The Best of Motorcity [[Vols. 1-20)

[westgrandboulevard]

[/QUOTE] I'm surprised to see that the track that first made me love Barabara Randolph's Motorcity productions isn't included on your "Very Best Of" CD. The track is "Chasing The Hurt Away". On the Motorcity Jukebox which I provided above, go to "Best Of Motorcity" [[Vol. 2), Track 10. The track is really pretty, and the female back-up vocals are gorgeous. [/QUOTE]

I think those back-up vocals are the voice of Pat Lewis, but multi-tracked...often found on the Motorcity recordings. Most of the backgrounds were arranged by Pat. Love that echo....

Carolyn Crawford also used her voice for backgrounds on her own Motorcity recordings.

And a version of 'Chasing The Hurt Away' was, I think, also recorded by Jake Jacas....who was, at least, co-writer.....

[brother_love]

When it was suggested that I start a MOTORCITY RECORDS thread, I jumped at the chance! I hope you'll enjoy it as much as I'm enjoying compiling it!

I'm starting with the Various Artists "Best Of Motorcity" [[Vols. 1-20) series which were released as compilations between 1994 and 1997.

II need to express a HUGE thanks to Kenny [[Kenneth) for uploading this project for me.
[/B]
Best Regards,
PHILLES/MOTOWN GARY

-------------------------------

A HISTORY OF IAN LEVINE'S MOTORCITY RECORDS PROJECT [[courtesy of WIKI). [[Open the link and select History.)

https://en.m.wikipedia.org/wiki/Motorcity_Records



MOTORCITY RECORDS ALBUM DISCOGRAPHY [[courtesy of WIKI)

https://en.m.wikipedia.org/wiki/Moto...ms_discography



MOTORCITY RECORDS 12" SINGLE DISCOGRAPHY [[courtesy of WIKI).

https://en.m.wikipedia.org/wiki/Moto...es_discography

The first five compilations were released in the on Quality Records, in 1990. This series was called Motor City Dance Party and consisted of various Motor City artists.

[Philles/Motown Gary]

The first five compilations were released in the on Quality Records, in 1990. This series was called Motor City Dance Party and consisted of various Motor City artists.

Hi Brother_love! Yeah, I've noticed that some of Ian's early releases had been on different labels. Even his gargantuan Motorcity project had started out on the Nightmare label before renaming it Motorcity. [[Just between you and me, I can't imagine why Ian -- nor anyone else, for that matter -- would title their record label such a negative, derogatory name like Nightmare -- especially for a project as important as the Motorcity project was to him. It kinda makes you wonder if his subconsciously naming it Nightmare was an omen of bad things to come while eventually leading to the demise of the Motorcity label. I know, it sounds paranoid and far-fetched, but who knows?)

[reese]

The first five compilations were released in the on Quality Records, in 1990. This series was called Motor City Dance Party and consisted of various Motor City artists.

Before the five-cd series, Quality also released a 12" called DON'T FORGET THE MOTOR CITY by Big Wheel and the Motor Mixers. It featured snippets of recordings by Martha Reeves and the Vandellas, Kim Weston, etc.

Quality also released a Mary Wells cd, KEEPING MY MIND ON LOVE. Some of the proceeds were to go to the Mary Wells fund.

[144man]

Not to take anything at all away from Ian Levine's songwriting talent, but I always presumed he had his name added to the songwriting credits, to earn additional publishing revenue, and which would offset his own financial investment?

But if, in the event, he really did contribute to the composition to all those songs, then I do have to admire his efforts....

I don't know if this was a normal way of working, but on "Flight L-O-V-E", Frances Nero was given the instrumental track to take home with her and she had to write the lyrics for it overnight.

[reese]

...

[[Just between you and me, I can't imagine why Ian -- nor anyone else, for that matter -- would title their record label such a negative, derogatory name like Nightmare -- especially for a project as important as the Motorcity project was to him. It kinda makes you wonder if his subconsciously naming it Nightmare was an omen of bad things to come while eventually leading to the demise of the Motorcity label. I know, it sounds paranoid and far-fetched, but who knows?)

I believe he named the label Nightmare Records after one of his favorite records, "Like a Nightmare" by the Andantes.

[144man]

I believe he named the label Nightmare Records after one of his favorite records, "Like a Nightmare" by the Andantes.

...and I think he actually owned a rare V.I.P. single of it at some stage.

[Philles/Motown Gary]

PMG...

While on the topic of different Motorcity mixes, and Frances Nero......

Do you, or anyone reading this, have a copy of 'Uptight' various artists album, MOTCCD 64?

Track 7 is 'Nowhere To Go But Up', by Frances Nero.

There are differences between this, and the version on 'Motorcity Beach Party' various artists album, MOTCCD70.

One significant difference is on my copy of the 'Uptight' version. When the chorus reaches the line "your love is turning me over and upside down', the vocals become strangely distorted.

It is difficult to feel there is any intentional artistic merit involved. I would consider it to be a fault, but quite why it is there, or why it wasn't noticed and corrected, is a mystery to me.

Anyone else notice it?

Westgrand, I'm sorry to keep you waiting. I have Frances Nero's "Nowhere To Go But Up" on her "Very Best Of" CD, Track 8. Regarding the line "Your love is turning me over and upside-down", there is definitely something going on there, but I don't think it's distortion. To my ears, it sounds like male voices singing in a very high register -- probably as a result of electronic gadgetry. For whatever reason, Ian decided to have that line of the recurring chorus executed in a form of "cutesy". I may be wrong, but that's my take on it.

[Philles/Motown Gary]

I believe he named the label Nightmare Records after one of his favorite records, "Like a Nightmare" by the Andantes.

Hi, Reese! Oh, that's why he did it. Okay. Boogie suggested that they should do a movie about Ian's life in the record business. I could go for that -- or at least an autobiography -- not unlike the behind-the-scenes Motown books that we've cherished since the 1980's. A book like that would have explained why Ian named his label Nightmare, as well as so much more.

[Philles/Motown Gary]

I don't know if this was a normal way of working, but on "Flight L-O-V-E", Frances Nero was given the instrumental track to take home with her and she had to write the lyrics for it overnight.

Hi, 144man! I did not know that. I love learning about the behind-the-scenes happenings at our favorite record companies. Putting Frances under such pressure -- overnight, no less -- surely must have made her a nervous wreck. Was she even a lyricist? Without looking it up, I don't recall.

[mysterysinger]

I would suggest that Ian Levine is a genius for all the work he put into creating Nightmare and Motorcity including having the wherewithal to make it all happen, his phenominal songwriting skills in partnership with others, his awareness of his market and his production skills - who else could have done all that in such a relatively short time?

Ok not everything could be or would ever be to everyone's taste but there are some quite classy productions there all things considered. I also appreciate the music more as I age and threads such as this only help that recognition.

[Philles/Motown Gary]

I would suggest that Ian Levine is a genius for all the work he put into creating Nightmare and Motorcity including having the wherewithal to make it all happen, his phenominal songwriting skills in partnership with others, his awareness of his market and his production skills - who else could have done all that in such a relatively short time?

Ok not everything could be or would ever be to everyone's taste but there are some quite classy productions there all things considered. I also appreciate the music more as I age and threads such as this only help that recognition.

I agree with you 100%, Mystery. In fact, over the years, whenever I got a new CD, I've always taken a posted note and jotted down a list of the tracks that I like as well as the tracks which I don't particularly care for. You wouldn't believe how much time this simple-yet-efficient system prevents me from having to re-review the disc all over again upon my next playing. Upon re-evaluation, it's amazing how many tracks have literally leaped from the "don't like" column to the "Love It" column! Since I joined SD in 2014, I've noticed that your taste in music is very close to mine. If I get a chance tomorrow, I'll prepare a short list of some of my favorite Ian Levine Motorcity compositions and/or productions which I love. I'll bet you almost anything that our tastes will match on every one of them!

[westgrandboulevard]

Westgrand, I'm sorry to keep you waiting. I have Frances Nero's "Nowhere To Go But Up" on her "Very Best Of" CD, Track 8. Regarding the line "Your love is turning me over and upside-down", there is definitely something going on there, but I don't think it's distortion. To my ears, it sounds like male voices singing in a very high register -- probably as a result of electronic gadgetry. For whatever reason, Ian decided to have that line of the recurring chorus executed in a form of "cutesy". I may be wrong, but that's my take on it.

PMG, no, what you are hearing there is the normal version. It is Billy Griffin and Jake Jacas singing in light falsetto. You will hear them singing in the same tones on quite a number of Motorcity tracks, including those with their own lead vocals.

The track on 'Uptight' CD is the only example where the distortion on the sound is present. I have not heard it on any other source. I remember taking the disc back to the record shop....they played it through their own speakers, and couldn't understand it. They tried another copy....still there....so a fault in the manufacturing process.

Or, I did wonder, if it was a deliberate, albeit strange touch-of-sabotage move....just to add a quirky distinction, to catch the ear....

[westgrandboulevard]

The songs that I don't care for are the ones that tend to sound alike. Ian has some wonderful styles in his various productions. However, there are some tracks in which he uses a certain chord-progression that I hate. It rubs me the wrong way every time I hear it! All of his artists have recorded at least one track using this chord-progression. [[I lovingly nick-name them "half-assed" chords! I don't know how to explain it, but it's a chord progression that neither Phil Spector nor Motown ever used.)

Can you quote some examples......?

[carlo]

This thread is an amazing resource. Thank you Philles/Motown Gary and Kenny for your hard work on this! I spent some time last night going through many of these tracks that I had not heard before, or had not heard in quite some time. I was reminded of how great Bettye LaVette's performances are, on these tracks. There were some tracks by Lynda Laurence that were also strong, in my opinion. These Motorcity recordings were definitely a mixed bag, but there are highlights throughout.

[Boogiedown]

I would suggest that Ian Levine is a genius for all the work he put into creating Nightmare and Motorcity including having the wherewithal to make it all happen, his phenominal songwriting skills in partnership with others, his awareness of his market and his production skills - who else could have done all that in such a relatively short time?

Ok not everything could be or would ever be to everyone's taste but there are some quite classy productions there all things considered. I also appreciate the music more as I age and threads such as this only help that recognition.

What is the total track number ? 800 plus ? Were some released as singles and promos sent to radio stations for play ? Or was top 40 over with by then ?
What was the time frame of his project ?

so surely old Motown hot shots were aware of this endeavor …. Did any reach out to offer anything in the way of support? Berry Gordy specifically , did he express any interest ? Did he reach out to Ian ? Did he offer to help in the financing or any of the logistics ? or be supportive in any way ??

[kenneth]

This thread is an amazing resource. Thank you Philles/Motown Gary and Kenny for your hard work on this! I spent some time last night going through many of these tracks that I had not heard before, or had not heard in quite some time. I was reminded of how great Bettye LaVette's performances are, on these tracks. There were some tracks by Lynda Laurence that were also strong, in my opinion. These Motorcity recordings were definitely a mixed bag, but there are highlights throughout.

You're welcome, Carlo. Gary did all the research and locating all the tracks/links to the YouTube videos, and everything is from his collection. I just did the grunt work of the uploads. It's much easier to do from a laptop or desktop than from a phone.

[grapevine]

...my fave Motorcity sound...!



Grape

[grapevine]

...my fave Ian Levine sound...



Grape

[Philles/Motown Gary]

I'm surprised to see that the track that first made me love Barabara Randolph's Motorcity productions isn't included on your "Very Best Of" CD. The track is "Chasing The Hurt Away". On the Motorcity Jukebox which I provided above, go to "Best Of Motorcity" [[Vol. 2), Track 10. The track is really pretty, and the female back-up vocals are gorgeous. [/QUOTE]

I think those back-up vocals are the voice of Pat Lewis, but multi-tracked...often found on the Motorcity recordings. Most of the backgrounds were arranged by Pat. Love that echo....

Carolyn Crawford also used her voice for backgrounds on her own Motorcity recordings.

And a version of 'Chasing The Hurt Away' was, I think, also recorded by Jake Jacas....who was, at least, co-writer.....[/QUOTE]

Westgrand, I'm at a total loss at trying to determine anything about Ian's back-up vocalists. Since discovering his Motorcity/Motown project, I had automatically assumed that Ian would use The Andantes to back up his artists, yet I have yet to recognize their special harmonic, operatic "blend" that Louvain, Jackie & Marlene achieved at Motown.

[Philles/Motown Gary]

PMG, no, what you are hearing there is the normal version. It is Billy Griffin and Jake Jacas singing in light falsetto. You will hear them singing in the same tones on quite a number of Motorcity tracks, including those with their own lead vocals.

The track on 'Uptight' CD is the only example where the distortion on the sound is present. I have not heard it on any other source. I remember taking the disc back to the record shop....they played it through their own speakers, and couldn't understand it. They tried another copy....still there....so a fault in the manufacturing process.

Or, I did wonder, if it was a deliberate, albeit strange touch-of-sabotage move....just to add a quirky distinction, to catch the ear....

Westgrand, have you checked on YouTube to see if the version to which you're referring is included? If it is, please post the link here so that we, too, can hear the distorted passage.

[Philles/Motown Gary]

Can you quote some examples......?

I'm afraid to, Westgrand. If I list them, it would be just my luck to offend somebody who might demand, "PLEASE! How DARE you attack my favorite songs!" Or "Your taste is all in your mouth, Pal!", or, "Man, you've got a tin ear!"

[Philles/Motown Gary]

This thread is an amazing resource. Thank you Philles/Motown Gary and Kenny for your hard work on this! I spent some time last night going through many of these tracks that I had not heard before, or had not heard in quite some time. I was reminded of how great Bettye LaVette's performances are, on these tracks. There were some tracks by Lynda Laurence that were also strong, in my opinion. These Motorcity recordings were definitely a mixed bag, but there are highlights throughout.

Thanks, Carlo. Your positive response and the compliments and enthusiasm of others is just the inspiration I need to submit Motorcity Part 2 which will be a few more Various Artists compilations, followed by Part 3 -- the Individual Artist CDs. I finally worked up the courage to ask Kenny if he would be willing to upload the remainder of the Motorcity project for me. Of course, he said, "Why sure!" To quote The Marvelettes, "He's A Good Guy [[Yes He Is)"!

[Philles/Motown Gary]

What is the total track number ? 800 plus ? Were some released as singles and promos sent to radio stations for play ? Or was top 40 over with by then ?
What was the time frame of his project ?

so surely old Motown hot shots were aware of this endeavor …. Did any reach out to offer anything in the way of support? Berry Gordy specifically , did he express any interest ? Did he reach out to Ian ? Did he offer to help in the financing or any of the logistics ? or be supportive in any way ??

Boogie, between 1987 and 1997, 108 former Motown artists recorded 770 tunes under the production expertise of Ian Levine -- the first being Kim Weston's "Signal Your Intention", and the last being Edwin Starr's "Darling Darling Baby". The remainder of your questions I have no idea about. I doubt if Berry contributed to Ian's finances, as by the mid-to-late '90s, Ian had gone broke with the Motorcity project -- nearly bankrupt, in fact. For further details, check out the *History Of Motorcity Records" at the very top of this thread.

[Philles/Motown Gary]

C O R R E C T I O N

Please note that in the "Motorcity Jukebox" above, the audio link for The Fifth Dimension's "More Love" [[Vol. 3, Track 10), is incorrect and should be as follows:

FIFTH DIMENSION
"More Love"
https://youtu.be/IOrM8KoWsHY

Thank you. If you should notice any other audio-link inaccuracy, please let us know. Again, thank you.

[Philles/Motown Gary]

...my fave Motorcity sound...!



Grape

Grapevine, I love "Timeless", too! It's a shame Carolyn didn't find greater success with Motown. I really like her a lot.

[soren1974]

Boogie, between 1987 and 1997, 108 former Motown artists recorded 770 tunes under the production expertise of Ian Levine -- the first being Kim Weston's "Signal Your Intention", and the last being Edwin Starr's "Darling Darling Baby".

That should be 1987 to 1992 when it all came crashing down. Pat Lewis recorded another bulk of tracks around the mid-90s that never came out, and then around 1998 she recorded 25 Motown-covers and 30 Northern Soul-covers with [[with Ian) and Brenda Holloway also recorded 30 Northern Soul-covers plus one original song Be A Man [[the latter would belatedly be released on the 2CD My Love Is Your Love along with her original Motorcity-recordings. Unfortunately, on that CD the demo version of Be A Man, sung by Gaynor Ellen, got included by mistake instead of Brenda's). So those numbers add onto the original 770 tunes recorded between 1987-92.

[soren1974]

They should do a movie about Ian's life in the record business. I could go for that -- or at least an autobiography -- not unlike the behind-the-scenes Motown books that we've cherished since the 1980's. A book like that would have explained why Ian named his label Nightmare, as well as so much more.

Ian actually wrote his biography called LEAP YEARS in 2018 which he gave out free copies of to those of us who attended his birthday that year. It makes up for extremely interesting reading - his passion for music obviously takes up a lot of the pages, but Doctor Who also does, plus his vast Jewish family tree-research, as well as Ian's passion for boys in white rugby shorts! It is written in his usual brash fashion so he already ruled out approaching a publishing company for it as some of the details were too graphic, and his opinions of the likes of Simon Cowell and Gary Barlow would have to be watered down. It is a book that shows a life lived to its fulles. He has produced about 3000 recordings since 1975 which is a phenomenal achievement.

[westgrandboulevard]

[/QUOTE] Westgrand, I'm at a total loss at trying to determine anything about Ian's back-up vocalists. Since discovering his Motorcity/Motown project, I had automatically assumed that Ian would use The Andantes to back up his artists, yet I have yet to recognize their special harmonic, operatic "blend" that Louvain, Jackie & Marlene achieved at Motown.[/QUOTE]

A lot of the Motorcity female background voices were recorded here in the UK.

I have formed the impression that background vocals by The Andantes [Louvain, Marlene and Jackie] on Motorcity recordings are relatively few. I would have to check Louvain's solo album, but don't recall clearly hearing them even there.

It seems that whenever any title is credited to 'The Andantes' it usually features the voice of Pat Lewis, either multi-tracked, or singing with other voices...and which may include the original Andantes. I would have to carefully check that out.

The 'Step Into My Shoes' background voices on both Martha and Pat's versions sound to me more like two voices only, and likely Rosalind and Annette.

Of the few occasions when I feel I do hear Louvain, Marlene and Jackie [maybe also with Pat?], here are two....

Frances Nero's "Footsteps Following Me"......

and Martha's 'Heat Wave', more prominently on the original 'with string sound' Motorcity version [apart from the rather obvious one-two-one-two drum machine, I really like this one], than the later reworked one......

[soren1974]

My 25 Best would be [[random order and original songs only)

Billy Griffin - Technicolour
Frances Nero - Footsteps Following Me
Karen Pree - Girl With A Broken Heart
The FLOs - Hit And Miss
Jake Jacas - Forever In The Groove
Saundra Edwards - Tow-Away Zone
Barbara Randolph - Chasing The Hurt Away
Freda Payne - Only Minutes Away
Carolyn Crawford - Which Way Do I Turn
Barbara McNair - Face To Face With Love
The Elgins - You've Got Emotion
Ronnie McNeir - Take The First Step
J. J. & Ortheia Barnes - Send Some Love
Joe Stubbs - Smoke's In The Air
Linda Griner - Not This Time
Billy Griffin - Angel
Susaye Greene - Stop! I Need You Now
The Contours - Running In Circles
Pat Lewis - See You When I Get There
Barbara Randolph - Breaking Into My Heart
Hattie Littles - Waiting For The Day
Hattie Littles - Never Say Never
The Originals - Take The Only Way Out
Frances Nero - Right Up To The Limit
Liz Lands - Starting All Over Again

[westgrandboulevard]

My 25 Best would be [[random order and original songs only)

Billy Griffin - Technicolour
Frances Nero - Footsteps Following Me
Karen Pree - Girl With A Broken Heart
The FLOs - Hit And Miss
Jake Jacas - Forever In The Groove
Saundra Edwards - Tow-Away Zone
Barbara Randolph - Chasing The Hurt Away
Freda Payne - Only Minutes Away
Carolyn Crawford - Which Way Do I Turn
Barbara McNair - Face To Face With Love
The Elgins - You've Got Emotion
Ronnie McNeir - Take The First Step
J. J. & Ortheia Barnes - Send Some Love
Joe Stubbs - Smoke's In The Air
Linda Griner - Not This Time
Billy Griffin - Angel
Susaye Greene - Stop! I Need You Now
The Contours - Running In Circles
Pat Lewis - See You When I Get There
Barbara Randolph - Breaking Into My Heart
Hattie Littles - Waiting For The Day
Hattie Littles - Never Say Never
The Originals - Take The Only Way Out
Frances Nero - Right Up To The Limit
Liz Lands - Starting All Over Again

Soren1974,

Oh, I'm seeing some real favourites for my own list right there.....

And so good to see Joe Stubbs 'Smoke's In The Air' included [sometimes titled 'Smoke In The Air', I've noticed..].

I have often wondered about that strong female background voice on the chorus [think she also features on 'All Over The World', and several others]...would you know if that is Tracey Ackerman? Otherwise I guess it has to be either Jill Saward or Jackie Rawe.....

[westgrandboulevard]

PMG....

Re: backgrounds by The Andantes.....

Try Joe Stubbs..... 'You're My Eternity', and possibly 'Standing In The Shadows Of Love'....

I think Louvain, Marlene and Jackie may well be there on at least one of those tracks, and probably joined by Pat Lewis.......

[Philles/Motown Gary]

PMG....

Re: backgrounds by The Andantes.....

Try Joe Stubbs..... 'You're My Eternity', and possibly 'Standing In The Shadows Of Love'....

I think Louvain, Marlene and Jackie may well be there on at least one of those tracks, and probably joined by Pat Lewis.......

Westgrand, they're closer to their Motown harmonies -- especially on "Standing In The Shadows Of Love" [[which, BTW, is a great cover version!), but their blend is still not quite the same. Compare their vocals here with their vocals on Marvin Gaye & Kim Weston's "Heaven Sent You [[I Know)" from their "Take Two" album. In the song's introduction, that's The Andantes' angelic harmonic "blend" I'm referring to. If Pat Lewis has been singing with them on the Motorcity recordings, that could very well explain why their blend is not the same. All it takes is the addition or subtraction of one voice to change the blend. [[The only group I've ever heard maintain their harmony blend despite personnel changes is The Three Degrees. Those girls are truly fantastic! Regardless of changing goup members, they somehow always manage to sound like Sheila, Valerie & Fayette -- my favorites.

[Philles/Motown Gary]

...my fave Ian Levine sound...



Grape

Grape, I love this record! Who is Ebony Alleyne? Is she one of Ian's more recent artists?

[Philles/Motown Gary]

That should be 1987 to 1992 when it all came crashing down. Pat Lewis recorded another bulk of tracks around the mid-90s that never came out, and then around 1998 she recorded 25 Motown-covers and 30 Northern Soul-covers with [[with Ian) and Brenda Holloway also recorded 30 Northern Soul-covers plus one original song Be A Man [[the latter would belatedly be released on the 2CD My Love Is Your Love along with her original Motorcity-recordings. Unfortunately, on that CD the demo version of Be A Man, sung by Gaynor Ellen, got included by mistake instead of Brenda's). So those numbers add onto the original 770 tunes recorded between 1987-92.

Hi Soren, I went by the years that WIKI quoted. [[See the "History Of Motorcity Records" at the top of this thread.) Had I discovered Ian's music sooner, I would have known the discrepancy in the years of operation. I discovered Ian in the mid-to-late '90s -- including his Motorcity artists as well as his non-Motown-related artists. I wish I had discovered him sooner -- much sooner.

Thanks for the correction.

[Philles/Motown Gary]

Ian actually wrote his biography called LEAP YEARS in 2018 which he gave out free copies of to those of us who attended his birthday that year. It makes up for extremely interesting reading - his passion for music obviously takes up a lot of the pages, but Doctor Who also does, plus his vast Jewish family tree-research, as well as Ian's passion for boys in white rugby shorts! It is written in his usual brash fashion so he already ruled out approaching a publishing company for it as some of the details were too graphic, and his opinions of the likes of Simon Cowell and Gary Barlow would have to be watered down. It is a book that shows a life lived to its fulles. He has produced about 3000 recordings since 1975 which is a phenomenal achievement.

Soren, I'd love a copy of his book. I just checked eBay and Amazon. Unfortunately, to no avail. I'll keep my eyes open for a stray copy. Thanks for the heads up!

[gman]

the Motorcity project was a blessing to fans of everything Motown, and fans of the individual performers...most of who hadn't been recorded in a long time....I think it was a great effort, and a dream for Ian....but I also think he hopefully way over estimated the publics desire for the product...perhaps he moved along at the vast pace it did take because tracking these folks down was probably difficult...and many were not in the best of shape.
I think overall, Ian will be remembered more for his non Motown related contributions to HiNrG club music....esp High Energy and So Many Men. A few other records found much bigger club play success in Europe than the USA.
It would have been wonderful and no doubt a boost to the entire project had a MAJOR comeback been the result of the project...a/k/a Tina Turner and Cher...both had historic comebacks, and ones that are very rarely sustainable. Unfortunately, the project did not introduce any unheralded superstars, or reintroduce a newer and widespread public to the former ones.

[Philles/Motown Gary]

My 25 Best would be [[random order and original songs only)

Billy Griffin - Technicolour
Frances Nero - Footsteps Following Me
Karen Pree - Girl With A Broken Heart
The FLOs - Hit And Miss
Jake Jacas - Forever In The Groove
Saundra Edwards - Tow-Away Zone
Barbara Randolph - Chasing The Hurt Away
Freda Payne - Only Minutes Away
Carolyn Crawford - Which Way Do I Turn
Barbara McNair - Face To Face With Love
The Elgins - You've Got Emotion
Ronnie McNeir - Take The First Step
J. J. & Ortheia Barnes - Send Some Love
Joe Stubbs - Smoke's In The Air
Linda Griner - Not This Time
Billy Griffin - Angel
Susaye Greene - Stop! I Need You Now
The Contours - Running In Circles
Pat Lewis - See You When I Get There
Barbara Randolph - Breaking Into My Heart
Hattie Littles - Waiting For The Day
Hattie Littles - Never Say Never
The Originals - Take The Only Way Out
Frances Nero - Right Up To The Limit
Liz Lands - Starting All Over Again

All good choices, Soren! Anyone else ready to share their list of favorites?

[Philles/Motown Gary]

the Motorcity project was a blessing to fans of everything Motown, and fans of the individual performers...most of who hadn't been recorded in a long time....I think it was a great effort, and a dream for Ian....but I also think he hopefully way over estimated the publics desire for the product...perhaps he moved along at the vast pace it did take because tracking these folks down was probably difficult...and many were not in the best of shape.
I think overall, Ian will be remembered more for his non Motown related contributions to HiNrG club music....esp High Energy and So Many Men. A few other records found much bigger club play success in Europe than the USA.
It would have been wonderful and no doubt a boost to the entire project had a MAJOR comeback been the result of the project...a/k/a Tina Turner and Cher...both had historic comebacks, and ones that are very rarely sustainable. Unfortunately, the project did not introduce any unheralded superstars, or reintroduce a newer and widespread public to the former ones.

All good points, gman. It hadn't occurred to me that the reason Ian recorded so much was to capture their vocals "now" while the getting was good -- especially for the artists who were on their last legs, so to speak..

Another reason for the financial failure of the Motorcity project was the failure of the distributors to get the records out to the people. Ian released all of these recordings, but no one was able to buy them. One thing is for sure -- despite the financial failure, Ian's Motorcity project was an artistic success. As we've all been agreeing, there are many gems to be found within his massive array of productions.

It's true that the majority of John Q. Public wouldn't recognize many of these artists. Kenny and I were discussing just the other day that, even as life-long Motown fans, there were some Motorcity artists who even WE weren't familiar with, i.e., Vermettya Royster of Sisters Love; Jake Jacas [[a 1980's Motown artist), etc.

I love Ian's 1980's non-Motown productions, especially Miguel Brown's. I made it a point to buy as many of them as I could, and love nearly all of them. When we finish Ian's individual-artist Motorcity CD's, I may consider covering Ian's dance/club artists. Heaven knows, I've got the CDs in my collection to back it up, and I know a lot of people who would appreciate it. Plus, turning on new fans to Ian's Dance/Club music would be fun!

[Philles/Motown Gary]

GARY: Westgrand, I'm at a total loss at trying to determine anything about Ian's back-up vocalists. Since discovering his Motorcity/Motown project, I had automatically assumed that Ian would use The Andantes to back up his artists, yet I have yet to recognize their special harmonic, operatic "blend" that Louvain, Jackie & Marlene achieved at Motown.[/QUOTE]

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WESTGRAND: I have formed the impression that background vocals by The Andantes [Louvain, Marlene and Jackie] on Motorcity recordings are relatively few. I would have to check Louvain's solo album, but don't recall clearly hearing them even there.

It seems that whenever any title is credited to 'The Andantes' it usually features the voice of Pat Lewis, either multi-tracked, or singing with other voices...and which may include the original Andantes. I would have to carefully check that out.

---------‐---------
GARY: Ah! Thanks, Westgrand! THAT's what I needed to hear! Now I KNOW it's not just me.[/QUOTE]

[reese]

Westgrand, they're closer to their Motown harmonies -- especially on "Standing In The Shadows Of Love" [[which, BTW, is a great cover version!), but their blend is still not quite the same. Compare their vocals here with their vocals on Marvin Gaye & Kim Weston's "Heaven Sent You [[I Know)" from their "Take Two" album. In the song's introduction, that's The Andantes' angelic harmonic "blend" I'm referring to. If Pat Lewis has been singing with them on the Motorcity recordings, that could very well explain why their blend is not the same. All it takes is the addition or subtraction of one voice to change the blend. [[The only group I've ever heard maintain their harmony blend despite personnel changes is The Three Degrees. Those girls are truly fantastic! Regardless of changing goup members, they somehow always manage to sound like Sheila, Valerie & Fayette -- my favorites.

The Motorcity compilation album GIRL GROUPS OF THE MOTORCITY features a photo of the Andantes on the back. It shows them as a quartet featuring Louvain, Marlene, Jackie, and Pat.

[westgrandboulevard]

PMG,

I do agree with you that the 'angelic' harmonies of The Andantes on earlier Motown recordings did not continue to be heard throughout the classic years.

The sound of The Andantes became more homogeneous, less distinctive, and they were literally faded more 'into the background' of the recordings..also with their voices more frequently heard singing in unison. Perhaps that was due to increased demand, and it simply saved session time to do it that way. Also, other combinations of female background voices were being used.

I completely agree with your selected example of 'Heaven Sent You, I Know', by Marvin & Kim.

There are of course, so many more...such as Kim's 'A Thrill A Moment'.....

My own favourite 'jaw drop' moment of theirs is on Tommy Good's 'Baby I Miss You'. It features their usual honeyed harmonies, high up in the mix...and then they break out later in the song with "Oh Yeaaahhh!". You can choose to hear all those three voices separately, or as their close harmony....but as far as background vocals go, for me that is as good as it gets.....

[Philles/Motown Gary]

PMG,

I do agree with you that the 'angelic' harmonies of The Andantes on earlier Motown recordings did not continue to be heard throughout the classic years.

The sound of The Andantes became more homogeneous, less distinctive, and they were literally faded more 'into the background' of the recordings..also with their voices more frequently heard singing in unison. Perhaps that was due to increased demand, and it simply saved session time to do it that way. Also, other combinations of female background voices were being used.

I completely agree with your selected example of 'Heaven Sent You, I Know', by Marvin & Kim.

There are of course, so many more...such as Kim's 'A Thrill A Moment'.....

My own favourite 'jaw drop' moment of theirs is on Tommy Good's 'Baby I Miss You'. It features their usual honeyed harmonies, high up in the mix...and then they break out later in the song with "Oh Yeaaahhh!". You can choose to hear all those three voices separately, or as their close harmony....but as far as background vocals go, for me that is as good as it gets.....

Absolutely, Westgrand! And also Tommy Good's "I've Gotta Get Away"! The girls shine on that one as well!

[Philles/Motown Gary]

Here's my list of favorite Ian Levine Motorcity productions. Although it's nowhere near complete, it's a great start in revealing some of those hidden Ian Levine gems with you.

[NOTE - I get a kick out of the way Ian assigned the hottest dance tracks to the older gals like Orthea Barnes, Hattie Littles, Liz Lands, and Barbara McNair! What's even cooler is the way the ladies had no trouble keeping up -- none whatsoevr!]

1) ORTHEA BARNES - "Love Changes"
https://youtu.be/0ZQlBdYjJ0s

2) BARBARA RANDOLPH - "Chasing The Hurt Away"
https://youtu.be/0M3MZdral8U

3) BARBARA McNAIR - "Talking In My Sleep"
https://youtu.be/wyKGt83Nyx0

4) THE ELGINS - "Look Up To The Sky"
https://youtu.be/YZvtXq3rR1M

5) PAT LEWIS - "Baby I'm Cool"
https://youtu.be/xP9Fn2-Is9I

6) SCHERRIE PAYNE - "I'm Still Waiting" [[Yes, it's Diana's song!)
https://youtu.be/afOzROpkAy4

7) HATTIE LITTLES - "Dancing In The Key Of Life"
https://youtu.be/Mb0WlgxWbNQ

8) RARE EARTH - "Love Is Here And Now You're Gone"
https://youtu.be/nSS8y1M2lnY

9) BLINKY - "Lifesaver"
https://youtu.be/UZE4ybVVEoI

10) BARBARA RANDOLPH - "Breaking Into My Heart"
https://youtu.be/1qFVZAbdDJ8

11) SAUNDRA EDWARDS - "All Or Nothing"
https://youtu.be/lcmK-XKA4MI

12) THE VELVELETTES - "It Keeps Reminding Me [[Of Happy Memories)"
https://youtu.be/549xh_mt8CY

13) VERMETTYA ROYSTOR - "If I Were Your Woman"
https://youtu.be/KqcRiNHI0x0

14) LIZ LANDS - "How Sweet It Is"
https://youtu.be/fSZk6wW8xbs

15) KIM WESTON - "A Case Of Too Much Lovemaking"
https://youtu.be/VviCJCzjhVU

16) FREDA PAYNE - "Only Minutes Away"
https://youtu.be/xeeKnsZUbMc

17) PAT LEWIS - "I Don't Want Nobody Else"
https://youtu.be/ANEm3mtMzTA

18) BILLY GRIFFIN - "Technicolor"
https://youtu.be/6U0imZAJeIE

19) KIM WESTON - "Somebody's Eyes"
https://youtu.be/vOScw6F33kk

20) CAROLYN CRAWFORD - "Timeless"
https://youtu.be/Ks-rpZXJens

[westgrandboulevard]

It may go a bit quiet from this end, just while I'm thinking......

[Philles/Motown Gary]

It may go a bit quiet from this end, just while I'm thinking......

No problem. I've been up all night. Hittin' the hay now!

[westgrandboulevard]

Well, this is going to be very tricky.

I am quietly holding my very own Quality Control online meeting.

And am already up to a Hot Hundred favourites.

Also, there is something good to be found about all of the others, no matter how small the 'positive' points may seem to be....

It seems the following statement applies to even those at the foot of the list:

"There are no bad Motorcity recordings.
Only Motorcity recordings which need more work."

[mysterysinger]

Have to say that Pat Lewis shines on her Motorcity recordings - she has a great voice. Scherrie Payne handles Diana's material really well in my opinion. I love Billy Griffin's recording of "Walk Away From Love". A huge shout out too for The Andantes "Little Darling [[I Need You)" and The Fantastic Four's "Sidestepping". None of which I've found on YouTube. I could easily put them on, but wouldn't want to step on Ian Levine's toes.

Motorcity seems to have had a few distributorsover the years. Also, given the fact that many Motorcity tracks appear on compilations by other labels Ian must have been able to make plenty of money from leasing recordings elsewhere, assuming he still owns them all.

[westgrandboulevard]

Yes, I have often wondered if, following the great financial difficulties, he still has ownership of the recordings...or, if not in full, still receives revenue from them, maybe from publishing rights.

While Pat Lewis, to my ears, may not have the most distinctive lead singing voice, I consider her still technically very good indeed. Her voice does have a remarkable 'honeyed' and expressive tone. Her 'Don't Memories Mean A Thing' is one of my very favourite Motorcity tracks.. And I agree with your other examples.

Yes, those problems and bad luck with distributors. Perhaps it is because Ian Levine is British, and his operations largely seem to be based here in the UK...but in reading some of the posts on this thread, I am coming to the feeling that Motorcity perhaps had much less of a profile in the US than I had originally assumed......

[kenneth]

Have to say that Pat Lewis shines on her Motorcity recordings - she has a great voice. Scherrie Payne handles Diana's material really well in my opinion. I love Billy Griffin's recording of "Walk Away From Love". A huge shout out too for The Andantes "Little Darling [[I Need You)" and The Fantastic Four's "Sidestepping". None of which I've found on YouTube.

I found the Billy Griffin track on YouTube and you are right, he really sings the hell out of that song. Of course, he’s not really recognizable from the way he sounded while at Motown, where I guess he was supposed to sound as much like Smokey Robinson as possible, and his voice has obviously matured, but what a great singer! I just wish the arrangements were sparser, they’re over produced, just capturing the singers who were still sounding great with less interference from the backing track I think in most cases would’ve been a better choice. But this is a really good one, as you say. Thanks!