Paul petersen - chained

[soulpassion]

This was released before Marvin Gayes version.

[marv2]

I've heard the record before but never saw him perform it until now. Thanks Soulpassion!!!

[kenneth]

Cute example of early video effects. I think Petersen does okay on the vocal but he seems awfully awkward trying to move on stage. I suppose after Ricky Nelson's success it inspired the other TV shows with teenage characters to promote their singing abilities. Peterson's costar, Shelley Fabares, had a huge hit herself with "Johnny Angel."

[Motown Eddie]

Cute example of early video effects. I think Petersen does okay on the vocal but he seems awfully awkward trying to move on stage. I suppose after Ricky Nelson's success it inspired the other TV shows with teenage characters to promote their singing abilities. Peterson's costar, Shelley Fabares, had a huge hit herself with "Johnny Angel."

Yes indeed; after the success of Ricky Nelson, teen TV stars from the early '60s got into Pop music. Paul Peterson's mid '60s work for Motown was yet another attempt to try and tap the pop market. His version of "Chained" is okay but I prefer the B-side, "Don't Let It Happen To Us".

[huntergettingcaptured]

Yes indeed; after the success of Ricky Nelson, teen TV stars from the early '60s got into Pop music. Paul Peterson's mid '60s work for Motown was yet another attempt to try and tap the pop market. His version of "Chained" is okay but I prefer the B-side, "Don't Let It Happen To Us".

To me, what I like about Paul's version of "Chained" is that the music is so funky and soulful, especially for the fact that it was recorded in California and not Detroit [[those horns are fantastic!) Then there's the contrast between Paul's laid back vocals and the dynamic music bed that just works really well for me. I like the B-side too and actually, I think it would have been a great single all on its own.

here's the link to the video
https://youtu.be/ScVUjhrBNs8

[huntergettingcaptured]

Cute example of early video effects. I think Petersen does okay on the vocal but he seems awfully awkward trying to move on stage. I suppose after Ricky Nelson's success it inspired the other TV shows with teenage characters to promote their singing abilities. Peterson's costar, Shelley Fabares, had a huge hit herself with "Johnny Angel."

Paul also had remarked that he had traveled with many of the Motown artists on those Dick Clark tours and they always got along great- there was a mutual respect among everyone so maybe that was a factor to Paul being signed to Motown. The company was always looking to expand its fan base and perhaps it was felt that Paul would help Motown in that regard. He did a very good job on the Jimmy Ruffin song, "Farewell Is a Lonely Sound." I just think that because Motown was such a runaway train with The Supremes, Temptations, etc. there just wasn't much room for taking time to break another artist at the time.

[huntergettingcaptured]

Thanks Soulpassion for posting this excellent video!

[motony]

also, he was lumped into that "teen idol" tag and many Top 40 programmers would see his name on a record & just put it aside without listening to it. He had a couple of Top 40 hits in early 60's on Colpix.

[Circa 1824]

https://www.youtube.com/watch?v=ImimMIRrQMw

She Can't Find Her Keys. I love Paul Peterson !

[arr&bee]

Paul shoulda stuck to acting,haaaaaaaaaaaaaaaaaaa.

[TomatoTom123]

This was released before Marvin Gayes version.

It's catchy and it grows on you... but his singing is quite weird... ugh, I don't know whether or not I should like the song!!!

Thanks for the video, soulpassion

[TomatoTom123]

Ok... now this is VERY catchy... played it so much since watching the video... WOW, I really LOVE it!!

[DJMoch]

The song sounds great, but the way Paul dances...err...moves during the song is very awkward to say the least.

[motony]

yea, I don't think Cholly Atkins was working with him, LOL

[motony]

it is a very good record & should have gotten Top 40 airplay.So many Motown records were very good that did not get airplay.

[144man]

I don't think this song suited his voice at all. He sounded far more comfortable on "A Little Bit for Sandy [[Motown 1129)".

[huntergettingcaptured]

I don't think this song suited his voice at all. He sounded far more comfortable on "A Little Bit for Sandy [[Motown 1129)".

I think R.Dean Taylor would have been a great match for Paul. That song is such a great Pop song- and you're right, it suited his voice very well. I also think "Farewell Is A Lonely Sound" was good for his voice.

[TomatoTom123]

I think R.Dean Taylor would have been a great match for Paul. That song is such a great Pop song- and you're right, it suited his voice very well. I also think "Farewell Is A Lonely Sound" was good for his voice.

Yes, I agree! I also like "Your Love's Got Me Burning Alive" [[courtesy of Frank Wilson!)

[robb_k]

Yes, I agree! I also like "Your Love's Got Me Burning Alive" [[courtesy of Frank Wilson!)

That's a good song written by Frank Wilson. IF it was written by him alone, it's probably the best song he ever wrote solo. I'm guessing that he co-wrote this. This is one Motown single I don't have. I probably saw it when it was out and didn't buy it because I couldn't stand Paul Peterson's singing [["My Dad"). I did manage to get a copy of "Chained" for 5¢ in a Goodwill store.

The major problem I have with Motown is their "wasting" of great "A-side" background tracks by giving them to non-marketed "C"- level artists, and having "A-level artists record the song as an "extra" recording, for future LP cuts, and having the "A-level artist get inferior background tracks and mixes not aimed at being a hit single.

One example of that is "California Soul", - having The Messengers get the "A" background, and Edwin Starr and Blinky, or Marvin and Tammy get the much weaker LP cut track and mix. Same occurred for "Chained", with Paul Peterson getting the "A" hit aimed tracks and mix, and Marvin Gaye getting inferior tracks and mix.

Then, we also have the wasting of great tracks, like Frank Wilson's "Your Love's Got Me Burning Alive" apparently NOT recorded by any "A" level, or even "B" level artist, and wasting a great track on Paul Peterson , with no marketing push, and such low quality singing that it had no chance to chart. Given that Carolyn Crawford's and Linda Griner's great singing had absolutely no chance to become hits because DJs were FORCED to limit the amount of records from one company [[Motown fitting this rule), records by Paul Peterson never had any chance. Major Pop radio station DJs weren't going to NOT play a Martha and The Vandellas, or Isley Brothers, or Contours, or Junior Walker or Brenda Holloway or Kim Weston record so they could play a Paul Peterson record

[huntergettingcaptured]

That's a good song written by Frank Wilson. IF it was written by him alone, it's probably the best song he ever wrote solo. I'm guessing that he co-wrote this. This is one Motown single I don't have. I probably saw it when it was out and didn't buy it because I couldn't stand Paul Peterson's singing [["My Dad"). I did manage to get a copy of "Chained" for 5¢ in a Goodwill store.

The major problem I have with Motown is their "wasting" of great "A-side" background tracks by giving them to non-marketed "C"- level artists, and having "A-level artists record the song as an "extra" recording, for future LP cuts, and having the "A-level artist get inferior background tracks and mixes not aimed at being a hit single.

One example of that is "California Soul", - having The Messengers get the "A" background, and Edwin Starr and Blinky, or Marvin and Tammy get the much weaker LP cut track and mix. Same occurred for "Chained", with Paul Peterson getting the "A" hit aimed tracks and mix, and Marvin Gaye getting inferior tracks and mix.

Then, we also have the wasting of great tracks, like Frank Wilson's "Your Love's Got Me Burning Alive" apparently NOT recorded by any "A" level, or even "B" level artist, and wasting a great track on Paul Peterson , with no marketing push, and such low quality singing that it had no chance to chart. Given that Carolyn Crawford's and Linda Griner's great singing had absolutely no chance to become hits because DJs were FORCED to limit the amount of records from one company [[Motown fitting this rule), records by Paul Peterson never had any chance. Major Pop radio station DJs weren't going to NOT play a Martha and The Vandellas, or Isley Brothers, or Contours, or Junior Walker or Brenda Holloway or Kim Weston record so they could play a Paul Peterson record

Wow, Robb! You provided a great "light bulb" comment. There are things about Motown that I felt for years and then to have someone communicate it in word is like a lightning strike. I've thought for years, especially when listening to some of Motown's late 60's albums, why is it that a lot of VERY good tracks and songs were being recorded by Motown's "second-tier" artists, never to be heard by the general record buying public. There are song's I'll hear by an un-promoted artist that sounds 10 times better than some of the stuff being put onto the A-listers' albums from '68 onward.

I do think that "Your Love's Got Me Burning Alive" was perfect for Paul and his vocal style. I just hate that Motown would sign people and then not do anything of note as far as promotion. Then again, I guess there are only so many artists the public can "consume" at one time. Also, that last paragraph you wrote also provides probably the most important reason why a lot of Motown artists would never really move beyond that second-tier level.

[motownjohnny]

I've a copy of Paul Petersons 45 "A Little Bit For Sandy" with "Your Love's Got Me Burning Alive" on the flip and in addition to Frank Wilson, the writing credits for "Burning Alive" also list Vance Wilson and Ruth Talmage.

At Motown, Vance Wilson contributed to writing the track "Oh How I'd Miss You" again with Frank Wilson and Hal Davis. The song can be heard on Marvin Gaye and Tammi Terrell's first album "United".

Likewise, Ruth Talmage is credited as having contributed to writing "She's A Rhythm Child" on the Jackson 5 album "Dancing Machine".

[Circa 1824]

https://www.youtube.com/watch?v=ImimMIRrQMw

She Can't Find Her Keys. I love Paul Peterson !

If you watch this clip from Shindig, Paul follows a girl group who I think are the Supremes. Their segment is on for a few seconds before Paul starts to sing.

[sansradio]

If you watch this clip from Shindig, Paul follows a girl group who I think are the Supremes. Their segment is on for a few seconds before Paul starts to sing.

I wondered if those were they myself.

[robb_k]

I've a copy of Paul Petersons 45 "A Little Bit For Sandy" with "Your Love's Got Me Burning Alive" on the flip and in addition to Frank Wilson, the writing credits for "Burning Alive" also list Vance Wilson and Ruth Talmage.

At Motown, Vance Wilson contributed to writing the track "Oh How I'd Miss You" again with Frank Wilson and Hal Davis. The song can be heard on Marvin Gaye and Tammi Terrell's first album "United".

Likewise, Ruth Talmage is credited as having contributed to writing "She's A Rhythm Child" on the Jackson 5 album "Dancing Machine".

Wait a minute here! Vance Wilson is the OTHER Frank Wilson's brother [[they were both in L.A. Soul group, The Remarkables. It's a LOT more likely that The Frank Wilson who wrote with Hal Davis and Marc Gordon, and sang "Do I Love You[[Indeed I Do)", and moved to Detroit to produce recording sessions there, is NOT THIS Frank Wilson. This Frank Wilson is Frankie Vance [[Vance Wilson's Brother and member of The Remarkables). No WONDER this song sounds so structured!

What a small World, that two Frank Wilsons, both from L.A. both worked as songwriters at Motown Records at the same time, and both worked with Hal Davis at nearly the same time.

[motownjohnny]

Excellent info Robb. I reckoned if anyone could throw some light on clarifying this attribution it would be you!

The label on ".... Burning Alive" credits the song to Wilson, Wilson Talmage with the producer as H. Davis and the publisher as Jobete. So presumably they were all signed to Motown in '68 as writers. Other than the Jackson 5 track I mentioned, what more do you know of Ruth Talmage? Was she employed in the L.A. office as a staff writer? I'm sure I've also seen her name spelt with a "d" as Talmadge.

The "A" side "A Little Bit For Sandy" credits R.Dean Taylor as both the writer and producer.

[TomatoTom123]

Wow! I am GLAD I did not post a reply to this thread any earlier because I would have been wrong on a lot of fronts... Lol

Thanks very much for the info Robb and Johnny!!! I didn't even know there was another Frank Wilson at Motown. [[I was just about to start spouting of about the other, incorrect Frank Wilson, which would have been very unhelpful!!!)

[robb_k]

I didn't even know there was another Frank Wilson at Motown. [[I was just about to start spouting of about the other, incorrect Frank Wilson, which would have been very unhelpful!!!)

I think The "Do I Love You" Frank Wilson had already moved to Detroit when Hal Davis produced this cut.

I guess I never played the back side of "Chained" after the one time when I bought the record. I didn't like it much, and so, forgot it. I like the instrumental track.

[TomatoTom123]

Ah, right. Thanks again Robb.

I also found this on Frank Wilson [[of The Remarkables)...

http://www.allmusic.com/artist/frank...n-mn0002339678

[144man]

Bumped....

[robb_k]

The label on ".... Burning Alive" credits the song to Wilson, Wilson Talmage with the producer as H. Davis and the publisher as Jobete. So presumably they were all signed to Motown in '68 as writers. Other than the Jackson 5 track I mentioned, what more do you know of Ruth Talmage? Was she employed in the L.A. office as a staff writer? I'm sure I've also seen her name spelt with a "d" as "Talmadge".

"Talmadge" is the correct spelling of Ruth's name. I don't know anything else about her, other than that she co-wrote a few Jobete Music songs.

[TomatoTom123]

Ah, right. Thanks again Robb.

I also found this on Frank Wilson [[of The Remarkables)...

http://www.allmusic.com/artist/frank...n-mn0002339678

I was wondering about Motown's other Frank Wilson literally just today... and here's my 3-month-old post about him, from which I can answer my own questions

[huntergettingcaptured]

I wondered if those were they myself.

It is the Supremes. I have that episode on dvd. The first half of the show has Paul performing his hit "My Dad" and then The Supremes follow him with "Baby Love." Then, the second half of the show has The Supremes performing "Come See About Me" with Paul following them with "She Can't Find Her Keys."

[mysterysinger]

I've a copy of Paul Petersons 45 "A Little Bit For Sandy" with "Your Love's Got Me Burning Alive" on the flip and in addition to Frank Wilson, the writing credits for "Burning Alive" also list Vance Wilson and Ruth Talmage.

At Motown, Vance Wilson contributed to writing the track "Oh How I'd Miss You" again with Frank Wilson and Hal Davis. The song can be heard on Marvin Gaye and Tammi Terrell's first album "United".

Likewise, Ruth Talmage is credited as having contributed to writing "She's A Rhythm Child" on the Jackson 5 album "Dancing Machine".

A demo of "Oh How I'd Miss You" by Vance Wilson and Tammi Terrell has been released of course, Vance sounding a little like Marvin Gaye and singing very well.

What puzzles me is that the completion date for this recording shown on DFTMC is 13th March 1968. That is right about the time that Marvin Gaye was adding vocals to already recorded Tammi tracks for release on the album "You're All I Need" and the two that were saved until the "Easy" album was issued.

Marvin's vocal had already been added to "Oh How I'd Miss You" by 23rd March 1967 and that track released on the "United" album. Presumably Tammi would have added her vocal to the Vance demo and then Marvin's vocal added even later [[but by 23/04/1967). I'm puzzled as to why the Vance and Tammi demo was only completed 13/03/1968 - that seems odd to me.

[luckyluckyme]

Now I'm even more confused.
Perhaps the 1968 date is a typo and should read 1967.
At allmusic.com Andrew Hamilton writes in the biography section for Frank Wilson that it is the other Frank Wilson rather than Vance Wilson on the song [[although he wrongly identifies it as the actual recording that was placed on the United album rather than a demo)