Extraordinary Strings and Horns Arrangers Pt.2

Gene Page

“African American ‘Gene’ Page Jr., Is one of the most influential classically trained conductor, arranger and record producer in contemporary music”.
(Extract from the Independence Newspaper dated 20^th September 1998)

The contribution of arrangers to popular music recordings is often ignored, George Martin and Quincy Jones being the exception to the rule. Gene Page, the American orchestrator and producer who died last month in Los Angeles, was "session call number one" for any artist needing lush strings to heighten the appeal of a ballad.

As the guitarist Ray Parker Jr. (of Ghostbusters fame) said in tribute to his long-time friend and colleague:

“Take any romantic record of the last 25-30 years, be it by the Righteous Brothers, Michael Jackson, Barry White, Marvin Gaye, Johnny Mathis, Barbra Streisand, Lionel Richie, Kenny Rogers or Whitney Houston, and you've heard Gene Page's work. He was a spectacular arranger; no one could put together cellos, French horns and violins like him”.

“When I was a kid, still in diapers, Gene was already happening. I was a big fan of his. He had the same effect on me as Stevie Wonder. When you have this level of talent around in the studio, you get a little more humble”.

Born in Los Angeles in 1940, Eugene Page Jnr was taught piano by his father. Something of a child prodigy, he won a scholarship to the Brooklyn Conservatory and seemed destined for a career as a concert pianist. However, to earn extra cash, he started to help he started to help various acts polish their demo tapes. In the early Sixties, his work caught the ear of Reprise Records who hired him as their in-house arranger.

During that period in the 1970s Page still found time to conduct string arrangements for Aretha Franklin, the Four Tops, Deniece Williams, Natalie Cole, Dionne Warwick, Crystal Gayle, Julio Iglesias, Leo Sayer and even Elton John, an early Barry White convert, who used Page to great effect on the Philly-Sound-influenced single "Philadelphia Freedom" and the album Captain Fantastic and the Brown Dirt Cowboy (1975).

1980s Recording Sessions

Prior to his death Gene Page had conducted strings on many 1980s recordings that were just as successful as those of the previous decade, which included such recordings as "Endless Love" by Diana Ross and Lionel Richie, that actually peaked at number one on the Billboard Hot 100 Singles Chart week-ending 15^th August 1981 (9 weeks), followed by the duet "Tonight I Celebrate My Love" by Peabo Bryson and Roberta Flack, taken from the “Born To Love” album, gold-certified in America.

 "The Greatest Love of All" performed by Whitney Houston was another gold-certified hit single in America, with multi-platinum certification for Houston’s self-titled solo album. He went on to arrange strings for Atlantic Starr on their gold-certified album “All In The Name Of Love”, which featured the single "Always" that reached the number one position week-ending 13^th June 1987 (1 week). Anita Baker benefited from Page’s brilliant arrangements on her second solo multi-platinum album “You’re the Best That I Got” that reached number one on the Billboard 200 Albums Chart week-ending 24^th December 1988 (4 weeks). Many of these artists had number one albums on the Billboard 200 Albums Chart that featured a credit for Gene Page during a prolific decade that represents a crowning achievement for a great icon. In all, his name appeared on more than 200 gold and platinum records. He also conducted string arrangements on Teddy Pendergrass’ first post-accident studio album “Love Language”, that was certified platinum in 1984 for over one million copies sold in North America.

At Page’s funeral the Rev. William Minson Jnr. who officiated at the service remembers Page as "a man who always cared and shared with other people. More than his 35 year-career in popular music, I believe that this is Gene Page's biggest legacy."

Diana Ross & The Supremes Pt.3

             “Record-breaking Success in the Guinness Book of Records”

Miss Ross has managed to achieve the number one position on the Official UK Pop Albums and Singles Charts from the 1960s into the 1990s for a duration of 18 weeks in total!

Both herself and the Supremes were inducted  into the Rock and Roll Hall of Fame in 1988  and were recognized with a star on Hollywood Walk of Fame at 7060 Hollywood Blvd. As lead singer of the Supremes and as a solo artist, Ross has earned 18 number one singles (12 as lead singer of the Supremes and 6 as a solo artist) on the Billboard Hot 100 Singles Chart in America.

Gold selling album in America
produced by Ashford and Simpson.

In 1979 she collaborated once again with her long-time friends Nickolas Ashford & Valerie Simpson, whom she had worked with since her silver-certified studio album “Surrender” in the early 1970s. Ashford and Simpson co-wrote and co-produced “The Boss”, an RIAA gold-certified studio album, in 1979. The title single “The Boss” became a number one hit on the Billboard Dance Singles Chart, week-ending 25^th August 1979 (2 weeks).

Gold certification in the UK
awarded by BPI

The legacy still lives on with another greatest hits package “40 Golden Motown Greats Diana Ross & The Supremes” receiving a gold disc in the UK from the BPI on the 22^nd July 2013 for over 100,000 copies sold.

   GG

 The striking success of these compilations is an indication of the depth and variety of the songs recorded by Diana Ross and The Supremes over many years. The albums are part of many people’s record collections and continue to receive air-play to this day. It is not difficult to see why. The Soul Queen of Motown will always be part of pop music’s royalty.

                                    

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The Year Was 1965: A Significant Events In Motown's History Pt.4

Marvin Gaye

While the main production teams were enjoying spectacular success, other producers at the label were coming up with hits such as “Ain’t That Peculiar” released on Tamla Records and performed by Marvin Gaye, produced and co-written by Smokey Robinson. The song peaked at number one week-ending 27^th November 1965 (1 week) on the Billboard Hot Rhythm and Blues Singles Chart. The development of the song benefited from the expert help of several creative masterminds, including Willie Shorter who was doing the majority of the rhythm charts for Smokey Robinson and his song-writing team, working in conjunction with Robinson’s key creative partner Marv Tarplin during that period, with Paul Riser taking care of string arrangements. Tarplin’s brilliant guitar skills were vitally important to the overall success of the song.  He and Robinson collaborated on songs such as “I’ll Be Doggone” and “The Tracks Of My Tears.”

By the end of 1965 Motown Records had dominated the number one on the Billboard Hot 100 Singles Chart for a total of eight weeks during the year with three different acts. Motown Records also controlled the number one position on the Billboard Hot Rhythm and Blues Singles for a total of twenty-five weeks
. 
While Marvin Gaye was enjoying great success with Smokey Robinson, he also recorded his first major duet with Kim Weston, called “It Takes Two”. The album from which the single was taken, also entitled “It Takes Two”, was co-produced by William “Mickey” Stevenson and Harvey Fuqua. The hit song was co-written by female song-writer Sylvia Moy and William “Mickey” Stevenson. The song charted the following year in May 1966 and reached number four on the Billboard Hot Rhythm and Blues Singles Chart, peaking at number fourteen on the Billboard Hot 100 Singles Chart. This was soon to be followed by his successful duets with the late Tammi Terrell, starting in 1966.

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The Year Was 1965: Significant Events in Motown’s History Pt. 3

The Four Tops
 performing live

The next all-black male vocal group to top the charts was The Four Tops who knocked The Supremes off the top position with their thunderous performance of the single “I Can’t Help Myself (Sugar Pie, Honey Bunch).” The track exploded with a bang when it was released by Motown Records. It peaked at number one on the Billboard Hot 100 Singles Chart week-ending 19^th June 1965 (2 weeks). It is one of those songs that define “The Sound Of Young America,” all within two minutes and 43 seconds! Before the group had their first number one, Holland-Dozier-Holland had produced a song entitled “Baby I Need Your Loving” which was The Four Top’s first Top Twenty single which peaked at number eleven on the Billboard Hot 100 Singles Chart. It has become another classic.




Holland-Dozier and Holland in
the studio with The Supremes

The Supremes

Holland-Dozier-Holland were certainly on a roll when they surprised everyone with a sixth consecutive number one for The Supremes with “I Hear a Symphony.” The song displaced The Rolling Stones single “Get Off Of My Cloud” week-ending 20^th November 1965 (2 weeks). That very same week Chess Records’ “Soul Queen” Fontella Bass was at number four with “Rescue Me.” Another song was released from the album “I Hear a Symphony” entitled “My World Is Empty Without You.” It was the first single by The Supremes not to peak at number one on any singles chart listings in America. The recording style of the single was completely different from its predecessor with musical instrumentation sounding extremely gothic from a bygone era sometime in the 1500s in Europe. Earl Van Dyke’s Hammond organ sound configuration was made to sound like a liturgical pipe organ and reflected the trend towards baroque pop music during the mid-1960s. The song peaked at number five on the Billboard Hot 100 Singles Chart for two weeks in February 1965 and reached number ten on the Billboard Hot Rhythm and Blues Singles Chart.





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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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