Norman Whitfield Musical Legacy Lives On Pt.3

Rose Royce first successful studio album
produced by Norman Whitfield

Whitfield's record company achieved 
several gold and platinum 
records with Rose Royce while they were signed to his label, in the process generating millions in gross earnings between the USA and the UK in which  he produced the "In Full Bloom" (1977) and "Strikes Again" (1978). The first album studio features the legendary Jack Ashford former member of The Funk Brothers and Paul Riser conducting strings arrangements.  Former Motown studio musicians Melvin "Wah Wah" Watson, Cornelius Grant with legendary Gene Page on

Rose Royce second most successful studio
album also produced Norman Whitfield

 strings arrangements (also famous  for working with the late Barry white). are featured on the second studio album. The single "Love Don't Live Anymore" from the second studio album managed to achieve gold certification in the UK for over half-a-million copies on the 1st October 1978 and peaked at number two on the UK Official Pop Singles Chart week-ending 16th September 1978 (1week) .The album "In Full Bloom"also  peaked at number one on the Billboard Soul and R&B Albums Chart week-ending 1st October 1977 (3 non-consecutive weeks). Further success was achieved by the band's greatest hit album "Rose Royce Greatest Hits" which obtained platinum certification in the UK from BPI and topped the Official UK Pop Albums Chart week-ending 1st March 1980 (2 weeks). 

The band's UK certified platinum album

 A single sampled version of “Car Wash” was released in 2004 from the soundtrack album entitled “Shark Tale” The version was number 4 on the official UK Pop Chart in 2004 and achieved gold certification according to the BPI (British Phonograph Industry) for 100,000 copies sold in the UK. The soundtrack was also certified gold in Australia with 35,000 copies and New Zealand with 7,500 copies. In 2011,  The X Finalists re-recorded "Wish Upon A Star." The song debuted at number one week-ending 10th December 2011 (1 week) on the Official UK Pop Singles Chart and also Scottish Singles Chart the same week. The single sold in excess of 98,000 plus copies in its first week. The single also received a silver disc for units sold in excess of quarter- a-million copies in the UK, which was awarded on 1st February 1978 by  BPI. 

The royalties he has earned over the last ten years averaged approximately half a million dollars per year. This gives you an idea of the income potential and how the music industry benefited from Norman’s creative ability by generating vast earnings across the globe through advertisements, films soundtracks and new recordings.  This legendary and formidable brand shows every sign of impacting generations to come. The late Norman Whitfield is one of the top ten best record producers of the old school. Long live the Norman Whitfield sound.

                              
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Norman Whitfield Musical Legacy Lives On Pt.2

Whilst at Motown, in addition to his success with the Temptations, Norman produced gold singles and albums for Rare Earth, a white rock band. “I Heard It Through the Grapevine”, in the version performed by the late Marvin Gaye, was also inducted into the Grammy Hall of Fame for "historical, artistic and significant" value. In 1986, two years after Gaye's death, the song was re-released in the UK and peaked at number eight on the UK official Pop Singles Chart, thanks to a Levi's commercial. The song also charted successfully in Germany, peaking at number five on the chart. The song also achieved chart success twice on the Irish Singles Chart, reaching number seven on its initial release in 1969 and peaking at number four on its 1986 re-release.

Marvin Gaye's version of “I Heard It Through The Grapevine” has since become a landmark in Pop music. In 2004, it ranked at number 80 on Rolling Stone's list of The 500 Greatest Songs of All Time.

On the commemorative 50th Anniversary of the Billboard Hot 100 issue of Billboard magazine in June 2008, Marvin Gaye's version was ranked as the 65th biggest song on the chart. It was also inducted to the Grammy Hall of Fame for "historical, artistic and significant" value.

Before Norman left the Motown organisation, he received several Grammy Awards. "Cloud Nine" won Motown Records its first Grammy Award in1969. He received a second Grammy award for “Papa Was A Rollin’ Stone" for Best R&B Performance by a Duo or Group and he finally received Grammy awards for the instrumental B-side to “Papa Was A Rollin’ Stone" with the legendary Motown strings arranger Paul Riser for Best R&B Instrumental Performance and a joint award with co- writer Barrett Strong for Best R&B Song “Psychedelic Soul” the same year at the Grammy Ceremony.

 The legendary Motown strings arranger Paul Riser received a Grammy with Norman for Best R&B Instrumental Performance and joint award with co-writer Barrett Strong for Best R&B Song “Psychedelic Soul” the same year at the Grammy Ceremony.


"Car Wash" soundtrack

After his departure from Motown Records he went on to have tremendous success with a film sound track called “Car Wash” which was his first major project after leaving Motown Records. The album and single were certified gold and platinum by the RIAA (Record Industry Association of America). The single went on to achieve number one both on the Billboard Pop and R&B single chart listings, whilst the album went to number 14 on the Billboard Pop album chart listings. The soundtrack won a Grammy award in 1977 for Album of Best Original Score Written for a Motion Picture or Television Special at the 19^th Grammy Award Ceremony. The film cost less than $2 million to make and generated over $20 million at the box office. By the end of the 1970s, it is interesting to note that black soundtracks and films generated over $100 million in estimated
revenue, marketed mainly to black audiences.  

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Norman Whitfield Musical Legacy Lives On Pt.1

The mastermind Norman Whitfield

Norman Whitfield was born on 12^th May1940 in Harlem, New York and passed away on 16^th September 2008 in Los Angeles at the age of 68. He founded Whitfield Records in Los Angeles after his departure from Motown Records. He was known as the father of the “Psychedelic Funk” sound. Longer songs, heavy bass line, distorted guitars, multi-tracked drums and inventive vocal arrangements became the trademarks of Norman’s production outputs, mainly with The Temptations.

The Grammy Award studio project and
first for Motown Records and
Norman Whitfield

He developed the sound with the help of the Motown studio band “The Funk Brothers”, with the assistance of the legendary Paul Riser as conductor and strings and horns arranger. His innovative music production concentrated more on instrumentation and put less focus on vocals, which was a major departure from the Motown signature sound, the “Sound of Young America”, that made production and song-writing team Holland, Dozier and Holland famous.

Prior to Norman Whitfield’s departure from Motown Records, he produced and co-wrote with Barrett Strong the majority of The Temptations’ recording projects during the first ten years of the label’s operation into the early 1970s, with such songs as “Just My Imagination (Running Away with Me)”, “Ball Confusion”, “Papa Was a Rollin’ Stone” and “I Can’t Get Next to You”. All these singles achieved platinum certification in America for selling over two million plus copies each. "Cloud Nine" won Motown Records its first Grammy Award, for Best R&B Vocal Group Performance of 1969. The Temptations’ recording projects produced by Norman featured the funky psychedelic sound which eventually created a large body of gold, platinum and multi-platinum certifications that still continue in the UK and America into the 21^st Century, making The Temptations the most certified black male vocal group in music history. He also produced the last major single at the old Studio A recording studio before it was turned into  museum.The single was "Papa Was a Rollin' Stone" which received platinum award by RIAA for over two million copies sold in America and peaked at number one on the Billboard Hot 100 Singles Chart week-ending 2nd December 1972 (1 week).

The gold certified album "All Directions"
that features "Papa Was a Rollin' Stone"

This demonstrates the excellent production ability of Whitfield and the sound engineer at the time, the legendary Russ Terrana (a white man who was responsible for the sound engineering and mixing of over 89 number one records for Motown Records from the mid 1960s to early 1970s) and the brilliance of The Funk Brothers studio band. The musical compositions of Norman and Barrett reflected the social unrest and violent disturbances that took place across America’s inner cities after the death of Martin Luther King and also America’s involvement in the Vietnam War during the late 1960s. Musically they were totally in tune with the current events of that time.     


                                         



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The Year Was 1965: Significant Events in Motown’s History Pt. 2

I

Marvin Gaye's first number one hit single

In the month of May Smokey Robinson produced his magic formula again with Marvin Gaye, as the latter stepped out of his studio drumming role and turned to singing as the label’s leading up-and-coming male vocalist. Robinson also found time to compose the song “I’ll Be Doggone” with guitarist Marv Tarplin and Pete Moore, founding members of The Miracles, whilst on tour. Marvin Gaye was an emerging genius who co-wrote his first three hit records, “Stubborn Kind of Fellow”, “Hitch Hike” and “Pride and Joy”. He was one of the first artists at Motown to do so. Gaye became brilliant at interpreting other song-writers’ material, improvising and improving on the original song and making it his own in the process. “I’ll Be Doggone” was certainly one of those songs. It topped the Billboard Hot Rhythm and Blues Singles Chart week-ending 22^nd May 1965 (1 week). Each member of The Funk Brothers added their own momentum and richness to the song’s groove helping to send the song to the top! 

The Supremes' album  containing
 the 1965 single "Come See About Me"

The Motown organisation was by now a winning brand and a major player within the industry. In the eleven months from August 1964 to June 1965, The Supremes had five number one singles on several singles chart listings. The five consecutive number one hits were “Where Did Our Love Go”, “Baby Love”, “Come See About Me”, “Stop! In the Name of Love”, and “Back in My Arms Again” The industry was now aware of the fact that Berry Gordy Jr. had tremendous power within his hit-making teams, with the credentials for consistent success. The key leading act The Supremes were performing a musical fusion of gospel and rhythm and blues which was sophisticated, innovative and intoxicating, with a high level of musical excellence. It also helped that the women were beautiful and well-dressed as leading fashion icons of the era!  

The fourth of the hit run, the power house song “Stop! In the Name of Love”, knocked The Beatles song “Eight Days a Week” off the number one position with a big bang and started its reign week-ending 27^th March 1965 (2 weeks). The Supremes became the first group in Billboard Hot 100 Singles Chart history to have four chart topping singles in succession!

The hit album featuring the number one
 singles "Stop! In the of Love"
 and "Back In My Arms Again"

The label then released another monster classic recording called “Back in My Arms Again”, which reached the number one position week-ending 29^th May 1965 (1 week), once again produced by Holland-Dozier-Holland. It thus became the fifth consecutive number one on the Billboard Hot 100 Singles Chart week-ending 12^th June (1 week). A new record! The track vocals were laid down on the 22^nd December 1964, followed by the dynamic and thunderous bass line of James Jamerson Jr. with Mike Terry’s excellent performance on saxophone and James Gittens’s ringing and driving vibes giving the song its special touch. Studio A was packed with musicians from the Detroit Symphony Orchestra performing strings, located on a built-up stage up again the wall, until the company acquired more studio space.

By 1965 many experts in the industry were trying to define the sound’s musical elements but Adam White, a British former music editor of Billboard Magazine, captured the essence brilliantly: “ A bedrock bass line; an emphatic beat accentuated by tambourines performed by both Jack Ashford and James Gittens; pounding percussions, drums and piano tracks; saxophone-driven brass charts; shrill femme backup vocals in the classic call-and-response mode of gospel performances; and those swirling, riff-reinforcing strings of the Detroit Symphony Orchestra. Motown had finally broken down racial barriers. The musical sophistication spread around the world. When you listen to ‘Back in My Arms Again’ you do not think about the track in terms of black or white sound; the music was an international language with a powerful spiritual force that changed the atmosphere all around you.

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The Year Was 1968: Significant Events in Motown’s History

Marvin Gaye and Tammi Terrell
were Motown Record's 
most successful duo.

1968 was the year that Marvin Gaye cracked the winning formula with Tammi Terrell, with the creative assistance of Ashford and Simpson, who became both their song writers and music producers for their next two number one singles on the Billboard Hot Rhythm and Blues Singles Chart, starting with the single released on March 28^th 1968 “Ain’t Nothing Like the Real Thing,” which achieved the number one position week-ending 8^th June 1968 (1 week) and also peaked at number eight on the Billboard Hot 100 Singles Chart. The next number one song followed in late summer with “You’re All I Need to Get By”, at the top week-ending 31^st August 1968 (5 weeks). These two songs performed extremely well in the UK and in other European music markets, selling hundreds of thousands of copies across Europe. Marvin Gaye and Tammi Terrell became the most successful duo in the history of the label during this period.

Ashford and Simpson.
The song writing and
 music production team behind
Marvin Gaye and Tammi Terrell success.

The performances of Gaye and Terrell were of top quality, delivered with class and sophistication. Their voices flowed smoothly like milk and honey, graced with beauty and poetic yet filled with sexual passion from start to finish, unmatched by anyone at the time. They became a trade-mark brand for Motown and were certainly perfect for each other in terms of the blend of voices and harmonisation, making the most of the beautiful melodies developed by Ashford and Simpson. 

The original roots and feelings of the majority of these songs written by Ashford and Simpson were developed by Valerie Simpson playing the piano, as they worked chord structures for each song. Each track was underpinned by soulful, gospel-tinged musical themes, which were strongly influenced by the composers’ experiences back in the city of New York, where they performed in the Baptist church choir. This experience impacted their musical intelligence and approach to composing and producing songs and helped them create brilliant songs, with the skilful support of The Funk Brothers under the leadership of Earl Van Dyke. 

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The Year Was 1963: Significant Events in Motown’s History

The number one single "Two Lovers"
taken from album. 

1963 became a phenomenal year for Motown, with three recording acts topping the Billboard Hot R&B Side Singles Chart. The first artist to have achieved such a fate was the late Mary Well with her first number of career produced and written by Smokey Robinson. The single “Two Lovers” peaked at number one week-ending 19^th January 1963 (4 weeks).

The single "Fingertips"
from the number
one album.

This was followed by the then newly signed Little Stevie Wonder with the single entitled “Fingertips (Part 2)” which topped  the singles charts on two Billboard listing: Billboard Hot R&B Side Singles Chart week-ending 3^rd August 1963 (6 weeks); Billboard Hot 100 Singles Chart week-ending 10^th August 1963 (3 weeks). Also the single achieved similar success on the Cash Box Pop Singles Chart survey week-ending 3^rd August 1963 (4 weeks). It was the first live single in Billboard history to go to number one. The parent album “The 12 Year Old Genius” became the first live album according to Billboard to peak at number one on the Billboard 200 Albums Chart week-ending 24^th August 1963 (1 week). The entire album was produced by the legendary Berry Gordy, Jr.

Martha Reeves & the Vandellas were first
 female  group to have a major hit
 with Holland-Dozier-Holland
with "Heat Wave"

The following month on the 14^th September 1963, The Martha Reeves &; the Vandellas stayed at number one on the Billboard Hot R&B Side Singles Chart for 4 weeks with their single “Heat Wave” produced by Motown main song writing and music produced team Holland-Dozier-Holland premier hit making team at the label.

The label dominated the number one position that year for total of 14 weeks on the Billboard Hot R&B Side Singles Chart.  All these brilliant tracks and albums released and recorded were underscored by The Funk Brothers with vocal support from The Andantes other members of Motown family.



                                      
                                               
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Significant Achievements in the Detroit Sound Pt.2



Marvin Gaye Trans-Atlantic hit

Motown Records went on to have further trans-Atlantic success with the single “I Heard It Through The Grapevine” which dominated the Billboard singles chart listings, starting on the Billboard Hot Rhythm & Blues Singles Chart at number one week-ending 14^th December 1968 (7 weeks), then on the Billboard Hot 100 Singles Chart week-ending 14^th December 1968 (7 weeks), followed by the Cash Box Pop Singles Chart week-ending 21^st December 1968 (5 weeks) and finally number one on the UK Official Pop Singles Chart week-ending 18^th February 1969 (3 weeks). The very same week-ending 14^th December 1968 that Gaye was at number one, Diana Ross & the Supremes were at number two with the single “Love Child” which was at number one previously week-ending 2^nd November 1968 (2 weeks). Also Stevie Wonder was at number three with the single “For Once in My Life.” Marvin Gaye managed to achieve further success on the UK Official Pop Singles Chart with the single “Too Busy Thinking ‘Bout My Baby” week-ending 29^th July 1969 at the number five position for one week. The single was extracted from the album entitled “M.P.G” which reached number one on the Billboard Hot Soul and R&B Albums Chart week-ending 21^st June 1969 (2 weeks).

The Temptations and Diana Ross &
 the Supremes platinum certified single.

“I’m Gonna Make You Love Me” was a joint monster hit for Diana Ross & the Supremes and the Temptations, going all the way to number two on the Billboard Hot 100 Singles Chart week-ending 11^th January 1969 (2 weeks). It also peaked at number two on the Billboard Hot Rhythm and Blues Singles Chart and made it to number one on both the US “Record World” Top Singles and US Cash Box Pop Singles Chart week-ending 25^th January 1969 (1 week), dethroning “I Heard It Through The Grapevine” which held the number one position for the previous three weeks, beginning week-ending 4^th January 1969. The single was finally certified by the RIAA in the 1990s as a platinum record for selling over two million copies in America. It also did very well on the UK Official Pop Singles Chart, reaching number three week-ending 4^th February 1969 (1 week).

UK Pop number one
 album for both groups.

The parent album “Diana Ross & the Supremes Join The Temptations” did very well in America and the UK albums charts. It peaked at number one on the UK Official Pop Albums Chart week-ending 9^th February 1969 (4 weeks) and also spent one week at number two on the Billboard 200 Albums Chart week-ending 11^th January 1969. It was also at the top of the Billboard Hot Soul and R&B Albums Chart week-ending 4^th January 1969 (2 weeks). During the same period Diana Ross & the Supremes with The Temptations had another big hit with a soundtrack album called “TCB Diana Ross & the Supremes with the Temptations” which climbed to the top position on the Billboard 200 Albums Chart week-ending 8^th February 1969 (1 week), with the album “Diana Ross & the Supremes Join the Temptations” at number five at same time. The “TCB” album did very well on the Billboard Hot Soul and R&B Albums Chart, reaching number one week-ending 18^th January 1969 (6 weeks). All these singles and albums featured the great talents of The Funk Brothers accompanied by the Detroit Symphony Orchestra string section, led by concertmaster Gordon Staples, with vocal support from The Andantes.

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