[REMOVE ADS]




Page 1 of 2 1 2 LastLast
Results 1 to 50 of 53
  1. #1
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600

    Jean Terrell - Do You Believe In Love At First Sight

    Jean Terrell produced by Bobby Martin:


  2. #2
    Join Date
    Aug 2010
    Posts
    11,248
    Rep Power
    291
    OMG. Where did u find this Marv? It wasn't in her album was it? I have the Dionne version.

  3. #3
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    Quote Originally Posted by luke View Post
    OMG. Where did u find this Marv? It wasn't in her album was it? I have the Dionne version.
    This is one that's been talked about out there for years and they finally uploaded it so that we can all hear it. It have finally been released as a part of the compilation CD of Bobby Martin's productions. I remember Dionne's recording.

  4. #4
    Join Date
    Aug 2010
    Posts
    1,358
    Rep Power
    181
    When i first heard this recording by Jean,back in the day,it didn't sound finish,this recording sounds better,still i can understand,why it was left off,Jean's album I Had To Fall In Love.

  5. #5
    Join Date
    Apr 2015
    Posts
    6,060
    Rep Power
    185
    Nice version but I think I shall stick with Dionne.

  6. #6
    Join Date
    Aug 2010
    Posts
    11,248
    Rep Power
    291
    I agree. Something seems missing and Jean doesn't seem to have energy singing it or just isn't it to it. Though I could probably still listen to her singing the phone book!

  7. #7
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    Jean's voice sounds deeper to me on this for some reason.

  8. #8
    Join Date
    Apr 2011
    Posts
    2,098
    Rep Power
    253
    These were tracks Jean recorded as demo's for Bobby Martin in the mid 70s. He was shopping a label deal for her. Demos usually aren't finished but these sounded polished to me with the Philly Sound. She sounds great especially on You're A Very Special Part Of My Life.

    Jean was supposed to sign with a new label getting off the ground, Monster Records. When the label didn't happen Martin went to Herb Alpert

  9. #9
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Wow! Thanks, Marv! What a great version of "Do You Believe In Love At First Sight" by Jean Terrell! Upon my first listen, it sounded like the song was recorded in a key way too low for Jean. But, by the next chorus, I was in love with it! Her vocals, her phrasing, and her vibrato are all perfect. [[Not crazy about the screamy part at the end, but.... still, a great recording.) I'm glad to get it into my collection?) Overall, I still prefer Dionne Warwick's version, but Jean's ain't bad by a long shot! In fact, thanks to your info, I just bought the Bobby Martin Various-Artist collection on Amazon and burned it to CD. It sounds great! The CD wasn't available, but here's the download:

    http://www.amazon.com/Bobby-Martin-P...artin+presents

    Also, Polly Brown did a great version of "Do You Believe In Love At First Sight" as well. I was gonna provide the YouTube link of her studio version for you, but no one has uploaded it yet. YouTube does, however, have her live-on-stage version. Here it is:

    https://www.youtube.com/watch?v=JIPRMnfFGbs

  10. #10
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    Quote Originally Posted by Philles/Motown Gary View Post
    Wow! Thanks, Marv! What a great version of "Do You Believe In Love At First Sight" by Jean Terrell! Upon my first listen, it sounded like the song was recorded in a key way too low for Jean. But, by the next chorus, I was in love with it! Her vocals, her phrasing, and her vibrato are all perfect. [[Not crazy about the screamy part at the end, but.... still, a great recording.) I'm glad to get it into my collection?) Overall, I still prefer Dionne Warwick's version, but Jean's ain't bad by a long shot! In fact, thanks to your info, I just bought the Bobby Martin Various-Artist collection on Amazon and burned it to CD. It sounds great! The CD wasn't available, but here's the download:

    http://www.amazon.com/Bobby-Martin-P...artin+presents

    Also, Polly Brown did a great version of "Do You Believe In Love At First Sight" as well. I was gonna provide the YouTube link of her studio version for you, but no one has uploaded it yet. YouTube does, however, have her live-on-stage version. Here it is:

    https://www.youtube.com/watch?v=JIPRMnfFGbs
    You are very welcome. Speaking of Polly Brown, she received a lot of airplay in my area growing up on CKLW. When I first heard her single "Up In A Puff of Smoke", I thought it was Jean Terrell after she had left the Supremes.

  11. #11
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by marv2 View Post
    You are very welcome. Speaking of Polly Brown, she received a lot of airplay in my area growing up on CKLW. When I first heard her single "Up In A Puff of Smoke", I thought it was Jean Terrell after she had left the Supremes.
    Yeah, Marv -- me, too! A lot of people thought that Polly Brown sounded like Diana Ross, but not me. She definitely reminded me of Jean Terrell. Either way, it was obvious that Polly's producer, Gerry Shury, was a huge Motown fan, as Polly's records had the Motown Sound stamped all over them. BTW, did CKLW play any of Polly's other mid-1970's singles like "You're My Number 1", "Special Delivery", and "S.O.S.", or did they stop airplay after "Up In A Puff Of Smoke"? To me, nearly all of her GTO/Ariola America releases were every bit as good as "Puff", but, for whatever crazy reason, her radio exposure came to a grinding halt here in America. It was a shame, too.

    I've always wondered what the Motown fans would think if they were to hear Polly Brown's version of "Theme From Mahogany". I think it's damn near as good as Diana's. I don't know how they did it, but the backing track on Polly's version sounds exactly like Motown's backing track [[although I've never heard of Motown leasing out their instrumental masters to other labels.) What do y'all think? Here's the link:

    https://www.youtube.com/watch?v=BLWNGoGRadc
    Last edited by Philles/Motown Gary; 10-25-2015 at 07:14 AM.

  12. #12
    Join Date
    Aug 2010
    Posts
    101,510
    Rep Power
    1338
    P/M Gary....

    Polly Brown [[from Birmingham, UK) was often called in for vocal session work on this side of the Atlantic.

    Polly was an asset to producers, as she had an attractive, husky [[if slightly adenoidal!) and commercial vocal sound - but most notably, she had a keen ear, and could add a 'chameleon' quality to her voice.

    Polly's vocals were often used to replicate original vocals when recording cover versions of hit songs, intended for release on budget albums. I think [[but could be wrong) that her version of 'Do You Know.....' [[thanks for the link) may have been just one example.

    Yes, the arrangement of that song is indeed a very close reproduction of the original Diana Ross recording. It is a good illustration of how much of the real talent in the recording industry, both in US and UK, is to be found in the 'background', among the musicians and session singers, and not just the lead voice used on the finished recordings.

    Polly could indeed use her voice to mimic and create a passing resemblance to that of Diana Ross or Jean Terrell but, just to my own ears, most effectively as Dionne Warwick.

    She used her 'Dionne Warwick' voice on 'That Same Old Feeling', as lead vocalist for Pickettywitch, and Polly's voice was also featured on recordings by Sweet Dreams.

    'Do You Believe In Love At First Sight' was composed as a contender for the United Kingdom entry in the Eurovision Song Contest of 1976, but lost out to Brotherhood of Man's 'Save Your Kisses For Me', and which went on to become, on the night, the overall winner of the contest.

    As another example of Polly's keen ear in imitating the singing voices of others, listen again to that live recording 'Do You Believe....', perhaps without watching Polly....

    Polly is certainly singing somewhat in the commercial style of Diana Ross or Jean Terrell, hunching her shoulders to enhance the visual performance.

    To complete the artistic subterfuge and sell the song, little catches in Polly's voice indicate [[to my ears, at least) that she was really performing the song in the style of yet another talented singer, but one whose singing voice would not cause the audience to think immediately of Diana Ross or Jean Terrell [[that is, a recognisable 'Supremes' voice)........and who was known to her own loyal fans as Syreeta.
    Last edited by westgrandboulevard; 10-25-2015 at 09:12 AM.

  13. #13
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    Here's Polly. She sounds a bit like Jean to me. To others, its Dionne Warwick that they hear.


  14. #14
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Can't leave out my very favorite of Polly Brown's Motown-inspired tracks, "You're My Number One" [[Extended album version).

    https://www.youtube.com/watch?v=xvQBU0Vi1v8

    For some crazy reason, the U.S. never saw the release of Polly Brown's "Special Delivery" LP, which contained her GTO/Ariola America singles [["Up In A Puff Of Smoke", "You're My Number One", "Special Delivery", "S.O.S.", and "Love Bug". One of the more unique tunes for Polly is her version of Van McCoy/Brenda & The Tabulations' "One Girl Too Late", also included on the LP. Fortunately, for American Polly Brown fans, "Special Delivery" [[Expanded Version) is available on CD via Amazon [[U.S.). It's a bit pricey, but worth every penny to me.

    http://www.amazon.com/Special-Delive...olly+brown+cds

    And, for good measure, here's Polly's excellent rendition of "One Girl Too Late".

    https://www.youtube.com/watch?v=NjWtnJ-VsRU
    Last edited by Philles/Motown Gary; 10-25-2015 at 04:00 PM.

  15. #15
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by westgrandboulevard View Post
    P/M Gary....

    Polly Brown [[from Birmingham, UK) was often called in for vocal session work on this side of the Atlantic.

    Polly was an asset to producers, as she had an attractive, husky [[if slightly adenoidal!) and commercial vocal sound - but most notably, she had a keen ear, and could add a 'chameleon' quality to her voice.

    Polly's vocals were often used to replicate original vocals when recording cover versions of hit songs, intended for release on budget albums. I think [[but could be wrong) that her version of 'Do You Know.....' [[thanks for the link) may have been just one example.

    Yes, the arrangement of that song is indeed a very close reproduction of the original Diana Ross recording. It is a good illustration of how much of the real talent in the recording industry, both in US and UK, is to be found in the 'background', among the musicians and session singers, and not just the lead voice used on the finished recordings.

    Polly could indeed use her voice to mimic and create a passing resemblance to that of Diana Ross or Jean Terrell but, just to my own ears, most effectively as Dionne Warwick.

    She used her 'Dionne Warwick' voice on 'That Same Old Feeling', as lead vocalist for Pickettywitch, and Polly's voice was also featured on recordings by Sweet Dreams.

    'Do You Believe In Love At First Sight' was composed as a contender for the United Kingdom entry in the Eurovision Song Contest of 1976, but lost out to Brotherhood of Man's 'Save Your Kisses For Me', and which went on to become, on the night, the overall winner of the contest.

    As another example of Polly's keen ear in imitating the singing voices of others, listen again to that live recording 'Do You Believe....', perhaps without watching Polly....

    Polly is certainly singing somewhat in the commercial style of Diana Ross or Jean Terrell, hunching her shoulders to enhance the visual performance.

    To complete the artistic subterfuge and sell the song, little catches in Polly's voice indicate [[to my ears, at least) that she was really performing the song in the style of yet another talented singer, but one whose singing voice would not cause the audience to think immediately of Diana Ross or Jean Terrell [[that is, a recognisable 'Supremes' voice)........and who was known to her own loyal fans as Syreeta.
    No doubt about it, westgrandboulevard -- Polly Brown recorded some great records that should have made her a household name to the Pop and Disco crowds. Unfortunately, to most people, she's known only for "Up In A Puff Of Smoke".

  16. #16
    Join Date
    Aug 2010
    Posts
    101,510
    Rep Power
    1338
    P/M Gary, I'm just intrigued that you rate Polly Brown. LOL

    Not knocking your taste at all, as she does have quite a talent, and it's actually a pleasant surprise to know that someone in the US rates a lesser known British singer as much as you do.

    It's just that I always felt that some of our lady singers in the UK could equal, but were never any better than all the talent available over there in the US - although that may have far more to do with the production values on the recordings, than perhaps their voices.

    I'd always put Jean T. and Dionne W. way ahead of Polly B.....and I'm glad Marv posted Jean's version. I agree with him that Jean appears to be singing in a lower key than usual...and I quite like it...even if I agree with you that towards the close, it does become too repetitive.

    There must have been a good reason for the Polly Brown LP/album not being released...so I just wonder what it was....

  17. #17
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by westgrandboulevard View Post
    P/M Gary, I'm just intrigued that you rate Polly Brown. LOL

    Not knocking your taste at all, as she does have quite a talent, and it's actually a pleasant surprise to know that someone in the US rates a lesser known British singer as much as you do.

    It's just that I always felt that some of our lady singers in the UK could equal, but were never any better than all the talent available over there in the US - although that may have far more to do with the production values on the recordings, than perhaps their voices.

    I'd always put Jean T. and Dionne W. way ahead of Polly B.....and I'm glad Marv posted Jean's version. I agree with him that Jean appears to be singing in a lower key than usual...and I quite like it...even if I agree with you that towards the close, it does become too repetitive.

    There must have been a good reason for the Polly Brown LP/album not being released...so I just wonder what it was....
    Good post, wgb! I'll reply later tonight when I have more time.

  18. #18
    Join Date
    Aug 2010
    Posts
    3,983
    Rep Power
    351
    Ok it's Polly Brown for me on this one - the lady had such talent and a great voice [[which sometimes to me does sound like Dionne Warwick[[e)).

    Those singles, including those with Pickettywitch were so commercial. I really would recommend a listen to "That Same Old Feeling", "[[It's Like A) Sad Old Kinda Movie" and "Baby I Won't Let You Down". Not forgetting Polly in Sweet Dreams with "Honey Honey".

    There were some really good UK Motown-alikes around that time. Tina Charles deserves a mention from her solo work e.g. "I Can't Dance To That Music You're Playing" and her work with Wild Honey e.g. "There's No Stopping Us Now").

    Too much there to throw your way so I'll choose only one....

    Last edited by mysterysinger; 10-25-2015 at 07:30 PM.

  19. #19
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    Quote Originally Posted by Philles/Motown Gary View Post
    Yeah, Marv -- me, too! A lot of people thought that Polly Brown sounded like Diana Ross, but not me. She definitely reminded me of Jean Terrell. Either way, it was obvious that Polly's producer, Gerry Shury, was a huge Motown fan, as Polly's records had the Motown Sound stamped all over them. BTW, did CKLW play any of Polly's other mid-1970's singles like "You're My Number 1", "Special Delivery", and "S.O.S.", or did they stop airplay after "Up In A Puff Of Smoke"? To me, nearly all of her GTO/Ariola America releases were every bit as good as "Puff", but, for whatever crazy reason, her radio exposure came to a grinding halt here in America. It was a shame, too.

    I've always wondered what the Motown fans would think if they were to hear Polly Brown's version of "Theme From Mahogany". I think it's damn near as good as Diana's. I don't know how they did it, but the backing track on Polly's version sounds exactly like Motown's backing track [[although I've never heard of Motown leasing out their instrumental masters to other labels.) What do y'all think? Here's the link:

    https://www.youtube.com/watch?v=BLWNGoGRadc
    Do you remember seeing her, Polly Brown on American Bandstand in early 1975 [[March 29, 1975 to be exact.) She had the looks and moved well enough to have been a much bigger star here.

  20. #20
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    Ok now here is Polly Brown's version of the theme from Mahogany "Do You Know Where You're Going To?". The backing track sounds very, very close to the original Motown version. She does a good job on the song, but I have to admit that Diane had the edge on this one in that she emoted the hell out of that song. It was big movie music once she and Motown were done with it. LOL!


    Last edited by marv2; 10-26-2015 at 02:35 AM.

  21. #21
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by westgrandboulevard View Post
    P/M Gary, I'm just intrigued that you rate Polly Brown. LOL

    Not knocking your taste at all, as she does have quite a talent, and it's actually a pleasant surprise to know that someone in the US rates a lesser known British singer as much as you do.

    It's just that I always felt that some of our lady singers in the UK could equal, but were never any better than all the talent available over there in the US - although that may have far more to do with the production values on the recordings, than perhaps their voices.

    I'd always put Jean T. and Dionne W. way ahead of Polly B.....and I'm glad Marv posted Jean's version. I agree with him that Jean appears to be singing in a lower key than usual...and I quite like it...even if I agree with you that towards the close, it does become too repetitive.

    There must have been a good reason for the Polly Brown LP/album not being released...so I just wonder what it was....
    WGB, to answer your question, it's not really strange at all when you consider the fact that I've always been a devout fan of the 1960's Girl Group music contained on a wide variety of American record labels from A-Z [[Dimension, Red Bird, etc.), especially Philles, Motown, and Philly Soul. That love of female harmonies carried over into the 1970's Disco era and has blossomed ever since. Polly Brown's records sounded American and soulful to me, as did Dusty Springfield's. Their recordings were perfect examples of black pop/disco -- specifically bordering heavily on The Motown Sound which, of course, is right up my alley!

    I learned early on in Spring 1975 that I loved the GTO/Ariola America label for two of its artists. I bought Diana Ross' "Sorry Doesn't Always Make It Right" and Polly Brown's "Up In A Puff Of Smoke" 45's on the same day and played the hell out of both of them! I had never heard of Polly Brown before, but I became an instant fan. "Puff" and it's B-side [["I'm Savin' All My Love") were highly-polished productions, and she even sounded a bit like Jean Terrell to me. The next thing I knew, Billy Ocean's "Love Really Hurts Without You" from 1976 was released -- also on the GTO/Ariola label. [[Note that this was a decade before Billy's 1980's hit streak with "Carribbean Queen", etc.) If ever there were a Motown sound-alike, it's "Love Really Hurts Without You" with its uplifting melody, its intense, powerful production, and uptempo shuffle-beat.

    Next came a Various-Artists Disco Album on Ariola which contained Billy Ocean's "Love Really Hurts Without You" as well as Polly Brown's "Puff" AND, especially, "You're My Number One" which was totally new to me. I loved it and knew I wanted more. Unfortunately, that was the end of U.S. radio airplay for Polly Brown and Billy Ocean's 1970's music.

    It wasn't until the past 15 years or so when I discovered that a whole world of GTO/Ariola America recordings by Polly Brown and Billy Ocean exist. Naturally, I dived in head first and bought all of the Polly Brown CD's I could find [[Pickettywitch, Polly Brown solo, and her duets with Sweet Dreams. Billy Ocean's two 1970's Ariola albums have been recently reissued on CD which include Motown-esque tracks including "Love Really Hurts...." as well as "Stop Me [[If You're Heard It All Before)", "L.O.D. [[Love On Delivery), "One Kiss Away", "American Hearts", etc. Amazon [[U.S.) has 'em both, as do I, and they're great!

    "Billy Ocean" [[Self-Titled) [[Expanded by FunkyTownGrooves)
    http://www.amazon.com/Billy-Ocean-Ex...ds=billy+ocean
    AND
    "City Limits" [[Expanded by FunkyTownGrooves)
    http://www.amazon.com/City-Limit-Bil...ds=billy+ocean

    As far as comparing Polly Brown's voice with those of Dionne Warwick and Jean Terrell, I agree with you, WGB, that, as much as I love Polly's voice, Dionne and Jean have the more powerful, soulful voices without a doubt. But, as far as their records are concerned [[songs, musical arrangements, and production values), I consider all three gals equals in my book [[musically speaking). I get just as psyched up and turned on musically by Polly's records as I do Dionne's and Jean's.

    One of your U.K. artists who I discovered on my own and have learned to love is Madeline Bell [[one of Dusty Springfield's favorites who also sang back-up on an array of Dusty's recordings). I have her "Bell's A-Poppin'" CD which, as you probably already know, is great! How did she remain such a secret for so long?

    Overall, I love Gerry Schury's Motown-like productions on Polly Brown. They probably would have created even more tracks together had Gerry not been killed in a car crash back in the day. It's a shame because his work reflected on the fact that he was an A+ student and fan of The Motown Sound, and, in my opinion, recreated it very successfully.

  22. #22
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by mysterysinger View Post
    Ok it's Polly Brown for me on this one - the lady had such talent and a great voice [[which sometimes to me does sound like Dionne Warwick[[e)).

    Those singles, including those with Pickettywitch were so commercial. I really would recommend a listen to "That Same Old Feeling", "[[It's Like A) Sad Old Kinda Movie" and "Baby I Won't Let You Down". Not forgetting Polly in Sweet Dreams with "Honey Honey".

    There were some really good UK Motown-alikes around that time. Tina Charles deserves a mention from her solo work e.g. "I Can't Dance To That Music You're Playing" and her work with Wild Honey e.g. "There's No Stopping Us Now").

    Too much there to throw your way so I'll choose only one....

    Mysterysinger, I have some Tina Charles CDs from her late-1970's/early-1980's Disco era, but I had no idea that she was recording cover versions of Motown tracks years before that. I've gotta say, her recording of "There's No Stopping Us Now" is well-crafted and surprisingly likeable. I usually hate it when non-Motown artists try to do Motown, but she and her record producer really nailed it! I'll have to check out her version of Martha's "I Can Dance To That Music You're Playing". Thanks for sharing!

    Also, since you were recommending Pickettywitch tracks, I recommend that the folks check out Polly Brown's Pickettywitch recording of "Number Wonderful". I LOVE that song! The melody and the production with the sax break are kinda 60's girl-group-ish, and Polly's voice is perfect. Love it!

    https://www.youtube.com/watch?v=BgzyUHWYJ9w
    Last edited by Philles/Motown Gary; 10-26-2015 at 01:16 AM.

  23. #23
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by marv2 View Post
    Do you remember seeing her, Polly Brown on American Bandstand in early 1975 [[March 29, 1975 to be exact.) She had the looks and moved well enough to have been a much bigger star here.
    No, Marv, I don't recall having caught Polly's Bandstand performance, but I've seen some of her other videos and I'm sure I would have loved it!

    There was a YouTube video showing Polly lip-sinc-ing "Up In A Puff Of Smoke". Not sure if it was the Bandstand performance or not, but it was HOT! I just tried to open it for inclusion here in your post, but they've since made the video unavailable here in the U.S. due to copyright reasons. [[Total crap, of course, but real nevertheless!) If you should ever come across Polly's Bandstand performance, include it here for us if you can, Marv, if you don't mind. I'd love to see it.

  24. #24
    Join Date
    Aug 2010
    Posts
    43,221
    Rep Power
    600
    Quote Originally Posted by Philles/Motown Gary View Post
    No, Marv, I don't recall having caught Polly's Bandstand performance, but I've seen some of her other videos and I'm sure I would have loved it!

    There was a YouTube video showing Polly lip-sinc-ing "Up In A Puff Of Smoke". Not sure if it was the Bandstand performance or not, but it was HOT! I just tried to open it for inclusion here in your post, but they've since made the video unavailable here in the U.S. due to copyright reasons. [[Total crap, of course, but real nevertheless!) If you should ever come across Polly's Bandstand performance, include it here for us if you can, Marv, if you don't mind. I'd love to see it.
    ok no problem.

  25. #25
    Join Date
    Aug 2010
    Posts
    101,510
    Rep Power
    1338
    P/M Gary

    I think you and I must have had a mirror situation going on!

    I was just as fascinated by the recordings of American acts which were being released here in the UK on labels like Oriole, London, Stateside, Pye InternationaI - eagerly anticipated after reading the names on the US charts, published in music papers over here. I was often pre-sold on them simply by reading the group or artist names. Names like Miracles, Temptations, Supremes, Martha & The Vandellas all seemed so glamorous LOL

    To my ears, the cover versions or new recordings made in similar style here in the UK were always second-best, and the artists didn't possess the same degree of stage presence and glamour. Just as one example, Kiki Dee is a fine singer, but her version of 'How Glad I Am' just didn't compare to that of Nancy Wilson. White voice, trying to sound black....so it's interesting that you didn't feel the same.

    Some of the cover versions made here were good, but never better. To me, the originals, from the US were always and still the greatest. Ours didn't have that Hitsville sound, which always did it for me [[and still does), and sounded more like Motown recordings where the band track was recorded on the West Coast, which generally didn't do it for me [[and still don't).

    Don't get me started on our own girl groups....

    Billy Ocean opened for the MS&S Supremes on their final performance at the Theatre Royal in Drury Lane, London, 1977. He blasted 'Love Really Hurts Without You' to the rafters, and was cheered likewise. A very engaging personality. Billy is still working, and was interviewed recently on TV. He now sports a white beard and 'dreads'. With his amused, twinkling eyes, he has the air of a mystic about him!

    You mention Madeline Bell, and say 'one of your UK artists'. You did know that Madeline is American by birth? Came over in the early 60s. From Newark, New Jersey. That made her authentic! Madeline is still working, and also on TV recently being interviewed. Lives in Spain, and lost her husband a few years ago.

  26. #26
    Join Date
    Aug 2010
    Posts
    11,248
    Rep Power
    291
    https://www.youtube.com/watch?v=fMcRQ-Ur1ko Speaking of blue eyed Motown soul! Now if only she could have danced..though I love her vilolinning!

  27. #27
    Join Date
    Aug 2010
    Posts
    101,510
    Rep Power
    1338
    Dusty herself was a great personality; quite shy, sometimes troubled and unhappy...but an impish, self-deprecating sense of humour, and always with a winning way in performance.

    The voice was there, but the only reason I would not rate her recordings as high as I would like, is simply the production values. Although her records 'boomed' [[more effectively on the big ballads) they didn't have the same resoundingly clear dynamic quality of the Hitsville recordings - and, judging from reports about Dusty over the years, that was very often a great frustration for her.

  28. #28
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by marv2 View Post
    Ok now here is Polly Brown's version of the theme from Mahogany "Do You Know Where You're Going To?". The backing track sounds very, very close to the original Motown version. She does a good job on the song, but I have to admit that Diane had the edge on this one in that she emoted the hell out of that song. It was big movie music once she and Motown were done with it. LOL!


    Yeah, Marv, I love Polly's version of "Mahogany", but, like you said, Diana will always own that song.

  29. #29
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by luke View Post
    https://www.youtube.com/watch?v=fMcRQ-Ur1ko Speaking of blue eyed Motown soul! Now if only she could have danced..though I love her vilolinning!
    Wow! Great video, Luke! I've never seen that one before. "Stay Awhile" is my all-time favorite Dusty record. I read where it was recorded in the corridor of a building because of the excellent echo-laden acoustics. To my ears, "Stay Awhile" could have been released on Phil Spector's Philles label, and would have fit right in with Ronnie, Darlene, & LaLa's releases.
    Last edited by Philles/Motown Gary; 10-26-2015 at 02:58 PM.

  30. #30
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by westgrandboulevard View Post
    Dusty herself was a great personality; quite shy, sometimes troubled and unhappy...but an impish, self-deprecating sense of humour, and always with a winning way in performance.

    The voice was there, but the only reason I would not rate her recordings as high as I would like, is simply the production values. Although her records 'boomed' [[more effectively on the big ballads) they didn't have the same resoundingly clear dynamic quality of the Hitsville recordings - and, judging from reports about Dusty over the years, that was very often a great frustration for her.
    I agree with you, WGB. Although I love Dusty Springfield's' girl-group records, I was never a fan of her albums, per say. Her filler was often-times, as you mentioned, not of the highest-caliber production-wise. Her uptempo tracks bothered me the most. I've always cringed whenever I heard non-Motown artists try to sing Motown. It just doesn't work. Dusty's Motown remakes were no exception, at least to my ears, but not because of her voice. Dusty's voice was perfectly-suited for Motown; it was her instrumental accompaniment that ruined it. Her hits, however, were dynamite -- especially in Mono. [[I've since bought all of her albums on CD, and I find that I like more of her album material now than I did back in the day. Still, however, her hit singles were/are what thrill me the most.)
    Last edited by Philles/Motown Gary; 10-26-2015 at 03:12 PM.

  31. #31
    Join Date
    Aug 2010
    Posts
    101,510
    Rep Power
    1338
    P/M Gary....

    If anyone were to ask me which performances, apart from her own hit singles, define the appeal of Dusty, I would have to include 'My Colouring Book'.

    I don't know where it was recorded but, to my ears, it has elements of a haunting Phil Spector production to it.

    Although Dusty loved upbeat Motown and similar style songs, I agree with you - I don't think she was always totally effective on them, especially the recordings. The live performances were a different story, with the hand and arm gestures. But.... songs like 'My Colouring Book', taken slowly and achingly, hit the mark, smack in the middle.

    I always felt that Dusty should also have kept up more of the country songs she originally sang with The Springfields, but perhaps concentrate more on country style ballads, some of which I find soulful and moving. Staying on the subject of colours, I wonder what Dusty could have done with Lorrie Morgan's 'Something In Red'......

    Perhaps we should start to trace our way back to Jean Terrell [[the reason for Marv posting this thread....)....your selection of defining performances by Jean?
    Last edited by westgrandboulevard; 10-26-2015 at 03:44 PM.

  32. #32
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    P/M Gary

    I think you and I must have had a mirror situation going on!

    WGB, I'm not so sure it was as "mirrored" as you may think.

    I was just as fascinated by the recordings of American acts which were being released here in the UK on labels like Oriole, London, Stateside, Pye InternationaI - eagerly anticipated after reading the names on the US charts, published in music papers over here. I was often pre-sold on them simply by reading the group or artist names. Names like Miracles, Temptations, Supremes, Martha & The Vandellas all seemed so glamorous LOL

    I've been an American for all of my 64 years, and I, too -- like so many other Americans -- was blown away by the glamorous image that Motown represented. And that was in the late 1964-early 1965 era of Motown, long before Motown's artists became super-glamorous. Like Philles, Motown's sound was revolutionary -- powerful and exciting, and far superior to the sound that the other labels were releasing at the time. It was like we were being transported to a new musical planet right before our very eyes and ears.

    To my ears, the cover versions or new recordings made in similar style here in the UK were always second-best, and the artists didn't possess the same degree of stage presence and glamour. Just as one example, Kiki Dee is a fine singer, but her version of 'How Glad I Am' just didn't compare to that of Nancy Wilson. White voice, trying to sound black....so it's interesting that you didn't feel the same.

    I felt the same in some cases, WGB. Any time an artist [[American or British) does a remake of an already-established hit record, they're setting themselves up for immediate comparison and, at times, ridicule.

    Some of the cover versions made here were good, but never better. To me, the originals, from the US were always and still the greatest. Ours didn't have that Hitsville sound, which always did it for me [[and still does), and sounded more like Motown recordings where the band track was recorded on the West Coast, which generally didn't do it for me [[and still don't).

    You have to understand that, musically speaking, I was never a fan of the British invasion. Music that moved me was always backed up with a full orchestra with strings. The British-sound here in America was mainly rock guitar-and-drums oriented. Even as a kid, I liked artists who were either 1) white with an R&B sound [[such as Connie Francis' early hits, and later Lesley Gore, whose Quincy Jones-productions were very R&B-influenced compared with the other white artists at the time), and 2) black artists with a pop sound [[Cameo-Parkway, Philles, Motown, etc.). Because of that, I've always preferred the American groups over the British groups -- not as people, but as a musical sound.

    Don't get me started on our own girl groups....

    I know! As a Girl-Group collector, I bought a CD or two of the British girl groups. I couldn't play each track all the way through! Again, it was nothing against the artists nor even their singing voices. It was the musical arrangements and productions. American girl groups often-times had a sexy sound and a somewhat steamy air about them fueled by great melodies, steamy lyrics, handclaps, lots of saxes, soaring strings, powerful percussion [[especially Philles and Motown) -- all the elements that made a teenager like me grow up overnight both musically and otherwise. To my ears, the British girl groups' sound was....well, kind of stiff and too brassy [[too many brass horns). Not at all sexy. One of the British girl-group CD's I bought had a version of "He's A Rebel", so I thought, "Hmmm -- this should be interesting." [[Mind you, the original by The Crystals/Blossoms was my very first Philles 45 and album, so that song holds a lot of meaning for me.) When the new version started to play, well.....I cringed and took it off immediately. Maybe some people love the British girl-group sound. And if they do, God bless 'em. It just isn't for me.

    Billy Ocean opened for the MS&S Supremes on their final performance at the Theatre Royal in Drury Lane, London, 1977. He blasted 'Love Really Hurts Without You' to the rafters, and was cheered likewise. A very engaging personality. Billy is still working, and was interviewed recently on TV. He now sports a white beard and 'dreads'. With his amused, twinkling eyes, he has the air of a mystic about him!

    Yeah, I've seen some of his YouTube videos. He's still goin' strong with his voice perfectly intact.

    You mention Madeline Bell, and say 'one of your UK artists'. You did know that Madeline is American by birth? Came over in the early 60s. From Newark, New Jersey. That made her authentic! Madeline is still working, and also on TV recently being interviewed. Lives in Spain, and lost her husband a few years ago.

    WGB, if I knew that Madeline Bell was originally from the U.S., I had forgotten it. Her hits were all from the U.K., and we Americans got left out. It makes no sense, but that's just the way it is sometimes.

  33. #33
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by marv2 View Post
    Jean Terrell produced by Bobby Martin:

    Marv, I've gotta thank you again for making us aware of the "Bobby Martin Presents...." release. The entire album is the glorious Sigma/Philly sound, and there isn't a bad track on it. But those three tracks by Jean Terrell -- I can't stop playin' em! Bobby Martin really knew how to bring the best out of Jean in a whole new way. Having her sing in a lower register revealed a whole new sensual side of her -- a side which makes her voice richly unique and, to my ears, sexy and better than ever! What she does with her vocals and phrasing in several spots of these songs gives me musical goosebumps -- especially in the beautiful ballad "You're A Very Special Part Of My Life". It just goes to show you what some promotion and repeat play can do for a song. Had these tracks received airplay, the musical public might have loved them just as much as we do, and these excellent tracks might have gone on to become hit records.

    Just imagine the results if Jean Terrell had been signed to Philly International Records! Her voice coupled with productions by Gamble & Huff, Thom Bell, Bunny Sigler, Norman Harris, etc., would have written a whole new chapter in musical history.
    Last edited by Philles/Motown Gary; 10-26-2015 at 04:24 PM.

  34. #34
    Join Date
    Aug 2010
    Posts
    101,510
    Rep Power
    1338
    P/M Gary....

    Some quick points :

    Just to clarify, by 'mirrored' I was meaning 'reverse' image. Some were in the US admiring UK artists, while some were in the UK, admiring the US artists.

    I didn't totally dislike them but, like you, I was never impressed much by the British invasion groups, either. Too much noise, no finesse, and little if any real sentiment or emotion. The best thing about The Beatles was their ability [[Lennon-McCartney) to compose songs for the rest of the world to sing. That, I think, is their greatest achievement.

    The typical British girl group sound of the 60s was 'The Breakaways'. That is, those lady session singers who regularly backed Dusty and others. I'd say they are on 'Stay Awhile'. Raucous and shrill. The female musical equivalent of the screaming girls at the male groups' live appearances. If The Breakaways ever listened to the Motown records, Sweet Inspirations or the ladies on Doris Day's 'Move Over Darling', they learned nothing from them

    I forgot to mention UK's Helen Shapiro. Had a husky contralto, and had some big hits with poppy songs, but could sing sophisticated jazz and belt out R&B songs. Effectively retired from show business over ten years ago.

    And an honourable mention for Brenda Lee. Not R&B, but still a soulful voice to my ears.....

  35. #35
    Join Date
    Aug 2010
    Posts
    101,510
    Rep Power
    1338
    P.S.

    I thought the days had long gone when records would revolve around and around in my head, sometimes annoyingly so.

    But Jean's version at the top of this thread has been on permanent replay in my mind for the last 2-3 days......

  36. #36
    Join Date
    Aug 2010
    Posts
    18,198
    Rep Power
    389
    Its not available in France...is it available in the UK still

  37. #37
    Join Date
    Aug 2010
    Posts
    101,510
    Rep Power
    1338
    Oui.....!

    Another reason for you to look forward to returning home...LOL

  38. #38
    Join Date
    Aug 2010
    Posts
    11,248
    Rep Power
    291
    Perfectly ok to digress and move with the music. That's one thing that makes SD so fascinating! Stay Awile my fave Dusty too. I just wish it wasn't so short!

  39. #39
    Join Date
    Aug 2010
    Posts
    3,983
    Rep Power
    351
    Great thread guys - and you all have great taste in my opinion. Quite a number of the UK acts recorded versions of Motown songs over the years, girls and guys and there are lots of surprises to be found if you look hard enough.

    Then, of course,there is the reverse situation - The Miracles "Where Are You Going To My Love" being a prime [[and surprising) example! But then a good song is a good song.

  40. #40
    honest man Guest
    Quote Originally Posted by Philles/Motown Gary View Post
    Yeah, Marv, I love Polly's version of "Mahogany", but, like you said, Diana will always own that song.
    PM Gary try and locate B Side of Honey Honey -I Surrender, used to be flipped over in UK beautiful song right up your street,also liste n to Madeline's output with blue mink had quite a few hits in uk Melting pot,stay with me.good morning freedom etc love em,cheers.

  41. #41
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by honest man View Post
    PM Gary try and locate B Side of Honey Honey -I Surrender, used to be flipped over in UK beautiful song right up your street,also liste n to Madeline's output with blue mink had quite a few hits in uk Melting pot,stay with me.good morning freedom etc love em,cheers.
    Thanks, honest man! I have Polly Brown's "I Surrender" in my CD collection. She recorded it under the name of Sweet Dreams. You're right -- it's a classic example of a Gerry Shury Motown-inspired production. And Polly sounds great, as always! Here's a link to "I Surrender" for those who may have never heard it or would like to hear it again:

    https://www.youtube.com/watch?v=OIftKQqAQ_M

  42. #42
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by westgrandboulevard View Post
    P/M Gary....

    Some quick points :
    And an honourable mention for Brenda Lee. Not R&B, but still a soulful voice to my ears.....
    I didn't forget about Brenda Lee, WGB. I thought of her when I was commenting on Connie Francis' early R&B recordings. I was just trying to keep it as short as I could. I tend to get long-winded when I'm talking about things that I'm passionate about. But, yeah, I love Brenda Lee. I have all of her U.S. Decca albums on CD from the first half of her career [[up to the point where Bear Family records cut us off in their artists-complete-recordings CD box sets). Gotta make a quick correction here: You commented that Brenda's not R&B? Dig this [[especially the baritone sax throughout)!

    https://www.youtube.com/watch?v=RnZx-22yLWs

    Still think she's not R&B, my friend?

  43. #43
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by westgrandboulevard View Post
    P/M Gary....

    If anyone were to ask me which performances, apart from her own hit singles, define the appeal of Dusty, I would have to include 'My Colouring Book'.

    I don't know where it was recorded but, to my ears, it has elements of a haunting Phil Spector production to it.

    Although Dusty loved upbeat Motown and similar style songs, I agree with you - I don't think she was always totally effective on them, especially the recordings. The live performances were a different story, with the hand and arm gestures. But.... songs like 'My Colouring Book', taken slowly and achingly, hit the mark, smack in the middle.

    I always felt that Dusty should also have kept up more of the country songs she originally sang with The Springfields, but perhaps concentrate more on country style ballads, some of which I find soulful and moving. Staying on the subject of colours, I wonder what Dusty could have done with Lorrie Morgan's 'Something In Red'......

    Perhaps we should start to trace our way back to Jean Terrell [[the reason for Marv posting this thread....)....your selection of defining performances by Jean?
    Yeah, I know, WGB. I turned the conversation back to Jean Terrell and her three tremendous tracks from the "Bobby Martin Presents" album a few posts back, but we keep getting sidetracked. I somehow missed this post before, and I've gotta comment:

    You know Lorrie Morgan's music? My God, it's a small world! I love her! I got on a huge, permanent Country music kick back in the mid-to-late 1980's. Not the old twangy, cry-in-your-beer Country & Western stuff from Gene Autry, Don Williams, etc., but the "New" Country, as they called it -- Lorrie Morgan, Brooks & Dunn, Reba, etc. -- any of the newer Country artists whose music had a lot of R&B-based, Honky-Tonk/shuffle-beat style to it. As a result, I bought all of Lorrie Morgan's CD's and love every one of them!

    Yes, I can imagine Dusty Springfield singing Lorrie's "Something In Red". I can also picture Dusty singing this -- one of Lorrie's best -- complete with its laid-back, Motown-ish, countrified shuffle-beat arrangement:

    https://www.youtube.com/watch?v=9y6EQ7GJDq0
    Last edited by Philles/Motown Gary; 10-27-2015 at 05:14 PM.

  44. #44
    Join Date
    May 2016
    Posts
    471
    Rep Power
    124
    Quote Originally Posted by Philles/Motown Gary View Post
    Fortunately, for American Polly Brown fans, "Special Delivery" Expanded Version is available on CD via Amazon U.S.. It's a bit pricey, but worth every penny to me.
    Is the audio on this CD taken from the master tapes? An Amazon reviewer claims the sound is quite dull.

    I was expecting a lot of the CD, particularly as it is a Japanese release and I paid quite a lot of money for it! So, for me the problems are:

    1. Disappointing, dull sound quality. [[I had copied my original LP from turntable into itunes on my computer and that sounds far brighter and better to my ears).
    2. Not the correct mix of "Up in a Puff of Smoke". This is the same one as appeared on "Bewitched: the Polly Browne Story" and the vocal is way too high in the mix - it almost sounds like karaoke compared to the originally released version. [[The vocal take sounds like the original one though)
    3. Not the released version of "Do You Believe in Love At First Sight". This is a bonus track and in my opinion was one of Polly's best singles. Again, the vocal take is the right one, but there are more backing vocals than on the released version, which was overall better.
    Sadly, the Special Delivery tracks that can be found on Polly Brown & Sweet Dreams' Greatest Hits set are clearly from vinyl. Dropouts abound.

  45. #45
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Small World -- According to Amazon, I bought my copy of Polly Brown's "Special Delivery" CD back in February 2014. [[Actually, I had to buy a second copy as well, as I had a slight kitchen-shears accident with the first copy. While excitedly opening the first copy which was shipped to me in a manilla mailing envelope, my gusto and enthusiasm caused me to cut into the cardboard CD [[LP-type) cover of the CD. Naturally, I was just sick about it, especially given the expensive import price I had just paid. Loving Polly Browne as I do, however, I wanted my copy to be perfect, so I ordered a replacement copy.

    To answer your question, I do nearly all of my musical listening through headphones. I was never under the impression that Polly's CD was mastered from vinyl. In fact, my copy sounds great to my ears. It's true that with today's technology, unless there's a tick or a pop to give it away, they can dub from vinyl to CD making it hard to tell the difference between that and a master-tape transfer. My CD never gave me a negative impression at all. In fact, musically AND sound-quality-wise, it sounds perfect to me in every way. The track line-up is exciting from start to finish. I'm just surprised to learn that Polly's solo album was released here in the U.S. back in the mid-70s. I loved "Up In A Puff Of Smoke" and, as with any of my favorite artists, I kept my eyes open for a subsequent LP follow-up. Somehow, her "Special Delivery" LP managed to slip through the cracks. BTW, the only item of interest that stood out as being different was that Polly's follow-up single to "Smoke" -- "You're My #1 One" -- is an extended mix, noticeable right from the song's intro which I love. If you love Polly Browne, I can whole-heartedly recommend it.

  46. #46
    Join Date
    Apr 2011
    Posts
    2,098
    Rep Power
    253
    Where is Polly Brown nowadays?

  47. #47
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    Quote Originally Posted by BayouMotownMan View Post
    Where is Polly Brown nowadays?
    Bayou, back in 2011, she released an 11-track album titled "The Blues Collection", available as a download. I bought it and it was surprisingly good, although it's been ages since I played it. Amazon still has it available for purchase.

  48. #48
    Join Date
    Aug 2010
    Posts
    2,771
    Rep Power
    312
    I must have missed this discussion the first time around. I would have to agree that Jean's version of this song pales in comparison to Dionne's spectacular one. In fact I have always considered that Dionne album to be one of her better WB releases.

    As for Jean, I looked up this Bobby Martin CD, and in case it was not mentioned elsewhere in this discussion, she had two other tracks on it as well.

  49. #49
    Join Date
    Mar 2017
    Posts
    8,641
    Rep Power
    525
    Dionne's version is good, but I prefer Jean's. I also love Jean's version of "Special Part" from this set.

  50. #50
    Join Date
    Aug 2014
    Posts
    4,092
    Rep Power
    242
    I like all three versions -- Dionne's, Polly's, and Jean's -- but Dionne's remains my favorite.

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •  

[REMOVE ADS]

Ralph Terrana
MODERATOR

Welcome to Soulful Detroit! Kindly Consider Turning Off Your Ad BlockingX
Soulful Detroit is a free service that relies on revenue from ad display [regrettably] and donations. We notice that you are using an ad-blocking program that prevents us from earning revenue during your visit.
Ads are REMOVED for Members who donate to Soulful Detroit. [You must be logged in for ads to disappear]
DONATE HERE »
And have Ads removed.