The Monitors - Say You! The Motown Anthology 1963 – 1968

[keith_hughes]

The daffodils are out, the Contours are nearly out, but your Ace/Motown correspondent is still definitely IN - working hard on our next-release-but-two, Say You! The Motown Anthology 1963 – 1968 by the Monitors, due at the end of May.

The CD will kick off with a complete first-time-ever [[legal) digital version of Greetings! We're The Monitors, their classic 1968 LP. Then we'll be slotting in no fewer than 12 previously unreleased tracks, including a smattering from the group's very early days at Motown as the Majestics. Rounding off the set will be the two B sides that didn't make it onto their LP.

As always, this set is compiled with full support and official blessings from Universal Music.

Is this all getting too much for your pockets? Is a Motown CD a month overkill? Shall we stop? Do let me know. If you don't, we're liable to just carry on regardless ...

[[Also let me know if you think you might be able to bring Richard Street to the end of a telephone for interview. Write to keith@dftmc.info.)

Compliments of the springtime season to all,
Keith

[snakepit]

Fabulous news Keith...
No problem with overkill either....."Don't put till tomorrow what you can do today"
I'm sure there will be a big interest on this
Many thanks for everybody working on these Motown CDs

[dickiemint]

This is amazing, Thanks Keith and the Team, I really hope that we all put our hands in our pokets and buy these CD's we have been nagging for! Are these releases a limited run? I will be placing my pre order with Amazon as soon as it is up! Now what comes after a 'Fantastic Fourth' release?????????

[motown01]

I can't wait for this one. Keep them coming!!!

[robb_k]

2706
Hooray!

[kenneth]

Ace is such an incredible label. They have so many interesting releases. In addition to the great Motown releases of late, they've also thoroughly mined the King/Federal/DeLuxe catalog and really done it proud, after hundreds of great unreleased sides just languished under the ownership of Gusto. They've put out a 4-volume series of King and Federal Doo Wop, including the Charms, Five Keys, Platters, and others; fantastic box sets on Hank Ballard and Freddy King [[includes other material besides King and Federal on this one). They have released in their Limited Edition series a great CD of Tiny Topsy and Lula Reed, two nearly forgotten R&B singers from King Records. They have a whole series of "You Heard it Here First" CDs...famous songs but the original version, not the hit version; a series of "answer" song CDs; a fantastic series of CDs which spotlight famous writers such as Goffin-King, Neil Diamond, and others; and a really wonderful series of CDs which highlight those who imitated the Spector Wall of Sound, such as Nino & April, the Righteous Brothers, Sonny and Cher, and others. I own all the CDs I've mentioned with the exception of the Freddy King box and I will definitely be picking up the Monitors set as soon as it is available! Thanks Ace!

[juicefree20]

Keith,

I'll send along your message to a friend who should be able to reach Richard.

[mr_postman]

This is amazing, Keith. Thanks so much for all the work you and the Ace/Kent and Universal Motown teams are putting down to get these sounds out. It's like being back in 2004-2005 when Motown UK were cranking out Motown Anthology collections by the numbers. I'm living the dream and the word "overkill" is as far from my satisfaction with the release schedule as you can get.

A question regarding this collection, Keith. You say that the collection will feature 12 previously unreleased tracks. Does that number include the six cuts [[correct me if I'm wrong) that were not issued at the time but have been released since? I'm thinking of:

"Crying In The Night" [[This Is Northern Soul! Vol. 1),
"Words" and "I Can't Get Along Without You" [[A Cellarful Of Motown! Vol. 2),
"Just To Keep You Satisfied" [[Marvin Gaye - Let's Get It On: Deluxe Edition),
"Just Too Much To Hope For! [[A Cellarful Of Motown! Vol. 3), and
"Doctor Of Love" [[A Cellarful Of Motown! Vol. 4)

[mr soul]

Great...bring it on...how about a box set of Jerry Butler's Motown output.

[big_mac]

Great news, can't wait. In relation to a release a month, can't you make them weekly. What, no clue as to June's offering! Can you give me some comfort, clue or indication as to the possibility of a Fantastic Four release.

[psychedelic jacques]

wow, thanks Keith, and everyone involved. This is turning into a memorable series.

[keith_hughes]

Mr P, the previously unreleased tracks will be ... previously unreleased, although one is likely to be an alt recording and another an alt mix of tracks already out there. Full list to follow.

Big Mac [[and others), I can only announce releases when Ace set a release date. That's their rule, and I think it a good one.

JuiceFree, thank you!

[woodward]

I am hoping for a release on a monthly basis. That is very appropriate. I would like to make one worthwhile suggestion and would like other readers to comment on my suggestion. It would be to our advantage if there was ONE company in the USA that would have exclusive rights to sell these. As it currently is, many distributors get the releases and they are often competing against one another, i. e. one person gets it a month ahead of another, etc. etc. Has this been considered? It is often difficult to get UK releases in the USA and requires extra work to obtain them.

[Kamasu_Jr]

I am hoping for a release on a monthly basis. That is very appropriate. I would like to make one worthwhile suggestion and would like other readers to comment on my suggestion. It would be to our advantage if there was ONE company in the USA that would have exclusive rights to sell these. As it currently is, many distributors get the releases and they are often competing against one another, i. e. one person gets it a month ahead of another, etc. etc. Has this been considered? It is often difficult to get UK releases in the USA and requires extra work to obtain them.

Is there really enough Motown material left by 2nd and 3rd tier acts for a monthly releases ?

Once ACE/ Kent is done with the Contours, The Monitors, Marv Johnson [[ maybe this was Reel Music) and the inevitable Fantastic Four release many fans have asked for, what's left from Motown's golden or classic period that Hip-O or other labels are not already issuing?

Out of curiousity, what happened to Paul Nixon and the UK division of Motown/UME? It was issuing Anthologies and Motown Collections for a while, but have apparently stopped. There are a lot of companies issuing Motown product at the moment. In a way it's good for the fans, but it's getting crowded and confusing.

Another concern is the price of these sets which tend to be a little expensive because it's American music coming back to America as imports and that bothers me some. But I'm glad to see the Monitors get a CD release. I just hope there's more on the disc than just what has been issued already and Hello Love and its B-Side The Further You Look must be included.

[brother_love]

It is way too expensive for small US companies to license and release a lot this product here in the states. This is the reason that companies like Ace who do a great job are able to put so many tracks on one Cd collection. It's much more cost effective to reissues these in the UK. By the way I heard it through the grapevine that Ace will be issuing another ultra cool compilation that will be of great interest to Motown collectors in a few months time.

[chestersong]

I would like to know this, too. I recently heard that Andy is no longer with Universal and doing what he did with Hipp-O and other releases. He will have to confirm this. Also heard that Hipp-O will be changing in some ways as there has been some sort of upset. But I haven't been able to confirm. Andy has made some comments on his facebook. Anybody know what is going on?

[Kamasu_Jr]

Gee. I don't know what's going on at Hip-O. I always thought that selling expensive discs via mail and the internet had limited appeal.

And ACE still needs to get a grip on its price structure for these discs which find their way back into the US.

[chestersong]

Andy has answered some on his facebook and says he is still with universal but that the east coast studio has closed due to money concerns and 9 people have been let go that he once worked with. this economy really sucks.

[paul_nixon]

Yes Andy is still in place

[honest man]

Great stuff THANK YOU Paul and everyone for working so hard to get these releases out,i can;t wait,i will -do support every motown release,i buy alot of music,but always prioritize motown, so good to see ACE taking the reigns especially the way HIPO treated us in the UK, I find it strange that some people complain about material not being out then complain that there is to much happening,i want it all, keep them coming fast love it, yes a Spinners, jj barnes along with F4 Will complete my needs,HA thumbs up lads. cheers,

[honest man]

sorry meant for keith, THANK YOU for the news,

[tamla617]

well done ace!

[vcq]

Keith, thank you SO much for the welcome news. I'm sitting over here in Japan, and I sorely needed some GOOD news since it's been such a stressful week. I'm really looking forward to this Monitors release...the hard part will be waiting until May! And one Motown release a month? I'd be happy with a Motown release every week, thanks :-)

[144man]

Another one that I shall definitely buy. Thanks to everyone involved.

One a month sounds good to me. My suggestion for a future compilation is Eddie Holland.

[Kamasu_Jr]

The "I want it all" attitude led to problems for Hip O and collectors. It's illogical and can lead to problems like being taken advantage of.
Being a consumer and a long time Motown collector, I'm always gonna be on the side of people spending money for this stuff. I'm always going to have concerns and ask questions. There is a lot of Motown material coming at us from various sources and as long as the quality is good and respect for customers is cool, I'm OK. I was on the side of consumers in the beginning of Hip-O's direct to consumers project and you see what happened to collectors in the UK. You guys had to come up with other sources for this Motown music. Someone has to be on the side of consumers.

[mr_postman]

Mr P, the previously unreleased tracks will be ... previously unreleased, although one is likely to be an alt recording and another an alt mix of tracks already out there. Full list to follow.

Thanks Keith, but does that mean that the six cuts I mentioned above will be included in the set? From your description I got the impression that the the compilation would include the "Greetings! We're The Monitors" LP + 12 previously unreleased cuts + 2 non-LP B-sides, totaling 26 songs, but not the songs that were previously unreleased at the time but has turned up since.

[Kamasu_Jr]

I've heard an alt. version of Step by Step somewhere.

[boywonder]

This is brilliant news, means I don't have to buy that Marginal cd with the Elgins. This is what I wanted to happen from the start- I purchased the Satintones set for this, even though in all honesty I had no interest in them whatsoever- they are a bit early to be the classic 'motown' sound for me. The same goes, to an extent, for the Contours cd, I would have been much more interested in a set dedicated to the period around Dennis' tenure. I will still be buying it though! The Monitors, however, are the real deal for me; this is one which I am genuinely excited about. Next; give us a load of half-finished Temptations tracks please! A minute of Ruff is priceless.

[Kamasu_Jr]

This is brilliant news, means I don't have to buy that Marginal cd with the Elgins. This is what I wanted to happen from the start- I purchased the Satintones set for this, even though in all honesty I had no interest in them whatsoever- they are a bit early to be the classic 'motown' sound for me. The same goes, to an extent, for the Contours cd, I would have been much more interested in a set dedicated to the period around Dennis' tenure. I will still be buying it though! The Monitors, however, are the real deal for me; this is one which I am genuinely excited about. Next; give us a load of half-finished Temptations tracks please! A minute of Ruff is priceless.

It's a safe bet that there are Motown artists that Hip-O won't be licensing tracks to other parties to release. The Temptations are consistent moneymakers [[ like the Supremes, Diana Ross, Marvin Gaye, Smokey Robinson, The Four Tops, the Jackson 5, etc. ) for Hip-O/Motown.

[longtimefan]

GREAT news! Another happy customer here!

[honest man]

boywonder my sentiment could,nt have put it better, sow and reap, thank you

[honest man]

as long as we have SDF and other sources to keep us informed on releases ,i don't care if 50 companies are to reissue rare-decent-official motown. especially 60s, you can never have too much, keep them coming ace. cheers.

[rovereab]

as long as we have SDF and other sources to keep us informed on releases ,i don't care if 50 companies are to reissue rare-decent-official motown. especially 60s, you can never have too much, keep them coming ace. cheers.

Totally agree honest-man!

[boywonder]

Kamasu_Jr, ; true, they may be consistent money makers but I doubt Hip-O will ever release anymore new Temptations tracks or the kind of music which us over the pond want to hear. Motown 50 was a complete blowout; we never saw those early Stevie albums which are still for the most part rare and unreleased in the cd age and the second Temptations DVD never appeared [[the only record I could find was here, http://faac.us/adf/messages/131452/185422.html?1230979729, but all of this on the official Motown50 website at one time as well).

And am I the only person who thinks that Hip-O select have lost sight of the 60's soul market? Something odd is going on there, it looks like they are trying to get the attention of the jazz market at the moment. Hip-O just don't bother releasing their mainstream artists these days, they come out on Motown with re-hashed best of comps.

Has anyone explored the possibility of joint ventures as well; am I right in thinking that the Ace/Kent avalanche of Cameo Parkway material is a joint venture with the Collector's Choice label, since they are releasing identical material at the same time, CC for the US market, Ace/Kent for the UK. Couldn't a similar thing be done for the classic Motown artists; a joint collaboration where the two companies get together to compile the album, and taking on distribution in the two different markets. [[* ahem * also, didn't pretty much the same thing already happen with those TCM 1966 box sets that suddenly appeared out of nowhere a year or so ago? All of the sites which were selling those sets sold them as 'new releases' from Commercial Marketing UK. I may be wrong, but something very odd went on there.)

Sorry to go off on a complete tangent, but I'm foaming at the mouth at the prospect of more unreleased 60's motown tracks. And also still annoyed about paying so much money for the TCMS 1966 box set only to have market swarmed with them!

[theboyfromxtown]

Boywonder.

Paying over the top...tell me about it!

All those Invictus and Hot Wax recordings were once only available in Japan. You can now find them with extra tracks and sleeve notes for a quarter of the price I paid for the Japanese releases. Oh well!

[mysterysinger]

A Monitors CD - great news.

I admit it can be confusing to have multiple labels issuing Motown product, but rather that than not at all. Witness the release of Face to Face with the Undisputed Truth some years ago.

I prefer those releases that re-create the original album covers - Reel Music have done some good work in that respect. The ACE Marv Johnson cover, though, looks very tasteful from what I've seen [[and the I'll Pick A Rose For My Rose UK album cover was a cop out anyway).

I'm unsure about the criticism of Hip-O-Select - the Tammi CD was great.

Wonder when we'll get a full Earl Van Dyke set? Choker Campbell? Originals, Tom Clay? Joe Harnell? Impact of Brass? Well why not - how well did the Gordon Staples CD sell?

[Kamasu_Jr]

[QUOTE=mysterysinger; I'm unsure about the criticism of Hip-O-Select - the Tammi CD was great.

BUT APPARENTLY IT DIDN'T SELL AND WAS QUICKLY DISCOUNTED.

Wonder when we'll get a full Earl Van Dyke set? Choker Campbell? Originals, Tom Clay? Joe Harnell? Impact of Brass? Well why not - how well did the Gordon Staples CD sell?[/QUOTE]

Probably never. Albums by Joe Harnell, Tom Clay and Impact of Brass didn't appeal to the masses the first time around. ASIDE FROM COMPLETISTS DOES ANYONE ELSE REALLY WANT THIS STUFF?

[lakedistrictlad1]

I just want to say a big thanks to Keith and his team. Our favourite music is in VERY loving hands - which is where it should be.

[boywonder]

I think the thing with the Tammi collection, it was on its own, a really isolated release. Hearing about 'forthcoming' releases on Ace/Kent makes me buy even the ones I would not normally buy - [[a) because I want to guarantee that the ones I really want are released and [[b) most importantly, I've got to have 'em all! That's one of the things about most of us fans of soul music, most of us need to get the whole lot. The Tammi release didn't excite people's imagination since it should have been part of wider campaign to release 'second-string' motown artists. Ace/Kent have got it spot on with their current releases. The other thing is that people who buy the Marv set or the Monitors ones might go back and buy the earlier releases in this series. The lesson is that if you are going to release Motown do it properly, not just odd releases every now and then.

[mysterysinger]

Well I would certainly buy a complete Earl Van Dyke. I also liked the Joe Harnell music so yes would buy that too [[as I did the Gordon Staples CD). Oh and I forgot, San Remo Strings - they had a couple of album releases didn't they [[and Marginal sought fit to issue a CD of their stuff)?
I doubt the Monitors album, Marv Johnson [[UK), Bobby Taylor's Taylor Made Soul etc would have sold that well first time around - especially in the UK - I recall discount sellers had stocks of all of these. Anyway - what's wrong with being a completist especially when its what you enjoy. Let's face it, some of the sides on The Complete Motown Singles are hardly inspiring.

[boywonder]

Nothing wrong with being a completist, that's exactly what I mean about us soul fans. Companies are not going to excite a completist with isolated releases, as Hip-O are doing. Do it the Ace way- give a steady stream of releases, or as Hip-O themselves used to do with the TCMS series. Obviously I bought the Tammi cd, but I did not get very excited by it, even though I love Tammi. I would have much more interest if Hip-O followed it with similar releases, which they are not doing these days. Don't get me wrong, I love Hip-O select, they define quality as Ace/Kent do [[sorry Rhino!) I'm just trying to say Ace/Kent are doing a much better job of building up the 'buzz' by the fact that we KNOW more releases will be coming. I have absolutely no idea when or if the next 60's Hip-O motown release will be [[and I check the twitter page most days to keep up-to date.)

[snakepit]

Many serious Motown collectors would probably already posses the previous Tammi Terrell compilation, and the Marvin Gaye duets.....so stalled on the new one.....I've still got to order, I'll check the price and move in when I feel I need it.
Ace , and the others new companies are serving us well.
The Ace serious would seem to favour 60's back catologue and U/I items...
So artists like the Spinners,Eddie Holland,Originals, and possibly 'themed' comps on Sammy Ward, Gino Parks, La Brenda Ben, Bunny Paul etc might have an appeal.
Where we stand on "Lost & Found" sets on Gladys Knight & Pips and The Miracles [[1965-1970) I'm not sure

[robb_k]

2735
Universal might end up releasing a comprehensive Spinners anthology, as they "denied" Ace/Kent the rights to produce a Spinners' CD. Let's hope that whoever releases one will include all the vaulted cuts that have yet to be released. Every "new" one by them that I hear is of high quality. So far, they seem to have had no "losers" in the can.

[snakepit]

It might seem "picky" but I would prefer a 100% Motown comp on artists. Subconciously it may be why I've stalled on the Tammi Terrell CD

[rovereab]

Snakepit, may I suggest you buy the Tammi CD - it is superb and even if you skip the non-Motown tracks the mastering of the Motown songs is outstanding.

Eamonn

[snakepit]

Eamonn
I will buy it...eventually.
I'll pop along to Amazon to check price....

[snakepit]

Bought it ...£11.56 inc p&p

[Kamasu_Jr]

Nothing wrong with being a completist, that's exactly what I mean about us soul fans. Companies are not going to excite a completist with isolated releases, as Hip-O are doing. Do it the Ace way- give a steady stream of releases, or as Hip-O themselves used to do with the TCMS series. Obviously I bought the Tammi cd, but I did not get very excited by it, even though I love Tammi. I would have much more interest if Hip-O followed it with similar releases, which they are not doing these days. Don't get me wrong, I love Hip-O select, they define quality as Ace/Kent do [[sorry Rhino!) I'm just trying to say Ace/Kent are doing a much better job of building up the 'buzz' by the fact that we KNOW more releases will be coming. I have absolutely no idea when or if the next 60's Hip-O motown release will be [[and I check the twitter page most days to keep up-to date.)


Completists or collectors only think of what they want, but if something does not sell in this economy, it's not gooing to be worthwhile for companies to release discs on obscure Motown acts like Joe Harnell. Who was he besides the musical guy on the old Mike Douglas Show? I have no interest in hearing his instrumentals. I think Hip-O did some miscalculation in launching its boutique line or special titles. I don't think the market or demand was big enough or strong enough to support expensive titles like The Complete Motown Singles. Most of today's music retail stores are shifting away from carrying discs because people are joining music sharing sites like Rhapsody and ITunes and downloading what tracks they want.

[honest man]

All the more reason to get these motown releases out ASAP, i am a completist and will buy any never before released 60s motown artist work, can't get enough. cheers.

[rovereab]

Bought it ...£11.56 inc p&p

Great, I'm sure that you will not be disappointed. The remastering on You Ain't Living... is a revelation and that is just one aspect :-) The sleeve and booklet are brilliant too.

Eamonn

[Kamasu_Jr]

All the more reason to get these motown releases out ASAP, i am a completist and will buy any never before released 60s motown artist work, can't get enough. cheers.


I'm the real COMPLETIST. With a few exceptions, I buy almost everything Motown. I estimated there are only three or four Motown releases coming at us within the next few months that most Motown fans are genuinely interested in: Marv Johnson, Monitors, Contours and maybe the Originals. Support is varied for upcoming discs on Tata Vega, Teene Marie, the Dazz Band, Willie Hutch, the seventies Supremes [[ some of the people claiming to be completists have posted in other threads they aren't even eager to get this disc because it's 1970s Disco/Motown) and Dennis Edwards' Don't Look Any Further, which makes no sense to me, because the album is available on compact disc if you search for it. With the exception of Dennis Edwards, 'I will probably get all of these releases. My interest in Motown doesn't lessen after 1972 when Studio A was closed. If it was something I liked, I bought it.

[mysterysinger]

And I'm still looking forward to the Thelma Houston set...

[booty]

Has anyone seen the artwork for this set yet?

[boywonder]

Kamasu_Jr; Is 70's Motown 'real' motown? I'm not wanting to have an argument at all, so please don't take me wrong here! In fact I'm just more interested in your reasons for being a completist even forthe 70's music, and if you can make any convincing reasons for me giving the later period another chance [[I stopped collecting TCMS at 1969!)

My reasoning is that, as I said, I don't see 70's Motown as 'real Motown' at all. I mean, it is pretty much indistinguishable from many other labels. As Smokey once said, many companies tried to copy the Motown sound at its height, but few got anywhere near replicating the sound [[Rescue Me is one of the few succesful attempts.) By the end of the sixties, Motown is more influenced than influential. I don't see how you can get obsessed with post 60's Motown. It sounds very different to the classic sound, and it has lost its distinct sound for me. Its still good stuff, but I'm perfectly happy with 'best-ofs' for the 70's, but I want ALL the 60's music.

Saying that, though I have all the Ruffin 70's music;

'you ain't nothin' wit out da Ruffin!'

Nuff' said.

[timthemod]

Many serious Motown collectors would probably already posses the previous Tammi Terrell compilation, and the Marvin Gaye duets.....so stalled on the new one.....I've still got to order, I'll check the price and move in when I feel I need it.
Ace , and the others new companies are serving us well.
The Ace serious would seem to favour 60's back catologue and U/I items...
So artists like the Spinners,Eddie Holland,Originals, and possibly 'themed' comps on Sammy Ward, Gino Parks, La Brenda Ben, Bunny Paul etc might have an appeal.
Where we stand on "Lost & Found" sets on Gladys Knight & Pips and The Miracles [[1965-1970) I'm not sure

There will be no 'themed' comps from Ace as I've already asked consultant Tony Rounce I even provided a track listing [[below)

Amos Milburn - Money
Barrett Strong - Misery
Barrettt Strong - Yes, No Maybe So
Chico Lavett - Solid Sender
David Ruffn - One Of These Days
Lamont Dozier - Fortune Teller [[Tell Me)
Don Mckenzie - Whose Heart [[Are You Gonna Break Now)
Eddie Holland - It Moves Me
Eugene Remus - Hold Me Tight
Frank Wilson - Ain't Gonna Tell you
Hattie Littles - Is It True [[What They Say About You)
Hattie Littles - Love Trouble Heartaches And Misery
Henry Lumpkin - Mojo Hannah
Jimmy Ruffin - Don' t Feel Sorry For Me
LaBrenda Ben - The Chaparone
LaBrenda Ben - I Can't Help It, I Gotta Dance
Little Otis - Baby I Need You
Marvin Gaye - Never Let You Go
Sherri Taylor and Sammy Ward - Lover
Sammy Ward - You've Got To Change
Sammy Ward - Big Joe Moe
Saundra Mallet - All I Got
Stevie Wonder - Waterboy
Stevie Wonder - Fingertips [[tribute to Uncle Ray version)
The Charters - Sign Me Some Sign
The Downbeats - Don't You Know I Love You Baby
The Miracles - [[I Need Some) Money

This was Tony response:

"At the moment, as far as Motown is concerned, we're preferring to concentrate on devising packages that offer mostly material that hasn't been on CD before, or that hasn't been issued at all - legitimately or otherwise.

Nice set of tracks you've got there, of course, but we do have a lot of ideas to run with before it comes down to reissuing the previously-reissued"

These are commercial decisions, and they are not going to issue material that they don't think will sell enough units to be commercially viable.

[dickiemint]

Has ACE managed to get hold of Richard Street yet ? Would love to read his memories about his Monitors days in the cd booklet.

[snakepit]

I'd suggest a CD of Earl Van Dyke & Soul/Funk Bros.....with the TMS 1965 album plus a batch of unissued/never before on CD.That would appeal to Motown & Rare/Northern market I'm sure

[1382hitsville]

What about Debbie Dean?

[psychedelic jacques]

I'd suggest a CD of Earl Van Dyke & Soul/Funk Bros.....with the TMS 1965 album plus a batch of unissued/never before on CD.That would appeal to Motown & Rare/Northern market I'm sure

I'd like to think that, if they included the 'Earl of Funk' album and the Twistin' Kings album [[which I understand from TCMS were basically the Funk Brothers under any other name), plus unreleased, then we could be looking at a 2cd set on them.

[Kamasu_Jr]

Kamasu_Jr; Is 70's Motown 'real' motown? I'm not wanting to have an argument at all, so please don't take me wrong here! In fact I'm just more interested in your reasons for being a completist even forthe 70's music, and if you can make any convincing reasons for me giving the later period another chance [[I stopped collecting TCMS at 1969!)

My reasoning is that, as I said, I don't see 70's Motown as 'real Motown' at all. I mean, it is pretty much indistinguishable from many other labels. As Smokey once said, many companies tried to copy the Motown sound at its height, but few got anywhere near replicating the sound [[Rescue Me is one of the few succesful attempts.) By the end of the sixties, Motown is more influenced than influential. I don't see how you can get obsessed with post 60's Motown. It sounds very different to the classic sound, and it has lost its distinct sound for me. Its still good stuff, but I'm perfectly happy with 'best-ofs' for the 70's, but I want ALL the 60's music.

Saying that, though I have all the Ruffin 70's music;

'you ain't nothin' wit out da Ruffin!'

Nuff' said.


_I just saw this. I never tell other people what they should buy musically...people have different tastes and everybody doesn't like what I like. I SUPPORTED MOTOWN IN THE SEVENTIES BECAUSE IT WAS STILL THE LEADING BLACK OWNED BUSINESS AT THE TIME AND MANY OF ITS ARTISTS, writers and producers [[FROM THE SIXTIES) continued to make great and inspired music in the 1970s. That's the main reason. It was a black owned business, known for producing quality music and artists who became symbols of pride. It started out being about the sound of Motown, but it progressed; Times and music changed. I accepted the changes.
I was not necessarily a fan of Hitsville Studio A and didn't think good music would stop once Motown relocated to Los Angeles. I never thought '70s Motown wasn't really Motown. Did I buy or collect everything? NO. But I still bought and liked a good percentage of Motown product from 1970 to 1979.
Plus, Motown signed and marketed several new talents [[Syreeta, Rose Banks, Leslie Uggams, Stephanie Mills, Willie Hutch, Rick James, Thelma Houston, The Dazz Band, Bonnie Pointer, Switch, Dynamic Superiors, Yvonne Fair, Teena Marie, etc. ) who continued the Motown legacy with great music.

[robb_k]

2773
Syreeta [[Rita Wright) was signed in the '60s. So, she, like Stevie Wonder, Smokey Robinson, Marvin Gaye, The Temptations, and many others, were "holdovers" from the '60s. Or they were both '60s and '70s artists.

[Kamasu_Jr]

2773
Syreeta [[Rita Wright) was signed in the '60s. So, she, like Stevie Wonder, Smokey Robinson, Marvin Gaye, The Temptations, and many others, were "holdovers" from the '60s. Or they were both '60s and '70s artists.

Syreeta was indeed a Motown artist in the Sixties, but her artistic or commercial breakthrough didn't occur until the 1970s. Motown & Stevie Wonder reintroduced her as an artist for the 1970s. I can see how there are fans of the Motown Sound of the Sixties, but it was never about that for me or for my parents. Motown was no longer producing the same sounds it had in 1963, 1964 or 1965. The music or sound had changed and evolved by 1966 through 1969.
If you dismiss 1970s Motown as not really Motown just because the Funk Brothers weren't cranking out the sounds, you dismiss or ignore a lot of really good music by Norman Whitfield, Stevie Wonder, David Ruffin, Eddie Kendricks, Valerie Simpson, the Commodores, Marvin Gaye, The Miracles, Temptations, Jackson 5, Willie Hutch, Tata Vega, etc.

Motown meant quality in the 1970s just as it had in the Sixties.

Fortunately, companies are interested in 1960s Motown and we're getting reintroduced to Motown sounds of the 1970s. I'm always buying music.

[juicefree20]

I never understood how or why a Motown fan would differentiate between the 60's or the '70s to begin with.

One thing that music has always done was EVOLVE. Music has always changed, usually with the ever-changing times. Had it not, we'd all be still listening to or singing the Blues & still be wondering how much that damn doggie in the window cost or worrying about whether our chewing gum lost its flavor on the bedpost overnight.

When were young, very few of us wanted to hear our artists singing the same exact music as we were maturing & being presented with new ideas & new sounds. Most of us wanted our artists to grow as we were growing. And time has proven that most artists whom could not or would not change their sound stagnated because we felt that their sound was stale. It happened with Ike Turner & it happened to James Brown & countless others.

People don't drive the same kind of cars that they did in the 60s, don't use the same kind of utilities nor electronics as they did in the 60s because life is about progress & change. If we've come to accept that life indeed changes & learned to accept all kinds of change, why wouldn't the same rules apply to the music?

Motown of the 70s was still Motown. It's simply that as the times changed, Motown had to change or be left behind. It was nothing more that an evolution of their sound & that sound was still excellent. I defy anyone to tell me that "It's A Shame", "Still Waters", "what's Goin' On" & hundreds of other songs DO NOT represent the Motown Sound & DO NOT rank up there with the greatest Motown songs of ANY decade.

Atlantic Records had a sound, but when Aretha hit with "Respect", Atlantic wasn't sounding lie the label that gave us Ray Charles' "Mess Around", nor "Saturday Night At The Movies". Music MUST change with the times or you'll eventually end up with empty recording studios & defunct record labels. To say that Motown wasn't Motown is similar to saying that as you change over the course of a decade that you're no longer you. And when you really think about it, is there any of us whom are exactly how we were a decade after our formulative stages?

If so, then we're really in trouble becuase that would be an indicator that we've learned nothing, experienced nothing outside of our own world & would show no growth whatsoever. NOTHING & NO ONE is the same 10 years later, nor do I believe that it or they should be. It's simply not realistic.

When music becomes nothing more than vapid crap, I can understand a lack of appreciation. But when we're talking about an era which gave birth to some of the greatest music ever, I simply don't understand the criticism. I would love to turn back the clock & relive those days, but that's simply impossible. So, I moved on, learned to appreciate the changing sounds & found beauty simply in accepting these new sounds for what they were.

It's hard living life in a vacuum & in trying to do so, sometimes one can deprive themselves of hearing some truly great music.

[mysterysinger]

I Love Your Smile, Shanice. Neither 60s nor 70s but one of my fave Motown tracks nonetheless. My Motown experience really began in the very early 70s - in the UK then it was a mixture of newer stuff [[Remember Me, Stoned Love etc) and re-issued stuff [[Tears of a Clown, Jimmy Mack etc). Loved it all. Still do. Some tracks appeal much more than others, There is a God by Valerie Simpson is just haunting. All time classic for me, I'll Always Love You - Detroit Spinners. And From the Monitors, Say you and Since I Lost You Girl - up there among the best of Motown in my opinion. Looking forward to this set!

[Amithesameboy]

I never understood how or why a Motown fan would differentiate between the 60's or the '70s to begin with.

One thing that music has always done was EVOLVE. Music has always changed, usually with the ever-changing times. Had it not, we'd all be still listening to or singing the Blues & still be wondering how much that damn doggie in the window cost or worrying about whether our chewing gum lost its flavor on the bedpost overnight.

When were young, very few of us wanted to hear our artists singing the same exact music as we were maturing & being presented with new ideas & new sounds. Most of us wanted our artists to grow as we were growing. And time has proven that most artists whom could not or would not change their sound stagnated because we felt that their sound was stale. It happened with Ike Turner & it happened to James Brown & countless others.

People don't drive the same kind of cars that they did in the 60s, don't use the same kind of utilities nor electronics as they did in the 60s because life is about progress & change. If we've come to accept that life indeed changes & learned to accept all kinds of change, why wouldn't the same rules apply to the music?

Motown of the 70s was still Motown. It's simply that as the times changed, Motown had to change or be left behind. It was nothing more that an evolution of their sound & that sound was still excellent. I defy anyone to tell me that "It's A Shame", "Still Waters", "what's Goin' On" & hundreds of other songs DO NOT represent the Motown Sound & DO NOT rank up there with the greatest Motown songs of ANY decade.

Atlantic Records had a sound, but when Aretha hit with "Respect", Atlantic wasn't sounding lie the label that gave us Ray Charles' "Mess Around", nor "Saturday Night At The Movies". Music MUST change with the times or you'll eventually end up with empty recording studios & defunct record labels. To say that Motown wasn't Motown is similar to saying that as you change over the course of a decade that you're no longer you. And when you really think about it, is there any of us whom are exactly how we were a decade after our formulative stages?

If so, then we're really in trouble becuase that would be an indicator that we've learned nothing, experienced nothing outside of our own world & would show no growth whatsoever. NOTHING & NO ONE is the same 10 years later, nor do I believe that it or they should be. It's simply not realistic.

When music becomes nothing more than vapid crap, I can understand a lack of appreciation. But when we're talking about an era which gave birth to some of the greatest music ever, I simply don't understand the criticism. I would love to turn back the clock & relive those days, but that's simply impossible. So, I moved on, learned to appreciate the changing sounds & found beauty simply in accepting these new sounds for what they were.

It's hard living life in a vacuum & in trying to do so, sometimes one can deprive themselves of hearing some truly great music.


This strikes me as an eminently sensible posting. But I fear you - sort of - contradict yourself on one point. To wit : " When music becomes nothing more than vapid crap, I can understand a lack of appreciation."

Who is to say what " vapid crap " is ? One man's " vapid crap " is probably someone else's " masterpiece ".

[boywonder]

Interesting stuff, thanks for the replies [[and not ripping me to shreds!) To add just a little bit to the discussion, for me the distinction is between 'organic' sounds. I think 60's music sounds more organic generally, whether its the fact that people spent most time on the road and they had to it in one take [[as Bobby Bland did with Stormy Weather), or whether it is less reliance on drum machines, double [[triple!) tracking, positioning of mic's in the studio it just sounded different. There is some great post-60's music, it just doesn't grab me as much, that's all.

[Kamasu_Jr]

Interesting stuff, thanks for the replies [[and not ripping me to shreds!) To add just a little bit to the discussion, for me the distinction is between 'organic' sounds. I think 60's music sounds more organic generally, whether its the fact that people spent most time on the road and they had to it in one take [[as Bobby Bland did with Stormy Weather), or whether it is less reliance on drum machines, double [[triple!) tracking, positioning of mic's in the studio it just sounded different. There is some great post-60's music, it just doesn't grab me as much, that's all.

I'm sure some of the Motown and Seventies soul scholars on the forum could cite various recordings from the 1970s that were organic in their production or creation. I was listening to Patti Labelle's solo debut from 1977, produced by David Rubinson. It's a very funky and organic sounding record because it was mostly recorded live in the studio with Labelle feeding off and interacting with her musicians. A lot of it was one take.
We know Marvin Gaye recorded this way....What's Going On was created with Marvin often in the studio with the musicians. Aretha's Rock Steady was created the same way, according to legend. Again, I'm not tied to the whole Hitsville or Syax studio mystique when singers, musicians and producers were often crowded in the same room. The process doesn't interest me as much as the finished product, the sound pf a particular record.

[keith_hughes]

back-tracking a little to dickiemint's question, I'm pleased to say Ace DID get hold of Richard Street, and thanks to all who assisted in the "search". Richard's memories and sometimes surprisingly candid opinions will appear in the booklet essay. He loved being in the Monitors, and it "broke his heart" to leave them, even though the gig with the Tempts was what he had always wanted, especially to be back with his "brother", Melvin Franklin.

[dickiemint]

Thanks for the response Keith, I am looking forward to this and Marv johnson's release, is Richard still in touch with the other Monitors? Do they ever perform, I know they cut a couple of tracks for the Motor city label a few years back, but I would guess they would long be retired. Could Richard Street be Tempted [[ no pun intended) to play live to support this release, just for the Motown weekender in Prestatyn or something similar.

[Kamasu_Jr]

Hopefully, the essay or interview with Richard Street will provide an answer to conflicting information I've heard recently that the original Monitors [[Sandra Fagin, Warren Harris & John/Maurice Fagin ) are all deceased. The fact that only Mr. Street has interviewed for this upcoming CD seems to indicate this is true. BUT I'd be thrilled if I were wrong, although Warren is definitely deceased.

[keith_hughes]

Warren and Sandra have passed away, I understand. I think Maurice is now a Baptist minister: Mr Street hasn't been in touch with him for some time, and we haven't been able to reach him for interview.

[Kamasu_Jr]

Interesting. I had heard Sandra, John and Warren were all deceased.

[keith_hughes]

Kamasu - take a look at http://monitorjust4u.website.org/the-monitors-words/. I was wrong, and she was certainly alive a few months ago! She remarried in 1976, and is now a Baptist minister and "just sings for the Lord". Maurice remains a mystery.

[jboy88]

I think keith had gotten Sandra from the monitors confused with Sandra Mallet Edwards from the Elgins who died back in 2002. I also heard that Cleo "Duke" Miller passed but i've yet to hear anyone confirm it!

[Kamasu_Jr]

Kamasu - take a look at http://monitorjust4u.website.org/the-monitors-words/. I was wrong, and she was certainly alive a few months ago! She remarried in 1976, and is now a Baptist minister and "just sings for the Lord". Maurice remains a mystery.

Wonderful news. Sandra is alive and a minister. It was what I heard from most people in the know.

[keith_hughes]

I think keith had gotten Sandra from the monitors confused with Sandra Mallet Edwards from the Elgins who died back in 2002. I also heard that Cleo "Duke" Miller passed but i've yet to hear anyone confirm it!

I picked up the info from Ian Levine's note [["Nonsense ...") which can be seen at http://www.youtube.com/watch?v=EU_k_ZxxNAY. I rather thought he would know ...

[copley]

So Keith, is she or isn't she dead? Levine says yes but her son says no! Mmm! I wonder who should know best.

[Kamasu_Jr]

I'd trust her son, Steve is his name I've heard. I'm thinking that he would know better than Ian Levine.

[copley]

Well Kam, that's what I would think too :)

[candykamaine]

I picked up the info from Ian Levine's note [["Nonsense ...") which can be seen at http://www.youtube.com/watch?v=EU_k_ZxxNAY. I rather thought he would know ...

I wish we knew which version was true about Sandra's whereabouts. :[[ Now I'm confused. Although I wonder when she died if Ian's story turned out to be true. :[[

[psychedelic jacques]

Keith - any chances of a preview track listing yet?

[booty]

And cover shot!

[Kamasu_Jr]

I wish we knew which version was true about Sandra's whereabouts. :[[ Now I'm confused. Although I wonder when she died if Ian's story turned out to be true. :[[


I would think there would be someway to confirm what happened to the rest of the Monitors. There does seem to be some confusion. In the YouTube clip of the group performing at the Ponchatrain, I recognized only Warren Harris. The stout women performing with the group could not have been Sandra Fagin.

[juicefree20]

Amithesameboy said


This strikes me as an eminently sensible posting. But I fear you - sort of - contradict yourself on one point. To wit : " When music becomes nothing more than vapid crap, I can understand a lack of appreciation."

Who is to say what " vapid crap " is ? One man's " vapid crap " is probably someone else's " masterpiece ".

To that I say just thatI see no form of contradiction in anything that I wrote, as just about about all of us know & fully understand what I describe as "vapid crap", as crap sounds exactly like what it is..."crap". But I'll attempt to summarize that particular genre & hopefully my definition will hold water.

When a song speaks about nothing more than folks sitting on your johnson, you have created "vapid crap".

When a entire 4 minute song is based upon nothing but the protagonist talking about how they're so important that EVERYONE'S hating on them, that is some self-serving & likely VERY misguided..."vapid crap"

When you create songs which denigrate an entire gender with one big nasty brush, you have created "vapid crap"

When a song takes 4 minutes simply discussing blowing folks brains out, smoking blunts & screwing "Ho's", it is "vapid crap"

When a song is nothing more than a 4 minute lullaby POSING as some profound statement which will shake the earth to it's core, it is "vapid crap"

When 22 year-old people create songs which sound as though they've been crafted by pre-schoolers, which no self-respecting 6th grader would create, they have created "vapid crap"

And the thought that anyone over the age of 14 would consider anything of that sort to be either "deep", "profound", or "capturing the REAL" is one hell of an indictment of the state of the world in which we live.

There's nothing wrong with an occasional novelty song as they've been in existent all along. But when "novelty" becomes the new norm where precious little thought or skill goes into the crafting of the art of music, then there's simply something terribly amiss.

And no matter how I might try to defend it, I can't. And if anyone could possibly consider any of the example I've listed above, the likes of which can be found on just about any terrestrial radio station today to remotely resemble a "masterpiece", I'll simply say that they just don't make "masterpieces" like they used to. There's also the obvious fact that to deem "vapid crap" such as that to be on the same par as classics of the past, only serves to diminish music as a whole. In most things that I've ever seen, once crap becomes considered to be acceptable, it's guaranteed that we'll continued to be served crap. If ANY business can get away with cutting corners & offering subpar service, then it's been proven that it's downhill from there.

For proof, consider our society in which everything has been dumbed down to such an extent where folks have become "stars" for doing nothing more than acting like gangsters, tramps, acting like nasty jerks, deadbeat dads, airing their dirty laundry on tv & for behavior which SHOULD embarass any self-respecting 5th grader, much less any normal-thinking adult.

[theboyfromxtown]

I would think there would be someway to confirm what happened to the rest of the Monitors. There does seem to be some confusion. In the YouTube clip of the group performing at the Ponchatrain, I recognized only Warren Harris. The stout women performing with the group could not have been Sandra Fagin.

If you mean the Grazing in the Grass video....the three in the middle are Daryl, Beverely and Jim. I met them and have their autographs......fan that I am!

[keith_hughes]

2803

Here's the Monitors' CD cover ...

[keith_hughes]

And here's the track list:

Bring Back The Love
Share A Little Love With Me [[Somebody)
Step By Step [[Hand In Hand)
The Further You Look, The Less You See
Since I Lost You Girl
Baby Make Your Own Sweet Music
Greetings [[This Is Uncle Sam)
Time Is Passin' By
Say You
Number One In Your Heart
Serve Yourself A Cup Of Happiness
You Share The Blame
Too Busy Thinking About My Baby *
The Letter *
Poor Side Of Town *
Crying In The Night [alternate mix] *
My Love Grows Stronger *
It Only Happens When Love Is Gone *
Show Me You Can Dance *
You're So Fine And Sweet *
I'm In Love With You Baby *
Anything *
Guilty *
Cry [version 1] *
All For Someone
Don't Put Off Till Tomorrow What You Can Do Today

* previously unreleased

[tomato tom]

Looking GOOD! Great cover. Gooner love this..Paulo xxxx

[snakepit]

looks great....thanks to ALL involved.

[Kamasu_Jr]

looks great....thanks to ALL involved.

Get It out already!...I'm ready to buy it!

[kenneth]

Great looking package and track list! We are so lucky to have companies like Ace and Hip-O to release this material. I think back on the many years all Motown did was repackage the same hits over and over and let all this great stuff just languish in the vaults. What a gold mine!

[mr_postman]

Oh, what a wonderful cover, and an intriguing playlist as well. Thanks again Keith for all the working putting down. Can't wait to get my hands on this one!

[boywonder]

juicefree20 - couldn't have put it better myself [[although I am absolutely NOT applying that to 70's Motown, just so we're clear.) The Monitors are a case in point- if a group showed the performance of Monitors and the singing ability, they would stand out by a country mile. The Monitors were 'second-tier' back in the day, but compared to today's music it makes you realise how great they were. The wife was a Kanye West before we got together- she didn't realise he was a cover-artist [[and I use the word artist is a very special context which would normally be preceded by a four letter word beginning in 'p'.) The 60's had some true greats, I could chuck a dart at my record collection and hit a cd on which any song is better than today's offerings.

Can I ask another thing- what's going on with the dreadful choreographing? I was in the fish and chip shop today and they had a TV, with some young thing doing all sorts of convuluted movements that just looked so odd and contrived- don't get me wrong love the moves of dem tempts, but what is going on? Kids today aren't alright. Te-he!

[Stone Diamond]

Just finished this wallpaper, thought some of you may want to grab it.
You can download the full size version from my Flickr page, where you'll find more Motown Wallpapers . . .
http://www.flickr.com/photos/a_tom/5625343880/
2822

[MIKEW-UK]

Awesome wallpaper -- congrats on a beautiful job!

[chimusic60]

Hi Soulful Detroit Friends
Very much looking forward to The Marv Johnson & Monitors Cd's & was grateful to have that material available on the Marginal label at the time now its time for the ultimate upgrade. The Spinners, Eddie Holland, Mary Wells, Gladys Knight & The Pips, & more unreleased Temptations, Early Miracles mixed to Stereo the Hip-0 set could have released The Mono & Stereo versions. Never enough Motown. Being from Chicago I have 2 request that I hope see the light of day and that's a comprehensive look at The Radiants & a complete Billy Stewart collection. Those are 2 that's well overdue.

[tamla617]

hi chimusic60 welcome to sdf

[chimusic60]

Thanks Tamla 617 looking forward to sharing memories & more with you. Love the forum that you guys present. Keep the dialouge rolling Much respect always.

[kenneth]

Really nice job on the wallpaper! Ace should incorporate your design in the booklet somewhere.

[144man]

Has release dare been changed? HMV showing 30th May.

[dickiemint]

BUMP
looking forward to this release 7th June, hope there are no delays!

[mr soul]

Hi Chimusic60 & welcome to SDF.

You've got my vote with the complete Billy Stewart collection, although like me you appear to be the king of wishful thinking, I really can't see it happening though much the pity.

[brother_love]

I just got The Monitors anthology and have been really enjoying it. I noticed that the track 'Cry' is is listed as previously unissed when indeed was issued on the album "From The Vaults" back in 1979.

[pj1]

Brother Love,
As explained in the booklet, this is an earlier version [[perhaps recorded for Thelma Records), the tapes for which were brought to Motown in September 1963. The 1979 version that you reference was a re-cut, done at Motown.

[pj1]

I just received this and the Patrice Holloway cd today. Once again, thank you, Keith and team for your excellent work and the loving care that goes into these sets.
No obviously visible mathematical errors this time! Congratulations.
However, might I make a suggestion- Please check for consistency.
The cd case back-cover lists year of release for five of the single sides [[ songs #5, 9, 10, 25, 26), but not for three of the others [[songs #1, 3, 4). And amazingly [[on the back cover), both 'Greetings [[This Is Uncle Sam)' and 'Time Is Passing' are missing any designation as having been given release as single sides.
Also, Ivy Jo Hunter is listed as Ivy Jo in all of the song annotations except 'Crying In The Night', where he is listed as Ivy Hunter.
The quote on pg 18, song 26- "Me and Harvy Fuqua were like brothers, man.....a tremendous inspiration." Is Richard speaking or is this a quote from the late, Johnny Bristol? And is this song truly credited to John Bristol as typed? Are John Bristol and Johnny Bristol, the producer of the song, the same person?
Again, if you need an additional proof-reader.....

[brother_love]

Thanks PJ, for clearing that up I just read the notes.

[pj1]

I've just had a chance to listen to the cd again and re- read the write-up.
I did find it curious that both songs having Johnny Bristol as one of its writer listed him as 'John Bristol'.
Someone alerted me that 'John' was his preferred name for writer's credits, and 'Johnny' for production credits. I decided to look through previous cd's and found that that rule was not always followed. Many a song lists the writer as Johnny- even his MGM Collection on Hip-O-Select.
"Someday We'll Be Together' seems to be one that more often than not now lists John Bristol whereas in the past it usually appeared as Johnny.

[pj1]

I wonder if Keith noticed that not only does song #12, "Share The Blame" have the difference noted between title vs lyric but song # 18 is very similar in that fashion. Richard and the Monitors sing "It Only Happens When Love HAS Gone"
Perhaps one day we'll hear the version of the song prepared for Diana Ross & The Supremes by
the mystery demo vocalist.

[pj1]

Reading Richard' s comments sparked my memory. It seemed as if I'd read some of them before. In researching, I realized that Richard had often been quoted in the TCMS volumes that included Monitors' singles and that some portions of those reflections were intertwined with the more recent interview for this collection. .
But I came across this- Vol 5: 1965, Disc 26.5 & 26.6, mentions that the Spinners had recorded their vocals for "Say You" and they were erased by the Majestics/Monitors initial dub of the track. The annotations on this anthology don't seem to necessarily indicate the same here.
It's a shame that Richard's second recording of a new lead vocal erased David Ruffin's vocal on the multi-track. Thanks be to God, the Temptations version had already been mixed to mono. Is it safe to assume that what was released by the Monitors includes Richard's second lead vocal?
The write-up there mentions "Cry", "Words" and 'the yet-to-be-officially issued "It's Got To Be Love". As the last track mentioned is not to be found on 'The Motown Anthology 1963-1968', are there plans to include it on a future Cellarful or is it merely a favorite of whomever wrote the article for 26.5/26.6?

[robb_k]

3022

Brother Love,
As explained in the booklet, this is an earlier version [[perhaps recorded for Thelma Records), the tapes for which were brought to Motown in September 1963. The 1979 version that you reference was a re-cut, done at Motown.

This is correct. The version we put on "From The Vaults" was the 2nd version, with a tighter vocal, and better mix on the backing tracks. It is, by far, the better version, in my estimation. I am disappointed that the better version is NOT on their anthology. They could have put both on it, if they so badly wanted the fans to have the original one. That is like leaving the commercially-released version of "My Girl" of a Temptations Anthology, just to add a previously unreleased original take!

[brother_love]

Robb, great minds think alike, here, here.

[tomato tom]

Got my copy today. Great packaging, great music. Keep em comin! Paulo xxx

[snakepit]

Enjoyed this CD....love to hear the vaulted tracks, although nothing really hits me as a major mistake in not gaining a release...just good Motown .However I'm REALLY upset to learn that "You share the blame" was not recorded by Smokey....I was waiting for the glorious day we'd see it on a L&F set.....What a period that was in Smokey's producing career.....he missed out on that track!!

[144man]

I decided not to order this and the Patrice Holloway online. Does anyone know when they'll be available in store in the UK?

[theboyfromxtown]

I have a 2 HMV's near me....there's a not a chance that it will ever be for sale on them.

The old record shops seem to sell more DVD's and electrical equipment, laptops, MP3 players and so on these days.

If you want the CD, I don't think you have that option these days.

I went into an old record shop today....there's still people buying vinyl but some of the once expensive records are much cheaper than they used to be.

[144man]

I have a 2 HMV's near me....there's a not a chance that it will ever be for sale on them.

The old record shops seem to sell more DVD's and electrical equipment, laptops, MP3 players and so on these days.

If you want the CD, I don't think you have that option these days.

I went into an old record shop today....there's still people buying vinyl but some of the once expensive records are much cheaper than they used to be.

I am near HMV Oxford Street a couple of times a week, and they do stock Ace/ Kent product there. I couldn't find an exact release date on the Ace website.

[theboyfromxtown]

I've emailed Ace for ya

[144man]

Thanks, John.

[theboyfromxtown]

It was released on Tuesday June 7th

[144man]

It wasn't in HMV on the 11th. I'll try again later this week.

[mwlh]

For those of you in the UK, I can recommend the "Soul Prescription" show on
Radio Oxford [[available over t'internet throughout the UK. You should be able to
find it here:

http://www.bbc.co.uk/oxford/programmes/schedules/2011/06/12

Will Banks' Soul Prescription
12/06/2011

and you have 6 days left to listen. He always plays loads of Motown, some less
well-known. He has a "classic album of the week" slot, where he plays 3 tracks -
guess what was the featured LP on yesterday's show? Yes, "Greetings, We're The
Monitors" [[as re-released on Kent/Soul). So anyone who hasn't heard the new CD
can listen to 3 tracks here. One is right at the end, but the whole prog's worth
listening to if you have 2 hours to spare, or you can browse through. He also
played a track from the Patrice CD and said he'd play another next week. Not
exactly Sounds of the Sixties, but any airplay is good isn't it?

M

[theboyfromxtown]

Listening to it now.....starts off with Love Man-Otis Redding.

[theboyfromxtown]

I have noticed that the BBC playlists listing the tracks played has not been correct in the past few weeks. Sounds of The 60's has not been correct lately either.

The second song on the programme is the Drifters "Baby What I Mean" which is not even mentioned on the playlist!

[mwlh]

Well it's always nice to have surprises isn't it! The annoying thing would be if they listed a song that wasn't played...................

You have to get used to the occasional slip on the show, such as referring to "Diana Ross & The Supremes" when playing a song by "The Supremes" - such heresy!

M

[theboyfromxtown]

Well it's always nice to have surprises isn't it! The annoying thing would be if they listed a song that wasn't played...................

You have to get used to the occasional slip on the show, such as referring to "Diana Ross & The Supremes" when playing a song by "The Supremes" - such heresy!

M


HAHAHA You are right too. I was real pleased to hear Candi Staton - I am still making up my mind cos I got the previous release.

http://www.amazon.co.uk/Candi-Staton/dp/B0000DG5N0/ref=sr_1_3?ie=UTF8&qid=1308059647&sr=1-3-catcorr

[theboyfromxtown]

Well it's always nice to have surprises isn't it! The annoying thing would be if they listed a song that wasn't played...................

You have to get used to the occasional slip on the show, such as referring to "Diana Ross & The Supremes" when playing a song by "The Supremes" - such heresy!

M

I did'nt say this in my earlier post...but Baby What I Mean was a record I bought in the UK when it was released. I absolutely love that song [[and the flip side too "Aretha") and it has special memories from the time I used to dance to it at a place in Ilford, East London.

So I was MORE than pleased to hear that as the second song..and totally unexpected. WOW

The DJ is a bit young to be liking all this old music! LOL

[mwlh]

Careful he might bu lurking!!!

I found the prog. a few months ago. there's a mixture of very well-known songs and quite obscure stuff, but he does feature new releases a lot - "I;ll Pick A Rose For My Rose" was his "classic LP" a few weeks ago, and he played a few tracks from "Dance With The Contours" when that came out. Ace/Kent certainly get plenty of free publicity! He interviewed Dean Rudland from Ace a few weeks ago about the Candi Staton release, and he did 'phone interviews with Martha Reeves & Mary Wilson when they were over here.

[danman869]

I have a question regarding the song "Crying In The Night" on this new collection. The notes in the booklet state that it "first appeared legitimately on the 1997 collection 'This Is Northern Soul'," and then goes on to state, "this very different mix, with an edited intro and additional lyrics at the end of the song, has never appeared before." The differences between the version of the song released on "This Is Northern Soul" CD and the one on this new collection are clear between longer intro and the alternate lyrics before the fade. However...

I own the CD "Tamla Motown Big Hits & Hard To Find Classics" released by Spectrum in 2002 and it has the exact same song and mix--right down to the length [[3:08 for "Tamla Motown Big Hits..." and 3:09 for "Say You!"--as opposed to 3:19 for "This Is Northern Soul"), so I don't think this version of the song was never before released.

So, were the producers aware of this oversight in the liner notes?

[theboyfromxtown]

Dan

The producers are currently winging their way over to your part of the world so let's give them time to settle down before they answer.

[danman869]

OMG, John--should I set an extra couple of places at the dinner table?!

[[Are they headed to NYC or to where I am near Los Angeles?)

[theboyfromxtown]

You have to ask those questions to their publicist! LOL

However, I do know it's not west! Does that help!!

[robb_k]

3161

Enjoyed this CD....love to hear the vaulted tracks, although nothing really hits me as a major mistake in not gaining a release...just good Motown .However I'm REALLY upset to learn that "You share the blame" was not recorded by Smokey....I was waiting for the glorious day we'd see it on a L&F set.....What a period that was in Smokey's producing career.....he missed out on that track!!

I think Motown made a major mistake in not releasing the best version of "Cry" in 1963, and by not releasing "Crying In The Night" in 1966. The first could have broken The Majestics/Monitors out as a great new Motown group. The second, could have kept up the momentum they had built up with "Say You", "Since I Lost You Girl" and "Greetings". It might have made them a little better known, and kept them out there as a viable "up and coming" group, instead of their experiencing a pretty quick demise. Richard Street has a pretty unique voice, and the group was pretty tight. I think they should have fared better.