Hey folks! Had to take some time off from the blog so I could handle some other business. Some exciting things happening soon and I will let y’all know as matters are finalized. We lost some mighty big legends in the past few weeks - The Temptations’ Damon Harris and Richard Street, Spinners lead singer Bobbie Smith, producer/engineer extraordinaire Phil Ramone and the following gentleman whom I had the honor of meeting many years ago when I participated in the Soulful Detroit Forum webpage. Read on about him…..
REMEMBERING DEKE RICHARDS
His name should be familiar to anyone who bought a Jackson 5 single or album between 1969 and 1973, among the many achievements he had while at Motown Records. DEKE RICHARDS was the captain of the production team known as The Corporation - four men brought together by label founder Berry Gordy to create songs for the five young brothers from Gary, Indiana. Deke - along with Fonce Mizell, Freddie Perren and Mr. Gordy - hit it out of the music biz ballpark when they scored three consecutive #1 hits for the J-5. “I Want You Back”, “ABC” and “The Love You Save” as well as the Top 10 smashes, “Mama’s Pearl” and “Sugar Daddy”. They also co-authored several album tracks that remain fan favorites - “I Found That Girl”, “Can I See You In The Morning”, “I Will Find A Way”, “She’s Good” and the non-album b-side, “I’m So Happy” (“Sugar Daddy” was the a-side).
Deke Richards - who passed away last week after battling esophageal cancer at the age of 68 - accomplished much while at Motown, besides working with the Jackson 5. Born Dennis Lussier in California, Berry Gordy hired him in 1966 as one of many folks to work at the label’s west coast office (which became the company’s headquarters in 1972). Yet, Deke wasn’t confined to Los Angeles - when Motown needed to come up with a hit for Diana Ross & the Supremes in 1968, Deke (along with colleague Frank Wilson) flew in to the label’s base of operations in Detroit to participate in a brainstorming session at the Ponchetrain Hotel with R. Dean Taylor, Pam Sawyer and Mr. Gordy himself. A couple of days later, Taylor, Sawyer, Wilson and Richards came up with the demo of “Love Child”. After handing the tape to BG, here’s what happened next, in Deke’s own words (courtesy of the Soulful Detroit Forum)…..
“When I arrived at the mansion. Berry was playing the tape, singing some melodies, etc. He told me he how much he liked the guitar licks and wanted to hear more of them. ‘Well ‘, I said, ‘did you decide on a progression you like the best?’ ‘Let's just play around with them for a bit. Plug in your guitar’, he said. So we went over the different changes, moving things around, etc….We used pretty simple chords, so it was easy for Berry to actually learn the progressions, and play along on the piano. I helped just feeding him the chords verbally, till he was comfortable. When we finally stuck with the composite progression we both seemed to like the best, we gave it a try together. It felt right and the order of the chords went together fine. We sang some melodies back and forth. Then, I played the tape we had made at the Ponchetrain earlier. ‘OK‘, I said, ‘Now see if you like this.‘ When it came to one of the sections we had decided to use, I played more of the 'Duane Eddy-ish' guitar licks at the changes. 'Great‘, he shouted. ‘That's it!‘ Well, THAT did it. (Berry) was definitely hyped up and ready to roll. ‘Call (the writers) and tell them to get over to the hotel RIGHT NOW!’ I got on the phone and passed on the word. I reached Frank in his room. I could hear the TV in the background. I said, ‘You sound like you're kicking back. Well, get your shoes on, It's time to go back to work. I'm here with BG at the mansion. He wants us to meet at the Ponchetrain now. We're going for the kill!’"
And did they ever. “Love Child” became a #1 hit for Diana, Mary and Cindy in 1968.
Deke went on to produce Chris Clark’s second album, “C.C. Rides Again” which was scheduled for release on a “progressive rock” Motown subsidiary, Weed Records (no, this is not a joke!). Then came the formation of The Corporation which spearheaded the successful run for the Jackson 5. In addition, Deke ran the boards for Diana Ross’ sophomore solo disc, ‘Everything Is Everything” (he felt that the label rushed into doing her second album too soon after the first solo release) as well as Sammy Davis Jr.’s sole Motown disc, “Something For Everyone” (which earned a thumbs up from Sammy, Frank Sinatra and Dean Martin - long story there!).
If I were to pick a favorite among the many tunes Deke and the Corporation had created, it’s “Maybe Tomorrow” - the title track of the Jackson 5’s fifth Motown album. Released as the follow-up to the smash, “Never Can Say Goodbye”, the song “Maybe Tomorrow” reflected the J-5’s admiration and respect for Philly soul, especially the works of the Delfonics and producer/composer/arranger Thom Bell. Deke admitted to me in a couple of direct conversations that colleague Freddie Perren’s piano licks (especially the intro of “I Want You Back”) were inspired by the keyboard work of Leon Huff. After cutting three tunes from the Delfonics catalogue - “Can You Remember”, “La-La Means I Love You” and “Ready Or Not, Here I Come” - The Corporation created a great song that captured the essence of those classics.
The last time I had spoken with Deke was last August, when I needed quotes for the G.C. Cameron liner notes I authored for the reissue of his album, “Love Songs And Other Tragedies” (The Corporation produced his single, “I’m Gonna Get You”). Although Deke wasn’t feeling well, he did contribute information I needed to complete the writing assignment and said, “I wish we had more time to work with folks such as G.C. Cameron as well as Martha Reeves & the Vandellas (their 1971 single, “Bless You”, was another production by The Corporation). But you know we had five other priorities, and their names were Michael, Marlon, Jermaine, Tito and Jackie!” Even with his illness, Deke’s humor and way with words was shining through.
Deke Richards joined his colleagues Fonce Mizell (left) and Freddie Perren (right) in the land above the clouds. To all of them, thank you for making a hell of a contribution to music. You will never be forgotten.
Click the link and enjoy the Jackson 5's "Maybe Tomorrow", composed and produced by The Corporation, arranged by Gene Page.
SOULFUL CONVERSATIONS
A Detroit recording studio owner/Motown executive, a composer of great lyrics and a jazz pianist beyond compare are the focus of this new round of SOULFUL CONVERSATIONS. Listen and enjoy!
RALPH TERRANA
Founder of the Motor City’s Terra-Shirma Studios, RALPH TERRANA shares his recollections of having pop music folks such as the MC5 cut their controversial classic “Kick Out The Jams” and Isaac Hayes’ “Hot Buttered Soul” platinum album at his facility. He went on to become Motown’s Studio Manager in Detroit during the 1970s and produced acts such as The Power Of Zeus as well as the duo Stoney and Meatloaf. Click the link and enjoy the interview!
http://www.mixcloud.com/musicmankevin/a-soulful-conversation-with-ralph-terrana/
VINNIE BARRETT
All you gotta do is mention three songs - “Sideshow”, “Just Don’t Want To Be Lonely” and “Love Won’t Let Me Wait”. Composer/lyricist VINNIE BARRETT talks about her move from our nation’s capitol to the City of Brotherly Love, which resulted in writing hit songs that sold millions of records, many of these tunes she co-authored with the equally great Bobby Eli (pictured here with Vinnie, circa 1975).
She even hints as to who and what inspired her to pen the lyrics for “Love Won’t Let Me Wait” (hmmmm….). Listen in and enjoy!
http://www.mixcloud.com/musicmankevin/a-soulful-conversation-with-vinnie-barrett/
ALEX BUGNON
During the late 1980s and through the 1990s, keyboardist ALEX BUGNON ruled the contemporary jazz scene with his mix of modern sounds and traditional piano work. His albums were best-sellers and he continues to make great music today. Alex’s upcoming album carries on the theme of his recent effort, where he honors the sounds of acoustic jazz that was popular in the 1960s. He also talks about his uncle, the late jazz legend Dr. Donald Byrd, and announces an upcoming tribute to Dr. Byrd that will take place in Harlem within the next few weeks. Click the link for our conversation.
http://www.mixcloud.com/musicmankevin/a-soulful-conversation-with-alex-bugnon/
A FINAL NOTE….
The passing of Deke Richards was yet another reminder for this blogger as to why I do what I do - which is to help music folks get their stories documented and told so that they will always be remembered. At the same time, Deke did just that over ten years ago when he posted his many adventures with The Sound Of Young America. If you want to know more about the works that Deke, Fonce, Freddie, Berry Gordy and others at Motown had created during the time period of 1968 and 1973, click onto the link - http://soulfuldetroit.com/archives/3838/1748.html?1042799727 , page down to where you see his name and read on. There’s a lot of great tidbits and information he shared, enough to write a book, indeed.
Thanks for checking out the blog and I’ll catch up with y’all later!!
Best regards always,
Kevin
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