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Very good point Mac.

Perhaps I'm just mourning the great stuff that came out of a songwriter's community like existed in the Brill Building.

Notes


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Since I figure I lost out on first (and last) fulltime studio session job due to that strike situation in the late 70s, I tend to "mourn" the situation in a way, too, Bob.

They had just offered me an unbelievable (to me at that time) salary and then...

It was on to the jingle shops. And less pay.


--Mac

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I feel your pain. wink

While on the road in the 1960s, we were Berry Gordy's first choice to become Motown's first white band to bust into the top 40.

Bob Seger was making #1 records in Detroit, and Berry the businessman figured he needed something to recapture the #1 slot in Detroit radio that he had held on to for so long.

We didn't feel any racism, it was just business. Everybody treated everybody there without regard to ethnicity - just personality.

At the time I was making $200 per show to play about an hour and a half, and was doing two a week for $400. A journeyman electrician at the time made about $100/week.

For about a half year we had been warming up for major acts and treated as peers by the likes of Marvin Gaye, Junior Walker, Rick Derringer, Bob Seger, Eric Burdon, The Association, The Four Seasons, and so many others.

Our manager hired music biz lawyers to negotiate our terms. The offers on our side of the table kept getting smaller and smaller and Motown who was holding the cards stood firm. They wanted us to record for union scale and no royalties after the recording and promotional costs were paid back.

We did cut a couple of instrumental tracks for scale, and I don't know if any vocals were ever added, if they were, they didn't get airplay. Could be on an album cut for someone, could have been put in the circular file.

Then one day Motown quit talking to us and hired their second choice, "The Sunliners" who eventually became "Rare Earth".

Our band broke up and I went back to being in a cover band and instead of $400 for a 3 hour work week, it was back to $90/week for 6 nights, 5 hours per night in a singles bar.

In hindsight, we should have done it for scale and made the connections that could have led to better things. But we were teenagers and didn't know anything about that. I'm sure the lawyers did their best but made the wrong guess as to when Motown's lawyers would just quit calling or returning calls.

Such is life.

Some disappointment in that, so watching the Funk Brothers movie was bittersweet. But no regrets. At the time I was rolling in the dough, playing music with the big stars as an equal, and had beautiful females wanting me. What more to life is there?

And I've had a happy life since.

Well at least I don't have to worry about being a "has been". wink

Notes


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There is a BBC documentary "From the Byrds to the Eagles" that discusses the growing popularity of the singer/songwriter. I really enjoyed it, check it out:

https://www.youtube.com/watch?v=K-DQVF7oL6c&list=PLE5ovHLJjVc-fItKrRlC6h8D0oxsekRXW

Last edited by Frankp; 11/09/13 10:45 AM.

Frank

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I stand corrected. I had meant the Belafonte album. I thought it was Dylan's only studio session. Seems I was wrong about that.


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We can tell something about Mr. Zimmerman's performance as a Session Player from the number of times he managed to obtain repeat work as such...



--Mac

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