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Rich 1801 (A), unknown date, 1963
b/w I Want My Share
(Written by Clarence Paul, George Byrd and Willie Jenkins)
Okay, so, here’s where things get a little complicated.
Here’s what I think I know, mainly from the Internet (and in particular the research of our very own Robb Klein over at Soulful Detroit). “Bouncing” Cornell Blakely, a Detroit gospel/R&B singer and later bandleader and DJ, had formed an association with songwriter James Hendrix in the late Fifties. Blakely had cut a few of Hendrix’ songs (and some of his own material too) for boutique labels like Fulton and Carrie before the pair of them crossed paths with Berry Gordy and Motown, as anyone on the Detroit scene was eventually bound to do, at the turn of the decade.
At this time, Berry was probably making more money – and earning more of a reputation – from his writing and producing duties for Marv Johnson and Eddie Holland over on United Artists, rather than the records coming out on his own label, and so he didn’t balk when Hendrix proposed his protégé cut some stuff at Hitsville.
Much as Gordy might have liked to sign Blakely to Motown, Hendrix was effectively Blakely’s manager and wasn’t willing to sign away ownership of Blakely’s recordings; no problem, Blakely could record at Motown, Gordy would produce, Gordy would provide the musicians, Hendrix would find a label to release the recordings, Gordy would take a 50% cut of any profits.
So it came to pass that Rich Records, a small label out of Nashville, Tennessee, released a number of Blakely’s Hitsville cuts – including songs written by Brian Holland, Robert Bateman, Freddie Gorman, Mickey Stevenson and Gordy himself – before going out of business in early 1963. But Blakely had already cut another couple of sides at Motown, lined up ready for release when Rich Records ceased to exist.
Faced with a choice between hawking the recordings around other labels (probably not worth the trouble for Gordy at this point in history, with Motown now racking up hit records), canning them (an atrocious waste), or releasing them as part of the main Motown line (unpalatable for Gordy as Hendrix part-owned the masters), Gordy and Hendrix instead came up with a jolly ruse: they would set up their own “Rich Records” label, a pretend continuation of the now-defunct Tennessee company, and – hoping nobody would notice what was going on – use that new label to release Blakely’s record.
And so, here we have a Motown record in everything but name: recorded at Hitsville, co-written by a Motown writer, produced by a Motown producer, played by Motown musicians, published by Jobete, and on a label co-owned by Motown. That “co-owned” is the reason this was left off The Complete Motown Singles: Volume 3, and also the reason it’s almost certainly appearing here on Motown Junkies somewhat out of order. All indications are that this came out in the spring of 1963 – probably in March or April – but I’m only getting around to covering it now because I’ve only just obtained a copy of the record.
So. The record. What’s it like? First things first: it’s really good fun, a breath of fresh air. “Bouncing” Cornell turns out to have been aptly-named: this is a jaunty, bluesy romp that veritably bounces along for almost three minutes. No big changes, no surprises, just fun.
This must have been recorded in late ’62, because the backing singers on this are very obviously and audibly Martha and the Vandellas, and they sound wonderful, alternating between a shrill gospel delivery of the title in the chorus and some softly cooing oooohs in the verses. (It actually reminds me, a little bit, of Phil Spector’s infamous “fake” Crystals single, (Let’s Dance) The Screw, in a strange sort of way, though it’s much bluesier, and the drums here sound great.)
Actually, this whole thing sounds great. I wish I had a clear, crackle-free, hiss-free remastered version of it, but you can definitely hear a fine record shining through under the artefacts. Blakely’s deep but shaky baritone is oddly attractive, but he doesn’t have much to do in terms of carrying the tune as the Vandellas are (cleverly) made to do most of the heavy lifting. This frees Blakely to concentrate on giving a charismatic performance, which he carries off with gusto.
Probably too simple and straight-down-the-line to really make a splash, and probably dated even by the standards of early 1963 when it most likely appeared (never mind late 1963, when Motown stood on the cusp of a whole new era), it’s nonetheless a terrific little blues-pop record. A real pity this couldn’t have been included on The Complete Motown Singles: Volume 3; it certainly merited a place, and Blakely deserved to be remembered for his minor but undeniable contribution to the Motown story.
MOTOWN JUNKIES VERDICT
(I’ve had MY say, now it’s your turn. Agree? Disagree? Leave a comment, or click the thumbs at the bottom there. Dissent is encouraged!)
You’re reading Motown Junkies, an attempt to review every Motown A- and B-side ever released. Click on the “previous” and “next” buttons below to go back and forth through the catalogue, or visit the Master Index for a full list of reviews so far.
(Or maybe you’re only interested in Cornell Blakely? Click for more.)
The Miracles “Such Is Love, Such Is Life” |
Cornell Blakely “I Want My Share” |
DISCOVERING MOTOWN |
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Robb Klein said:
Thanks, “Nix”, for including this, the Velvelettes IPG release, and Wade Jones’ RayBer release in your great site. It’s a lot nicer to have it be complete (with no glaring holes). It also can act as a resource for better understanding for those who have the Motown singles CD series. We need this for posterity, as the people who made the music at Motown won’t be around forever, and this kind of detail is “not so interesting” to the average person, as to get it placed in the books that those people are writing.
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Cornell Blakely said:
This is bouncing Cornell Blakely, at the tender old age of 82 yrs. young. Im alive and well and ready to tell the real motown story. Im often in contact with Robert Bateman and over the years since the early motown day we have,discussed the up and downs of the motown story.
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Cornell Blakely said:
wkmg1520am@hotmail.com
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Robb Klein said:
Mr. Blakely never returned my E-mail. Nix, were you able to communicate with him, and learn all that we didn’t know?
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The Nixon Administration said:
Sadly not. I hope he’s OK.
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Robb Klein said:
Exactly! I hope he’s just gotten too busy, and forgotten-or just not had the time, rather than indisposed due to medical problems. Let’s hope it’s related to personal business and higher priorities, and he’ll contact you as soon as he can devote the time.
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BB said:
I am from Cornell Blakely’s hometown of Newberry, SC. He is still the sole owner/operator of WKMG 1520AM, and alive and well at the tender age of 83!
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Robb Klein said:
Good to hear! Nix, perhaps you should try contacting him again. He might have gotten too busy and simply forgotten about your mail.
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BB said:
You are welcome to contact me and I will gladly deliver any messages to him. You may call my office via 803.276.2532 and I can give you additional info.
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Robb Klein said:
So, Nix, have you contacted “BB” to deliver a message to Mr. Blakely, to try to set up an Internet interview from him, so he can “set the record straight” about his relationship with Motown Record Corp.?
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Cassie Fox said:
Former Motown Promoter & recording artist Cornell Blakely has passed away. December 3 in his hometown of Greenville, South Carolina. I have biographical information on Cornell. I have known him “worked: & written about him & his multi faceted & colorful career.
Cornell introduced Legendary John R Richbourg to Berry Gordy in the early Sixties.. Thats was history & a global audeniece for The Motor Town Sound -The “Sound Of Young America” .
I can be contacted on Facebook: https://www.facebook.com/cassie.j.fox and my e-mail addy is: news2cassie@yahoo.com
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The Nixon Administration said:
Sad news. It’s a real pity we never got to talk, or to hear the “real Motown story” he promised. This is a fine record though – I wish there were a clearer copy out there!
To mark Mr Blakely’s passing, I played this record by way of a tribute to him on my radio show yesterday as part of my regular “Discovering Motown” feature:
https://soundcloud.com/soulfulsaturday/soulful-saturday-breakfast-on#t=1:02:17
(we’re only allowed to keep audio up for 7 days I’m afraid, so it’ll disappear next weekend.)
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Robb Klein said:
Nixon-Please contact Ms. Fox, to get the autobiographical information from her regarding the history of Mr. Blakely’s relationship to Motown, so the uncertainties and questions brought up here can be answered.
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Eric Villa said:
Wow we were just going through the 45s, a day off listening and organizing and I was thrilled to find this article/blog to learn all about Mr. Blakely and the tunes. I’m hooked now, your blog is a wonderful resource. Sad to hear of his recent passing, but what a wonderful contribution to the Detroit sound.
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Eric Villa said:
Also, if you’re interested, I’m here in Hamtramck and (generally) do a radio show on a low power station in town and have an extensive collection of Detroit music that tends to be a focus of many a show. Facebook Brother Eric Villa Show, am1610.org.
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Sean said:
Hi
This is great, interesting stuff.
Raised a bit of a mystery for me though…
I have the single on Rich (in superb condition for it’s age – so clean sound). The other side doesn’t sound to me like Motown at all. However, I have another release by him on the Carrie label which lists it’s address as Greensville S.C. I wonder if anyone could shed any light on this?
“You Ain’t Gonna Find (B. Gordy)” b/w “Who Knows (Hendrix, Hollan, Bateman)”. Both sides produced by B. Gordy.
I’m aware that there were two Carrie labels(one in Detroit, I believe).
Perhaps another label takeover?
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Robb Klein said:
Carrie’s owner, James Hendrix, was a minister in South Carolina before setting up a ministry in Detroit, as well. He operated Carrie Records in Detroit from 1959 through 1966, when he split with his partner, Lou Beatty, and moved back to South Carolina. He still spent a little time in Detroit after that, but moved the legal location back to The South. He released only masters of cuts that had been previously recorded in Detroit, starting in 1967. Yes, your record is a legitimate issue (NOT a bootleg).
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Sean said:
Thanks for that. It’s great to get a bit of context behind a record in my collection – it so rarely happens. I have a few things on Carrie. Will have to find out more…
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Sean said:
PS It is said on this site that there is a bootleg of the Rich side. Mine is Nashville Sound stamped. Is it an original? Thanks.
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Robb Klein said:
Yes, it is original. There were three other Cornell Blakely records released on Rich Records, which was located in Nashville, and owned and operated by Nashville DJ, John Richbourg. This 4th Rich record was pressed op by Motown after Richbourg’s Rich Records went bankrupt, and ceased operations. Blakely’s productions on all four Rich releases were written by Motown writers and produced by Motown producers (Clarence Paul and Mickey Stevenson), and recorded in Motown’s “Snakepit”. These productions were co-owned by Blakely’s manager, Reverend James Hendrix (owner of Carrie Records) and Berry Gordy (Motown), half each. They leased the first three 45s to Richbourg’s Rich Records. The fourth Rich Record was a “new” Rich Records label, basically a Motown subsidiary, half owned by Hendrix. Carrie Records operated in Detroit, North and South Carolina, but all it’s recording was done in Detroit, and all it’s artists lived there. The operations in The South were simply James Hendrix issuing or re-issuing material he had recorded in Detroit in earlier years.
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Sean said:
Thanks Robb. It’s great to get some context for some of my records – it so rarely happens. I have a few things on Carrie. Will have to find out more…
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