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Where Did Our Love Go?: The Rise and Fall of the Motown Sound (Anglais) Broché – 8 octobre 2007


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Where Did Our Love Go? chronicles the rise and fall of Motown Records while emphasizing the role of its dynamic founder, Berry Gordy Jr. First published in 1986, this classic work includes a new preface by Nelson George that identifies Motown's influence on young recorders and music mogels of today, including R. Kelly, D'Angelo, Sean Combs, and Russell Simmons. Gordy's uncanny instinct for finding extraordinary talent--whether performers, songwriters, musicians, or producers--yielded popular artists who include the Supremes, the Jackson Five, Smokey Robinson, the Miracles, the Temptations, Marvin Gaye, the Four Tops, and Stevie Wonder. Not shy about depicting Gordy's sometimes manipulative and complex relationships with his artists, George reveals the inner workings of the music business and insightful material on the musicians who backed these stars. The large cache of resulting Motown melodies is still alive in commercials, movies, TV programs, and personal ipods today.


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Amazon.com: 17 commentaires
38 internautes sur 42 ont trouvé ce commentaire utile 
The BEST Motown book 24 mars 2003
Par D.V. Lindner - Publié sur Amazon.com
Format: Relié
One of my smartest purchasing decisions was to pick up this work by Nelson George in June 1986 when it was still in hard cover. I've never let it out of my sight since. Time has proven it the precursor of a deluge: `Dreamgirl,' & `Supreme Faith' by Mary Wilson (1986, 1990), `Temptations' by Otis Williams (1988), `To Be Loved,' by Berry Gordy (1994), `Inside My Life' by Smokey Robinson (1989), `Dancing In The Street' by Martha Reeves (1994), and `Between Each Line of Pain and Glory,' by Gladys Knight (1997), among others. I bought them all and I read them all. By far the worst, was the October 1993 work by Diana Ross, `Secrets of a Sparrow,' which was quickly named the worst non-fiction work of the year by People magazine. I couldn't argue with them.
`Where Did Our Love Go,' on the other hand, proves a truth we discovered in the day of the very music it chronicles: no amount of tepid covers surpasses a towering original. Perhaps because Mr. George was not an insider at Motown in the 60s, his history of the company is so objectively good. I've read it many times in over 16 years, and haven't found a date or factual mistake.
And it is balanced. The wonderful music of those glory days in Detroit is given the respect and affection it deserves, as well as the how-it-came-about details. Mr. George acknowledges as most of us do, that Motown's 60s sound is timeless, and is going to outlive Berry Gordy, the artists whose names appeared on the labels, and we baby-boomers who were weaned on it.
Yes, the who-struck-John stories of disappointment are delineated fairly too: the career declines and /or disappointments of folks like Martha Reeves, Gladys Knight, Chuck Jackson, Marvin Gaye and, especially Florence Ballard. But unlike the recollections of the authors listed above, `Where' is not told by a writer needing to come out smelling blameless or put-upon at the end.
All these years later, `Where Did Our Love Go,' by Nelson George remains the single most essential biography of Motown Records you can own. Buy it anyway you can manage to, even used - just don't ask to borrow mine. Beyond it, there are two companion works you should also seek out for some fair and detailed `inside' looks of Motown in those days: `Divided Soul,' David Ritz' account of Marvin Gaye's life, which appeared first in 1985, and might have been helped in its excellence by the fact that its subject was no longer around to censor it or `advise.' Finally, from 1989, J. Randy Taraborrelli's `Call Her Miss Ross,' could likely be a dozen times more factual and objective than the 1993 work of the former Supreme herself could ever be!
28 internautes sur 32 ont trouvé ce commentaire utile 
Very good however... 17 avril 2005
Par Music Lover - Publié sur Amazon.com
Format: Broché
It has been awhile since I read this book so I have to rely on my memory somewhat of the book's contents. Yes, it is a very interesting book and as a Motown fan, I certainly enjoyed it. Sometimes, though, I wonder about some of Mr. George's comments (and if you are reading this Mr. George I mean no disrespect).

Did he really have to describe the talented Kim Weston as a "dark skined woman with a tendency to put on weight?" Was she really laughed at when she got on stage? To me, Kim Weston was one of Motowns most talented female singers. Couldn't the author have spent a little more space on her vocal talents?

He dismisses the Supremes post-Diana Ross career in a few sentences. Did he ever listen to any of those records? The post-Ross Supremes made some wonderful music which is just now being rediscovered.

He writes off white singer Chris Clark as a "not very gifted singer". From the few songs I have heard, she may not be a virtuoso, but she's not that bad! I know of some rabid Chris Clark fans who would challenge Nelson George on that point.

He spends a lot of time on certain subjects such as Motown's post-70's decline, but seems to spend very little time actually analyzing the music.

A writer, of course, has a right to his opinions and I think, in all fairness, he does a very good job with the book. My biggest complaint is that he seems a little cynical about Motown. I know that not all was happy beneath the wonderful music people heard, but there is still something in his attitude that bothers me a little. Sometimes he seems a little bit mocking in his tone. He wrote a later book about hip hop (a music style I don't care for) and seemed to treat the whole subject with more respect.

I'm probably being a little too analytical about this book.

Anyway, this is still a good book. Put on some Motown music and enjoy.
13 internautes sur 14 ont trouvé ce commentaire utile 
MOTOWN LITE 28 août 2009
Par W. BUTLER - Publié sur Amazon.com
Format: Broché Achat vérifié
If you want a Cliff's Notes (202 page) version of the Motown Story this is a great read. But if a black music authority devotes 5 pages to Marvin Gaye's duets with Tammi Terrell (and 6 more to Flo's demise) one already knows this expensive paperback is not going to provide the Motown "nitty-gritty" I was hoping for.

Which for me - now the nostalgia factor is wearing off - requires seperating highly enjoyable generic Motown hit factory "products" from those iconic songs future generations will rank as all-time 60's classics. The one Motown song certain to be in this latter category is Marvin Gaye's "I Heard It Through The Grapevine". A note-perfect recording which never stales - and is never mentioned by Mr.George.

In his last chapter he removes Norman Whitfield from the Motown role of honor because - by 1983 - his wah-wah guitar sound had become a cliche! Why inaccurately denigrate this remarkable pioneer, who seamlessly fused human voices and rhythm instruments to create original non-formulaic songs - some up to 14 minutes long? A sophisticated musical form even the great Duke Ellington never fully mastered.

That some creative artists "burn-out" has no bearing on the art they created when in their prime. Isn't it obvious to everyone who's studied the entire Motown oeuvre that Norman was their only composer/producer to emerge as a bone-fide musical genius?

I knew nothing of Norman Whitfield's output when his Temptations and Undisputed Truth albums were first released. But what a discovery! Ten albums which remain unique achievements in pop music history. As enjoyable and relevant today as when first taped and mixed.

How Norman Whitfield "beat the system" to become a great American composer is yet to be disclosed in a book I hope will be written soon. Should "Universal" release ALL his Motown tracks in a 10 CD box this re-evaluation could take only a few weeks.
13 internautes sur 15 ont trouvé ce commentaire utile 
Best book on motown I've read 14 mars 2003
Par Un client - Publié sur Amazon.com
Format: Broché
Although a little short on photos (it was obviously not the authors' intention to be another photo book), this is in many ways the best book for someone really interested in the subject of Motown to own,in that the author pulls no punches. Other books on this record company/hit machine of the 60s & 70s suffered from censorship by the record company's head and his people.
This book does not suffer that hinderance, and it allows us to read what really went on behind the scenes. It was not such a happy family with Berry Gordy Jr. as the paternal head as it is often depicted.
An excellent book, both readable and informative, and well worth getting hold of for all fans of the music who want to know what really went on as the records were made and the tours were run.
9 internautes sur 11 ont trouvé ce commentaire utile 
The Motown Bible of it's day 30 octobre 2007
Par Wayne P. Dwyer - Publié sur Amazon.com
Format: Broché
For the time that it was written, I found this book to be my Motown bible. I still enjoy reading this book on Motown by someone who does not have an axe to grind with the company. Upon seeing the first review of this book, here at Amazon, I felt the need to respond. The reviewer mentioned that the author should have focused on Kim Weston's talents more than he did. Since 1986, Kim Weston has had a ton more recordings released by Motown then ever before. She never even had an album with Motown during her tenure. Her solo stuff released since 1986 could easily fill a box set. Her duets with Marvin Gaye could fill another two CD's. Had these recordings been available when the author had written his book, I would agree with the first reviewer. Her best recordings have only seen recent release. Kim Weston is probably the most talented woman to ever come out of Motown. Diana Ross had the luck and the hits but there was a stable full of women at Motown who were much more talented than she was. Also, the first reviewer mentions the talents(?) of Chris Clark. I love the whole Chris Clark persona and story. There are about four of Chris' recordings that I do love. However, if you listen to all of the Chris Clark recordings currently available on the Motown label (about three CD's worth) you'll question her talents, as the author also did. Mr. Gordy, in all of his arrogance once said, "Give me a singer who can sing three notes and I'll get a hit on her." I think he might have been thinking of Ms. Clark when he said it. By the way, he never got a hit on Chris Clark. This is an amazing book & a great introduction to Motown.
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