I don’t think Motown was necessarily booking them at that stage of their careers - wasn’t it Pedro booking them? lord help them..,
I don’t think Motown was necessarily booking them at that stage of their careers - wasn’t it Pedro booking them? lord help them..,
I think Pedro was booking them but I’m certain it had to go through Motown’s agency so they could get their cut.
Blackguy69 LOL! "This horse is beyond dead, it's dog food." LOL!
Not much. Being raised in Detroit, the only part of the book that was interesting was Mary’s early life and the initial stages of the groups formation. Everything else was well known re the dynamics of the group. Ross had a chance to be interviewed for the book and turned it down. Mary has never been sued regarding anything she said in her books. Mary, Flo and Cindy were basically Berrys stage props for Ross. Berry and Diane had the power so the other girls were f****d. Mary had a choice. Quit and take her winnings and go to College or try to enjoy the fairy tail the best she could. Kudos to her for capitalizing on her journey. I have met her several times with no complaints. Her infectious laugh is a pleasure. After Ross said something to the effect that they weren’t friends, I would have walked away and never pursued another word with her.
I’m bringing this up as it’s a follow on from a post in this thread from sup fan .. maybe you missed it?
personally I think you over egg Lynda’s contribution and value during her brief tenure with the group ... Certainly they’re we’re no hits while she was there.. but a top 40 hit after by MSC
and l don’t buy that only she could ask Stevie.. Mary was at Motown from virtually the beginning.. unlike Lynda .. and knew most of the artists... maybe she didn’t like to ask... Martha knew him better but he didn’t produce for her until late 60s
agreed that given her limited time, she was only able to do so much. since then, she's discussed the fact that she was trying/hoping the group could modernize a bit. become more contemporary with all singing lead. of course that obviously didn't happen. Seems like Lynda said that she and Stevie were still pals and so she'd be happy to ask him to write something for them. sure anyone could have asked him and he was certainly working with other artists. his recent contract renegotiation though had made it easier [[and probably more profitable for him) to producer other artists. so timing was right.
I wonder if he'd hoped to use Lynda on some leads for this project.
also there are little hints here and there of what they could have done had the JML lineup lasted longer. Lynda has a higher voice than Cindy so that allows more upper note work in the background. you get the higher note emphasis like what Marlene could do in the Andantes and with Love Child. it's a nice effect.
on the Japan live set, Lynda does some great little ad libs and all, like when they're finishing up Ladder. Or that wonderful Wooooo slide she does at the 2nd bridge in Tossin' and Turnin'. love it!! plus her ad libs in BW
While she and Susaye are quite different singers, had there been more time and recordings, Producers could have used Lynda in the background similarly to what the Hollands did with Susaye on Driving Wheel and the like. Again, a very different sound and approach than when Cindy was in the group.
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