Ok so it's an Ian Levine product but thankfully we have some nice videos of Hattie singing because ofthe Motorcity project. And here some lovely video of The Vandellas too.
https://www.youtube.com/watch?v=n9RZZIZgU3k
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Ok so it's an Ian Levine product but thankfully we have some nice videos of Hattie singing because ofthe Motorcity project. And here some lovely video of The Vandellas too.
https://www.youtube.com/watch?v=n9RZZIZgU3k
A great vocal on this version and there are a good few of the Ian Levine tracks that are well worth a listen - it's just those typically 80's synthesiser backing tracks that are so dated. I wish there was a way to get these re-instrumented - maybe not with the RPO would be hugely expensive but some of those songs would be brilliant with real instruments.Quote:
Originally Posted by mysterysinger
Ditto - there are a good few tracks well worth a re-visit. He did put a typical drum riff on some of the tracks later which made them sound a little better.
I believe this Motorcity recording was originally intended to be credited to Martha Reeves & The Vandellas. I seem to recall that Martha and Ian Levine had some 'artistic differences', and Martha did not complete all the tracks assigned to her.
'Nowhere To Run' was then given to Hattie Littles to add her lead vocal.
I agree with both Mysterysinger and Paul that much about the Motorcity project was good, and could be reworked to far greater effect. Unfortunately, that is almost certainly not now a viable proposition.
It was a very ambitious project to complete in a relatively short time. The productions were somewhat typical for their time. It was so great to hear all those voices once again, just that many of those original recordings sound unfinished, and in need of further mixes and overdubs.
About 30 of the original Motorcity recordings were indeed given new backing tracks in 1995, of which 'Nowhere To Run' was one.
And I believe the video posted here by Mysterysinger is actually the later recording. :)
The biggest problem with Levine and his record company is that he took on too many obscure artists, many of whom no longer had a voice. The quality started out fine but as tons of this stuff was issued everything began to sound alike. If he had selected ten or twelve artists, got them established and slowly added more artists, as Berry Gordy did, things might have been better. He relied on quantity instead of quality and it showed then and now.
Instrumental-wise, this is among the best Motorcity songs! I didn’t know that some of the tracks had been re-recorded in 1995, but it was clearly worth doing!! :)
I think the Motorcity project was great in many ways. There are quite a few tracks that I really like, including and especially "Footsteps Following Me" by Frances Nero, which was a hit in the UK. There’s also stuff by Syreeta, Edwin Starr, The Velvelettes, Sisters Love, and Three Ounces of Love, which is pretty good!
It’s seriously impressive how many artists Ian Levine managed to get involved… from Mary Wilson, Martha Reeves, and Levi Stubbs to Sammy Ward, Billy Eckstine and The Valadiers!! Not to mention people like Bobby Taylor, Edwin Starr and Billy Griffin also helped write and produce stuff for others, which is pretty cool too.
No doubt the project was marred by its use of computerised, cheap-sounding backing tracks, poor mixing/finishing, a preference for quantity over quality, and the inevitability of older and slightly weaker lead vocals. Still, it was and remains an entirely impressive endeavour, one worth an occasional listen! :D
In my opinion this is the best track Motorcity ever put out. I'd even say its better than any of Frances' Motown recordings, as much as I love "Keep On Lovin' Me" :cool:
https://www.youtube.com/watch?app=desktop&v=L8s_UWDcF8M
The song is fantastic, the rhythm is infectious, and Frances' vocals are on point. :D
I hadn't realised she did TOTP. Good on her.
Frances was presented with a silver disk for UK sales during an appearance on the Joan Rivers show.Quote:
Originally Posted by mysterysinger
Roz and Nettie look about as excited as watching paint dry.