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PrintableVoicesCarry said: dragondayz said: But my thing is, if they did would we ever know? I also wonder how long they waited between releases of their albums. I know that nowadays if your off more than two years the public seems to loose interest. I wonder if the time limit they put on artists plays a factor in the artist laziness? Yes. And Motown used to release albums every few months for some major artists (in the 60's, at least, it was like a factory). Wow, so there's no excuse huh lol? Studiotraffic-One of the fastest ways to get payed on the net! | |
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VoicesCarry said: Thanks, I love her and I'll definitely check her new disc out. It's so telling that Motown culled her from their secretarial staff as a background singer initially, but today we need to put on huge productions like American Idol to find meager singing talent that will never amount to anything artistically. Kind of tells you how talented the people at Motown were in general. She had an interesting backstory about the CD and her feelings concerning the current state of the music industry. But she never came off as bitter. Always maintained a dignified and proud attitude. The story she told concerning her "secretarial" position was that she showed up to audition. While waiting in the front lobby, the phone kept ringing and there was no secretary to answer it. She just started answering the phone (in a very business-like and professional manner) while she was waiting (4 hours). When the particular gentleman came back to check on her, she had kept separate messages for all of them. Since many fans of the male artists would also call, she learned to keep those messages separate. She described this technique as being a very good "secret-tary". She had quite a few great stories to tell. tA  Tribal Disorder
http://www.soundclick.com...rmusic.htm "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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dragondayz said: VoicesCarry said: Yes. And Motown used to release albums every few months for some major artists (in the 60's, at least, it was like a factory). Wow, so there's no excuse huh lol? Nope. For example: The Supremes: 1962 - 1 LP 1964 - 3 LPs 1965 - 5 LPs 1966 - 2 LPs 1967 - 2 LPs 1968 - 7 LPs 1969 - 5 LPs | |
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theAudience said: VoicesCarry said: Thanks, I love her and I'll definitely check her new disc out. It's so telling that Motown culled her from their secretarial staff as a background singer initially, but today we need to put on huge productions like American Idol to find meager singing talent that will never amount to anything artistically. Kind of tells you how talented the people at Motown were in general. She had an interesting backstory about the CD and her feelings concerning the current state of the music industry. But she never came off as bitter. Always maintained a dignified and proud attitude. The story she told concerning her "secretarial" position was that she showed up to audition. While waiting in the front lobby, the phone kept ringing and there was no secretary to answer it. She just started answering the phone (in a very business-like and professional manner) while she was waiting (4 hours). When the particular gentleman came back to check on her, she had kept separate messages for all of them. Since many fans of the male artists would also call, she learned to keep those messages separate. She described this technique as being a very good "secret-tary". She had quite a few great stories to tell. tA Tribal Disorder
http://www.soundclick.com...rmusic.htm She's a hoot. And she's one of the few genuinely happy former Motown greats, it seems. She seems glad just to have been a part of it. The best interviews I've read are where she takes the journalist on a tour of the old recording studios, and just spends hours recounting details of her time spent there. Really incredible memory, apparently she can look through the glass from the production booth and pretty much give you a filmic account of what went on. | |
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VoicesCarry said: dragondayz said: Wow, so there's no excuse huh lol? Nope. For example: The Supremes: 1962 - 1 LP 1964 - 3 LPs 1965 - 5 LPs 1966 - 2 LPs 1967 - 2 LPs 1968 - 7 LPs 1969 - 5 LPs Wow, what could have been the reasoning for that many records? We talk about how certain artists and Clear Channel domintes radio today but that is what you call dominance. It looks like there was no room for competition at all. Did they sleep in the studio? Studiotraffic-One of the fastest ways to get payed on the net! | |
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dragondayz said: VoicesCarry said: Nope. For example: The Supremes: 1962 - 1 LP 1964 - 3 LPs 1965 - 5 LPs 1966 - 2 LPs 1967 - 2 LPs 1968 - 7 LPs 1969 - 5 LPs Wow, what could have been the reasoning for that many records? We talk about how certain artists and Clear Channel domintes radio today but that is what you call dominance. It looks like there was no room for competition at all. Did they sleep in the studio? Some of them were cover LP's, some Christmas LP's, some live LP's. The demand for Motown was so great at the time (75% of their material charted) that the artists were in heavy demand, and Gordy had to find some way to satiate the public. You have to remember that everything was recorded live, basically in one take, with some overdubbing done later. It didn't require endless hours of studio tinkering to "get it right" back then. | |
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VoicesCarry said: She's a hoot. And she's one of the few genuinely happy former Motown greats, it seems. She seems glad just to have been a part of it. The best interviews I've read are where she takes the journalist on a tour of the old recording studios, and just spends hours recounting details of her time spent there. Really incredible memory, apparently she can look through the glass from the production booth and pretty much give you a filmic account of what went on. I definitely caught that vibe from her interview. Another thing she said was that the reason the Vandellas tracks had such a good groove on them was because the musicians knew she was the one handling the office and would make sure they got paid for the session on time. 
And you know what this is for... 
tA Tribal Disorder
http://www.soundclick.com...rmusic.htm "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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VoicesCarry said: dragondayz said: Wow, what could have been the reasoning for that many records? We talk about how certain artists and Clear Channel domintes radio today but that is what you call dominance. It looks like there was no room for competition at all. Did they sleep in the studio? Some of them were cover LP's, some Christmas LP's, some live LP's. The demand for Motown was so great at the time (75% of their material charted) that the artists were in heavy demand, and Gordy had to find some way to satiate the public. You have to remember that everything was recorded live, basically in one take, with some overdubbing done later. It didn't require endless hours of studio tinkering to "get it right" back then. Oh, ok! In knew that Motown was popular but wow! I wish that the industry would go back to recording live vocals and doing it in one take. Unfortunately/forunately that would eliminate a lot of "popular" artists out now, but oh well. I'm pretty sure money was saved that way so I wonder why they don't go back to doing things in that order? I know that these labels make a profit out of these "it" artists but many of them don't have longevity, so it SEEMS as though a lot of the budget they gives artists these days would be cut, and the industry would be doing a lot better financially. I don't get it. Studiotraffic-One of the fastest ways to get payed on the net! | |
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dragondayz said: VoicesCarry said: Some of them were cover LP's, some Christmas LP's, some live LP's. The demand for Motown was so great at the time (75% of their material charted) that the artists were in heavy demand, and Gordy had to find some way to satiate the public. You have to remember that everything was recorded live, basically in one take, with some overdubbing done later. It didn't require endless hours of studio tinkering to "get it right" back then. Oh, ok! In knew that Motown was popular but wow! I wish that the industry would go back to recording live vocals and doing it in one take. Unfortunately/forunately that would eliminate a lot of "popular" artists out now, but oh well. I'm pretty sure money was saved that way so I wonder why they don't go back to doing things in that order? I know that these labels make a profit out of these "it" artists but many of them don't have longevity, so it SEEMS as though a lot of the budget they gives artists these days would be cut, and the industry would be doing a lot better financially. I don't get it. Oh, a lot of artists were one-offs back then too (Carolyn Crawford, Chris Clark, The Lewis Sisters, Patrice Holloway). If they didn't have a hit, Gordy would drop them after one or two 45's. Others had simply fabulous voices (Brenda Holloway, Barbara McNair, Kim Weston, Syreeta, Tammi Terrell, Chuck Johnson, Yvonne Fair), but were never really utilized to their full potential. On top of that, Gordy was fastidious about what he did release - stuff has been leaking out of the vaults for decades, through bootlegs on the Northern Soul scene or minor official releases. And it's really incredible stuff, too (http://www.allmusic.com/c...6xlffe0cqe A Cellarful Of Motown is astoundingly good). Plain and simple, searching for talent and nurturing it is more difficult than hiring a hot-shot producer to synthesize a voice for you and steal someone else's track. And, you know, it still doesn't take long to actually record a record (Whitney Houston's My Love Is Your Love was done in a month, DC's Destiny Fulfilled in 3 weeks), but I think the craft and artistry is lacking. It's funny, but the public seems to have lost the feel for organic music. Everything has to be processed technology now. They've basically forgotten what actual music sounds like. [Edited 11/20/04 20:34pm] | |
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VoicesCarry said: Plain and simple, searching for talent and nurturing it is more difficult than hiring a hot-shot producer to synthesize a voice for you and steal someone else's track. And, you know, it still doesn't take long to actually record a record (Whitney Houston's My Love Is Your Love was done in a month, DC's Destiny Fulfilled in 3 weeks), but I think the craft and artistry is lacking. It's funny, but the public seems to have lost the feel for organic music. Everything has to be processed technology now. They've basically forgotten what actual music sounds like. cough, cough...Aretha Franklin...cough, cough... 
...Queen Of Soul: Atlantic Recordings Keep preachin' the gospel VC. 
tA Tribal Disorder
http://www.soundclick.com...rmusic.htm "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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theAudience said: VoicesCarry said: Plain and simple, searching for talent and nurturing it is more difficult than hiring a hot-shot producer to synthesize a voice for you and steal someone else's track. And, you know, it still doesn't take long to actually record a record (Whitney Houston's My Love Is Your Love was done in a month, DC's Destiny Fulfilled in 3 weeks), but I think the craft and artistry is lacking. It's funny, but the public seems to have lost the feel for organic music. Everything has to be processed technology now. They've basically forgotten what actual music sounds like. cough, cough...Aretha Franklin...cough, cough...
...Queen Of Soul: Atlantic Recordings Keep preachin' the gospel VC.
tA Tribal Disorder
http://www.soundclick.com...rmusic.htm  I love that set beyond reason. | |
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VoicesCarry said: I love that set beyond reason.As it should be. 
On that organic note, i'm headed out the door to take my wife to see "Ray". tA Tribal Disorder
http://www.soundclick.com...rmusic.htm "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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theAudience said: VoicesCarry said: I love that set beyond reason.As it should be.
On that organic note, i'm headed out the door to take my wife to see "Ray". tA Tribal Disorder
http://www.soundclick.com...rmusic.htm I think you're going to love it. My second favourite film this year. Real appreciation for the music. | |
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Back during the late '90s Puffy used to complain about Motown's sampling fees. The leech.
` [Edited 11/20/04 21:29pm] This post not for the wimp contingent. All whiny wusses avert your eyes. | |
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SassyBritches said: if they use 8 seconds or less of a sample i don't think they have to mention it. it falls under the fair use doctrine of the u.s. copyright law. even if they loop that 8 seconds for 4 minutes...it won't need to be paid for or credited. basically as long as the piece they sample is used to create another original work, its all legal.
That's a common misconception. As soon as major label rap artists started using sampling frequently, they have been paying for their samples. Take EPMD's 1988 debut. They looped two and a half seconds of Eric Clapton "I Shot The Sheriff", and had to pay him $10,000. It's less about what is legal and more what slips under the radar. | |
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