Today 03:17 PM

Target Motown #1's 2 LP set.....

I don't know if this 2 LP set was discussed previously on the forum, but I was unaware of this special edition release from Target until last weekend. I don't know how long it's been out, but wanted to let the rest of you know about it. It's a pretty cool looking set. The white of the cover is a matte finish with the M artwork of the artists in a glossy finish. The gold vinyl is pretty cool, I've never seen anything like it. The closest would be the old plastic purses from the 50's in the swirly white pearlescent color, lol. I figured it was something cool to add to the collection from the 60th anniversary year.

Attachment 16483

Attachment 16484
Today 02:36 PM

Len Barry talks about "1-2-3" / "Ask Any Girl"

Len Barry (credited by his real name: Leonard Borisoff) wrote this with the Philadelphia songwriting/production team of John Madara and David White, who also wrote the hits "You Don't Own Me" and "At The Hop."

In an interview with Forgotten Hits, Madara explained: "In 1965, with '1-2-3' being the #1 record in the country, we were sued by Motown during the period when Berry Gordy was suing anyone whose records sounded like a Motown record. We were sued, saying that '1-2-3' was taken from a B-Side of a Supremes record called 'Ask Any Girl.' The only similarity between the two songs are the first three notes where the Supremes sang 'Ask Any Girl' and Lenny sang '1-2-3.' After that, there were no similarities, but their lawsuit said that our goal was to copy the Motown sound. Well, needless to say, Motown kept us in court, tying up all of our writers' royalties, production royalties and publishing royalties, and threatened to sue us on the follow-up to '1-2-3,' which was 'Like A Baby.' So after battling with them for two years and having a ton of legal bills, we made a settlement with Motown, giving them 15% of the writers' and publishers' share.
We never heard 'Ask Any Girl.' The only influence for making '1-2-3' was to make a ballad with a beat. And the sound of '1-2-3' was definitely the sound of the era. Listen to 'The In-Crowd' - that's not the Motown Sound, that's the sound of the era - and '1-2-3' definitely had a beat! Motown was suing a lot of people at the time."

Today 12:22 PM

Vandellas Questions: Heatwave to Dancing

Another topic question has brought me here:

With the success of "Heatwave" as a single, Motown hurriedly threw an LP together to ride the wave of success. The LP itself however was all (mostly?) cover songs, and no other singles were released.

Heatwave (single) was released on July 10, 1963.....it would be over a year, not until July 31, 1964 until their next single "Dancing ITS" would be released.

Why so long between singles? Why didn't Motown try and strike while the iron was hot?

Furthermore, while the "Heatwave" LP was a rush job, it would be another year and a half until their next LP "Dance Party" was released.

Did Motown drop the ball? I realize the Supremes were HOT and the focus of attention went to them, but there's no denying a #4 Pop and #1 R&B hit didn't deserve some sort of timely followup.
Yesterday 06:14 PM

Most Versions by Motown Artists....Who's Loving You???

I was wondering what the most recorded in house title was....is it safe to assume its "Who's Loving You"?

Brenda Halloway

did I miss anybody???
Today 12:13 PM

Soul Men!

I was thinking today about all the great Soul male vocalists from the 50s- 80s I grew up listening to. Here are a few of my favorites I want to remember here. In no special order:

11-11-2019 08:46 PM

Phil Spector - Part J - "Walls & Walls Of Soundalikes"

[Introductory notes taken from "A Wall Of Soundalikes (1)" CD booklet.]

They say that imitation is the sincerest form of flattery. If that's true, Phil Spector must be the most flattered record producer there ever was -- which he probably is! Soon after hitting #1 with his very first record in 1958 -- "To Know Him Is To Love Him" by his group The Teddy Bears -- Spector turned his attention to production. He studied his craft under Lester Sill and Lee Hazlewood before moving to New York to work as an apprentice to Jerry Leiber and Mike Stoller. In 1961, he produced Top Ten hits for Curtis Lee, Ray Peterson, and The Paris Sisters.

Later that year, he formed his Philles label and set about defining a record producer's role, initially with The Crystals. By 1964, his roster of hit acts also included Bob B. Soxx & The Blue Jeans, Darlene Love, The Ronettes, and The Righteous Brothers. His sessions at Gold Star Studios in L.A. became legendary for their extravagance. Using massed voices, an army of musicians, and cavernous tape echo, Spector's massive productions possessed a unique aural identity that would become known as the Wall Of Sound. It would also become much imitated, eventually spawning a genre of its own.

Here, in the following 3 CD volumes spanning the years 1963 through 1969, are 74 examples of that "Spector Sound" genre -- some sublime, some mediocre, but all fascinating -- a veritable "Wall Of Soundalikes".

This thread includes the following Various Artists CD's:

1) "Phil's Spectre (1): A Wall Of Soundalikes" (ACE CDCHD 978)

2) "Phil's Spectre 2: Another Wall Of Soundalikes" (ACE CDCHD 1059)

3) "Phil's Spectre 3: A Third Wall Of Soundalikes" (ACE CDCHD 1149).

4) Additional "Walls Of Soundalikes" not included in the above ACE sets.


Ralph Terrana

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