BBC Radio - Tony Blackburn - The Soul of

[Vincent]

The Soul of Tamla Motown

Welcome to the first in a short series of programmes where we look at the music of four of the most influential soul music labels of the twentieth century. Tamla Motown, a label set up in the UK to release material produced by Berry Gordy Jr who borrowed $800 from his family to start the label, originally to be called 'Tammy' after a number one hit by Debbie Reynolds but as it was already registered as a label in the States, had to change it to Tamla his first label followed by Motown, an abbreviation of the motor town of Detroit. Tamla Motown as a single label never existed in America.

Motown was built on the idea that there was only one way to survive in such a competitive world-single by single, song by song and hit by hit. In 1959 when Gordy Jr, released 'Come To Me' by Marv Johnson, the first single on Tamla, the odds against the company changing the face of the music business wasn't even worth contemplating but today their labels are still held in the highest esteem by soul fans all over the world.

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The Soul of Stax

Welcome to the second in a short series of programmes where we look at the music of four of the most influential soul music labels of the twentieth century. Memphis based Stax records first made its appearance in the UK in 1961 when Decca's London label issued the Carla Thomas single, 'Gee Whiz'. The London label was Decca's outlet for recordings for a multitude of small American labels, but only the earlier releases gave reference to any of the releases from Stax or its subsidiary labels, Volt and Satellite. It wasn't until 1967 that Stax was given its own imprint through Atlantic having had its releases issued by them since 1964 when Decca gave Atlantic its own identity. Over the years, the heydays of Stax saw distribution through EMI, Polydor and Pye. Their star signing was Otis Redding and his death was a big blow to the label, and while it certainly had an impact on their demise in the '70s, there were other factors as well, including bad financial mismanagement and a change in musical tastes.

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The Soul of Philadelphia

Welcome to the third in a short series of programmes where we look at the music of four of the most influential soul music labels of the twentieth century. The Philadelphia label founded in 1971 by the writing and production team of Kenny Gamble and Leon Huff who were hugely influential in creating the music genre often referred to as Philly Soul. In 1966 the pair created the independent Excel label in America and in 1972 was bought by the Philadelphia International umbrella that was responsible for releasing a string of worldwide hits from their artists that included The O'Jays, Harold Melvin & The Blue Notes, Billy Paul, The Three Degrees and Lou Rawls. In the UK, it wasn't until 1974 that Philadelphia International was given its own identity having previously had their material issued on CBS who continued to distribute their product until 1976 when a deal was set up with EMI. Philadelphia International set benchmarks for quality and style, during the Seventies, in the same way that Motown had achieved during the previous decade.

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The Soul of Atlantic

Welcome to the last in a short series of programmes where we look at the music of four of the most influential soul music labels of the twentieth century. Atlantic Records began its operations in the late forties building up a reputation as one of the market's leading labels in the jazz, R&B and soul music markets. Their early signings included Big Joe Turner, Professor Longhair, The Clovers and Sarah Vaughan. As the fifties progressed, Ray Charles, Clyde McPhatter and The Drifters were added to their roster followed by Aretha Franklin, Otis Redding, Solomon Burke and many others. The seventies saw The Detroit Spinners, Chic and Sister Sledge becoming big money earners for the company. In 2007, Atlantic celebrated its sixtieth anniversary year and is still a very active record label today. Like Stax, Decca used to issue the Atlantic records through their London label but in 1964, although they remained with Decca, insisted on having their own imprint. In 1966 they left Decca for Polydor for pressing and distribution until 1972 when they partnered with Warners where they remain to this day.

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[Juul]

Jeemig moet ik weer veel downloaden........zou ik er nog wel aan toekomen om te beluisteren?

Dank, Vincent,

Juul

[Vincent]

ZIjn maar vier uurtjes Juul. Ik was van de week in de UK en hoorde op Radio 2 de promo voor deze serie. Gisteravond gelijk maar opgezocht en op de ipod gezet. Hebben we voor op het werk weer wat leuks te luisteren (ipv Radio 538).

[Juul]

ZIjn maar vier uurtjes Juul. Ik was van de week in de UK en hoorde op Radio 2 de promo voor deze serie. Gisteravond gelijk maar opgezocht en op de ipod gezet. Hebben we voor op het werk weer wat leuks te luisteren (ipv Radio 538).

Het downloaden is al gebeurd. Mijn snelheid hier op het nieuwe adres is gemiddeld 3x zo hoog. Nu haal ik vaak de 9Mb.

Ik ben al lang tevreden.

Niet zeeziek geweest?

Juul

[grundigradio]

Geweldige dj trouwens die Tony Blackburn. Wie is er eigenlijk langer op de radio? Hij of Tineke?

Hans

[vaughan williams]

Thank You Vincent

Do You By Chance Have The Old Grey Whistle Test 40 Series ?

[Vincent]

No, sorry.

[Robin Westhof]

Geweldige dj trouwens die Tony Blackburn. Wie is er eigenlijk langer op de radio? Hij of Tineke?

Tineke is eerder begonnen.

Tony heeft natuurlijk wel veel meer uren gepresenteerd.

Robin