Music

When The Temptations’ Motown Story Began With ‘Oh Mother Of Mine’

Published

3 years ago

July 24, 2021

Otis Williams, the one original member of a legendary soul group that would see its 60th anniversary, got to reminiscing one time about their pre-history. “We were the Elgins for two weeks, and there was another group called the Elgins,” he recalled. “We were standing outside with this fellow named Bill Mitchell, and we were kidding around with a name. Somebody said ‘The Temptations.’ I said, ‘That’s the one!’”

Williams had already fronted the late 1950s Detroit outfit the Distants, whose members also included Melvin Franklin and Elbridge “Al” Bryant. An audition was scheduled, after the addition of two members of the Primes, Eddie Kendricks and Paul Williams, with Berry Gordy (already an admirer) at Motown Records. The new five-piece duly passed the test arranged by Gordy and wingman William “Mickey” Stevenson.

Otis told The Guardian in 2019 that fate had determined his own arrival in Detroit just as Gordy was getting his company off the ground. “It was happenstance,” he observed. “It was necessary timing and it was meant to be that God in his infinite wisdom put all of these producers, writers and artists together at that time and made such profound music.”

On July 24, 1961, with the fifth release on Motown’s short-lived Miracle label, the new group released their first single, the Stevenson-Williams copyright “Oh Mother Of Mine.” Its formative sound and mid-paced swing hardly epitomised the group sound that would take the label, and soul music, to unknown heights in the years to come. Lead vocals were shared by Paul Williams, the early group’s de facto leader, and Eddie Kendricks; instrumentation was by the studio maestros we would come to know as the Funk Brothers.

There was more of a birthmark about “Romance Without Finance,” recorded like its co-release in May. Its title may sound like a classic Smokey Robinson rhyme, but the song was actually a Stevenson-Kendricks composition, fuelled by pacy guitar and buzzing saxophone. Both sides were produced by Stevenson and yet another Williams, André, an eccentric R&B notable in his own right. He was known for his Top 10 soul hit of 1957, “Bacon Fat,” for later co-writes such as the Five Du-Tones’ “Shake A Tail Feather,” and as Edwin Starr’s manager, among other distinctions.

“Oh Mother Of Mine,” like many of the company’s releases of the time and all of them on Miracle, failed to trouble the national US charts. It was on release at the same time as the (still “no-hit”) Supremes missed the mark with “Who’s Lovin’ You,” although Motown was only a few weeks from the pop and soul chart glory of the Marvelettes’ August single, “Please Mr. Postman.” In 1999, “Mother” was added to the CD reissue of the 1964 debut LP Meet The Temptations, even though it predated that album by more than two and a half years.

Cash Box magazine did review the Tempts’ single in its September 2 issue, giving the flipside the lead and writing of “Romance Without Finance”: “R&B-styled songsters do an infectious job on the ditty, getting a strong combo sound for their setting.” Of “Oh Mother Of Mine,” the trade publication noted cursorily: “Another upbeat blues showing with an infectious way.” As an aside, another group called the Temptations rated a mention in Cash Box that year, they being the group backing one Cody Brennan, on the late 1961 Swan Records single “Am I The One.”

The first Temptations single may have gone nowhere fast, but the label stuck with them, and by November they were back with another release on Miracle, “Check Yourself,” produced this time by Berry Gordy himself. By the following March, now on the Gordy label and with Kendricks in the lead vocal role, they figured on the national R&B chart for the first time with “(You’re My) Dream Come True,” as their own dream indeed started to become reality.

Buy or stream “Oh Mother Of Mine” on the expanded Meet The Temptations.

Music

Singer-Actor FKA branches & & Warner Music Group CEO Robert Kyncl Supporter for Voice & & Similarity Defenses at Senate Judiciary Hearing

Published

3 days ago

May 2, 2024

[[{“value”:”Federal Guardrails Against Deceptive AI-Generated Deepfakes and Voice Clones Gains Momentum in Key Senate Subcommittee
The post Singer-Actor FKA twigs & Warner Music Group CEO Robert Kyncl Advocate for Voice & Likeness Protections at Senate Judiciary Hearing appeared first on RIAA.”}]]

Federal Guardrails Versus Misleading AI-Generated Deepfakes and Voice Clones Gains Momentum in Secret Senate Subcommittee

Visualized (L-R): Warner CEO Robert Kyncl & & FKA branches share impactful individual testament

FKA branches affirms on behalf of voice and similarity approval relating to AI

Warner Music Group CEO Robert Kyncl uses viewpoint to Senate Committee

WASHINGTON, DC ( April 30, 2024) — Vocalist, songwriter, manufacturer, dancer & & star Tahliah Debrett Barnett (“ FKA branches“) and Warner Music Group CEO Robert Kyncl shared effective testament throughout a Senate Judiciary Subcommittee on Copyright hearing previously today in the country’s capital about the significance of guardrails to safeguard a person’s voice and similarity along with the obligation of tech platforms as expert system (AI) quickly develops. The conversation concentrated on the bipartisan Support Originals, Foster Art, and Keep Home Entertainment Safe (NO PHONIES) Act — a proposition presented by Senators Chris Coons, Marsha Blackburn, Amy Klobuchar, and Thom Tillis that would provide federal securities versus using non-consensual digital duplications in audiovisual works or sound recordings for all Americans.

Multi-hyphenate skill, FKA branches throughout acknowledged the significance of approval from the specific whose being is the really essence of this innovation. ” The reality that someone might take my voice, modification lyrics, modification messaging or deal with an artist that I didn’t, it actually leaves me really susceptible. If legislation isn’t put in location to safeguard artists, not just will we let artists who actually appreciate what we do– that have actually invested a very long time establishing themselves– however it would likewise indicate that fans would not have the ability to rely on individuals that they have actually invested a lot of years purchasing.”

In reaction to claims that deepfakes of living or departed individuals are required for filmmaking, FKA branches described, ” I believe the issue is, if you have the ability to utilize an artist’s voice and similarity without approval about their life story, you’re offering the impression that it’s the equivalent of an autobiography, rather a bio … which’s a confusion. If you have the ability to utilize my voice and my precise face, [then] a group of authors in Hollywood that wish to over dramatize things and make it more awful or fantastical, that’s what makes me actually worried, uneasy and susceptible. If it’s a star, we understand to take it with a pinch of salt. If it is the individual themself, then it simply feels too clear and unfair.”

Notified by his previous experience as a magnate at YouTube and Netflix, Kyncl spoke from deep understanding and regard for both innovation and developers and required clear guardrails for AI. “ Through AI, it is really simple for somebody to impersonate me and trigger all way of havoc. They might talk to an artist in a manner that might damage our relationship or state incorrect things that would harm our service.”

Kyncl summarized, “the fact is, everybody is susceptible.”

In a watershed minute, in reaction to questioning from Senator Mazie Hirono, all witnesses present consisting of those requiring modifications or limitations to the proposed legislation concurred that Congress must enact brand-new securities for people’ voices and images.

Attending to complimentary expression issues, SAG-AFTRA National Executive Director & & Chief Mediator Duncan Crabtree-Ireland included, ” I am worried that we are just taking a look at one side of the First Modification factor to consider here. The opposite is the right that each people needs to our own flexibility of speech to be able to interact our concepts, to associate ourselves with concepts that we wish to so and not be related to concepts we disagree with– that is being actually stomped on by this unconfined capability of individuals without a federal right.”

Senator Tillis stated, “ I’m pleased that we’re using up this costs. I do feel highly we ought to do whatever we can to attempt and move it in this Congress.”

RIAA Chairman & & CEO Mitch Glazie r praised the Committee’s thoughtful evaluation of the NO FAKES Act conversation draft. “ Today’s hearing sets the table for swift and strong action by Congress to safeguard every American from unconsented deepfakes and voice clones. Engaging, individual testament from both FKA branches, Warner CEO Robert Kyncl, and SAG-AFTRA National Director & & Chief Mediator Duncan Crabtree-Ireland made a frustrating case for brand-new legislation safeguarding developers’ incomes and tradition and offering all of us the power to stop bad stars from utilizing our voices and images to create violent deepfakes.”

At today’s hearing, Chairman Coons revealed strategies to complete and officially present the NO FAKES Act this summertime. Together with your home No AI Scams Act, both chambers are now progressing with nationwide steps to safeguard people’ voice and similarity rights.

Kyncl’s op-ed released today in The Hill, entitled 4 Guidelines To Make Expert System Work For People even more set out the significance of Authorization, Money Making, Attribution and Provenance as AI is established. He revealed, ” These propositions would develop clear guideline, assisting to avoid a world where AI can proper an individual’s identity without their approval. This would likewise have a ‘halo impact,’ assisting to suppress false information, identity theft, and hate-fueled material.”

Watch The NO FAKES Act: Safeguarding Americans from Unauthorized Digital Replicas hearing here

The post Singer-Actor FKA branches & & Warner Music Group CEO Robert Kyncl Supporter for Voice & & Similarity Defenses at Senate Judiciary Hearing appeared initially on RIAA

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Music

RIAA Addresses IP Protections in USTR’S 2024 Unique 301 Report

Published

1 week ago

April 25, 2024

[[{“value”:”“The 2024 Special 301 Report provides a vital snapshot of the environment for music creators globally as well as a critical blueprint for US engagement with countries around the world to support them,” commented RIAA Chairman & CEO Mitch Glazier.
The post RIAA Addresses IP Protections in USTR’S 2024 Special 301 Report appeared first on RIAA.”}]]

WASHINGTON, DC ( April 25, 2024) — Today, the United States Trade Agent (USTR) provided its yearly Unique 301 Report relating to deficiencies of copyright and other kinds of copyright (IP) securities in specific nations. The Report examines the existing legal, regulative, judicial, and enforcement actions on IP in those nations and recognizes the effect on United States music developers while likewise highlighting systemic concerns for United States federal government engagement to advance imagination worldwide. Amongst the cross-cutting concerns that show the music neighborhood’s input into the Unique 301 procedure, USTR Ambassador Katherine Tai acknowledged the important value of American developers’ contributions to United States tasks and financial development, keeping in mind “ Stakeholders from both unions and business in the imaginative sectors have actually highlighted the value of copyright defense and enforcement to their incomes and companies.”

” The 2024 Unique 301 Report offers an essential photo of the environment for music developers worldwide in addition to a vital plan for United States engagement with nations around the globe to support them,“ commented RIAA Chairman && CEO Mitch Glazier ” We value acknowledgment of uncomfortable patterns in many areas that would hurt the American music neighborhood, consisting of constraints on streaming rights, inadequate enforcement, and stream-ripping piracy, and the recognition of favorable advancements relating to copyright defense and enforcement. We motivate the United States Federal government in future Reports to resolve appropriate copyright defense in the context of AI as dedicated to by President Biden in the G7, and to oppose broad exceptions consisting of text and information mining. We likewise advise the United States Federal government to engage with nations based on continuous trade examinations, and to resolve deeply bothersome propositions on copyright and agreement matters, especially in South Africa.”

” We thank Ambassador Tai and the whole interagency group for their vigorous deal with this essential procedure. RIAA highly supports the United States Federal government’s extensive technique to promoting American developers globally, consisting of through existing and future IP discussions with the European Union, India and the UK.”

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Music

Year-End 2023 RIAA U.S. Latin Music Income Report/ Informe de Fin del Año 2023 de RIAA Sobre Ingresos de Música Latina en Estados Unidos

Published

2 weeks ago

April 23, 2024

[[{“value”:”Latin music in the U.S. has increased in popularity and value over the last eight years, outpacing overall recorded music… Read More »
The post Year-End 2023 RIAA U.S. Latin Music Revenue Report / Informe de Fin del Año 2023 de RIAA Sobre Ingresos de Música Latina en Estados Unidos appeared first on RIAA.”}]]

Latin music in the U.S. has actually increased in appeal and worth over the last 8 years, outmatching general documented music each year throughout this duration of strong development. In 2023, the category struck its greatest mark yet at $1.4 billion, representing 16% development over 2022. Changed for inflation, Latin music market profits in 2023 are now 14% above the previous peak in 2005.

LINK TO FULL ENGLISH REPORT HERE

INFORME DE FIN DE AÑO 2023 DE RIAA SOBRE INGRESOS DE MÚSICA LATINA EN ESTADOS UNIDOS

La música latina en los EE. UU. creció en cuanto a su popularidad y valor durante los últimos ocho años, superando a la música grabada en basic cada año durante este período de fuerte crecimiento. En 2023, el género alcanzó su marca más alta con $1400 millones, que representa un crecimiento del 16 % con respecto a 2022. Ajustados por la inflación, los ingresos del mercado de la música latina en 2023 ahora están un 14 % por encima del pico previo en 2005.

ENLACE AL INFORME COMPLETO EN ESPAÑOL AQUÍ

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