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Where Did Our Love Go? The Rise Fall of the Motown Sound Nelson George 9780312011093 Books

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Where Did Our Love Go? The Rise Fall of the Motown Sound Nelson George 9780312011093 Books

I was pleased to find a used copy of this OOP book here on Amazon. This is a very interesting account on Motown, though it's somewhat dated. The author, Mr. George, should consider writing an updated edition of this book, since it covers Motown only up to 1986. I don't quite agree with the author about the "Fall" of Motown since the music and its top artists are still hugely popular. Several current artists credit Motown music and its artists as their inspiration, such as Pharrell Williams being inspired by Marvin Gaye. Perhaps Mr. George meant the decline of the original Hitsville Motown that was based in Detroit and black-owned. So he is correct in that aspect. I would consider this book more of an account of Motown during its infancy and its Hitsville USA/Detroit years, and the decline of that Motown. Sadly, ambition, progress and money always transforms what was once a tiny, family-owned business into a huge, impersonal, slick conglomeration.

Motown Records' parent company, Motown Industries, was the largest black-owned company in the country until it fell on hard times because of some unsuccessful television ventures and the loss of its top artists, including Michael Jackson and Diana Ross. The author details this decline. Mr. George felt the move to LA by Berry Gordy and the exit of Barney Ales contributed to the decline. The artists and people that made Motown unique and special were gone, and Motown became in his words, "just another record company." Berry sold Motown in 1988 to MCA and Boston Ventures. It is now part of the Universal Music Group.

Mr. George did an excellent job on covering what happened to Florence Ballard of The Supremes; her dismissal was not handled well by Motown, who wanted her to be a team player and accept her role as backup to Diana, something Flo could never do as founder of the group and a beautiful singer in her own right. Yet Motown did take care of its artists, but it got to a point where Berry/Motown were too controlling. Packaging and Artist Image, down to what the artists wore and how they conducted themselves in public, were tightly controlled, as well as the songs they sung. In fairness to Motown, many of their artists were very young and from poor backgrounds, with rough edges and no experience in handling finances or the music business. However, once the artists matured and gained more experience, Motown had trouble loosening the reins, allowing them more creative control and freedom.

The author did give a fair assessment of what happened to Mary Wells and her decline once she left Motown. In Mr. George's opinion, Mary's post-Motown songs and records were never as good. He feels Motown had nothing to do with her decline, given that they were still a small company back in 1964 and had a full roster of young artists they were developing. Mr. George also gives a more balanced and fair portrait of Diana Ross. Other biographers and authors make no bones about their intense dislike of Ms Ross. But Mr. George points out Diana's positive features as well as her more-known negative traits. Berry Gordy loved ambitious women and Diana was the paradigm of ambition. The author points out that as Berry's protegé, Diana had more stress and pressure on her than the other Supremes. You may not agree with the author's assessment of the Diana/Berry relationship, but he has a interesting and different take on it.

I hope Mr. George considers updating this book. It is a fast-paced, interesting and informative read on the rise and fall of the Motown/Hitsville USA/Detroit years.


Tags : Where Did Our Love Go?: The Rise & Fall of the Motown Sound [Nelson George] on Amazon.com. *FREE* shipping on qualifying offers. Chronicles the phenomenal rise of Motown Records and profiles its famous personalities, including founder Berry Gordy,Nelson George,Where Did Our Love Go?: The Rise & Fall of the Motown Sound,St Martins Pr,0312011091,History & Criticism - General,African American musicians.,Soul music;History and criticism.,African American musicians,GENERAL,History,History and criticism,MUSIC History & Criticism,Music,Non-Fiction,Soul music,Motown Record Corporation

Where Did Our Love Go? The Rise Fall of the Motown Sound Nelson George 9780312011093 Books Reviews

One of the best books describing the history of Motown. Easy, enjoyable read!
I LOVE it! Thank you Nelson George!
Excellent read.
Pretty good book!
If you've ever wondered about what went on behind the scenes and about the history of Motown, this book will answer all of your questions and then some. It was meticulously and thoroughly researched, full of very revealing events and a real pleasure to read. I almost wish it didn't end. Highly recommended!
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.
Good book. Would have given 5 stars, except for a few short excursions into opinion versus the mostly factual accounts. Well-written, interesting, worthwhile read.
George's book is about the studio musicians who made The Motown Sound HAPPEN -- bassist James Jamerson, pianist Earl Van Dyke, drummer Uriel Jones, and many others who for years were never credited on any Motown releases. Despite the vocal talents out front, these are the guys who made Motown's music move, and some of their stories are tragic. Nelson George pulls all the details together with sympathy for both the under-rewarded musicians and for the Motown "family" that started falling apart early in the '70s. Some really great writing here. The book should have been LONGER....
I was pleased to find a used copy of this OOP book here on . This is a very interesting account on Motown, though it's somewhat dated. The author, Mr. George, should consider writing an updated edition of this book, since it covers Motown only up to 1986. I don't quite agree with the author about the "Fall" of Motown since the music and its top artists are still hugely popular. Several current artists credit Motown music and its artists as their inspiration, such as Pharrell Williams being inspired by Marvin Gaye. Perhaps Mr. George meant the decline of the original Hitsville Motown that was based in Detroit and black-owned. So he is correct in that aspect. I would consider this book more of an account of Motown during its infancy and its Hitsville USA/Detroit years, and the decline of that Motown. Sadly, ambition, progress and money always transforms what was once a tiny, family-owned business into a huge, impersonal, slick conglomeration.

Motown Records' parent company, Motown Industries, was the largest black-owned company in the country until it fell on hard times because of some unsuccessful television ventures and the loss of its top artists, including Michael Jackson and Diana Ross. The author details this decline. Mr. George felt the move to LA by Berry Gordy and the exit of Barney Ales contributed to the decline. The artists and people that made Motown unique and special were gone, and Motown became in his words, "just another record company." Berry sold Motown in 1988 to MCA and Boston Ventures. It is now part of the Universal Music Group.

Mr. George did an excellent job on covering what happened to Florence Ballard of The Supremes; her dismissal was not handled well by Motown, who wanted her to be a team player and accept her role as backup to Diana, something Flo could never do as founder of the group and a beautiful singer in her own right. Yet Motown did take care of its artists, but it got to a point where Berry/Motown were too controlling. Packaging and Artist Image, down to what the artists wore and how they conducted themselves in public, were tightly controlled, as well as the songs they sung. In fairness to Motown, many of their artists were very young and from poor backgrounds, with rough edges and no experience in handling finances or the music business. However, once the artists matured and gained more experience, Motown had trouble loosening the reins, allowing them more creative control and freedom.

The author did give a fair assessment of what happened to Mary Wells and her decline once she left Motown. In Mr. George's opinion, Mary's post-Motown songs and records were never as good. He feels Motown had nothing to do with her decline, given that they were still a small company back in 1964 and had a full roster of young artists they were developing. Mr. George also gives a more balanced and fair portrait of Diana Ross. Other biographers and authors make no bones about their intense dislike of Ms Ross. But Mr. George points out Diana's positive features as well as her more-known negative traits. Berry Gordy loved ambitious women and Diana was the paradigm of ambition. The author points out that as Berry's protegé, Diana had more stress and pressure on her than the other Supremes. You may not agree with the author's assessment of the Diana/Berry relationship, but he has a interesting and different take on it.

I hope Mr. George considers updating this book. It is a fast-paced, interesting and informative read on the rise and fall of the Motown/Hitsville USA/Detroit years.