The primettes

[dvdmike]

Does anyone know what studio they recorded "Tears Of Sorrow" in? Thank you.

[robb_k]

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Our own SDF "Webisode" on Robert West [[for whom The Primettes recorded), with notes written by David Meikle, based heavily on information provided by Ron Murphy, states that West recorded The Primettes' two Lupine cuts in 1960 at Motown's Hitsville Studio. But, I wonder about that. I haven't heard of West recording anything else there. In 1959, West was recording at Specialty Studios, and at Bristoe Bryant's studio. In 1960, he was also recording at ARP [[American), and a few Sessions at United Sound Studios.

The SDF Detroit Webisodes were researched well, and Ron Murphy [[who was around at the time of the late '50s through 1990s Detroit music production, was always a top notch and accurate authority on these matters. So, I'd have to assume that West's Primettes recording sessions occurred at Hitsville. If I remember correctly, "The Snakepit" wasn't really finished until early 1961. So. I assume these cuts were recorded in Hitsville's first basement studio, which had the piano and recording equipment bought from Bristoe Bryant.

[BayouMotownMan]

I can't imagine BG letting someone use his studio without him owning the music.

[robb_k]

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I can't imagine BG letting someone use his studio without him owning the music.
I can. It was stated many times by Robert Bateman [[Motown's first in-house sound engineer), and Mike McLean, [[their main engineer from 1961-72) that Motown rented out their sound studio to private parties from the beginning [[after buying Bristoe Bryant's studio equipment in 1959), through 1963, until they started recording round the clock [[beginning of 1964?). Our own own honourable SDF member,Mike McLean. has mentioned that several times. He personally played for me, several demo records made by Motown for private outside producers/artists/groups, recorded at Hitsville, but not owned by Jobete Music or Motown records. They ran the gamut of Blues, Gospel, R&B, Pop, Jazz, Novelty from 1959-1963.

Berry Gordy was a shrewd businessman. He would NOT let his studio [[with fixed costs sit there, idle, when more money could be brought in. Some of the "unknown" recordings made there, for which unclaimed demos were left, were quite good.

The question of Robert West, a rival of Berry's, using Gordy's studio in 1960 is interesting. I assume that Gordy figured getting the money for West's using his studio was more important, at that time, than the threat of the 16 year old Primettes "stealing" record sales from his Tamla's artists. Remember that Berry Gordy had had Robert West's B & H Distributors distribute his RayBer record by Wade Jones in early 1959. So, he already had a business relationship with him.

[marv2]

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I can. It was stated many times by Robert Bateman [[Motown's first in-house sound engineer, and Mike McLean, [[their main engineer from 1961-72) that Motown rented out their sound studio to private parties from the biginning [[after buying Bristoe Bryant's studio equipment in 1959, through 1963, until they started recording round the clock [[beginning of 1964?). Our own own honourable SDF member,Mike McLean has mentioned that several times. He personally played several demo records made by Motown for private outside producers/artists/groups, recorded at Hitsville, but not owned by Jobete Music or Motown records. They ran the gamut of Blues, Gospel, R&B, Pop, Jazz, Novelty from 1959-1963.

Berry Gordy was a shrewd businessman. He would NOT let his studio [[with fixed costs sit there, idle, when more money could be brought in. Some of the "unknown" recordings made there, for which unclaimed demos were left, were quite good.

The question of Robert West, a rival of Berry's using Gordy's studio in 1960 is interesting. I assume that Gordy figured getting the money for West's using his studio was more important at that time than the threat of the 16 year old Primettes "stealing" record sales from Tamla's artists. Remember that Berry Gordy had had Robert West's B & H Distributors distribute his RayBer record by Wade Jones in early 1959. So, he already had a business relationship with him.

Great information Robb. I haven't seen Mike post here in a long while. Any word on what he is up to these days?

[reese]

In her first book, Mary wrote that Richard Morris recorded the instrumental tracks for their Lupine single at Hitsville. But I don't think she said that the vocals were recorded there.

[smark21]

Judging by the quality of the recordings on the Supremes 2000 box set, I venture to say the songs were recorded in someone’s basement or kitchen while a major appliance was running.

[robb_k]

In her first book, Mary wrote that Richard Morris recorded the instrumental tracks for their Lupine single at Hitsville. But I don't think she said that the vocals were recorded there.
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The Primettes' cuts that were released on Lupine Records were made in 1960 [[probably intended for release on Flick or Contour Records, but remained unreleased until 1964, when released to take advantage of The Supremes' Motown success. I doubt that Robert West had different tracks for the same record recorded in 2 different studios in 1960. West probably recorded the original instrumental and the Primettes' vocals recorded at United Sound, or Specialty or American Recording Studios in 1960. He may have had Rich Morris RE-mix the instrumental tracks at Motown in early 1964 for the Lupine release. I'm sure that Morris wasn't at Motown back in 1960. Early 1964 was a little late for Motown to be renting out studio time to rival companies. But, maybe they allowed this because it was their own Supremes' project, and perhaps Berry made Robert West promise to pay the Girls' their proper sales royalties.

[dvdmike]

Thank you for your input, I guess there is a lot of confusion and it has been over 50 years and memories fade. Was it also a basement studio used for the Distants' "Come On?" Morty Craft is credited as producer on "Come On."

[robb_k]

Thank you for your input, I guess there is a lot of confusion and it has been over 50 years and memories fade. Was it also a basement studio used for the Distants' "Come On?" Morty Craft is credited as producer on "Come On."
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The Distants recorded "Come On" for Johnnie Mae Matthews' Northern Records. I think they recorded that at United Sound Recording Studio. Matthews produced it. Morty Craft was the A&R man running Warwick Records in New York. matthews leased The Distant's two cuts to Warwick [[owned by United Telefilms/7 Arts) for national distribution, so Craft slapped his name onto the record as producer. But Warwick just pressed up the same recording that Matthews gave them. He did no "producing" other than changing the label credits and having the record pressed up and distributed. Warwick also leased The Distants' second Northern record, "All Right"/"Open Your Heart".