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Post by Melody on Nov 9, 2003 9:44:23 GMT -5
Shout outs to (((((((((((((((EVERYBODY))))))))))) in this thread!!
Hey ((((Budrocket)))))! Welcome to the Tempts info board!!
I think that ((((Barrington))))'s sound DOES match the Temptations' "lead vocal" sound. If BO's sound DID NOT, ((((Otis)))) wouldn't have even considered him for a Temptation. BO became a member of the Temptations in 1998, but Otis was considering him for a Temptation back in 1975. The reason he didn't join at that time is that he was told he was too young. Later on he was hired on "retainer" for the job. I want to say once again if BO didn't have the Temptations "lead vocal" sound, I don't think Otis would have even considered him. BO did every well on all his leads and all during the time he was with the Temptations, I didn't read any reviews that said he didn't have the Temptations' "lead vocal" sound or something to that effect. I also have not read that (((Theo)))'s sound did not match the Temptations' "lead vocal" sound, and it is Theo's voice that's on the recorded version of The "Double Platnum Phoenix Rising" cd on "Stay" and "My Promise". BO sang these songs live in the concerts and many fans thought it was BO singing on the recorded version, me included!
Hey (((((Cheech))))! I really agree with you about BO really blending with ((((Ron)))), especially to me at the end of "Stay"!! OH LA LA! LOL!!
I think that ((((Terry))) DOES have the Temptations' "lead vocal" sound. At the concerts Terry did (((((Dennis)))' leads ("Papa", "Confusion", and "I Want To Get Next To You") very well!! Terry got down on the "tion" words in "Confusion" LOL!! I remember I think in Otis' book he mentioned how Dennis' had a fast tougue for those "tion" words in the song. LOL!!! Also Terry did a Splendid job on "Some Enchanted" Evening". He did it very "Easy and Smooth" to me. On the Grammy Award Winning "Ear" cd, I think Terry sounds like (((Paul))))) on "Selfish Reasons" and on the "Awesome" cd I think Terry sounds a lot like Paul on the remake of "I Want A Love I Can See", especially at the beginning part.
HAVE A "WINNING" WEEK EVERYBODY!! TTYAL!
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Post by Budrocket on Nov 10, 2003 10:57:37 GMT -5
> Bo's sound doesn't fit the group, yet Terry's does?
> Terry doesn't sound like any tempt I've ever heard.
> Here's the point, things evolve.
They do, but as I said, I never liked Bo Henderson; I think he riffs too much, & that vibrato, especially when he uses it on "My Girl" & stuff like that, makes me cringe. As for Terry Weeks, he's not a big favorite of mine either, though I prefer him to Henderson - personally, I miss Richard Street, who I always thought was incredibly underrated. He may not be able to squall like Ruff or Dennis, but what a singer!
> And I'd rather have Bo, than GC. Bo give me
> consistency of Performance, he tone goes
> perfectly with Ron.
Are you saying G.C. Cameron's performance isn't "consistent"? In what way?
> He knows how to work with these guys already
> and his voice has proven that the tempts can
> honor another grammy. Now, say what you will
> about that grammy, but that album was a slammin
> pop R & B album and his
> voice helped to vehicle that album.
I'm glad they've done well with those records, & it certainly hasn't done any harm to their gate receipts either, but personally I don't care for them..."Rhythm & Blues" is probably a misnomer anyway, as I hear precious little blues in modern "R&B." It doesn't sound anything like the soul music I grew up with. For one the the songwriting is vastly inferior - where are those classic melodies that keeps everybody hummin' like "My Girl"? - it's gotten too far away from that gospel vibe, & I think the reliance on electronic beats & synths has bled all the feeling out of the music. Nothing beats a REAL rhythm section playing live in the studio; if you have any doubts about that, check out the movie "Standing In The Shadows of Motown." I dare you to find anything on the charts that measures up to Aretha, or Otis, or the Tempts classic material. Why do you think the old school stuff is still so incredibly popular after 40 years? When I was a kid, the idea of liking your parents music was unheard of.
As for record sales & Grammy awards being any measure of artistic worth, there's a saying (& I'm not directing this towards you) that goes, "money is how the untalented keep score." Just because something is successful doesn't automatically make it GOOD - just take a look at the Top 40!
> The reason being is that people can read between
> the (Coke) lines and reality hit them in the head
> as far as everybody can't be wrong.
??
> Now, you say Otis built the group from the ground
> up,how do you know this? Can you explain how
> this was done? Imean Paul created
> the style that you see on the stage today,Eddie
> dressed them up,no Kool & The Gang,Jungle
> Boogie out fits when he was dressing them.
Guess you haven't seen pictures of those silver lame suits with the long jackets & goofy-ass hats circa 1968...<g>
> David gave them an electrfying performance that
> will never be re-created,Dennis was the bridge
> over troubled water,Melvin gave them a bass sound
> that nobody comes close to...I don't care who it
> is that tries,there will never be able to find a Melvin.
> So,having said that,explain your statement.
Certainly any group is a sum of it's parts, & Paul Williams' sense of style (Otis has always said he was the heart & soul of the group) & Eddie's attention to stage outfits was a major part of their look, but without somebody to get it going, hold the thing together through all the disappointments & setbacks, not to mention taking care of the myriad business details of running a successful organization, then it's nothing more than a group of dreamers, albeit stylishly dressed. The music field is loaded with also-ran's & never-were's.
Otis basically started the group, made the major decisions, assigned those duties you're talking about (& who do you think had to take up the slack when Paul's alcoholism got the better of him, or Ruff was off in la-la land, you're going to rely on him to arrange transportation?!), was the business liaison between Motown/Gordy & the act, handles the press (an exhausting job in itself), & most importantly KEPT it going all this time...otherwise you all wouldn't have anything to talk about! That & a million other little details you'd have no conception of unless you've ever lead a band, or even owned your own company (with employees). Somebody has to keep their head screwed on & pilot the ship or you'll never get off the ground (now there's a clumsy metaphor!).
They worked well as a team until the mid-60's when Ruff, Paul & Eddie started falling out. That's 3/5th's of the group right there...believe me, somebody had to keep it going, & that man was Otis, so let's cut him some slack & give him his due. Without him they'd be consigned to the history books long ago, along with Marvelettes, Mary Wells, The Contours, & a bunch of others that didn't survive the 60's.
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Post by AnnaKonda on Nov 10, 2003 11:42:52 GMT -5
I think the reliance on electronic beats & synths has bled all the feeling out of the music.
Amen! I've bought me a DVD about Jimi Hendrix and his Gypsy Band ... and I could not take my eyes off Jimi's hands on his guitar ... all handmade music, no show effects but the music itself. When he played "Machine Gun" I was convinced I was in heaven. Buddy Miles was a sight to see and a miracle to hear playing the drums and singing ... I know that has nothing to do with the thread -- I only wanted to explain how much I agree with the above statement. Therefore, I'll stop right here.
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Post by AnnaKonda on Nov 10, 2003 13:55:01 GMT -5
Without him they'd be consigned to the history books long ago, along with Marvelettes, Mary Wells, The Contours, & a bunch of others that didn't survive the 60's.
Who knows? But didn't Mary Wells survive because she had a serious disease? Or was that later? And guess what? The other day I went shopping with a friend -- and our ears pricked up when we've heard her sing "You beat me to the punch." We both said almost simultaneously: "I love that song ..." So, in a way, she survived the Sixities, in my opinion.
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Post by Budrocket on Nov 10, 2003 14:53:00 GMT -5
> So, in a way, she survived the Sixities, in my opinion.
But not her career, unfortunately. You should have seen the nasty little sh*t holes she was playing in the last several years of her life.
Dire, desperate, heartbreaking & tragic.
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Post by AnnaKonda on Nov 10, 2003 14:58:41 GMT -5
Ugh!!!! :crying
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Post by selfishreasons on Nov 10, 2003 15:00:04 GMT -5
Nobody said being a star lasts forever. to stay a star people need support.
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Post by AnnaKonda on Nov 10, 2003 15:05:45 GMT -5
True Cheech,
actually, I believe that stardom is the first thing that dissipates in an artist's career. The things that remain -- as in the case of Mary Wells (and many others) is the appreciation of their contribution to their art.
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Post by selfishreasons on Nov 10, 2003 15:10:45 GMT -5
 woo hoo, she agrees with me. but for real, if you aren't supported in a very crazy business like music, you fall to the bottom. A manager is the only thing a person need. Gotta have the press in your pocket and the label behind you, pushing your album. Gotta have Dj's. Gotta have producer putting out current material that will sell and still be able to keep your individuality.
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Post by AnnaKonda on Nov 10, 2003 15:41:52 GMT -5
Cheech, you know you're talking to a "struggling" writer (who should actually work harder on her stories than she does lately)? I once was writing for a prestigious business magazine (high-closs, very fine lay-out); the whole thing came to an end when the editor (who happened to be a friend of mine ) ;D quit. Then I was writing for a kind of "intellectual" bi-lingual academic journal, and both editors and readers loved my stuff. Well needless to say that the publisher of that journal was a friend of mine, too, knew my writing and gave me a chance to present it to a wider audience ... He, too, quit because of serious disagreements with some of his academic buddies -- and guess what? Here I go sending stories to small presses again and so forth ... sort of "playing sh.. holes" too. I know a lot about support ...  That doesn't mean, however, I considered myself being a star! (Just felt like being one (privately ;D) every now and then because it felt so good to write for such publications ... Memories, sweet memories ... :laughing :laughing :laughing |
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Post by Pfunk2k3 on Nov 10, 2003 16:18:43 GMT -5
I don't think Bo fit the Temptations lead vocal sound, as good as he is. Too much vibrato, for one, & he tends to riff too much around the melody. I think G.C. is a much better fit.
I agree with you on this point. Bo never was and never will be in the same class as Dennis, Ali, or Richard as far as being a vocalist is concerned. That grammy had nothing to do with his "talented vocals". Probably had more to do with Shelley greasing the palms of some NARAS commitee members or the NARAS voters not recognizing any of the other artists in the catagory so just voting for the familiar name. Phoenix Rising was worth an award, Ear-resistable was not and the proof of that is record sales. Phoenix Rising platinum, Ear-resistable not even gold. Awesome being nominated for a grammy this past year was another total joke. Even worse sales than Ear-resistable, did'nt get much airplay,and 1 awful single (4 days) before Motown cut it's losses and canned that crap. Bo just needs to be patient, once these albums make a dollar or two over the next 20 years he should get a royalty check for maybe enough to get a cup of coffee.
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Post by Budrocket on Nov 10, 2003 19:26:32 GMT -5
> but for real, if you aren't supported in a very crazy
> business like music, you fall to the bottom. A manager is
> the only thing a person need. Gotta have the press in your
> pocket and the label behind you, pushing your album.
> Gotta have Dj's. Gotta have producer putting out current
> material that will sell and still be able to keep your
> individuality.
Maybe 10 years ago, but not anymore; thanks to the internet you don't need any of that stuff anymore...pretty soon you won't even need labels anymore, it'll all be downloaded via the web; it's happening already. They'll be barely surviving off of their back catalogs...until the rights revert back to the artists, that is, after the 30 year period (unless the artists in question were young or ill-informed or foolish enough to sign it all away). That's why the major record industry & the RIAA, their attack dogs, are so freaked out. Hell, now that Bertelsmann has gobbled up Sony, there's only, what, 3 major labels left in the world now?
And speaking as someone who worked at a major label for years, as an artist you do NOT want to be on one. There are a zillion ways they screw you, & their contracts are extremely unfair. You don't make any money on CDs anyway, it all comes from touring...& now the labels want your merchandising rights as well in order for you to get signed. You can't fight that unless you already have a big name, then you can negotiate. Mind you, artists like Courtney Love & Madonna are now talking about putting out their own product & forgoing the label entirely...that's the wave of the future. The Recording industry is like a dinosaur that hasn't realized the big one has hit & they're about to become extinct as we know it.
First off you have to ask yourself if you're in this to be "a star" or an Artist. The former means little, except you get photographed a lot, maybe a few stalkers, & you have a high monthly limo bill. But if you're a serious artist, you should be able to get satisfaction from doing your art, be it music or acting or whatever. After that it takes a little astute planning to carve out a niche for yourself & find an audience. Look at Phish. Personally I can't listen to that stuff, but they did it all themselves without Sony or Time Warner or any of those monsters.
Produce yourself. You can buy pro studio equipment for next to nothing these days, it's all done on your computer hard disk. And DJs? Forget it...since the 1996 Communications Act all the mergers have put together megalith corporate monstrosities like Clear Channel that program EVERYTHING. The days when commercial station DJ's get to program their own tunes are GONE, man. It's all prerecorded now, provided to the stations on carts by their corporate headquarters somewhere else in the country. DJs are merely a formality, & many are prerecorded these days as well.
Your best bet is to do your own thing, stay away from trends or what you think is "radio friendly." Do what you love, & carve out your own little niche, sell it through your website, go out & play, make connections via email. That's the only way to do it & still keep everything you earn. If you're only interested in the trappings of being a "star," then they've got you right where they want you, & you're doomed.
> That grammy had nothing to do with his "talented vocals".
> Probably had more to do with Shelley greasing the palms
> of some NARAS commitee members or the NARAS voters
> not recognizing any of the other artists in the catagory
> so just voting for the familiar name.
Really, you give him too much credit for being an ultra powerful Svengali/mogul. He's not a David Geffin or Michael Ovitz, Shelly is just a personal manager who is working a successful entertainment venture. You too can join NARAS & vote with the rest of them. They got the award, & good for them. It's just one of those things.
> Bo just needs to be patient, once these albums make a
> dollar or two over the next 20 years he should get a
> royalty check for maybe enough to get a cup of coffee.
If he has songwriting credits he'll get songwriting & performance royalties. If he's just an artist, how much he gets in the way of mechanicals depends on his contract. I sure hope he put something away for that proverbial rainy day...especially at his age. They don't usually sign cats in their 40's...
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Post by selfishreasons on Nov 10, 2003 21:28:23 GMT -5
I don't think Bo fit the Temptations lead vocal sound, as good as he is. Too much vibrato, for one, & he tends to riff too much around the melody. I think G.C. is a much better fit. I agree with you on this point. Bo never was and never will be in the same class as Dennis, Ali, or Richard as far as being a vocalist is concerned. That grammy had nothing to do with his "talented vocals". Probably had more to do with Shelley greasing the palms of some NARAS commitee members or the NARAS voters not recognizing any of the other artists in the catagory so just voting for the familiar name. Phoenix Rising was worth an award, Ear-resistable was not and the proof of that is record sales. Phoenix Rising platinum, Ear-resistable not even gold. Awesome being nominated for a grammy this past year was another total joke. Even worse sales than Ear-resistable, did'nt get much airplay,and 1 awful single (4 days) before Motown cut it's losses and canned that crap. Bo just needs to be patient, once these albums make a dollar or two over the next 20 years he should get a royalty check for maybe enough to get a cup of coffee. Here is a question for you, since there is no doubt where Bo stands in your eyes. What will it take or would it have taken for Bo to prove himself a good singer to you? What would have made Bo worthy of Being a Tempts? What in your eyes makes GC better? |
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Post by winetender on Nov 10, 2003 21:29:34 GMT -5
::)Say what You may about Mary Wells, But, She did Knock out the beatles with "My Guy" for the #1 spot on the Charts! :DBut, as We All know, She died at a very young age! How Tragic A Loss!  |
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Post by Budrocket on Nov 11, 2003 7:20:02 GMT -5
> Here is a question for you, since there is no doubt where
> Bo stands in your eyes. What will it take or would it have
> taken for Bo to prove himself a good singer to you? What
> would have made Bo worthy of Being a Tempts?
Like I said, too much vibrato, too much riffing. It's just a subjective personal preference. He is a good singer...so is Pavarotti. I just don't care for him.
> What in your eyes makes GC better?
"It's a - shaaaame, the way you mess around with your man...it's a - shaaaaame..."
Any questions?
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woo hoo, she agrees with me. 