Earl King at Motown

[mysterysinger]

From The Bitter Southerner - Earl King Poet Laureate of New Orleans

"Before long, though, another opportunity came knocking. In 1963, local promoter Joe Jones claimed he had landed a contract for a group of New Orleans artists with Motown Records. But when King arrived in Detroit with Jones, he found out there was no contract, just an audition. Nonetheless, the Motown execs were so impressed with King’s songwriting and Smokey Johnson's drumming that they started recording tracks on the Louisiana visitors around the clock.

“The whole thing at Motown was different,” King said. “They were open 24 hours a day, cutting stuff. One time I was recording a song and a producer came in and said, ‘Hold tight, I’ll get you some background singers.’ He got someone from the Contours and someone else from Martha and the Vandellas at 5 in the morning and we did it right there.

“I could see how those songwriters could get intrigued with the setup at Motown, because everything you need is provided for you. Background voices, whatever musicians you need, you have all that at your disposal. So that makes it easy. I got a lot out of being up there at Motown. I was inspired to do a whole lot of writing when I came back.”

King wrote and produced about two dozen songs for Motown, not only on himself but also on such artists as Joe Jones, Patti Little sic [[Hattie Littles), and the Contours. But with Jones demanding a lot of money for his non-existent rights to the New Orleans artists and Motown offering less money than they could make at home, King and the rest packed their bags and returned South. Except for three songs on the 1996 compilation, “Blue Evolution,” none of King’s work for Motown has ever been released.

Still, he was undaunted. He returned to New Orleans fired up with creative energy, determined to write songs for all his favorite artists in town. At the top of the list was Professor Longhair, the eccentric pianist with the rumba beat, and King had just the right song for him, “Big Chief.”"


The three tracks of Earl King on "Motown's Blue Evolution" are -
"Three Knocks On My Door"
"A Man And A Book" [[also on one of the Soul Satisfaction CDs)
"Hunger Pains" - Jobete registered copyright 15 June 1967 by Earl K Johnson.

On DFTMC a couple of Hattie Littles tracks are shown as written by Earl Johnson.

Heebe Geebes [[Earl Johnson) published Jobete - Hattie Littles; recorded Hitsville, completed 22-Aug-63 ; produced by Clarence Paul ; [1st odb] - [pressing date unknown] [acetate]; LP [[M): JD 181

When I Was In School [[Earl Johnson) published Jobete - Hattie Littles; recorded Hitsville, completed 22-Aug-63 ; produced by Clarence Paul [pressing date unknown] [acetate]; LP [[M): JD 181

And a 3rd one which is credited to Marv Johnson [[full name Marv Earl Johnson) but given the date might be Earl King [[Earl Johnson).

Wish That You Were Here [[Marv Johnson) published Jobete - Hattie Littles; recorded Hitsville, completed 21-May-63 ; produced by Marv Johnson [pressing date unknown] [acetate]; 45 [[M): [no catalogue number]

So given the 3 Earl King tracks released and the [[potentially) 3 tracks by Hattie Littles from 2 dozen - what else may be in the can from Earl King / Earl Johnson and particularly on the singer Joe Jones [[who had the hit with "You Talk Too Much")?


You can find the Earl King article here
https://bittersoutherner.com/feature...of-new-orleans

[snakepit]

ms

Interesting piece about Earl King Thanks

[mysterysinger]

This is the Hattie Littles track "Wish That You Were Here" - obviously consensus has it as written and produced by Marv Johnson - but Marv was under contract with United Artists at the time - perhaps that's one reason it was left in the can.

[snakepit]

it seems that Marv Johnson had SOME involvement with Motown whilst being at United Artists.

Man Who Don't Believe In Love, The [[Marv Johnson) published Jobete

Marv Johnson; recorded Bell Studios, N.Y., 05-Dec-63 ; produced by Lockie Edwards, Jr ; arranged by Horace Ott

14-Jan-64; 45 [[M): United Artists UA 691 A
11-Aug-92; CD [[S): United Artists UA98895 The Best Of Marv Johnson / You Got What It Takes
The Temptations; recorded Hitsville, completed 25-Jun-63 ; produced by Marv Johnson ; [lead Paul Williams]

18-May-99; CD [[M): Motown 31454 9514 2 Gettin' Rea

[mysterysinger]

Thanks for that - it makes sense that he was contracted to Jobete for songwriting. Certainly I don't think Marv gets enough credit within the Motown Story.

The recording date for The Tempts track chimes with the Hattie Littles track for Marv Johnson [[moreso than Earl Johnson). He must have had some time on his hands.

[snakepit]

One of the Gordy sisters [[ maybe Esther) said that Berry only ever had problems with 2 artists....and both were called Marv[[in).
The tale goes that at the height of his UA fame [[ built upon Berry's songs), Berry went to visit him in New York , probably on business [[songs etc).
When Berry got to the Office, Marv Johnson wouldn't see him without an appointment. An over inflated Ego.
That was the end for Berry I think.
Johnson's return was very luke warm...maybe the Gordy family persuaded Berry to take him back. He ended up in the Offices..

[mysterysinger]

Have you heard the Earl King tracks?

[woodward]

Yes, I have heard the Earl King tracks. I am lucky enough to have the Blue Evolution CD from the Motown Master Series of 1996. It also includes three Mable John songs.

And so far as your earlier comment that you believe Marv does not get enough credit within the Motown Story!!!!!!!!!!!!!!!!!!!!!!!!!! I wholeheartedly agree. He is certainly one of the best and he contributed immensely to the popularity and success of Motown.

[mysterysinger]

Is it likely there are more Earl King tracks in the vaults - or his productions on other artists?

[snakepit]

Yes, I have heard the Earl King tracks. I am lucky enough to have the Blue Evolution CD from the Motown Master Series of 1996. It also includes three Mable John songs.

And so far as your earlier comment that you believe Marv does not get enough credit within the Motown Story!!!!!!!!!!!!!!!!!!!!!!!!!! I wholeheartedly agree. He is certainly one of the best and he contributed immensely to the popularity and success of Motown.

Woodward
I think my post above goes some way to explaining why Marv Johnson has been overlooked after upsetting Berry. A similar thing happened with Mary Wells upon her departure.

[jsmith]

Arthur Adams "Let me love you tonight" was the big dance floor filler in the UK off the CD ... to me it sounds a later recording than the 1962 - 64 timeframe placed on it by others ...
anyone got the definitive recording date for the track ...