Motown 1061

[jsmith]

Mary Wells "My Guy" [[Motown 1056) was a massive hit. The 45 was on the US charts from April to July 64.
All the arrangements were made for her follow-up 45 to become Motown 1061 in June 64 -- it was to feature "When I'm Gone" b/w "Guarantee For A Lifetime".
However she started proceedings to break her Motown contract, so the 45 was pulled.
Did promo copies [[or test pressings) ever get pressed up .... & if so, do any copies still exist ?

[jsmith]

I guess it would definitely have made it to the acetate stage ........
Wonder who made the acetates, RCA or in-house ??
......... INFO ON MOTOWN ACETATES .........
An Introduction To Motown Acetates by Christopher Chatman
A unique subset in the world of collecting records is the world of collecting record acetates. An even more unique subset to the world of collecting record acetates is the world of collecting acetates that were either mastered at or mastered for the Motown Record Corporation from the early 1960s to the early 1970s.
Motown acetates are somewhat unique from acetates of most other record companies. For one thing, Motown Records had their own mastering lab in-house called Motown Hitsville USA Studios. This was somewhat unusual for a record company in the early 1960s. Most record companies in the 1960s had their records mastered [[which is the technical term for “acetates cut”) at a separate recording company. Most Motown acetates were cut in house and then labeled with a plain white label with typed information on it.
Reference acetates were also used at Motown so that the same song performed by different artists at the label could be reviewed by a committee of producers and engineers. The songs could then be voted on as to which artist should perform a given song for release. Some of these acetates have the background music for a given song but no vocals. I assume that this is so any group could sing along with a given background so a given song could be tested with several vocal accompaniments.
At some point in the early 1960s the work load at Motown would occasionally accelerate to the point that Motown would contract out some acetate cutting work to RCA Custom Records in Chicago. According to Bob Dennis, perhaps the preeminent disc recording engineer at Motown during the 1960s, acetates that were cut at the RCA Chicago facility had to abide by quality guidelines that were predetermined by Motown. This level of quality control was due to the fact that in the early 1960s Motown had already dedicated itself to maintaining levels of sonic excellence designed to maximize consumer satisfaction which would lead to sales levels unattained by any other United States record company at that time. In any case a number of acetates that were cut by RCA Custom Records for Motown have 1960s RCA Custom Records labels.
Motown acetates have become highly prized and sought after as the popularity of soul music in general and Motown music in particular has increased in the last twenty years. The rise of what is termed as Northern Soul has also greatly increased the value of certain Motown acetates. The value of certain unreleased Motown acetates now reaches into the thousands of dollars as these acetates constitute newly discovered Motown music for people all over the world to discover.
.... Christopher Chatman is the author of several articles concerning record collecting including “Acetates and Test Pressings”, “ Collecting Gold and Platinum Record Awards” and “Genuine, Pirate and Fake RIAA Awards” The aforementioned three articles were published in “Goldmine’s Price Guide to Collectable Record Albums Fourth Edition” by Neal Umphred.

[selinasian]

Mary Wells "My Guy" [[Motown 1056) was a massive hit. The 45 was on the US charts from April to July 64.
All the arrangements were made for her follow-up 45 to become Motown 1061 in June 64 -- it was to feature "When I'm Gone" b/w "Guarantee For A Lifetime".
However she started proceedings to break her Motown contract, so the 45 was pulled.
Did promo copies [[or test pressings) ever get pressed up .... & if so, do any copies still exist ?

Motown 1065 was also an unissued single from August/Sept 1964. That was going to be 'Whisper you love me' b/w I'll be available.

[marybrewster]

Did Mary ever publicly acknowledge that she may have made a mistake by leaving Motown?

[robb_k]

I don't remember seeing either Jobete Music acetates or Motown Record Co. acetates for those two "scheduled" singles. That may be because they were never made [[at least not The Motown Record Co. acetates), because "My Guy" lasted on the charts so long, the scheduled release of 1061 was delayed, in any case, BEFORE Mary's non re-signing and break with the company.

I really doubt that anything more than the tentative scheduling occurred on those 2 "scheduled" singles. I think it is clear that the tapes of those recordings were NOT EVEN IN FINAL MIX FORM. They don't sound like they were given the Motown "Hit Treatment". They certainly would have had more complex instrumentals if released as singles. That process never occurred, as the entire process of preparing for the release of 1061 was delayed due to 1056 remaining so high on the charts and selling so well. Mary's break with the company later occurred to stop the whole process before the acetate stage and before the final mixing would have been done.

[jsmith]

Mary's initial 45 after leaving Motown & signing with 20th Century Fox -- "Stop Taking Me For Granted / Ain't It The Truth" Fox 544 -- was announced as upcoming in Billboard mag on 17th October 1964.
It would have taken some weeks for her new label to pull together a team to record her & find the songs, a studio [[which studio was utilised, I guess 20th C didn't have a record studio of their own back then) so she must have inked her contract with the new label around August time.
So that meant Motown knew about her intentions from June and as Robb said with "My Guy" still selling well into July, there was no rush with regard to getting cuts ready to form her follow-up 45. I guess the backing tracks might already have been laid down for "When I'm Gone" with Mary cutting her vocals maybe as late as May 64 [[unless this track was already in the can when "My Guy" was issued on 45).
The 1st trade ads for her 20th Century Fox 45 appeared on October 24th 1964, so they must have been in preparation in early October to be with mags like Billboard around the 18th to 20th October.
Attachment 4086

[jsmith]

"Ain't It The Truth" was reported as having hit the Top 15 of various radio stn charts in Billboard mag dated 21st Nov 64.
The radio stn charts it made it onto that week included WJMO in Cleveland & WVON [[Chicago).
It was also a breakout 45 on WOOK [[Washington) & WLOK [[Memphis).
"Stop Taking Me For Granted" was also a breakout 45 or 45 to watch on WDAS [[Philly), WNOO [[Chattanooga) & WWIN [[Baltimore).

[jsmith]

"Ain't It The Truth" entered the Hot 100 pop chart on 31st October 64 [[no Billboard R&B charts were compiled in 1964).

[robb_k]

20th Century fox had no studio of their own, and no particular crew for anything other than movie themes. They leased independent productions from independent producers all over USA. They didn't have any favourite independent Soul music producers which they used often. They wanted Mary to be comfortable. So, they got her together with ex-Motowner Robert Bateman, who was now an independent producer working both out of New York and still also in Detroit. Bateman recorded her first 20th Century Fox sessions in Detroit, using many current and ex-Motown session musicians. Later, 20th Century Fox used some regular NY Soul writers [[but I rather think that Bateman introduced them to Mary) [[Mickey Gentile, Jennie Lee Lambert, etc). Andre Williams, another ex-Motown producer, produced a few of her @oth Century Fox cuts, also in Detroit.

Personally, I liked her Fox material. It wasn't nearly as good as Motown, but it was still good [[as was her ATCO material from Carl Davis' crew).

[robb_k]

The original background tracks for "When I'm Gone" had been made before Mary's leaving. But, I'm almost sure that they would have made more heavy "hit-quality" mixes, before putting out the record. It's instrumental background has the sound and feel of an album filler or "B" side, rather than an attempted hit. When they found out Mary was gone, no "fixing up" of her tracks was needed, neither for inclusion on "Vintage Stock" nor for the budget album releases.

[Roger Polhill]

Mary`s "When I`m Gone" band track was recorded 6th May 1964 with her vocals on the 11th. Brenda used the same track with strings and vocals in early January 1965.

[motony]

Motown kept Marys career tied up in court all the summer of '64.Hopefully alot will come out in Peter Benjaminsons book that we sure hope to see soon.

[robb_k]

Mary`s "When I`m Gone" band track was recorded 6th May 1964 with her vocals on the 11th. Brenda used the same track with strings and vocals in early January 1965.

The strings were different. To me Brenda's version had a fantastic background, and sounded like a hit right away. When I listened to Mary's version, the instrumental sounded like the "B" treatment, rather than the "A" Hit treatment. I'll have to listen to both again. But i can't believe that their singing is the only difference.

[motony]

LOL, you can bet Smokey had Brenda listen to Marys vocal.The track was speeded up also for Brendas'.Yea, the track wasn't finished for Marys.I find it odd that Marys vocal would have been recorded in May as the company acted like she was being difficult & not showing up & that the producers couldn't get in touch with her ect."I'll Be Available"sounded more complete to me but it was recorded earlier from what I remember.

[robb_k]

LOL, you can bet Smokey had Brenda listen to Marys vocal.The track was speeded up also for Brendas'.Yea, the track wasn't finished for Marys.I find it odd that Marys vocal would have been recorded in May as the company acted like she was being difficult & not showing up & that the producers couldn't get in touch with her etc."I'll Be Available"sounded more complete to me but it was recorded earlier from what I remember.

I read on "Motown Junkies" website, that Mary recorded her vocal of this song, only 2 days before informing Berry Gordy of her threat to leave the company.

[Roger Polhill]

According to "TCMS Vol. 4", "When I`m Gone" was Mary`s last Motown session.Brenda`s vocals and strings were added in January 1965.

[jsmith]

Mary's 1st 20th Century 45 made almost an instant impact on some US radio stns. Trade ads for the 45 were published on 24th October and it was reported in the following edition of Billboard that both sides of her 45 were already getting radio stn plays / tips.
"Ain't It The Truth" was already a 'Record To Watch' on WJLB [[Detroit) and for Al Bell at WUST [[Washington).
"Stop Taking Me For Granted" was also a 'Record To Watch' on WDIA [[San Fran).
So there was obviously a push right across the US by 20th Century to get her tracks playlisted & hence boost sales of the 45. It must have helped that "My Guy" had been such a massive hit & therefore radio DJ's could easily just be jumping on the bandwagon thinking her 'follow-up' would also become hugely popular.
Of course, [[no doubt) Berry Gordy was using his influence at many radio stns to try and ensure Mary's 45 wasn't a major success, otherwise other Motown acts may have been influenced to consider following her out of the company's door.
Mary's last Motown 45 release was her duet with Marvin Gaye -- "What's The Matter With You Baby / Once Upon A Time" both sides of which charted through May/June/ July 64.
It can't have been a coincidence that Marvin was quickly teamed with Kim Weston and a duet 45 -- "What Good Am I Without You" -- was released at the same time as Mary's initial 20th Century outing.

[motony]

and ofcourse Mary was out of the country, in the UK, touring with the Beatles when "Ain't It The Truth "was released.I think that was a bad thing for her career as far as not being here to do in person promotion.

[robb_k]

WDIA was a Memphis radio station. San Francisco Bay's main African-American station was KDIA. I used to listen to that when I lived in The Bay Area for 3 years. Those two stations were sister stations to KGFJ in Los Angeles.

[robb_k]

I listened to "When I'm Gone" by both Mary and Brenda, again. The background used in Mary's was more sparse without the strings, and the horns came forward more. There were organ solos in spots that I don't hear in Brenda's. The overall sound of the background in Mary's is more sparse. But, the biggest difference to me is that it is clear that Mary didn't have her heart into singing on this recording. She was not reaching in the slightest to challenge her voice. Her range of notes was narrow. She had little emotion. It's clear to me that she had already decided she would leave unless Berry started treating her differently and would meet her demands, and she was reasonably sure that he wouldn't. She was just going through the motions [[singing because her soon-to-be-ended [[voided) contract obliged her to do that).

Had she had her heart in her performance, similarly to her efforts on most of her former recordings, her version of "When I'm Gone" would have been more than twice as good, and fully as good as Brenda's, and worthy of a big hit. As it was, it was just a nice-sounding song, that gets by as very listenable, due to great songwriting by Smokey, great music by The Funk Brothers and other Motown musicians, and Mary's beautiful inherited voice quality. It's a shame she didn't care about putting in her best effort in this great track, but much more of a shame that she left Motown early [[same for Kim Weston, The Isley Bros., The Spinners, Glady's Knight & Pips, The Parliaments, Serenaders, and so many more).

[motony]

agreed, rob k, she was listening to older & supposedly wiser men.