dr goldfoot song

Which is oddly appropriate, I guess.

It only grows more impressive over time. I look at all of the material that the Supremes recorded from the very beginning through 1966 as courses in their musical education. Can’t wait till we get to 1969. Diana just shrieked out those 5 “hold me’s”! Wales Blog Awards 2012, Hand-picked hits, harmonies and hard-hitting soul from the world's greatest record label, specially chosen by Motown historian and writer Steve Devereux. Adult horror fans drawn in by Price, or by AIP’s burgeoning sideline in darker fare via Roger Corman and Edgar Allen Poe? (Those powerful takes were fine, in and of themselves, but after listening to three or four songs in a row, the listener yearned for something else. According to Susan Hart, the film was the idea of Ruth Pologe, head of AIP publicity in the New York office, who arranged with ABC to do a special relating to the picture. I couldn’t get this at all until I saw the film on You Tube.

Change ), Best Music & Entertainment Blog Second 'Dr. Shouldn’t the Supremes be afforded grudging thanks even from those who’ll never voluntarily listen to one of their records, for giving Motown the financial freedom to sign and release pretty much whoever they wanted, effectively bankrolling any number of obscure Motown soul sides? How many Sixties pop groups, male or female, black or white, signed a marketing deal to put their logo on bread? [2], Mario Bava was signed to direct. The rest of their songs for Motown are not. etc. A really interesting piece, Mr Nixon, but surprisingly, it doesn’t really cover the one aspect of this song that i’d love to know the answer to:-. Depth, because however deep you dig in the catalogue the quality threshold seems to stay absurdly high – from mega-hits to more obscure A-sides to B-sides to album cuts to unreleased material, the reason I’m able to do my radio show without repeating a single track (27 hours so far!)

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He had no interest in the film but was hired because Lucisano had him under contract, and he did not participate in the post-production phase of the American version. Berry Gordy learned from his experience in trying to sell Jazz, Blues and R&B in his record shop, exactly where the trends were going in young people’s musical taste. Click on the “previous” and “next” buttons below to go back and forth through the catalogue, or visit the Master Index for a full list of reviews so far. Only people whose records I've already discussed appear there at the moment - more names will be added to the lists all the time as I work my way through Motown's history, so do keep checking back! I wonder, though, what people who don’t like Motown – or people who do like Motown, just not the Supremes – hear in this. Los Angeles Times 2 Dec 1966: d24. The film ends with an extended frantic chase through the streets of Rome, and Goldfoot attempting to start World War III between Russia and the United States by dropping a nuclear bomb on Moscow. Post was not sent - check your email addresses! Whether by accident or design, Berry Gordy could have chosen no better brand ambassadors; not only did they reflect all the values he’d been grasping for, visually and aurally, but they’d done the slog too, fought in the same trenches, been there through the whole journey. He used that knowledge to first start his musical recording/production services, and then followed up with it in his early Tamla Records venture, and parlayed that into his very successful Motown Record Corporation, and Jobete Music Company, Inc. It’s not that surprising that he made those latter companies successes. Obviously the lyrics are pointless, so we only have the melody arrangement, production and Supremes performance to consider. And still, it’s ephemera, there’s no denying it. It’s just surprising how very successful they became. In terms of my own conjecture, I think it’s highly unlikely it was just “forgotten”.

Of course, when they needed some homegirls from the hood they dressed Diana & gals in those groovy ghettogirl outfits for “Love Child” & “I’m Livin In Shame” (homeade jam anyone? Alco logo stamped): 65-3335 [Alco logo] 59433; Reviews Add Review [r9121586] Release. American International Pictures, universally known as AIP, had spearheaded the surf and beach party movie genre, one of the first movie genres specifically aimed at teen audiences. Needless to say, Hemric and Styner are not my favourite song writers, nor one of my favourite songwriting teams at Motown (quite an understatement). It was an opportunity for you to reflect on the amazing success of Motown and the rationale behind it. Thanks Robert, duly amended!

Vincent would shake his head in disbelief and say 'What is happening to me?' When I saw the film version, it seemed to me that while the Supremes were singing in front of an audience (white West Coaster teenagers) the group might as well have been in Detroit. Dr. Goldfoot And The Bikini Machine Written-By – Hemric*, Styner* 2:22: Companies, etc. next moment she’s singing AND performing FUNNY GIRL! Think of it as an unauthorised track-by-track companion to the magnificent The Complete Motown Singles CD box sets, and beyond, with marks out of ten. Tonight they are talking about the British Invasion. I read only fun.

The Italian release is markedly different from the English-language edition, with more screen time spent on the antics of Franco and Ciccio, and less on Vincent Price and the other cast members.

Berry Gordy was simply looking for any way possible to integrate his artists and sound with white America, and what better opportunity than cinema? It’s taking us a very, very long time to get through the closing weeks of 1965 here on Motown Junkies, for one reason or another, and I don’t know if the task is made easier or harder knowing that there are still some grand Motown monuments to scale up ahead even before we reach the new year. "[13], The film was not particularly successful, and is considered by many critics to be director Bava's worst film. It’s a fascinating story either way; what’s not in doubt is that by the time the film was released, the Supremes were famous enough to merit AIP pressing up this promo 45 to hock the film. It is highly unlikely that any other Motown singers, if given the chance, could have been as committed to the demands of Motown songs yet slipped so easily into the “show business” mode of the mid- to late 1960s and be accepted, no matter the format. Even in the middle of this amazing mid-Sixties run of Supremes singles – none of them less than excellent pop songs (and yes, I include Nothing But Heartaches in that, before you ask), many of them chart-toppers, several of them outright masterpieces – we’ve already seen their road is strewn with distractions and asterisk-bearing novelties that don’t fit into the “official” discography. Finally, quality, because so many of these songs are superb, timeless, classic, whatever other shopworn adjectives you want to label them with. They had made it to the mountaintop. They all started working as free-lancers, because they couldn’t hold down a job.

It was a moving target, and one hard to pin down. Even in the 1950s, the film makers at least had the lily-white kid audiences clapping for (and seemingly liking) the Flamingos and Moonglows and other African-American artists. ), and they cannily packed the movies with pop stars, including opportunities for Motown acts like Stevie Wonder and (yes!) However, I would like to take issue with one of your points about Berry Gordy, Jr. A brilliant composer and music producer without a doubt, but I disagree with your statement about his lack of business knowledge. She did what she was told to do and learned every step of the way. But it’s fascinating, because when I play this, I wonder: is this what other people hear when Baby Love comes on? "[11], When Price was asked about working with Bava he said "I don't know what happened on the one we did together but perhaps it was not his fault.

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