Kay
Star
*~*Floever A Star*~*
Posts: 1,326
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Post by Kay on Dec 10, 2005 12:17:18 GMT -5
Right now the O'Jays are doing more to preserve their legacy than ruin it. We know who we got to thank for that. Quaker Oats, sorry, I mean, OTIS. Got that right! I think the O'Jays know they can't be singing the same 10 songs forever :haha:
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Post by timmy84 on Dec 10, 2005 13:34:48 GMT -5
I just can't imagine that either. :lol: Speaking of, the O'Jays' recent ballad, "Make Up", is beautiful.
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Post by Emerald City on Dec 11, 2005 15:19:40 GMT -5
Yeah thanks everybody. I nearly read all the pages on this forum already. And of course this isn't the first first place I checked for. I also already read stuff on Wikipedia-site. But most of the sites are all the same. I mean my paper has also gotta be kinda technical. So all the labels for instance: Tamla, Soul, Gordy...etc. The songwriters: Holland-Dozier-Holland....then switched to...? And of course also why Motown has been such a success...and lasted for sooo long. And finally linking Motown to the Black Civil Rights Movement/Martin Luther King/ Malcolm X and all that. So it's gotta be quite detailed, so if any of u guys, just have any info or what so ever...feel free to let me know, I'll be checking this forum daily anyway. Very nice forum and decent mature people. p.s. Can anyone tell me what Motown's name really is. Or how that started? Was it Tamla first, or Tamla-Motown and then later just Motown??? Cheers. Thanks a lot every body. ((LAU)) Dear feel free to email me ...I think I can rustle up some links and stuff for you ok
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Post by LAU on Dec 15, 2005 8:30:32 GMT -5
Does anybody have any onfo on why motown was such a succes? Marketing Strategies....and all that? Plus I'm also writing 3 small stories and the biggest successes? I was thinking of The Supremes, Marvin Gaye and Stevie Wonder....good selection? Or should iwrite about the Vandellas? Any more pointers are very welcome....Thanx Everybody...
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Post by Diamond Girl on Dec 15, 2005 12:12:37 GMT -5
Does anybody have any onfo on why motown was such a succes? Marketing Strategies....and all that? Plus I'm also writing 3 small stories and the biggest successes? I was thinking of The Supremes, Marvin Gaye and Stevie Wonder....good selection? Or should iwrite about the Vandellas? Any more pointers are very welcome....Thanx Everybody... I will have to check for any marketing strategies I would say Stevie is definitely an excellent choice, Marvin also a great choice, not sure what angle you would go with for the Supremes though, they sort of languished without Florence Ballard, HDH, Diane Ross pushing away. Their record of number ones has been surpassed. You could use them, but I'll try and think on others. Hope that helps :wave:
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Kay
Star
*~*Floever A Star*~*
Posts: 1,326
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Post by Kay on Dec 15, 2005 17:33:20 GMT -5
Does anybody have any onfo on why motown was such a succes? Marketing Strategies....and all that? Plus I'm also writing 3 small stories and the biggest successes? I was thinking of The Supremes, Marvin Gaye and Stevie Wonder....good selection? Or should i write about the Vandellas? Any more pointers are very welcome....Thanx Everybody... I think those are good choices. But if your'e going to do the Supremes then you would probably have to just focus on the success of original 3.
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Post by LAU on Dec 18, 2005 9:28:59 GMT -5
Yes once again, thanks a lot....Yes was gonna talk about from primttes to the supremes and ross' solo career. Thanx to you guys Im making a lot of progress already...I'm halfway there now. Can anyone give me some information on the different labels. I've got them all (for ex. motown, tamla, gordy,soul vip...etc.) why did gordy create so many orall the all linked to different genres of music? (was gonna write some stuff on gordy's marketing startegies...and the way he got the 'black sound' spread over the white market too)...... p.s. 'Hitsville-soul'- girl....i dont have ur email ....mind posting it?
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Post by Diamond Girl on Dec 18, 2005 12:32:21 GMT -5
Yes once again, thanks a lot....Yes was gonna talk about from primttes to the supremes and ross' solo career. Thanx to you guys Im making a lot of progress already...I'm halfway there now. Can anyone give me some information on the different labels. I've got them all (for ex. motown, tamla, gordy,soul vip...etc.) why did gordy create so many orall the all linked to different genres of music? (was gonna write some stuff on gordy's marketing startegies...and the way he got the 'black sound' spread over the white market too)...... p.s. 'Hitsville-soul'- girl....i dont have ur email ....mind posting it? ((Lau)) I know the labels were for certain genres and certain artists ie Soul: Jr Walker & the All Stars, Jimmy Ruffin, Gladys Knight & the Pips, Shorty Long; Gordy: Contours, Martha & the Vandellas, Temptations, Dr. King; Motown: Mary Wells, Supremes, Four Tops; Tamla: Miracles, Marvin Gaye, Marvelettes, Stevie Wonder Don't recall much of his strategy, but I can do some checking (I forgot about it before )
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Post by Emerald City on Dec 19, 2005 19:27:42 GMT -5
Yes once again, thanks a lot....Yes was gonna talk about from primttes to the supremes and ross' solo career. Thanx to you guys Im making a lot of progress already...I'm halfway there now. Can anyone give me some information on the different labels. I've got them all (for ex. motown, tamla, gordy,soul vip...etc.) why did gordy create so many orall the all linked to different genres of music? (was gonna write some stuff on gordy's marketing startegies...and the way he got the 'black sound' spread over the white market too)...... p.s. 'Hitsville-soul'- girl....i dont have ur email ....mind posting it? hitsvillesoul@yahoo.com
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Post by LAU on Dec 21, 2005 8:32:07 GMT -5
Yow everybody, I'm glad to inform you all that my work is nearly done, thanks toa lot ou help from you guys. THANK YOU SOOOO MUCH. A final thing I'm writing is a sort of analogy between the artists i meantioned and motown's meaning. For ex. Supremes --> commercial succes. Martha & Vand. and Marvin Gaye --> more revolutionary...expressing feelings for blacks etc. (dancing in the streets) and Stevie wonder --> cant really link him....maybe the talent....andthe fact that he kept a low profile which gave him more artistic freedom...... Is this more or less correct? If you guys have anything to add....please so do asap....got two days left .... THANKS Y'ALL!
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Post by Diamond Girl on Dec 21, 2005 15:08:54 GMT -5
Yow everybody, I'm glad to inform you all that my work is nearly done, thanks toa lot ou help from you guys. THANK YOU SOOOO MUCH. A final thing I'm writing is a sort of analogy between the artists i meantioned and motown's meaning. For ex. Supremes --> commercial succes. Martha & Vand. and Marvin Gaye --> more revolutionary...expressing feelings for blacks etc. (dancing in the streets) and Stevie wonder --> cant really link him....maybe the talent....andthe fact that he kept a low profile which gave him more artistic freedom...... Is this more or less correct? If you guys have anything to add....please so do asap....got two days left .... THANKS Y'ALL! Glad to be of help! I think Stevie would be---- spirit, like Motown had to fight to get acknowledged, he did too. And here's what I dug up on strategies---- 1 st Create, Make, Sell - Initially Barney Ales was their local distributor for both the Tamla and Motown labels. After a mishap of splitting distribution, Ales was brought back to distribute both labels and invited to 'hang-around' Hitsville. After the near success of "Shop Around", Berry Gordy felt that had there been a functional in-house sales department the song would have gone to #1 (pop) and not just the #2 (pop) that it had. Near the end of 1960, Barney Ales was invited to and accepted to head the sales department. 2 nd Create, Sell, COLLECT- The company wasn't getting the money owed from record sales so they couldn't pay the pressing plant and suppliers. Many of the records released hadn't sold as well and the money from "Shop Around" sales wasn't coming. Loucye Gordy was in charge of collection but all of her work was in vain. Enter the Marvelettes with the future million-seller and #1 (pop) record "Please Mr. Postman". Barney Ales was behind the sale and #1 (pop) success of "Please Mr. Postman". The distributors began paying! But while Loucye had put the non-paying distibutors on hold, Barney would "sell" (more like ship) them records. Barney's argument was those were big markets and if they didn't get the Tamla and Motown releases- they'd lose chart poosition and momentum. That meant no hits, and trouble. But Berry argued, without money where would they be? So, Berry became aware the slogan for marketing had to be revised. Figuring Create and Make was essentially the same thing, he cut Make and changed the strategy to Create, Sell and COLLECT. Realizing that with Barney making his money by only selling, the problem with non-payment would always be there. So, Berry shared his focus with Barney and told him he was in charge of both selling and collecting, making Barney work both the sale and the payment collection of records with the distributors. Barney reasoned (to the distributors) that without payment, he couldn't ship them their product. The distributors must have understood their dilemna, collections rose drastically.
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Post by fantagurl on Dec 26, 2005 11:14:05 GMT -5
Temptations Record 15 Classics for "Reflections''
LOS ANGELES--(BUSINESS WIRE)--Nov. 28, 2005--Finally, The Temptations, one of the most popular singing groups of all time, perform the Motown classics they always loved but never had the chance to record. Putting a fresh spin on 15 of Motown's greatest songs, "Reflections" (New Door/UMe) will be released January 31, 2006. "Motown is the soundtrack of our lives," says Otis Williams. "These are songs we have always wanted to do, and now, happily, we have had a chance to do them." This is the 47th album of new recordings from the incomparable Temptations, their first album for New Door Records, a UMe label venture.
Forty-five years after forming in Detroit, The Temptations bring some of the most memorable songs in pop and R&B to life like no other group, adding their signature harmonies to these timeless classics. Forty-one years after the last time they issued an album with a similar theme (1965's "The Temptations Sing Smokey"), "Reflections" is a reflection of artists who were there when Motown made history. Otis Williams, the remaining founding member, actually observed the recording of The Supremes' original version of "Reflections." Temptation G.C. Cameron, once a member of The Spinners at Motown, was also a frequent presence in the Hitsville studios.
Five tracks are from the legendary Holland-Dozier-Holland writing and production team, with whom The Temptations didn't record much in the 1960s. On "Reflections," The Temps pounce on the material with gusto: they put a haunting, modern R&B stamp on the title track (#2 for The Supremes in 1967); deliver a raucous rendition of "Can I Get A Witness" (Top 25 for Marvin Gaye in 1963), have fun with "How Sweet It Is (To Be Loved By You)" (Top 10 for Gaye in 1965) and "This Old Heart Of Mine (Is Weak For You)" (Top 15 for the Isley Brothers in 1966); and are in a melancholy mood in "I Hear A Symphony" (#1 for The Supremes in 1965).
The Temptations also tackle two songs that were hits for Gaye and Tammi Terrell: "Ain't Nothing Like The Real Thing" (Top 10 Pop/#1 R&B in 1968), with guest vocals by Vann Johnson, and "Ain't No Mountain High Enough" (Top 20 Pop in 1967 and #1 Pop for Diana Ross in 1970). In addition, "Reflections" boasts their energetic take on "Ooo Baby Baby," the 1965 Pop Top 20 Smokey Robinson & The Miracles hit, as well as a pair of tracks first made famous in 1970 by the Jackson 5 -- aching, sensuous versions of "Never Can Say Goodbye" (#1 R&B/#2 Pop) and "I'll Be There" (#1 Pop and R&B).
The Temptations also put their unmistakable stamp for the first time on "Don't Leave Me This Way," Thelma Houston's #1 disco anthem from 1977 (originally performed by Philly's Harold Melvin & The Bluenotes, Motown and Thelma made it a classic). Temptations Ron Tyson, Terry Weeks and Cameron trade off electrifying lead vocals on "Neither One Of Us (Wants To Be The First To Say Goodbye)," a 1973 R&B #1 from Gladys Knight & The Pips; and on "What Becomes Of The Brokenhearted," originally a 1966 Top 10 Pop and R&B hit for Jimmy Ruffin, brother of former Temp David Ruffin.
One song they did previously record but as a duet with The Supremes in 1968 is "Try It Baby," which had been a Pop Top 20 for Gaye in 1964. Vann Johnson again guests on the track. Diana's 1970 Pop Top 20 "Reach Out And Touch (Somebody's Hand)" is the album's perfect closer, a song more and more relevant to our times. Eight of the album's tracks are produced by Steve "The Scotsman" Harvey (Bridgette McWilliams, Donnie, Everyday People) with the balance produced and arranged by Benjamin Wright (OutKast, Justin Timberlake, Destiny's Child, Aretha Franklin, Michael Jackson, Janet Jackson), both of whom have produced recent Temptations successes.
The Temps' new millennium triumphs include 2000's Grammy-winning, Top 20 R&B "Ear-Resistable"; 2001's Top 30 R&B "Awesome," and 2004's Top 20 R&B "Legacy." In 2006, The Temptations, of Williams, Tyson (member since 1983, the lineup's second longest tenure), Cameron, Weeks and bass singer Joe Herndon, continue to raise the standard by which all singing groups are measured. Marvin`s " Can I Get A Witness" and "Ain`t No Mountain High Enough..... I DON`T THINK SO!!!! Man O must be very desperate. :idunno:
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Post by fantagurl on Dec 26, 2005 11:15:44 GMT -5
@ them covering Marvin Gaye the most... they better not mess them up! "Temptations"? The Temptations haven't been the Temptations since the '80s, much less the '70s. I know that`s right!! :thumbsup:
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Post by fantagurl on Dec 26, 2005 11:18:09 GMT -5
Right now the O'Jays are doing more to preserve their legacy than ruin it. We know who we got to thank for that. Quaker Oats, sorry, I mean, OTIS. :lol:
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