violetcrush said:

RJOrion said:

if Lisa said her dad played congas on "all the Motown records including "Whats Going On"", thats a BLATANT LIE... the congas and bongos on all those motown hits ESPECIALLY whats going on, were played by Marvin Gaye's good friend, Eddie "Bongo" Brown...i wish people would stop always trying to whitewash and rewrite history...especially when that info is documented and easy to find

How do you know for sure that her Dad did not play Bongos during the studio sessions?? So, they couldn't have more than one player on the Bongos? I seriously doubt she would fabricate that story. Listen to her interview with Questlove on his podcast. She tells the story of touring the Motown museum while on tour with Prince, and there was a picture of her Dad on the wall. It's pretty well known now that her Dad and Wendy's Dad played on most of the big artist's records back then.

@RJOrion - my bad. I went back and looked at Gary Coleman's web site. He played Percussion on Marivn Gaye's I Want You (Let's Get It On) record. He did Congas on the Beach Boys Pet Sounds record. He did play with most of the Motown artists though - Smokey, Temptations, The Spinners. The Four Tops,....the list is pretty impressive.

*

Either way, he's got an amazing Discography for sessions played and artists he worked with. Here's a link to his site if you want to check it out:

*

http://www.garylcoleman.com/

[Edited 2/24/19 11:15am]

violetcrush said:

thanks for the link...i did do some extensive checking (again) and mr. coleman worked on the marvin gaye single "i want you" 1976, and the 4 Tops single "main street people" 1973, after they
had moved from Detroit to L.A. ...on his own link it shows all 313 songs he contributed percussion on...those are the ONLY 2 Motown songs he contributed to...he has worked with many other industry luminaries on other labels and in other genres, but i just wanted to be clear about his contributions (or lack thereof) to the Motown legacy...

PeteSilas said:

listening to some of his music, it's ok, produced well but too derivative, just too derivative of Prince. That in itself might not be so bad but everyone was doing it in that brief period before rap fucked everything up. A good song is a good song and I don't hear enough good songs, the guitar was awesome though, he had his own feel, it's not like anyone else's.

I disagree.Yes,there are elements of the Minneapolis sound in his music,but I didn't think of him as a Prince clone.His albums weren't as derivative as,say,Ready For The World

Yep.I recall Morris saying that he didn't want The Time to become a "rock and roll hotel",with different members joining and leaving the band.The original core lineup had developed a deep bond,they were like brothers."So when Jam and Lewis were fired,it mattered",Day said.There were actually plans for the Time to do a headlining tour in 1984 with Apollonia 6 as the opening act,but obviously it would not have worked.

OldFriends4Sale said:

For some reason Prince underestimated the bond these guys had and their belief in his vision of them as a unit. Prince removes Jimmy and Terry were were very integral to the shows, Jellybean leaves(and returns) Monte leaves when he realizes Morris is leaving etc chain reaction.

SoulAlive said:

Yep.I recall Morris saying that he didn't want The Time to become a "rock and roll hotel",with different members joining and leaving the band.The original core lineup had developed a deep bond,they were like brothers."So when Jam and Lewis were fired,it mattered",Day said.There were actually plans for the Time to do a headlining tour in 1984 with Apollonia 6 as the opening act,but obviously it would not have worked.

OldFriends4Sale said:

For some reason Prince underestimated the bond these guys had and their belief in his vision of them as a unit. Prince removes Jimmy and Terry were were very integral to the shows, Jellybean leaves(and returns) Monte leaves when he realizes Morris is leaving etc chain reaction.

I would imagine, even before Jimmy and Terry "got stuck in the snow", those guys were already planning their own things, because Prince had been limiting their performances - keepiig them off of the LA and NYC shows, minimizing their stage effects/lighting, etc. - trying to ensure he had the biggest and best durig the shows.

RJOrion said:

violetcrush said:

@RJOrion - my bad. I went back and looked at Gary Coleman's web site. He played Percussion on Marivn Gaye's I Want You (Let's Get It On) record. He did Congas on the Beach Boys Pet Sounds record. He did play with most of the Motown artists though - Smokey, Temptations, The Spinners. The Four Tops,....the list is pretty impressive.

*

Either way, he's got an amazing Discography for sessions played and artists he worked with. Here's a link to his site if you want to check it out:

*

http://www.garylcoleman.com/

[Edited 2/24/19 11:15am]

thanks for the link...i did do some extensive checking (again) and mr. coleman worked on the marvin gaye single "i want you" 1976, and the 4 Tops single "main street people" 1973, after they had moved from Detroit to L.A. ...on his own link it shows all 313 songs he contributed percussion on...those are the ONLY 2 Motown songs he contributed to...he has worked with many other industry luminaries on other labels and in other genres, but i just wanted to be clear about his contributions (or lack thereof) to the Motown legacy...

Well, Lisa did say she saw his picture on the wall of the museum back in 1981, so maybe pics were taken when he was working with Marvin Gaye.

SoulAlive said:

PeteSilas said:

listening to some of his music, it's ok, produced well but too derivative, just too derivative of Prince. That in itself might not be so bad but everyone was doing it in that brief period before rap fucked everything up. A good song is a good song and I don't hear enough good songs, the guitar was awesome though, he had his own feel, it's not like anyone else's.

I disagree.Yes,there are elements of the Minneapolis sound in his music,but I didn't think of him as a Prince clone.His albums weren't as derivative as,say,Ready For The World

Jesse had his OWN unique sound. Even "Jungle Love" has his sound ALL over it, It turned out to be The Time's second biggest charting single. The work he did with Ta Mara & The Scene was brilliant also. With one crossover hit "Everybody Dance" which peaked at #24 on the Billboard Hot 100 back in days when U almost had to sell your soul to get a crossover pop hit.

i'll listen and i haven't heard all of jesse's work but what i have heard, including jungle love, is minneapolis sound. Jungle love isn't that different from cool although it's a great song. He's got his own guitar sound, more bluesy than Prince, more full too, Prince had an angry, staccato type of energy in most of his playing in those years. I think I heard Jesse's second album a couple times but I lost interest after that. Everyone's got different ears, someone here said brown mark had one of the best minneapolis sound albums, i listened to it once, not enough to be fair one way or other. Thing is, and i've said it a million times, it's not enough to be able to do one thing great in that field, it might not even be enough to do a couple things great, a lot of other factors come into it, timing, where the market is at, the breaks you get, who you get to help you. Prince had a ton of things going for him and he had the most complete package out of anyone in the scene he came from and as Jimmy Jam said "I call it a prince sound" when he was asked to describe his music. That's about it, of course there were dozens of people in that scene to make it fertile, Prince was the guy to lead the movement. For a brief time, the Minneapolis Sound was as hot as grunge, or punk or anything that gains the attention of the masses like that.

the tunes are ok, the first one sounds more like Looking for a real love by andre cymone/jody watley which was itself a prince knockoff, although one of the better ones.

ChocolateBox3121 said:

SoulAlive said:

I disagree.Yes,there are elements of the Minneapolis sound in his music,but I didn't think of him as a Prince clone.His albums weren't as derivative as,say,Ready For The World

Jesse had his OWN unique sound. Even "Jungle Love" has his sound ALL over it, It turned out to be The Time's second biggest charting single. The work he did with Ta Mara & The Scene was brilliant also. With one crossover hit "Everybody Dance" which peaked at #24 on the Billboard Hot 100 back in days when U almost had to sell your soul to get a crossover pop hit.

[Edited 2/25/19 2:15am]

[Edited 2/25/19 13:51pm]

violetcrush said:

violetcrush said:

RJOrion said: How do you know for sure that her Dad did not play Bongos during the studio sessions?? So, they couldn't have more than one player on the Bongos? I seriously doubt she would fabricate that story. Listen to her interview with Questlove on his podcast. She tells the story of touring the Motown museum while on tour with Prince, and there was a picture of her Dad on the wall. It's pretty well known now that her Dad and Wendy's Dad played on most of the big artist's records back then.

@RJOrion - my bad. I went back and looked at Gary Coleman's web site. He played Percussion on Marivn Gaye's I Want You (Let's Get It On) record. He did Congas on the Beach Boys Pet Sounds record. He did play with most of the Motown artists though - Smokey, Temptations, The Spinners. The Four Tops,....the list is pretty impressive.

*

Either way, he's got an amazing Discography for sessions played and artists he worked with. Here's a link to his site if you want to check it out:

*

http://www.garylcoleman.com/

[Edited 2/24/19 11:15am]

his name ain't no gary coleman is it? same as "whatchu talkin' bout willis?"

PeteSilas said:

It is So he uses his middle initial too - Gary L Coleman

PLEASE NO MORE NON JESSE JOHNSON DISCUSSION

PLEASE KEEP IT ON TOPIC

THANK U

SoulAlive said:

Yep.I recall Morris saying that he didn't want The Time to become a "rock and roll hotel",with different members joining and leaving the band.The original core lineup had developed a deep bond,they were like brothers."So when Jam and Lewis were fired,it mattered",Day said.There were actually plans for the Time to do a headlining tour in 1984 with Apollonia 6 as the opening act,but obviously it would not have worked.

OldFriends4Sale said:

For some reason Prince underestimated the bond these guys had and their belief in his vision of them as a unit. Prince removes Jimmy and Terry were were very integral to the shows, Jellybean leaves(and returns) Monte leaves when he realizes Morris is leaving etc chain reaction.

That revolving door idea had a more adverse affect on Prince's vision/sound.

It's one thing if someone has to leave the camp, but I would not think if you have a good synergy why mess with it...

OldFriends4Sale said:

SoulAlive said:

Yep.I recall Morris saying that he didn't want The Time to become a "rock and roll hotel",with different members joining and leaving the band.The original core lineup had developed a deep bond,they were like brothers."So when Jam and Lewis were fired,it mattered",Day said.There were actually plans for the Time to do a headlining tour in 1984 with Apollonia 6 as the opening act,but obviously it would not have worked.

That revolving door idea had a more adverse affect on Prince's vision/sound.

It's one thing if someone has to leave the camp, but I would not think if you have a good synergy why mess with it...

most bands don't last very long regardless, even without prince, Morris' coke habit would have sidelined the band and Jesse's ambitions would have hurt the band too. As a musician, i never understood the band dynamic, what i come up with after all these years working alone is, that people are scared to be alone, very scared, they'll put themselves through all kinds of hell rather than to be alone, and that's not just alone with the self, it's alone onstage and in the world too.

PeteSilas said:

i'll listen and i haven't heard all of jesse's work but what i have heard, including jungle love, is minneapolis sound. Jungle love isn't that different from cool although it's a great song. He's got his own guitar sound, more bluesy than Prince, more full too, Prince had an angry, staccato type of energy in most of his playing in those years. I think I heard Jesse's second album a couple times but I lost interest after that. Everyone's got different ears, someone here said brown mark had one of the best minneapolis sound albums, i listened to it once, not enough to be fair one way or other. Thing is, and i've said it a million times, it's not enough to be able to do one thing great in that field, it might not even be enough to do a couple things great, a lot of other factors come into it, timing, where the market is at, the breaks you get, who you get to help you. Prince had a ton of things going for him and he had the most complete package out of anyone in the scene he came from and as Jimmy Jam said "I call it a prince sound" when he was asked to describe his music. That's about it, of course there were dozens of people in that scene to make it fertile, Prince was the guy to lead the movement. For a brief time, the Minneapolis Sound was as hot as grunge, or punk or anything that gains the attention of the masses like that.

the tunes are ok, the first one sounds more like Looking for a real love by andre cymone/jody watley which was itself a prince knockoff, although one of the better ones.

ChocolateBox3121 said:

Jesse had his OWN unique sound. Even "Jungle Love" has his sound ALL over it, It turned out to be The Time's second biggest charting single. The work he did with Ta Mara & The Scene was brilliant also. With one crossover hit "Everybody Dance" which peaked at #24 on the Billboard Hot 100 back in days when U almost had to sell your soul to get a crossover pop hit.

[Edited 2/25/19 2:15am]

[Edited 2/25/19 13:51pm]