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  1. #51
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    Quote Originally Posted by honest man View Post
    All the more reason to get these motown releases out ASAP, i am a completist and will buy any never before released 60s motown artist work, can't get enough. cheers.

    I'm the real COMPLETIST. With a few exceptions, I buy almost everything Motown. I estimated there are only three or four Motown releases coming at us within the next few months that most Motown fans are genuinely interested in: Marv Johnson, Monitors, Contours and maybe the Originals. Support is varied for upcoming discs on Tata Vega, Teene Marie, the Dazz Band, Willie Hutch, the seventies Supremes [[ some of the people claiming to be completists have posted in other threads they aren't even eager to get this disc because it's 1970s Disco/Motown) and Dennis Edwards' Don't Look Any Further, which makes no sense to me, because the album is available on compact disc if you search for it. With the exception of Dennis Edwards, 'I will probably get all of these releases. My interest in Motown doesn't lessen after 1972 when Studio A was closed. If it was something I liked, I bought it.
    Last edited by Kamasu_Jr; 03-22-2011 at 12:19 PM.

  2. #52
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    And I'm still looking forward to the Thelma Houston set...

  3. #53
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    Has anyone seen the artwork for this set yet?

  4. #54
    Kamasu_Jr; Is 70's Motown 'real' motown? I'm not wanting to have an argument at all, so please don't take me wrong here! In fact I'm just more interested in your reasons for being a completist even forthe 70's music, and if you can make any convincing reasons for me giving the later period another chance [[I stopped collecting TCMS at 1969!)

    My reasoning is that, as I said, I don't see 70's Motown as 'real Motown' at all. I mean, it is pretty much indistinguishable from many other labels. As Smokey once said, many companies tried to copy the Motown sound at its height, but few got anywhere near replicating the sound [[Rescue Me is one of the few succesful attempts.) By the end of the sixties, Motown is more influenced than influential. I don't see how you can get obsessed with post 60's Motown. It sounds very different to the classic sound, and it has lost its distinct sound for me. Its still good stuff, but I'm perfectly happy with 'best-ofs' for the 70's, but I want ALL the 60's music.

    Saying that, though I have all the Ruffin 70's music;

    'you ain't nothin' wit out da Ruffin!'

    Nuff' said.
    Last edited by boywonder; 03-24-2011 at 07:44 PM.

  5. #55
    Quote Originally Posted by snakepit View Post
    Many serious Motown collectors would probably already posses the previous Tammi Terrell compilation, and the Marvin Gaye duets.....so stalled on the new one.....I've still got to order, I'll check the price and move in when I feel I need it.
    Ace , and the others new companies are serving us well.
    The Ace serious would seem to favour 60's back catologue and U/I items...
    So artists like the Spinners,Eddie Holland,Originals, and possibly 'themed' comps on Sammy Ward, Gino Parks, La Brenda Ben, Bunny Paul etc might have an appeal.
    Where we stand on "Lost & Found" sets on Gladys Knight & Pips and The Miracles [[1965-1970) I'm not sure
    There will be no 'themed' comps from Ace as I've already asked consultant Tony Rounce I even provided a track listing [[below)

    Amos Milburn - Money
    Barrett Strong - Misery
    Barrettt Strong - Yes, No Maybe So
    Chico Lavett - Solid Sender
    David Ruffn - One Of These Days
    Lamont Dozier - Fortune Teller [[Tell Me)
    Don Mckenzie - Whose Heart [[Are You Gonna Break Now)
    Eddie Holland - It Moves Me
    Eugene Remus - Hold Me Tight
    Frank Wilson - Ain't Gonna Tell you
    Hattie Littles - Is It True [[What They Say About You)
    Hattie Littles - Love Trouble Heartaches And Misery
    Henry Lumpkin - Mojo Hannah
    Jimmy Ruffin - Don' t Feel Sorry For Me
    LaBrenda Ben - The Chaparone
    LaBrenda Ben - I Can't Help It, I Gotta Dance
    Little Otis - Baby I Need You
    Marvin Gaye - Never Let You Go
    Sherri Taylor and Sammy Ward - Lover
    Sammy Ward - You've Got To Change
    Sammy Ward - Big Joe Moe
    Saundra Mallet - All I Got
    Stevie Wonder - Waterboy
    Stevie Wonder - Fingertips [[tribute to Uncle Ray version)
    The Charters - Sign Me Some Sign
    The Downbeats - Don't You Know I Love You Baby
    The Miracles - [[I Need Some) Money

    This was Tony response:

    "At the moment, as far as Motown is concerned, we're preferring to concentrate on devising packages that offer mostly material that hasn't been on CD before, or that hasn't been issued at all - legitimately or otherwise.

    Nice set of tracks you've got there, of course, but we do have a lot of ideas to run with before it comes down to reissuing the previously-reissued"


    These are commercial decisions, and they are not going to issue material that they don't think will sell enough units to be commercially viable.

  6. #56
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    Has ACE managed to get hold of Richard Street yet ? Would love to read his memories about his Monitors days in the cd booklet.

  7. #57
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    I'd suggest a CD of Earl Van Dyke & Soul/Funk Bros.....with the TMS 1965 album plus a batch of unissued/never before on CD.That would appeal to Motown & Rare/Northern market I'm sure

  8. #58
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    What about Debbie Dean?

  9. #59
    Quote Originally Posted by snakepit View Post
    I'd suggest a CD of Earl Van Dyke & Soul/Funk Bros.....with the TMS 1965 album plus a batch of unissued/never before on CD.That would appeal to Motown & Rare/Northern market I'm sure
    I'd like to think that, if they included the 'Earl of Funk' album and the Twistin' Kings album [[which I understand from TCMS were basically the Funk Brothers under any other name), plus unreleased, then we could be looking at a 2cd set on them.

  10. #60
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    Quote Originally Posted by boywonder View Post
    Kamasu_Jr; Is 70's Motown 'real' motown? I'm not wanting to have an argument at all, so please don't take me wrong here! In fact I'm just more interested in your reasons for being a completist even forthe 70's music, and if you can make any convincing reasons for me giving the later period another chance [[I stopped collecting TCMS at 1969!)

    My reasoning is that, as I said, I don't see 70's Motown as 'real Motown' at all. I mean, it is pretty much indistinguishable from many other labels. As Smokey once said, many companies tried to copy the Motown sound at its height, but few got anywhere near replicating the sound [[Rescue Me is one of the few succesful attempts.) By the end of the sixties, Motown is more influenced than influential. I don't see how you can get obsessed with post 60's Motown. It sounds very different to the classic sound, and it has lost its distinct sound for me. Its still good stuff, but I'm perfectly happy with 'best-ofs' for the 70's, but I want ALL the 60's music.

    Saying that, though I have all the Ruffin 70's music;

    'you ain't nothin' wit out da Ruffin!'

    Nuff' said.

    _I just saw this. I never tell other people what they should buy musically...people have different tastes and everybody doesn't like what I like. I SUPPORTED MOTOWN IN THE SEVENTIES BECAUSE IT WAS STILL THE LEADING BLACK OWNED BUSINESS AT THE TIME AND MANY OF ITS ARTISTS, writers and producers [[FROM THE SIXTIES) continued to make great and inspired music in the 1970s. That's the main reason. It was a black owned business, known for producing quality music and artists who became symbols of pride. It started out being about the sound of Motown, but it progressed; Times and music changed. I accepted the changes.
    I was not necessarily a fan of Hitsville Studio A and didn't think good music would stop once Motown relocated to Los Angeles. I never thought '70s Motown wasn't really Motown. Did I buy or collect everything? NO. But I still bought and liked a good percentage of Motown product from 1970 to 1979.
    Plus, Motown signed and marketed several new talents [[Syreeta, Rose Banks, Leslie Uggams, Stephanie Mills, Willie Hutch, Rick James, Thelma Houston, The Dazz Band, Bonnie Pointer, Switch, Dynamic Superiors, Yvonne Fair, Teena Marie, etc. ) who continued the Motown legacy with great music.
    Last edited by Kamasu_Jr; 03-31-2011 at 08:28 AM.

  11. #61
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    Syreeta [[Rita Wright) was signed in the '60s. So, she, like Stevie Wonder, Smokey Robinson, Marvin Gaye, The Temptations, and many others, were "holdovers" from the '60s. Or they were both '60s and '70s artists.

  12. #62
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    Smile

    Quote Originally Posted by robb_k View Post
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    Syreeta [[Rita Wright) was signed in the '60s. So, she, like Stevie Wonder, Smokey Robinson, Marvin Gaye, The Temptations, and many others, were "holdovers" from the '60s. Or they were both '60s and '70s artists.
    Syreeta was indeed a Motown artist in the Sixties, but her artistic or commercial breakthrough didn't occur until the 1970s. Motown & Stevie Wonder reintroduced her as an artist for the 1970s. I can see how there are fans of the Motown Sound of the Sixties, but it was never about that for me or for my parents. Motown was no longer producing the same sounds it had in 1963, 1964 or 1965. The music or sound had changed and evolved by 1966 through 1969.
    If you dismiss 1970s Motown as not really Motown just because the Funk Brothers weren't cranking out the sounds, you dismiss or ignore a lot of really good music by Norman Whitfield, Stevie Wonder, David Ruffin, Eddie Kendricks, Valerie Simpson, the Commodores, Marvin Gaye, The Miracles, Temptations, Jackson 5, Willie Hutch, Tata Vega, etc.

    Motown meant quality in the 1970s just as it had in the Sixties.

    Fortunately, companies are interested in 1960s Motown and we're getting reintroduced to Motown sounds of the 1970s. I'm always buying music.
    Last edited by Kamasu_Jr; 03-31-2011 at 08:25 AM.

  13. #63
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    I never understood how or why a Motown fan would differentiate between the 60's or the '70s to begin with.

    One thing that music has always done was EVOLVE. Music has always changed, usually with the ever-changing times. Had it not, we'd all be still listening to or singing the Blues & still be wondering how much that damn doggie in the window cost or worrying about whether our chewing gum lost its flavor on the bedpost overnight.

    When were young, very few of us wanted to hear our artists singing the same exact music as we were maturing & being presented with new ideas & new sounds. Most of us wanted our artists to grow as we were growing. And time has proven that most artists whom could not or would not change their sound stagnated because we felt that their sound was stale. It happened with Ike Turner & it happened to James Brown & countless others.

    People don't drive the same kind of cars that they did in the 60s, don't use the same kind of utilities nor electronics as they did in the 60s because life is about progress & change. If we've come to accept that life indeed changes & learned to accept all kinds of change, why wouldn't the same rules apply to the music?

    Motown of the 70s was still Motown. It's simply that as the times changed, Motown had to change or be left behind. It was nothing more that an evolution of their sound & that sound was still excellent. I defy anyone to tell me that "It's A Shame", "Still Waters", "what's Goin' On" & hundreds of other songs DO NOT represent the Motown Sound & DO NOT rank up there with the greatest Motown songs of ANY decade.

    Atlantic Records had a sound, but when Aretha hit with "Respect", Atlantic wasn't sounding lie the label that gave us Ray Charles' "Mess Around", nor "Saturday Night At The Movies". Music MUST change with the times or you'll eventually end up with empty recording studios & defunct record labels. To say that Motown wasn't Motown is similar to saying that as you change over the course of a decade that you're no longer you. And when you really think about it, is there any of us whom are exactly how we were a decade after our formulative stages?

    If so, then we're really in trouble becuase that would be an indicator that we've learned nothing, experienced nothing outside of our own world & would show no growth whatsoever. NOTHING & NO ONE is the same 10 years later, nor do I believe that it or they should be. It's simply not realistic.

    When music becomes nothing more than vapid crap, I can understand a lack of appreciation. But when we're talking about an era which gave birth to some of the greatest music ever, I simply don't understand the criticism. I would love to turn back the clock & relive those days, but that's simply impossible. So, I moved on, learned to appreciate the changing sounds & found beauty simply in accepting these new sounds for what they were.

    It's hard living life in a vacuum & in trying to do so, sometimes one can deprive themselves of hearing some truly great music.

  14. #64
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    I Love Your Smile, Shanice. Neither 60s nor 70s but one of my fave Motown tracks nonetheless. My Motown experience really began in the very early 70s - in the UK then it was a mixture of newer stuff [[Remember Me, Stoned Love etc) and re-issued stuff [[Tears of a Clown, Jimmy Mack etc). Loved it all. Still do. Some tracks appeal much more than others, There is a God by Valerie Simpson is just haunting. All time classic for me, I'll Always Love You - Detroit Spinners. And From the Monitors, Say you and Since I Lost You Girl - up there among the best of Motown in my opinion. Looking forward to this set!

  15. #65
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    Quote Originally Posted by juicefree20 View Post
    I never understood how or why a Motown fan would differentiate between the 60's or the '70s to begin with.

    One thing that music has always done was EVOLVE. Music has always changed, usually with the ever-changing times. Had it not, we'd all be still listening to or singing the Blues & still be wondering how much that damn doggie in the window cost or worrying about whether our chewing gum lost its flavor on the bedpost overnight.

    When were young, very few of us wanted to hear our artists singing the same exact music as we were maturing & being presented with new ideas & new sounds. Most of us wanted our artists to grow as we were growing. And time has proven that most artists whom could not or would not change their sound stagnated because we felt that their sound was stale. It happened with Ike Turner & it happened to James Brown & countless others.

    People don't drive the same kind of cars that they did in the 60s, don't use the same kind of utilities nor electronics as they did in the 60s because life is about progress & change. If we've come to accept that life indeed changes & learned to accept all kinds of change, why wouldn't the same rules apply to the music?

    Motown of the 70s was still Motown. It's simply that as the times changed, Motown had to change or be left behind. It was nothing more that an evolution of their sound & that sound was still excellent. I defy anyone to tell me that "It's A Shame", "Still Waters", "what's Goin' On" & hundreds of other songs DO NOT represent the Motown Sound & DO NOT rank up there with the greatest Motown songs of ANY decade.

    Atlantic Records had a sound, but when Aretha hit with "Respect", Atlantic wasn't sounding lie the label that gave us Ray Charles' "Mess Around", nor "Saturday Night At The Movies". Music MUST change with the times or you'll eventually end up with empty recording studios & defunct record labels. To say that Motown wasn't Motown is similar to saying that as you change over the course of a decade that you're no longer you. And when you really think about it, is there any of us whom are exactly how we were a decade after our formulative stages?

    If so, then we're really in trouble becuase that would be an indicator that we've learned nothing, experienced nothing outside of our own world & would show no growth whatsoever. NOTHING & NO ONE is the same 10 years later, nor do I believe that it or they should be. It's simply not realistic.

    When music becomes nothing more than vapid crap, I can understand a lack of appreciation. But when we're talking about an era which gave birth to some of the greatest music ever, I simply don't understand the criticism. I would love to turn back the clock & relive those days, but that's simply impossible. So, I moved on, learned to appreciate the changing sounds & found beauty simply in accepting these new sounds for what they were.

    It's hard living life in a vacuum & in trying to do so, sometimes one can deprive themselves of hearing some truly great music.

    This strikes me as an eminently sensible posting. But I fear you - sort of - contradict yourself on one point. To wit : " When music becomes nothing more than vapid crap, I can understand a lack of appreciation."

    Who is to say what " vapid crap " is ? One man's " vapid crap " is probably someone else's " masterpiece ".

  16. #66
    Interesting stuff, thanks for the replies [[and not ripping me to shreds!) To add just a little bit to the discussion, for me the distinction is between 'organic' sounds. I think 60's music sounds more organic generally, whether its the fact that people spent most time on the road and they had to it in one take [[as Bobby Bland did with Stormy Weather), or whether it is less reliance on drum machines, double [[triple!) tracking, positioning of mic's in the studio it just sounded different. There is some great post-60's music, it just doesn't grab me as much, that's all.

  17. #67
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    Quote Originally Posted by boywonder View Post
    Interesting stuff, thanks for the replies [[and not ripping me to shreds!) To add just a little bit to the discussion, for me the distinction is between 'organic' sounds. I think 60's music sounds more organic generally, whether its the fact that people spent most time on the road and they had to it in one take [[as Bobby Bland did with Stormy Weather), or whether it is less reliance on drum machines, double [[triple!) tracking, positioning of mic's in the studio it just sounded different. There is some great post-60's music, it just doesn't grab me as much, that's all.
    I'm sure some of the Motown and Seventies soul scholars on the forum could cite various recordings from the 1970s that were organic in their production or creation. I was listening to Patti Labelle's solo debut from 1977, produced by David Rubinson. It's a very funky and organic sounding record because it was mostly recorded live in the studio with Labelle feeding off and interacting with her musicians. A lot of it was one take.
    We know Marvin Gaye recorded this way....What's Going On was created with Marvin often in the studio with the musicians. Aretha's Rock Steady was created the same way, according to legend. Again, I'm not tied to the whole Hitsville or Syax studio mystique when singers, musicians and producers were often crowded in the same room. The process doesn't interest me as much as the finished product, the sound pf a particular record.
    Last edited by Kamasu_Jr; 03-31-2011 at 10:03 PM.

  18. #68
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    back-tracking a little to dickiemint's question, I'm pleased to say Ace DID get hold of Richard Street, and thanks to all who assisted in the "search". Richard's memories and sometimes surprisingly candid opinions will appear in the booklet essay. He loved being in the Monitors, and it "broke his heart" to leave them, even though the gig with the Tempts was what he had always wanted, especially to be back with his "brother", Melvin Franklin.

  19. #69
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    Thanks for the response Keith, I am looking forward to this and Marv johnson's release, is Richard still in touch with the other Monitors? Do they ever perform, I know they cut a couple of tracks for the Motor city label a few years back, but I would guess they would long be retired. Could Richard Street be Tempted [[ no pun intended) to play live to support this release, just for the Motown weekender in Prestatyn or something similar.

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    Hopefully, the essay or interview with Richard Street will provide an answer to conflicting information I've heard recently that the original Monitors [[Sandra Fagin, Warren Harris & John/Maurice Fagin ) are all deceased. The fact that only Mr. Street has interviewed for this upcoming CD seems to indicate this is true. BUT I'd be thrilled if I were wrong, although Warren is definitely deceased.
    Last edited by Kamasu_Jr; 04-02-2011 at 11:15 AM.

  21. #71
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    Warren and Sandra have passed away, I understand. I think Maurice is now a Baptist minister: Mr Street hasn't been in touch with him for some time, and we haven't been able to reach him for interview.

  22. #72
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    Interesting. I had heard Sandra, John and Warren were all deceased.

  23. #73
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    Kamasu - take a look at http://monitorjust4u.website.org/the-monitors-words/. I was wrong, and she was certainly alive a few months ago! She remarried in 1976, and is now a Baptist minister and "just sings for the Lord". Maurice remains a mystery.

  24. #74
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    I think keith had gotten Sandra from the monitors confused with Sandra Mallet Edwards from the Elgins who died back in 2002. I also heard that Cleo "Duke" Miller passed but i've yet to hear anyone confirm it!

  25. #75
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    Quote Originally Posted by keith_hughes View Post
    Kamasu - take a look at http://monitorjust4u.website.org/the-monitors-words/. I was wrong, and she was certainly alive a few months ago! She remarried in 1976, and is now a Baptist minister and "just sings for the Lord". Maurice remains a mystery.
    Wonderful news. Sandra is alive and a minister. It was what I heard from most people in the know.

  26. #76
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    Quote Originally Posted by jboy88 View Post
    I think keith had gotten Sandra from the monitors confused with Sandra Mallet Edwards from the Elgins who died back in 2002. I also heard that Cleo "Duke" Miller passed but i've yet to hear anyone confirm it!
    I picked up the info from Ian Levine's note [["Nonsense ...") which can be seen at http://www.youtube.com/watch?v=EU_k_ZxxNAY. I rather thought he would know ...

  27. #77
    So Keith, is she or isn't she dead? Levine says yes but her son says no! Mmm! I wonder who should know best.
    Last edited by copley; 04-05-2011 at 08:22 AM.

  28. #78
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    I'd trust her son, Steve is his name I've heard. I'm thinking that he would know better than Ian Levine.

  29. #79
    Well Kam, that's what I would think too

  30. #80
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    Quote Originally Posted by keith_hughes View Post
    I picked up the info from Ian Levine's note [["Nonsense ...&quot which can be seen at http://www.youtube.com/watch?v=EU_k_ZxxNAY. I rather thought he would know ...
    I wish we knew which version was true about Sandra's whereabouts. Now I'm confused. Although I wonder when she died if Ian's story turned out to be true.

  31. #81
    Keith - any chances of a preview track listing yet?

  32. #82
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    And cover shot!

  33. #83
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    Quote Originally Posted by candykamaine View Post
    I wish we knew which version was true about Sandra's whereabouts. Now I'm confused. Although I wonder when she died if Ian's story turned out to be true.

    I would think there would be someway to confirm what happened to the rest of the Monitors. There does seem to be some confusion. In the YouTube clip of the group performing at the Ponchatrain, I recognized only Warren Harris. The stout women performing with the group could not have been Sandra Fagin.

  34. #84
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    Amithesameboy said

    This strikes me as an eminently sensible posting. But I fear you - sort of - contradict yourself on one point. To wit : " When music becomes nothing more than vapid crap, I can understand a lack of appreciation."

    Who is to say what " vapid crap " is ? One man's " vapid crap " is probably someone else's " masterpiece ".
    To that I say just thatI see no form of contradiction in anything that I wrote, as just about about all of us know & fully understand what I describe as "vapid crap", as crap sounds exactly like what it is..."crap". But I'll attempt to summarize that particular genre & hopefully my definition will hold water.

    When a song speaks about nothing more than folks sitting on your johnson, you have created "vapid crap".

    When a entire 4 minute song is based upon nothing but the protagonist talking about how they're so important that EVERYONE'S hating on them, that is some self-serving & likely VERY misguided..."vapid crap"

    When you create songs which denigrate an entire gender with one big nasty brush, you have created "vapid crap"

    When a song takes 4 minutes simply discussing blowing folks brains out, smoking blunts & screwing "Ho's", it is "vapid crap"

    When a song is nothing more than a 4 minute lullaby POSING as some profound statement which will shake the earth to it's core, it is "vapid crap"

    When 22 year-old people create songs which sound as though they've been crafted by pre-schoolers, which no self-respecting 6th grader would create, they have created "vapid crap"

    And the thought that anyone over the age of 14 would consider anything of that sort to be either "deep", "profound", or "capturing the REAL" is one hell of an indictment of the state of the world in which we live.

    There's nothing wrong with an occasional novelty song as they've been in existent all along. But when "novelty" becomes the new norm where precious little thought or skill goes into the crafting of the art of music, then there's simply something terribly amiss.

    And no matter how I might try to defend it, I can't. And if anyone could possibly consider any of the example I've listed above, the likes of which can be found on just about any terrestrial radio station today to remotely resemble a "masterpiece", I'll simply say that they just don't make "masterpieces" like they used to. There's also the obvious fact that to deem "vapid crap" such as that to be on the same par as classics of the past, only serves to diminish music as a whole. In most things that I've ever seen, once crap becomes considered to be acceptable, it's guaranteed that we'll continued to be served crap. If ANY business can get away with cutting corners & offering subpar service, then it's been proven that it's downhill from there.

    For proof, consider our society in which everything has been dumbed down to such an extent where folks have become "stars" for doing nothing more than acting like gangsters, tramps, acting like nasty jerks, deadbeat dads, airing their dirty laundry on tv & for behavior which SHOULD embarass any self-respecting 5th grader, much less any normal-thinking adult.

  35. #85
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    Quote Originally Posted by Kamasu_Jr View Post
    I would think there would be someway to confirm what happened to the rest of the Monitors. There does seem to be some confusion. In the YouTube clip of the group performing at the Ponchatrain, I recognized only Warren Harris. The stout women performing with the group could not have been Sandra Fagin.
    If you mean the Grazing in the Grass video....the three in the middle are Daryl, Beverely and Jim. I met them and have their autographs......fan that I am!

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    Name:  Monitors visual 1.jpg
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    Here's the Monitors' CD cover ...

  37. #87
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    And here's the track list:

    Bring Back The Love
    Share A Little Love With Me [[Somebody)
    Step By Step [[Hand In Hand)
    The Further You Look, The Less You See
    Since I Lost You Girl
    Baby Make Your Own Sweet Music
    Greetings [[This Is Uncle Sam)
    Time Is Passin' By
    Say You
    Number One In Your Heart
    Serve Yourself A Cup Of Happiness
    You Share The Blame
    Too Busy Thinking About My Baby *
    The Letter *
    Poor Side Of Town *
    Crying In The Night [alternate mix] *
    My Love Grows Stronger *
    It Only Happens When Love Is Gone *
    Show Me You Can Dance *
    You're So Fine And Sweet *
    I'm In Love With You Baby *
    Anything *
    Guilty *
    Cry [version 1] *
    All For Someone
    Don't Put Off Till Tomorrow What You Can Do Today

    * previously unreleased

  38. #88
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    Looking GOOD! Great cover. Gooner love this..Paulo xxxx

  39. #89
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    looks great....thanks to ALL involved.

  40. #90
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    Quote Originally Posted by snakepit View Post
    looks great....thanks to ALL involved.
    Get It out already!...I'm ready to buy it!

  41. #91
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    Great looking package and track list! We are so lucky to have companies like Ace and Hip-O to release this material. I think back on the many years all Motown did was repackage the same hits over and over and let all this great stuff just languish in the vaults. What a gold mine!

  42. #92
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    Oh, what a wonderful cover, and an intriguing playlist as well. Thanks again Keith for all the working putting down. Can't wait to get my hands on this one!

  43. #93
    juicefree20 - couldn't have put it better myself [[although I am absolutely NOT applying that to 70's Motown, just so we're clear.) The Monitors are a case in point- if a group showed the performance of Monitors and the singing ability, they would stand out by a country mile. The Monitors were 'second-tier' back in the day, but compared to today's music it makes you realise how great they were. The wife was a Kanye West before we got together- she didn't realise he was a cover-artist [[and I use the word artist is a very special context which would normally be preceded by a four letter word beginning in 'p'.) The 60's had some true greats, I could chuck a dart at my record collection and hit a cd on which any song is better than today's offerings.

    Can I ask another thing- what's going on with the dreadful choreographing? I was in the fish and chip shop today and they had a TV, with some young thing doing all sorts of convuluted movements that just looked so odd and contrived- don't get me wrong love the moves of dem tempts, but what is going on? Kids today aren't alright. Te-he!

  44. #94
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    Just finished this wallpaper, thought some of you may want to grab it.
    You can download the full size version from my Flickr page, where you'll find more Motown Wallpapers . . .
    http://www.flickr.com/photos/a_tom/5625343880/
    Name:  MONITORS.jpg
Views: 2699
Size:  108.0 KB
    Last edited by Stone Diamond; 04-16-2011 at 03:18 PM. Reason: forgot to add the link

  45. #95
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    Awesome wallpaper -- congrats on a beautiful job!

  46. #96
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    The Monitors

    Hi Soulful Detroit Friends
    Very much looking forward to The Marv Johnson & Monitors Cd's & was grateful to have that material available on the Marginal label at the time now its time for the ultimate upgrade. The Spinners, Eddie Holland, Mary Wells, Gladys Knight & The Pips, & more unreleased Temptations, Early Miracles mixed to Stereo the Hip-0 set could have released The Mono & Stereo versions. Never enough Motown. Being from Chicago I have 2 request that I hope see the light of day and that's a comprehensive look at The Radiants & a complete Billy Stewart collection. Those are 2 that's well overdue.

  47. #97
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    hi chimusic60 welcome to sdf

  48. #98
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    Thanks Tamla 617 looking forward to sharing memories & more with you. Love the forum that you guys present. Keep the dialouge rolling Much respect always.

  49. #99
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    Really nice job on the wallpaper! Ace should incorporate your design in the booklet somewhere.

  50. #100
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    Has release dare been changed? HMV showing 30th May.

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