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As the '60s came to a close, Marvin Gaye was forced to ask some serious questions about the world as he found it; the result was the sublimely soulful piece of social commentary, 'What's Going On'. It has been hailed as Marvin Gaye's masterpiece and soul music's finest moment. The reason for his disillusionment? On his return, he discovers that the America whose values he's been defending is plagued by poverty, police brutality, drug abuse, abandoned children, urban decay and civil unrest.

In more ways than one, What's Going On was different to anything that Gaye or Motown had previously issued, taking its inspiration from the classic track of the same name that he'd recorded in June and which, in March , hit number two on the Billboard Hot Hitsville USA, aka Motown Studio A, has been preserved as it was during its heyday, and is today open to the public as a museum. Photo: Motown Museum. It was at this point that Marvin Gaye entered the picture.

Refusing to sing on stage or in the studio, he made an unsuccessful attempt to join the Detroit Lions football team, before agreeing to record once more, but only on his own terms, which meant making artistic decisions without deferring to Motown's head honcho.

I realised that I had to put my own fantasies behind me if I wanted to write songs that would reach the souls of people. I wanted them to take a look at what was happening in the world. Accordingly, after a golf game with Obie Benson and Al Cleveland resulted in them playing Marvin Gaye the unfinished song back at his house, he came up with the title and added more lyrics, while also embellishing the melody on his piano.

Marvin Gaye at work on a song, Photo: Redferns. That's who he was, and I loved him and I miss him. It was in late , while still in high school, that Vincent Kenneth Shensky secured a job as a board operator at radio station WLIN FM in Lincoln Park, just southwest of downtown Detroit, running programmes and announcing ads and news bulletins. Sands subsequently split his own work time between Magic City and local radio station WJLB, and used a demo reel of his sessions at the former to help land a staff job at Motown in Ken Sands today.

We couldn't mix in there; we could only record and overdub. We had to control the amount of ambient sound in the room, because about three feet from the amplifier was a Steinway grand on a short stick, and we didn't want guitar and bass leakage getting into the piano.

He'd listen to Deutsche Grammophon recordings and centre his engineering skills on what the Germans would do. There was a VU meter on each input, and a guitar's input would be adjusted at the loudest note to peak zero on the VU, providing maximum headroom.

This gave it a very tight sound, and there were good sight lines between the musicians, who stood pretty close together. There were three isolation rooms that we used for overdubs, but when we were doing a basic session we could also use those rooms to isolate certain instruments — be they a harpsichord or a set of vibes — and ensure there was no leakage at all.

The harpsichord room had a B3 [Hammond organ] with the Leslie [rotating speaker], which Lamont Dozier would usually play on the sessions he and the Holland brothers were producing.

Indeed, during the label's halcyon years, it was standard Motown procedure for a rhythm track to be handled by several different staff engineers. Some of us would also do horn sessions or string sessions with the Detroit Symphony and [trumpet player] Johnny Trudell, which I enjoyed a lot. It wasn't about specialisation. Certain producers favoured certain engineers, but the work was distributed between everybody.

Pistol would keep that set tuned the way he liked it for playing — he was responsible for the drum sound after Benny Benjamin died. Then there was Uriel Jones — they were consummate jazz musicians.

People couldn't believe we were using a ribbon microphone on a bass drum — 'Why would you do that? That was the foot sound, that was Motown. It was Forest who played the song's main groove, while Gaye added an extra beat with a box drum.

Marvin Gaye, playing piano, would have been in the near left corner, and to his right would have been Robert White on guitar. James Jamerson normally played bass while standing in front of the DI, but in this case his positioning was apparently a little different. He could really put that stuff away, and then sit down and still be able to play.

His tolerance was incredible. It took a hell of a lot to get him smashed. Well, smashed Jamerson apparently was when he arrived at Studio A after Gaye had located him playing in a local club and asked him to drop by once the set was over. He loved it because I had written Jamerson licks for James Jamerson. Meanwhile, after Steve Smith completed his work on the song, Ken Sands sat behind the console for the overdubbing and layering of assorted parts: the tambourine and percussion provided by Jack Ashford; the bongos and congas of Eddie 'Bongo' Brown; and, of course, Marvin Gaye's lead vocal — in this case, a double vocal that resulted not from a mistake as has been reported elsewhere , but from the singer capitalising on a Sands decision that, unwittingly, would result in Gaye's trademark sound, layering as many as three lead vocals on his subsequent recordings.

This was to be expeditious, so he could listen to them simultaneously or against each other. As it turned out, singing against himself worked, but I'm not going to take credit for thinking things through and saying, 'This is what I want to happen'. It just happened. That's how a lot of things happen. A lot of brilliance is bred of happenstance. Marvin took his time doing his vocals and he'd often come back and try a different approach. For 'What's Going On' he did the vocals in Studio B, wearing his knitted skull cap, and everything went very smoothly.

The possibility that Gaye's political statements might alienate certain white listeners can't have been Gordy's primary concern — earlier in , he had approved the release of Edwin Starr's 'War' and the Temptations' 'Ball Of Confusion' mixed by Ken Sands with producer Norman Whitfield.

Marvin Gaye responded by refusing to record any other material until 'What's Going On' was released, and when Gordy asked Smokey Robinson — then Motown's Vice President, as well as one of its biggest stars — to persuade the Prince of Soul to change his mind, Robinson informed him that, "like a bear shitting in the woods, Marvin ain't budging. The stalemate lasted several months until January of , when Harry Balk pushed for the single's release.

Quality Control's Billie Jean Brown disagreed, so they turned to Vice President of Sales Barney Ales, who sided with Balk, resulting in , copies being pressed and promo singles being mailed to radio stations. By then, predictably, Berry Gordy had commissioned the recording of an entire album to cash in on the single's success. Ken Sands took care of the strings and brass on those sessions alongside David Van DePitte in Studio B, while also recording the lead vocals and some of the backing vocals.

Completed in May and released that same month, What's Going On was the first of Marvin Gaye's albums to afford him credit as sole producer. Still, I can't complain.

I am a blessed man. We could do no wrong at Motown and I looked forward to going there every day, because I'd be anxious to know what was happening with a particular tune, get feedback about what I'd just done or learn who, in Berry's eyes, was going to be higher on the totem pole. It was exciting to work there.

I was feeling my way around, too, but I was blessed enough to work with some of the best professionals in the world, ranging from the artists, songwriters, producers and engineers to the promotion and marketing people.

Brian Holland had done that on the back of a chair for a couple of tunes back in the early '60s. So when [songwriter] Jack Goga said he wanted that sound when I was mixing the Cream Of The Crop album, I went out to the studio, beat on my stomach with my cupped hands and was rewarded with a union cheque.

My stomach is famous! Ken Sands: "When I worked there, Motown was a college of musical knowledge for whoever was producing, writing and engineering. It was at Motown that I learned about engineering.

Mike McLean taught me a lot via his attention to detail regarding microphones, amplifiers and speaker equalisation — he was a fanatic when it came to speaker equalisation and he had an awful lot to do with the way Motown sounded.

So did the echo chambers. Larry Miles would mix in the mono room and I would mix in the stereo room, and we had access to the echo chambers that were on the Boulevard. In the Hitsville USA building at — now the Motown Museum — there's a hole cut in the upstairs ceiling that you could yell into and hear the echo return. It was quite a place Echo, Motown Style Ken Sands: "When I worked there, Motown was a college of musical knowledge for whoever was producing, writing and engineering.

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As the '60s came to a close, Marvin Gaye was forced to ask some serious questions about the world as he found it; the result was the sublimely soulful piece of social commentary, 'What's Going On'. It has been hailed as Marvin Gaye's masterpiece and soul music's finest moment. The reason for his disillusionment? On his return, he discovers that the America whose values he's been defending is plagued by poverty, police brutality, drug abuse, abandoned children, urban decay and civil unrest. In more ways than one, What's Going On was different to anything that Gaye or Motown had previously issued, taking its inspiration from the classic track of the same name that he'd recorded in June and which, in March , hit number two on the Billboard Hot Hitsville USA, aka Motown Studio A, has been preserved as it was during its heyday, and is today open to the public as a museum. Photo: Motown Museum.

Marvin Gaye 'What's Going On?'

altec 1964 604e speakers

He was chief engineer of McCune Sound in San Francisco in the s, and also vice president in the s. In he joined Furman Sound, and designed an interface system for Smaart users, and a new power conditioning system. Cavin's electronic designs were nominated five times for TEC Awards , in , , , and Cavin joined the U.

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July 7, Here we break down the elements that made that album one of the greatest and most influential rock records of all time. Recorded at Sunset Sound Studios in L. A, the sessions were engineered by Bruce Botnick, with production assistance from Paul A. The bright, sparkly tones of the Continental shine on tracks such as Alabama Song Whisky Bar , whereas the lower register of the Rhodes pummels through on tracks like opening track Break on Through To The Other Side — both archetypal sounds in their own right. He was also partial to using a bottleneck slide as legend tells it, Morrison heard Krieger using a slide at an early rehearsal and instantly wanted it to feature on every song on the album.

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LOG IN. But it has an average age of about 30 years! I love reading about all the latest gear, and lust after some of it dearly, but I'm satisfied with what I have. I'm playing with digital and having my fun with that, but I was wondering: Is anyone else still happy with equipment that is now considered "vintage"?

It was seldom difficult for Pete to obtain speakers, parts, tools, was to design a cube loaded with an Altec E coaxial speaker.

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The song sold more 45rmps in the first three months, than Fats Domino's Blueberry Hill! More info at WhoDat. Are you familiar with "Sound Incorporated" I pressed an LP there in Road to My Cathedral sound was owed by Larry Lick sten was recording eng they pressed lp and 45 lots of polka bands stood burnt down in late 70s. Post a Comment. Wednesday, January 2, Vintage Recording Studios, 2.

In he joined Furman Sound, and designed an interface system for Smaart users, and a new power conditioning system.

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