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Well, with time on our hands due to lockdown, I'd be very interested to hear tracks with the most significant contribution by Mike Terry. That does not necessarily mean a sax solo: there are many tracks where you can hear him underpinning a track to create a little, potent, work of art. Any faves? I will immediately snaffle "This Old Heart of Mine" by the Isley Brothers but there are so many more...
I hesitate to categorically state exactly which tracks do feature Mike Terry...
But I'd say that's him with the sax riff on 'Something About You', Four Tops.....
Hi WGB. You are on the ball
https://en.m.wikipedia.org/wiki/Some...our_Tops_song)
Baby Don't You Do It Marvin Gaye is an example of where he provided the underpinning, no solo
"There's No Stopping Us Now" by the Supremes.
Some of the earlier Bari stuff was Beans Bowles, but the patented Motown Bari fills were popularized by Mike Terry, and were as much a part of the "Motown Sound", almost as identifiable as those guitar backbeats...
How about "One More Heartache" Marvin Gaye.
One of my favourites.Quote:
Originally Posted by mowsville
'Back In My Arms Again' - Diana Ross & The Supremes...?
The boy that's one I hadn't heard before. Definitely at the front of house in that record. How Mike is very seldom recognised as being one of the Funk Brothers I'll never understand
Maybe because he left with Jack Ashford around 1966 to pursue other projects....so he broke the ties to the other players.
Mike Terry, along with several other terrific musicians were an integral part of the Motown Sound... As for Funk Brothers designation...they were the core rhythm section players, while horns, strings, and others, while great contributors were not part of that group...It's almost like asking why the running back or wide receiver was not a member of the Fearsome Foursome Defensive line...In addition, the Funk Brothers [[as a trademarked and branded entity) legally consisted of 13 members [[living and deceased at that time) mutually agreed to based on the filming of the documentary Standing In The Shadows Of Motown... I'm certain that in honoring that unique group with various achievement awards I participated in not everyone was happy with me, however, it was always based on the legally constituted members that were recognized as such in the film, to the point of being warned by the organizations making these recognitions, that of any claims of membership [[beyond the legally constituted 13) who came forth "out of the woodwork", that they would pull the plug on the scheduled honors as had happened in the past, and believe me, I received several calls and inquiries from musicians, family members of living and deceased Motown musicians, and others, claiming that they too should have been recognized for these awards and honors...I had to explain the criteria to be recognized as Funk Brothers, often to really good musicians who made significant contributions to the company and the sound, but who was I to begin adding members to this group???... After one such honor, I began to notice some individuals claiming to be members of the ensemble [[one even based on a replica plaque we gave to this person based on a financial contribution from an organization they were involved with), then seeing him mugging before a crowd with his guitar as a local DJ called this guy a Funk Brother and I had to threaten a cease and desist if the video was not taken down [[which they did with an apology)...It's gotten to the point that with all the time that has passed, I see musicians claiming to be Funk Brothers, and at this point...those who were recognized for the awards [[sadly only two actual surviving Funk Brothers at this point) know who they are, and those who weren't, know who they are...so anyone who wants to claim to be a Funk Brother at this stage can do it if they believe it helps their legacy...The Grammys and the Hollywood Chamber of Commerce have on record those who were given those honors... Hope that explains why the great Mike Terry was not considered, nor a member of the legal entity as being a "Funk Brother"...Quote:
Originally Posted by MIKEW-UK
Hi Stu, I really appreciate you taking the time to explain the Funk Brothers designation in depth. I now understand the rationale and thanks for addressing my question. The esteem and respect you hold for Mike Terry is more than good enough for me; I see in an earlier post your emphatic statement as to how Mike was an important contributor to the classic Motown Sound which sums it up nicely. On a side note I have come to learn how Mike Terry also contributed to records in Philly and produced and played on tracks recorded in a number of geographic locations. A very talented guy.
I wonder if that is him on The Spinners 'Til Tomorrow Comes'? The horns are so impressive and unforgettable.
Cheers
Mike
I add I was lucky enough to see The Funk Brothers perform in London a few years ago when the Standing movie was released. A real treat!
That Bari sax indeed became the hook on several of those recordings... I too was fortunate to bring groups to a couple of Funk Brothers performances here in Los Angeles during the period following the release of the film and participate in their most deserved honors and I know many of my UK and European friends like yourself got the chance to see those guys on stage with some really good guests artists... It was most unfortunate how it all ended in disputes between former friends, breaking into separate entities touring [[and bringing in other musicians to justify billing acts as Funk Brothers), etc...things that I at times found myself in the middle of not by my own choice...Ultimately, it was really some unfortunate management and decision making by inexperienced promoters after the release of the award winning film that set the stage for the ultimate dissolution of the ensemble in regards to touring as a unit and being reasonably paid for their efforts...Sorry it ended that way, but the music will live on for generations to come...Quote:
Originally Posted by MIKEW-UK
Stu, looking back, I think the whole Funk Brothers episode had problems. First of all, they didn't come off as a band. I couldn't figure out why they were reading charts, Mostly sitting down as if in a recording session. Throw the charts away [[how many times have they played the songs??) and stand like a band. Eddy Willis could remain seated. Also, I realize I saw some pretty good guest singers, but I also think that the varying guests became problematic. They, in my opinion, needed a permanent singer. I was producing Teddy Morrow at that time and I wanted Teddy in that band.
Anyway, I think the act could have been stronger.
Yes Ralph...I thought when they first began touring they had a credible show with some legitimate artists... Remember that most of those musicians hadn't played those song in years, and when they did...it wasn't gigging, but cut the track and move onto the next song, so I'm not sure those guys knew the songs well enough to wing it, and I also doubt they were up to hours and hours of rehearsals... I agree that some of the later guest artists were a hit and miss proposition and perhaps a permanent singer on tour with guest artists mixed in might have been a good idea... In the end, and according to popular opinion to those close to the situation as well as my own up close observations... they lacked professional management and promotion that resulted in their ultimate undoing... I believe they had a credible product to sell, but had no idea how to sell it...While their management grew weary of subsidizing the tours, and the musicians weary of not getting all they believed they were due [[along with deaths, illness, and internal disputes)...it was destined to implode at some point, and it did...But it did bring out that Detroit/Motown pride in a lot of us for a while... Anyways, Happy Thanksgiving to you and all the SDers, new and old...
Well, the Funks had time to learn the songs, like any band does, so I can't accept time as an excuse for reading charts at a performance. I was aware that things were not all that cool with the guys and it wouldn't be long before we started losing them anyway. Too bad the concept didn't come up ten years earlier.
July 18th:
On his Birthday, remembering Mike Terry [Andrew Alexander Terry; 1940-2008].....
Celebrate with this track on which Mike is playing his bari sax.....
https://www.youtube.com/watch?v=IfKpBy5cobI
Thanks for posting the Showstoppers, I forgot just how good that record was & how good that group was onstage.
I'd never heard of the Showstoppers before seeing this video....I agree Tony, those cats can get at it, great moves and a great tune! I think I might have to get the 45 now.
Darin
Mike knew what he was listening to. He did the first rhythm date at Tera Shirma Studio B.He was on the studio floor wearing headphones and reporting between takes on the sound quality, which he gave a hearty thumbs up. It was good to get Mike's valuable opinion on what the new studio was putting out.
After rehearsing under the guidance of Solomon Burke, they modeled themselves initially on The Vibrations. After signing to local Philadelphia label Showtime Records, The Showstoppers had a couple of local hit singles in Philadelphia. Their 1967 hit “Ain’t Nothin’ But a Houseparty” b/w “What Can a Man Do?” sold well in Pittsburgh, and New York City, and sold about 40,000 copies in Philadelphia, and reached No. 118 on the Billboard chart on May 27, 1967. The session musicians on the song included Carl Chambers, who was later drummer with Gladys Knight & the Pips, Joe Thomas, who went on to become the guitarist with The Impressions, and Motown’s Mike Terry on baritone sax. Two of Solomon Burke's brothers were in the group.
The record was absolutely huge in Britain.
Wikipedia states, [[unconfirmed?) "Chart success in the UK and Europe "created demand not only for the record but for live appearances as well". As the Showstoppers had disbanded, Jerry Ross sent a different group on an entire tour of the UK and Europe as the Show Stoppers, which was a group later known as the Persuaders, who would later score with "Thin Line Between Love and Hate". Eventually the authentic Showstoppers traveled to Europe and were well received.".
Was that Mike Terry on The Supremes "I Hear A Symphony"?
Assuming that's Mike Terry playing, some of my favorite Motown baritone sax moments are Jimmy Ruffin's "What Becomes Of The Brokenhearted", "A Bird In The Hand [[Is Worth Two In The Bush)" by The Velvelettes, "Mother Dear" by The Supremes, and "I Can't Turn Around" by The Marvelettes.
JIMMY RUFFIN
"....Brokenhearted [[Instrumental Version)
https://youtu.be/ZQDImVIBJtE
THE VELVELETTES
"A Bird In The Hand"
https://youtu.be/iiyFZgL1VAY
THE SUPREMES
"Mother Dear"
https://youtu.be/FlSC0nHoIcI
THE MARVELETTES
"I Can't Turn Around"
https://youtu.be/_RRoywtiDDE
My World Is Empty Without You