Dexter St. Clair wrote:Twizzle wrote:
I was still in primary school when my ear was caught by the majesty of the Tamla Motown sound. In 1965, dad took me to a Tamla Motown UK Tour concert in the Odeon Cinema, which inspired me to buy more of their artists’ pressings, however as I still never went shopping in town by myself, I continued to patronise the local store in Shepherds.
A misjudged tour where only the London gigs were busy. I understand Glasgow had the next best turn out but those who arrived for the first house were invited to stay and see the show all over again.
The Odeon gig was on Thursday 1st April and this was the line up. Georgie Fame was added in an effort to sell more tickets.
Well done your dad.
I well remember that concert in the Odeon. Dad had got seats in the upper circle. I was amazed to find we were the only ones up there, and it seemed so far from the stage for an eleven-year-old to peer at. We moved down to the front row of the circle, which was a bit nearer. It was opened by an act that I hadn't heard of, followed by Smokey Robinson and the Miracles. My lasting impression was that the music didn't sound anything like the records I was familiar with. They were probably using the house amplifiers and PA system, although if they brought their own, it would have been fairly primitive by today's standards.
There was an interval, and dad took me to the stage door to see if we could get some autographs. For a while no-one appeared, and dad reckoned they were all too busy drinking coffee, but after a while Smokey Robinson came out, and he signed his name on the inside of a hastily provided cigarette packet. There were two other autograph hunters, and he spent some time chatting to them.
After the break, the curtain opened with a young black guy bouncing on to the stage with his helper, who seemed to be not much older then myself. This was Stevie Wonder (I think he was 15 at the time). He was making great rythmic sounds from his harmonica as he was helped onto the stage. He seemed the most enthusiastic of the performers - maybe the fact that he couldn't see the empty seats helped. George Fame sang a few songs, his diminutive bongo player in attendance, and closed with his hit of the day "Yeah Yeah". His vocals and the percussion carried the song well, and it sounded the most like the original recording.
Martha Reeves and the Vandellas did their bit, and were well choreographed, with colourful costumes and rather lurid makeup. To a small boy, the whites of their eyes and their teeth flashing made an impression, even from the circle..... The top of the bill was the Supremes, who looked like toys, moving together in formation, in emerald-green outfits that you could almost see through. After all the excitement, we left the cinema and outside on the street I remember seeing this old paper seller with a huge pile of Evening Citizen souvenir editions, with photos of our stars emblazoned on the front page. My immediate impression was that the tour had really taken the city by storm, and that everyone must have been talking about it. The reality, as we all know now, was sadly different.
I never gave any thought to the actual musicians who provided that special aural tapestry that was the Tamla Motown trademark for so many years. I discovered through Youtube that they were called the Funk Brothers - a core of mixed race artists. I bought the DVD about their story, and regularly listen again to their music. Great days. I see they are about to demolish the Odeon.