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True enough and good point. But again, this is a MOTOWN thread.
And if it is a Motown thread, the music should be Motown music---not whatever they did that was not Motown music. It's not just a question of which record label they happened to be on. There was such a thing as the Motown Sound, the performers created and built that particular thing known as the Motown Sound, on and at Motown, and it is very relevant in my opinion that those who did leave Motown for other pastures created or had hands in creating things (many of which were excellent things, as witness the non-Motown Four Tops and Spinners cuts posted earlier) that were very different from the Motown Sound.
(Lots of people have their own ideas about when the Motown Sound ended. My own is that with the dissipation of the incomparable bassist James Jamerson and the dissolution of the Funk Brothers house musicians, the Motown Sound as it was known and had evolved dissipated as well; Jamerson didn't take well to the move West, and he was already in the grip of alcoholism, which took first the sense of time from his hands and in due course---by way of cirrhosis of the liver and heart trouble---his life. As an aside, one of the most sought-after instruments by musicologists and/or collectors or music curators might be Jamerson's 1962 Fender Precision; the instrument was stolen just before his death in 1983 and has never been recovered.)
I grew up with the vintage Motown records. God knows how many copies I wore out of Motown records, almost as much as I wore out a boatload of blues. There certainly was a Motown Sound, and it certainly is relevant that a thread devoted to it should stick to it---it's more vast than people probably remember---and not presume that, just because a one-time or long-time Motown artist continued his or her recording career after leaving the label, it means they continued creating something resembling the Motown Sound.
And if it is a Motown thread, the music should be Motown music---not whatever they did that was not Motown music. It's not just a question of which record label they happened to be on. There was such a thing as the Motown Sound, the performers created and built that particular thing known as the Motown Sound, on and at Motown, and it is very relevant in my opinion that those who did leave Motown for other pastures created or had hands in creating things (many of which were excellent things, as witness the non-Motown Four Tops and Spinners cuts posted earlier) that were very different from the Motown Sound.
(Lots of people have their own ideas about when the Motown Sound ended. My own is that with the dissipation of the incomparable bassist James Jamerson and the dissolution of the Funk Brothers house musicians, the Motown Sound as it was known and had evolved dissipated as well; Jamerson didn't take well to the move West, and he was already in the grip of alcoholism, which took first the sense of time from his hands and in due course---by way of cirrhosis of the liver and heart trouble---his life. As an aside, one of the most sought-after instruments by musicologists and/or collectors or music curators might be Jamerson's 1962 Fender Precision; the instrument was stolen just before his death in 1983 and has never been recovered.)
I grew up with the vintage Motown records. God knows how many copies I wore out of Motown records, almost as much as I wore out a boatload of blues. There certainly was a Motown Sound, and it certainly is relevant that a thread devoted to it should stick to it---it's more vast than people probably remember---and not presume that, just because a one-time or long-time Motown artist continued his or her recording career after leaving the label, it means they continued creating something resembling the Motown Sound.
{yawn}... If you dont like the structure of this thread, then move on or create one that suits you. What do you seek to prove with this bantering? No one is forcing you to visit here. Im not going to change anything just for you. I doubt you created Motown nor that it is necessary that you attempt to creat an argument just to appear more knowlegable about Motown history than I? And just who are you anyway?? Meanwhile, we're trying to have some fun here. So how about the rest of us actually enjoy the music, rather than be treated to your self-centered nit-picking?? Go start a war somewhere else. Please??
Indeed. I visited of my own free will. And, I stated my opinion, as I am certainly free to state. You're equally free to accept, reject, or whatever you like.
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Originally Posted by Hegotsoul831
Im not going to change anything just for you.
You're breaking my heart.
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Originally Posted by Hegotsoul831
I doubt you created Motown . . .
I never said or implied that I did.
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Originally Posted by Hegotsoul831
. . . nor that it is necessary that you attempt to creat an argument just to appear more knowlegable about Motown history than I?
If offering an opinion equals creating an argument, then I've created an argument. If sharing what I know of Motown history equals creating an argument, then I've created an argument. I guess I keep forgetting that offering an opinion or sharing knowledge is an affront to some people.
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Originally Posted by Hegotsoul831
And just who are you anyway??
Is that the best you've got?
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Originally Posted by Hegotsoul831
Meanwhile, we're trying to have some fun here.
You'll get no objection from me on that score.
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Originally Posted by Hegotsoul831
So how about the rest of us actually enjoy the music, rather than be treated to your self-centered nit-picking?? Go start a war somewhere else. Please??
If offering an opinion or sharing knowledge (not to mention showing respect for the claim of history) equals self-centricity, then you've got about three hundred thousand City-Data users who would, prospectively, stand guilty of that crime. Because every damn last one of us offers opinions and shares knowledge. And most of us have fun swapping them with each other.
Yeah, this was during the socially conscious era when
lots of songs emerged with concern for the environment,
politics and racial tensions. And also there were the
blaxpliotation action movies like 'Shaft', coming to stage.
Great selection though!
Watch your back, indeed---composer/producer Norman Whitfield took to heart Berry Gordy's policy of having just about anyone have a crack at a prospective hit, from which Gordy and staff would pick the version that got the single release. At the same time "Smiling Faces Sometimes" was being cut by Undisputed truth, Whitfield handed the Temptations a crack at it as well . . . a habit he had with a lot of the songs he wrote that became hits for others in the stable . . .
And while I still think that (in order) the Undisputed Truth, Gladys Knight and the Pips, and Edwin Starr made the best versions of those songs in their hit singles versions, the Temptations didn't exactly kill the songs . . .
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