can throw some tunes Mary Wilson's way now that she is recording in Detroit. I can dream can't I.
Michael

By Deke (12.229.234.28) on Sunday, February 23, 2003 - 05:13 pm:

Thanks Michael,

"We Need You" was always a favorite of mine. I always tried so hard to write as good as I could for Diana. She was special to me. I knew what she was going through with her family, and personal life, etc. I didn't know if the US would like it, but I thought for sure they would pick 'We Need You' up in the UK and I would have another 'I'm Still Waiting'. Oh, well . . . (The last track I did for her was a killer, but she never cut it.) That was just another crumbled cookie.

Since you like this record so much, send me your email and I'll send you back a little surprise. However, you must promise me to keep it to yourself.

Deke

By John Lester (217.40.192.70) on Sunday, February 23, 2003 - 05:22 pm:

Deke

You can tell us..we won't breathe a word!!

By Mark k (213.122.102.155) on Sunday, February 23, 2003 - 05:38 pm:

Deke
Just to say how much i've enjoyed your wonderful
Motown stories>please please keep them coming!
I recently dug out my copy of Diana's Everything is Everything album and track 2 on the UK album is a song titled 'Aint no sad song' credited to The Bear, H.Davies and C.Ross the song is very, very similar musically to another song entitled 'Too many cooks (spoil the soup) by 100 Proof (Aged in Soul) recorded on Hot Wax H-D-H label.
I wondered if you had heard this song and was aware of the similarity between both songs?
Also who was The Bear? in the song credit >B.G.!!
and was C. Ross> Chico Ross Diana's brother?
Just for the record 'I'm still waiting' is one of my top 5 Diana Ross songs and most of the orginal songs on the 'E.I.E.' album stand up today 'How about you' and 'Baby its love'especially.
Cheers
Mark k

By cleoharvey (65.144.204.187) on Sunday, February 23, 2003 - 05:44 pm:

Deke:

You are absolutely welcome! It is a great song as are so many other things you have been involved with that people may not know about (especially the work on Martha Reeves & Vandellas' Black Magic album)

You email address was not visible to me so any surprise (and oh, how I love and need surprises) should be sent to me at mleslie@meetingsinmedicine.com (and of course, it will go futher than myself). This is the temp job that I work at while I wait for the next thing to happen in this god-forsaken business. It has ben extremely slow in the last 18 months and I need to survive. As you know, being in this business is like having a disease, you simply have to and need to do it. And so, you will do anything to remain a part of it and keep your head above water. The late Gwen Guthrie sang the performer's National Anthem when she sang "Ain't Nothing Goin On But The Rent." LOL!!

All the best to you my friend.
Michael

By stephanie (205.187.255.100) on Tuesday, February 25, 2003 - 02:12 pm:

Come Back Deke!!! I didnt know you wrote We Need You. Im not saying this to butter you up Deke but that IS my favorite song on the Touch Me in the Morning album. As a matter of fact I was singing it to a friend of mine last week...
In Our Dreams when you are here..
When you awake we dissapear.....
Oh what memories of those old vinyl albums.
Stephanie
thank god for Deke and the Funk Brothers and the Pit and Berry Gordy and Motown..

By TonyRussi (68.18.225.134) on Tuesday, February 25, 2003 - 03:45 pm:

Hey Deke it would be so GREAT if you can come to Soulfuldetroit event in May.I know we would all be honored to meet you.

By Deke (12.229.234.28) on Wednesday, February 26, 2003 - 11:25 am:

For Mark k:

"The Bear" is in fact the big cheese, BG. C. Ross is Chico. I'm pretty sure that's where they were going....100 Proof. For The Record: Hal produced the first 4 cuts of Side A, and I did the rest of the 'Everything Is Everything' LP.

Thanks for getting in touch,

Deke

By Deke (12.229.234.28) on Wednesday, February 26, 2003 - 12:11 pm:

There you go again Steph! Thank you, for you.

I've been down for the past week or so. I wish I could say it was the 'Love Bug', but nay...it's the 'flu bug'. It just won't let me go. Got an email address? Send it to posterpalace@attbi.com.

Deke

By Deke (12.229.234.28) on Wednesday, February 26, 2003 - 12:19 pm:

For Tony:

Thanks for the invitation. Unfortunately, I already have some long made plans for May. However, let me have all the info for future SDC events.

Thanks,
Deke

By SisDetroit (68.42.209.170) on Wednesday, February 26, 2003 - 02:12 pm:

Deke - I guess the flu bug has just about made it's rounds on Soulful Detroit. Get well soon.

By stephanie (64.63.221.117) on Wednesday, March 12, 2003 - 02:27 pm:

Where is Deke? I hope he doesnt think we have forgotten him. I have been waiting to see him but he has not been around is he ok?
Stephanie

By Edgar (200.46.135.159) on Wednesday, March 12, 2003 - 03:01 pm:

Yes, we are waiting for The Corporation chapter.

By Mike Sku (64.9.11.62) on Thursday, March 20, 2003 - 12:45 pm:

Deke, Thanks for all this great info. I am lucky to have a lot of Chris Clark's stuff, and I was always curious about her tenure at Motown. I was also glad to see that she did get involved in the Motorcity revival with Ian Levine back in the late 80s/early 90s. I wonder....what do you know about an artist named P.J. that recorded a song called "TLC"? I have it on a 45, but I have never seen it on any CD (and doubt I ever will, sad to say)

By John Lester (81.132.6.12) on Thursday, March 20, 2003 - 03:18 pm:

Mike

it will be on cd..just give it time...it's very popular in the UK

By Davie Gordon (193.122.21.42) on Thursday, March 20, 2003 - 03:44 pm:

Mike,

P.J. was Patti Jerome, the wife of Harry Balk.
Sad to say she died about a year ago.

Key in "P J" in the search forum box - that
should lead to you to previous discussions
about the lady.

By Michael/Cleoharvey (160.79.83.208) on Thursday, March 20, 2003 - 05:32 pm:

Deke:

Hello, hope all is well with you!

By Keith (148.167.126.130) on Tuesday, April 01, 2003 - 12:35 pm:

Mr. Richards,

Thank you for answering the questions I've always had about the "C.C. Rides Again" LP. I always wondered why that motto, why only one LP release on that label, why those strange pics.

I kept my eye out for the record for about 10 years before I found a copy at a record show here in Phoenix, AZ. I was just flipping through a box of soul records and there it was. I think I paid $8 for it, so I quietly went up and paid the vendor. I didn't even tell him what a rare find he had and that I would have paid much more for it. I've never seen one since, so I think it IS quite rare.

Anyway, thanks for answering my questions. I DO wish you had been given the opportunity to work with Chris again with some original tunes.

Keith Feldt

By Kegtapper (63.208.223.51) on Tuesday, April 01, 2003 - 04:24 pm:

Keith- could I ask for a scan with the label with songs listed? the 'slicks' have no info?

Evan

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