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Monday, December 23, 2013
Blogpoint!
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Tuesday, November 12, 2013
Veteran Day Nov 11th 2013
http://butchleake.deviantart.com/gallery/
Sunday, November 3, 2013
Halloween 2013 N.Y.C.
(CORNER TALK REPORT)
Wednesday, October 30, 2013
Butch Leake / Deviant Art
The photographic art of Butch Leake is now on display over at Deviant Art.......
My life is for the most part a mixed bag of many interest! and as I travel around the world and visit many places of interest talking, sharing experiencing the beauties that this life has bestowed on me. I can't help but capture the love and passion that I have for the things that I see which talk to me in a spiritual way. ...... Butch Leake
http://butchleake.deviantart.com/gallery/
Monday, October 28, 2013
The Drifter Wars/Haters
Good morning world! It's Monday morning here in New York after a tiresome weekend. With so much to do and not enough time to do it in I'm a little exhausted. Trying to keep up the pace with projects is a challenging task. Though I can report the book is coming together quite well. I'm not so happy at the moment on the health status of my co-workers within the Legends camp. Hopefully all turns out well at the end. Recently heard of some malicious data published supposedly coming from me against one of the Legends in an attempt to cause some disorder in the house. It's the typical kind of negativity that has been passed around in the past against both myself and the Drifters management in the UK. It's all an attempt to derail any progress as we move into the future. Note I can't seem to get any of these hidden haters to physically come forward and meet the challenge over many of the issues related to the brand because for the most part they are void of facts and real historical data. The word is we don't count as far as history goes and is all the more reason I have to stand up and continue to do battle with many of the haters on both sides of the Atlantic.Much of the potential work out there myself and the rest of the Legends could be doing has been stymied do to politics with those who goal to keep us from rising to claim out spot in history In any respect justice will serve itself in the end I;m optimistic about that. Stay tuned as I'm sure things will heat up in the coming future.
For Corner Talk Report......Butch Leake
For more happens around the Legends Log into The Drifters Legends Clubhouse on Facebook
Thursday, August 29, 2013
The Legends Collection Store
The Legends Collection Store is now open! We are currently still in development of our
product line but hope to bring it to you shortly.
Coming Soon! "Anthology" The Drifters Legends
The Address log into http://lc2011.miiduu.com/
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Tuesday, August 27, 2013
Stand By Me
Drifters Legends and solo artist Ben E. King begins his tour in the United Kingdom today August 27th through to the 21st of September..... You can catch him here in New York City at the famed BB Kings Night Club September 27th. As you know Mr. King sang with the Drifters back during the 60s era and his can be heard on many of the great Drifter classic of that period. Benjamin Earl King (born September 28, 1938), better known as Ben E. King, is an American soul singer. He is perhaps best known as the singer and co-composer of "Stand by Me", a US Top 10 hit in both 1961 and later in 1986 (when it was used as the theme to the film of the same name) and a number one hit in the UK in 1987. As a Drifter and as a solo artist, King had achieved five number one hits: "There Goes My Baby", "Save The Last Dance For Me", "Stand By Me", "Supernatural Thing", and the 1986 re-issue of "Stand By Me". He also earned 12 Top 10 hits and 25 Top 40 hits from 1959 to 1986. He was inducted into the Rock and Roll Hall of Fame as a Drifter; he has also been nominated as a solo artist. Currently, King is active in his charitable foundation, the Stand By Me Foundation, and is also a founding Champion of the Global Village Champions Foundation along with Muhammad Ali, Gary US Bonds, and Yank Barry. He has been a resident of Teaneck, New Jersey since the late 1960s.
CORNER TALK REPORT/Butch Leake
For more info on The Drifters Legends Log into
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Saturday, August 17, 2013
DLegends/News Update!
at Corner Talk Report.....
Friday, August 9, 2013
"Anthology" The Drifters Legends
"Anthology" The Drifter Legends is currently in the finishing stages written and compiled by Butch Leake and chronicles the history through photo's and text of The Legendary Organization. Much of this book is from an insiders perspective and gives information that only one who has hands on knowledge can deliver. Though much of The Drifters history has been covered by many fine writers over the years here we try and highlight the controversies and facts which for the most part the public has not been privy too through it's members, court records and document etc. to give a more concise understanding of the facts that made the brand what it is then and now. In saying all this! I have lived with The Drifters for a better part of my life through some great times and also through some tumultuous periods. I do consider the years of my tenure a proud time of my life and though being critical of the organization where need be, I think it has to be that way to balance the understanding historically. After 60 years of hits, 214 million singles 114 million albums sold an incredible track record despite a succession of personnel changes and diverse groups. The Drifters are one of the longest running success stories in music history. We here at DLegends continue to carry on in the tradition that made the group in what it was in the past on unto today. Note the official Drifters who under The Drifters Brand and PMG management UK continue to perform for much of a new and younger generation today. DLegends is the historical foundation of the brand and the link back to it's earlier years from the Bell/Arista Record period in the 70's back to the middle and early Atlantic Record era of 1953.
Butch Leake (CORNER TALK REPORT)
For more info on The Drifters Legends and DLegends log into The Drifters Legends Clubhouse
Sunday, July 14, 2013
The Drifters Incorporated/Anatomy Of The Brand
The Drifters first appeared in New York in 1953. Shortly thereafter, in 1954, the group came under the management of George McKinley Treadwell, a jazz trumpeter.Treadwell as it is recorded played in the house band at Monroe's in Harlem in 1941–1942, then worked with Benny Carter later in 1942 in Florida. he had previously managed other musicians, including Sammy Davis, Jr., Billie Holiday, and Sarah Vaughn. Mr. Treadwell managed the group through The Drifters, Inc., a New York corporation that he formed in 1954. Treadwell though holding most of the stock of this corporation operated the business along with other partners Irv Nahan and Lewis C. Lebish not known to most of the public and who were for the most part the backbone to the company. Nahan handled most of the entertainment side of the brand while Lebish acted as accountant and bookkeeper. Overall they held complete artistic control over every aspect of The Drifters as an entity. Assisted by his wife Fayrene Treadwell they hired and fired Drifters singers; they paid the singers a weekly salary; they selected the music and arrangements; and they made all musical and business decisions relating to both live performances and recording contracts. Yet during the very early years of the Drifters as reported through interviews with the late Bill Pinkney it was Atlantic Record head Ahmet Ertegun and particularly vice president Jerry Wexler who were the biggest inspiration for the group both who played a big part in forming The Drifters. Interesting with all the legal issues that have surfaced over the years relating to the Drifters Trademark with one of the most recent being that of the Treadwell versus Marshak Federal case. Where did the name "Drifters" come from? Well, the Atlantic group was neither the first nor the last to use it. Other unrelated, but legitimate groups (that is, groups not pretending to be Atlantic's Drifters or derivatives of them) had appeared on London label (1949-50), Coral label (1950), Excelsior label (1951), Class label (1953), and Crown label (1954). Noted in Marv Goldberg notebook "The Drifters" the early years. Many were country and western bands both here in the United States and abroad in Europe and had used the name the Drifters such as the Carolina Drifters, the Evergreen Drifters, the Texas Drifters, the Ozark Drifters, Johnny Whitlock and the Drifters, the Dixieland Drifters, and the Dixie Drifters. Abroad in England there was Cliff Richards and The Drifters and a white group from Michigan Jimmy Williams.and The Drifters. For the most part it seems The Drifters name was quite common as far as use in the entertainment industry though there are other factors which can determine it's use under trademark classification.The facts on how the Atlantic group of Drifters acquired it's name have been somewhat sketchy but it's said that Clyde McPhatter had been toying around with that name for sometime. It was sometime in 1954 George Treadwell acquired ownership of The Drifters name reportedly from Clyde McPhatter who at a later date regretted what he had done as it started a chain of events that have lasted to this day in dooming the singers who have performed as Drifters to gross exploitation. Most who have died broke in it's 60 year history. During the early years, Drifter brand contracts were clever in construction as they left very little wiggle room once signed. In the employment agreements for the most part there was a guarantee to the artist for at least thirty (30) weeks of employment during any year that the artist performed for the company. Further there was in some cases more or less a net sum of $4500.00 guaranteed during the first year and after that the employer would be relieved and discharged of any liability or any financial obligation thereafter. This virtually made any royalty that the artist would have been entitled to null and void. On the back end of most contracts it was Drifters Incorporated who signed directly with Atlantic Records. The brand itself was the artist not the individual singers who sang on the songs. Treadwell and his business partners were very shrewd in engineering there deals. In one report being able to get advances that were not returnable or recouped by or seen as advances against past or future royalties. This type of deal was made in securing the services of the Late Drifter singing legend Johnny Moore in 1961 for Atlantic Records according legal court transcripts during the period. The Dollar worth was twenty two thousand five hundred ($22,500.00) dollars. It is doubtful if Mr. Moore ever saw any of this advancement. On a whole members in any of the given early years made know more than a 150.00 dollars per week and after the 60s the weekly scale ranged from three hundred ($300.00) to one thousand dollars ($1000.00). I t was not until the 90s that some of the practices of the brand were unraveled when Charlie Thomas won his royalty case against Mrs Treadwell who now managed Drifters Inc. During the 70"s there has been much controversy on who's who on the many of the recordings of the period as it was a practice of the brand to replace members of the group with session singer to get around royalty issues. Voices would be overdub by session singers and or tracks mixed down to hide the original voices. In many cases the session logs were conveniently lost so as there were know record on who was on those sessions. Much of these practices took place in result of a controversy over the Drifters "Now Album" where former members who at the time were US AFTRA union members were not paid according to union scale. US entertainment Federation do not recognize third party entities such as the case with Drifters Inc. who was the defacto artist. In a letter dated September 24th 1974 to AFTRA relating to the recordings "Blessing In Disguise" "Love Games" and "Down On The Beach Tonight" Martin E Rindsberg then attorney for Drifters Inc. attempts to convince the federation that the recording session in the United States for these songs were no longer than 3 hrs over a two days that the Bell group were in the studio, when in fact total recording time exceeded over 15 hrs in duration. Drifters Inc attempted to pay the artist know more than a hundred ($100.00) dollars per person though the scale was four hundred and sixty five (465.00) dollars. This was totally unacceptable to the Federation and a demand was given to Bell Records at the time to deliver the funds as the Producers at the time under Cookaway Productions were not signatories of the US Federation but the recording company would be responsible for full talent and pension and welfare payment to the artist. in this case the log sheets from May Fair Studios in New York were in full possession by the artist and the Federation.
Butch Leake (CORNER TALK REPORT)
For more info on the Legendary group and Organization log into:
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Thursday, July 11, 2013
The Drifter Wars/Insensitive Encounter
For the most part The Drifters Brand has maintained a sound fan base for at least 6 decades now. Loyal fans are the bedrock of any successful artist, band or entertainment medium and in many cases the fan base can and may reach to cult like levels in expressing their firm commitment to the artist. Though the threat of insensitive encounter looms in many cases unknowingly by fans with management and management personnel. There is also the specter of controversial opinion between fans themselves not knowing that overall, the root of these encounters are somewhat by design through insensitive understanding of the real facts as they play out on the ground by the management itself. In the case of The Drifters Brand management for the most part has ran a tight ship particularly during the earlier years when Treadwell was steering the ship. Yet during The Bell/Arista period the group members had more intercourse with the members of public than what is allowed today. Obvious this comes with it's Pros an Cons as management for the most part is looking at it's bottom line and needs to strike a balance with whom might affect it's outcome. The public plays a very large part in this scenario. Undoubtedly fans come to concerts to see the artist they idolize and are not attentive to the politics which is played out behind the scenes. This stands true in any entertainment medium weather it's stage performers, football or basket ball stars etc. Rightfully so the public is entitled to enjoy themselves at these great media events and pay their hard earned money for a period of relaxation and fun. Yet we all come there for our own reasoning. That is to just sit and watch, some to dance, others to network and meet new people etc. Whatever the reason, it is to for fill our immediate pleasures. Yet in all of this we sometime invade other spaces unintentionally! and here a fine balance must be found so as not to offend anyone. Recently! such a scenario began to to play itself out on the current Drifters facebook page and accordingly as the dialogue indicates management failed to address important issues why fans could not get up and dance at The Drifters concert? Was this insensitive or is this a lack of understanding on the part of management to see the sensitive nature of fan relation with the group they love." You be the judge"
Diane Lydiate Says!
After a lovely day, arriving in Blackpool on Saturday to a hotel with a fabulous owner, we were so looking forward to a fantastic night watching the Drifters. Great start to the evening, great music, helpful usherette. We asked if we could get up to dance at the back of the theatre so we didn't disturb the people around us and were told yes, the theatre didn't mind this. So we got up and danced, thoroughly enjoying the music. How surprised were we when the Drifters OWN manger complained that she didn't want us dancing (even though we had asked and been given permission) and so we were told to sit down. We were on a family celebration and had bought 15 tickets. If it had been a play or an opera I could understand, however at a music event by an iconic band, in my opinion it would have been more of an insult to NOT have wanted to dance. As a result the whole event was ruined for us and we left the concert. I really hope the Drifters are aware that their OWN manager is costing them fans and income!! To add insult to injury in the second half (after we had left for being treated so appallingly by a woman (the manger) who didn't even have the decency to speak to us (in fact refused outright) the whole theatre was up and dancing!!! Just to clear up, it wasn't the grand theatres deputy manager who copped out it was the Drifters deputy manager who stood listening to our complaints and then said he only sold programmes!!! I hope fans take this on board!! It is our hard earned money that buys the tickets (£25 a head!) that enables these groups to perform
I would like to express my disappointment at the fiasco that happened on our recent trip to see the drifters at Blackpool , myself and a party of 15 had booked to see them for my Aunts 60th birthday celebrations. My mother and her sisters where extremely excited to see you and had booked in plenty of advance to see you all. When you came onto stage we where all thrilled as to be perfectly honest you were all amazing , that enjoyable in fact we wanted to dance. To be well mannered we asked the usherette if it was possible to stand at the back to avoid disturbing anyone and was told that it was no problem and it was okay. So off we went and danced and enjoyed the concert .... Or so we thought , after only two songs we were asked to sit down again as it wasn't allowed at YOUR concerts!!!! To say we were disgusted would be an understatement that much so we asked to speak to the manager who then informed us that it was YOUR management who had issued the ultimatum , apparently one person had complained !!! I asked if we could speak to your manager and she refused , i also asked for the gentleman a name who sold merchandise for his name as i fully intend to take this further and he refused and basically sneered at me ( this conversation i have recorded , u are free to listen anytime) after all this we ended leaving the venue whole trip totally ruined!!! Questions i have !!! Is it not allowed to enjoy your music???? Is it not permitted to dance at your performances???? Do your management have such low regard for your fans that they can be treated so appallingly ???? I am sure this post will be removed but i fully intend to take this further !!!
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The Drifter Wars... https://soundcloud.com/dlegends
Saturday, June 22, 2013
The Drifters/Music View
Asking those mom and pops across the globe on which Drifter group is their favorite you might get various opinion depending on the age group and year in which the songs were recorded and heard on public radio. Recently it has been brought to my attention concern over what direction the Drifters brand has taken since the new management has taken over from what use to be Treadwell formula for success of the group. In my opinion today's rendition of the Drifters can never be what was in the bygone eras. There are no longer any great stylus singers like which came out of the early years. Many of the writers of today also lack that gift of what made the writers of yesteryear so great. Drifter voices were unique as many of the voices of the groups of the period with there solid bass, baritone, second and first tenor sound. Today's music and production is very gimmicky. There is a lot of stage management which lends to much robotic movement and unnatural flow in that movement. Now the truth is today's generation only know what they are brought up on. So there is a generation out there that wouldn't have a clue what the original sound was truly all about. Treadwells formula was a winning formula and has been lost in the mix in today's production of the group. A successful formula is what it is! It can be modified but it should never be abandoned. What was truly an American style has been modified with British accents. Though the British flavor has it's own unique style to it. It's not what made this American group.
Butch Leake (CORNER TALK REPORT)
Sunday, June 2, 2013
The Drifter Wars/Brand vs Band (Controversy and Facts)
Call it what you like but the fact is what we call The Drifters is no more than a brand a concept that began way back in 1953, which hired and fired it's members giving them low salaries and virtually no royalties on recordings. The Drifters is one of those sad stories of brand vs band where the only identity is in the brands name and members for the most part were forever banded from using or identifying ever being with a group called The Drifters according to contractual agreement that members signed. Though the paradox in all of that one signed over the use of name and likeness which is a standard in the recording industry to promote the brand and product. Another strange paradox is management and lawyers for the brand would claim that those who made up the group around the lead singer were only session singers when it came down to royalty issues and were not Drifters, though you were the Drifters for all other purposes. In other cases members were hired and fired so fast that there would never be a chance for any sound claim to any lasting identity with the Legendary brand or group so to speak. The lead singers were the only ones who had lasting identity with the brand during the early part of the groups history and much of the 60 or more members who came through it's ranks are lost through the pages of history. Not so though with The Bell/Arista period as this lineup managed to stay together for four to five years, recording a number of albums and songs that became big hits during the 70s. Unlike many of the members during the earlier years each of it's members became household names unto themselves and their identity became ever fixed to the Drifter history lineage.
Butch Leake (CORNER TALK REPORT)
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Thursday, May 30, 2013
Butch Leake/The Journey
It's a great feeling to stop and reflect in this moment in time on a journey that has taken me from my early childhood days through wars and conflicts such as Vietnam on into my wonderful music years with the Drifters. Obviously the crown jewel is to be able to write about all of this and there is a lot of gratification in being able to do so. Someone asked me the other day will you ever get tired of this Drifter thing as it seems forever to be plagued with problems as it has been since the start. My answer to that! "Was the show must go on" The Drifters has been major part of my life for some decades now and I do feel at this time that I am qualified in what I might call for a lack of a better word in Drifter-tolgy. I saw many years ago the vision that I am living today. Call it what you like premonition etc. the cards are falling just as I predicted it would and yes it gives me an advantage in moving forward way ahead of scheduled events. On the Legends project we are still moving ahead as we began some years ago. Though there were some setbacks related to politics and conflict of interest issues I myself will never let it die. It's a multi-facet project with many directions to it. I enjoy the challenge that it brings as I clearly see through to the end of the tunnel. The biggest problem as always in these things is getting everyone on the same page in hope that they see things as you do. I've been known to make what people may say is impossible "Possible". Moving on into the future I am close to finishing the book "Anthology" The Drifters Legends and have started a new book titled The Drifters Legends Controversies & Facts. Photographic sessions are currently being scheduled for all of the Legends and I have just finished one session with Drifters Legend Rick Sheppard. I'm in the studio with my team of photographers on a session around myself and then I'm heading out to Photograph DLegends Clyde Brown and Joe Blunt in the coming months all for the book and other Legends projects that are in the wings. I do thank all of those who have giving there support thus far and also those who haven't been so forth coming. I still love you! but as I said earlier The Show must go on".
Butch Leake (CORNER TALK REPORT)
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The Drifters Legends Clubhouse https://www.facebook.com/groups/thedrifterslegendsclubhouse/
Friday, May 10, 2013
Fast And Furious 6/Review
Fast and Furious 6 the high octane adventure is every bit of combustible as it's name imply's. Right from the start this two hour movie on wheels director Justin Lin manages to out do the last. Though each movie in the franchise are somewhat the same he never lets you down when it comes to new and bolder stunts and action. During the first five minutes director Lin takes us from the Canary Islands to Moscow to London, while also summarizing the five "F&F" films that came before. Van Diesel who seems to have been born to make these movies gives the films it's catch phrase "Family" It's all about family, while his pit crew has grown into a satisfyingly connected team. It"s this sense of communal spirit that gives the "F&F series it's heart. A family reunion is what this film is all about as Dom and his crew unite to save one of their own. Dom's long ago love Letty (Michelle Rodriguez) who was supposed to have been killed in the fourth film was revealed to be alive in "Fast Five" and now we learn in Six who she is working for, another team headed by a devilish villain named Shaw (Luke Evans). He's on the verge of developing some powerful Technological weapon and Special Agent Hobbs (Dwayne "The Rock" Johnson's) needs Dom and his crews help to take down Shaw. Dom and his best friend Brian (Paul Walker) and their crew (Ludactis, Tyrese Gibson, Sung kang and Gina Carano are in London now stalking Shaw. They are ready to take him down but Dom really want to see Letty but he is soon to find out she doesn't know who he is as her memory has been totally washed. Looking at the supporting cast Rodriguez and Evans are particularly strong in character. Carano and Jordana Brewster, Dom's sister are somewhat stiff. The plot in general is quite serviceable boosted by humor and remains one of those stories which you can hang breathtaking action scenes, chases, explosions and hand-to-hand combat scenes on.
Butch Leake (CORNER TALK REPORT)
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Thursday, May 9, 2013
annees folles/Crazy Years 1920s
On the eve of the lavish movie The Great Gatsby! Gatsby fever has hit
New York with parties set in the style of the 1920s.
Those fabulous roaring twenties a term use to characterize the 1920s
A decade of distinctive cultural edge in New York City, Paris, Berlin, London o include many other cities who sustained a period of economic prosperity and stability.
French speakers called it the "annees folles ("Crazy Years"This emphasizing the era's social setting in artistic and cultural dynamism.
Economically the era saw a rise in the use of the Automobile, Telephone, motion pictures and with significant changes in lifestyle and culture.
The sprit of The Roaring Twenties had a unique since of feeling to it with new technologies
particularly automobiles, motion pictures and radio proliferated modernity to a large part of the population you could see practicality in both daily life and architecture.
At the same time jazz and dancing rose in popularity in opposition to the mood
and specter of World War 1. This period was also known as the jazz age.
Dance clubs became notoriously popularly during the 1920s. Their popularity peaked in the late 1920 and reached into the early 1930s.
Dance music came to dominate all forms of popular music by the late 1920s.
From the early 1920s, however, a variety of eccentric novelty dances were developed.
It was after two 1922 Broadway shows that the Charleston exploded as a dance entity.
By 1927, the Lindy Hop, a dance based on Breakaway and Charleston and integrating elements of tap became the dominant social dance,
Developed in the Savoy Ballroom, it was set to stride piano ragtime jazz. later The Lindy Hop would develop into swing jazz.
During this period several entertainment venues attracted people from all races.
Fashion was a noted highlight in the 1920s for all races weather pour or rich most men and women wore elegant dresses and suits.
Immortalized in movies and magazine covers, young women's fashion of the1920s was both a trend and social statement. These middle class women rebellious in nature were labeled flappers by the older generation did away with the corset of the Victorian age and donned slinky length dresses which exposed their legs and arms.
The hairstyle of the decade was a chin-length bob, of which there were several popular variations.
Butch Leake (CORNER TALK
REPORT)
REPORT)
For more on the Roaring Twenties Log into History
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Friday, May 3, 2013
The Drifter Diaries/South African Connection
1974 Apartheid was still going strong! Nelson Mandela was still during time
in prison for his activist activities. The Original Bell/Arista Drifters landed
in south Africa to a tremendous welcome from fans who were ecstatic over
the Legendary group coming to South Africa to perform for them despite all
the political issues of entertainers visiting the country because of Apartheid.
For The Drifters this would be the first as far as an historical tour was
concerned. We would perform before integrated audiences and on the
band podium black and white musicians would play together.
This arrangement was a requirement that was unheard of at that time.
South Africa had some strange laws and practices during this period
when it came to social integration between blacks, Indians and whites!
but for the most part there was increased effort to keep us away from the ugly
side of life in that part of the world which for me was a signal to educate
myself more on what was going on there. We were so to speak goodwill
ambassadors but there was no hiding the scars of Apartheid.
The tour was sponsored then by The Quibell Brothers who now live in
Florida. On the show bill with us were Barbra Roy and Ecstasy Passion and
Pain and a Great South African Solo Artist The Late Margret Sengana.
Most of the Tour was situated around Capetown, Durban and Johannesburg
with stop overs in Botswana. In Botswana the clear signs of the ravages
of war were clear. Recently I ran into Ron Foster who was the Key board est
for Barbra Roy and we reminisce about those days. The audience attendance
were jam pack in all the shows we did. In Capetown we performed for
Dr. Christian Barnhard who as you might remember performed the first
revolutionary heart transplant at that time. Interesting some years later I
spent much of my time working and supporting then Britain's Queen
Elizabeth Heart Foundation charity.
In Capetown the social setting was very much a private one with black, white
and Indian professionals mixing under the radar of the security services
who's job it was to to keep such social gatherings from taking place.
In Johannesburg you had Hill brow a very cosmopolitan area in the heart
of the city up on a hill which all of the races of people integrated very
freely. We lodged while in Johannesburg at then a beautiful hotel called the
Landross Hotel which featured a unisex sauna where Apartheid ended when
you crossed it door step ( So Goes The Strange Laws During This period).
Part 2 of this historical tour will feature The show in it's entirety and some
of the political issues that surfaced around the visit.
Butch Leake (CORNER TALK REPORT)
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The Drifters Legends Clubhouse https://www.facebook.com/groups/thedrifterslegendsclubhouse/
Thursday, April 25, 2013
The Brill Building/The Music Temple
The Brill Building (built 1931) as the Alan E. Lefcourt Building and designed by Victor Bark Jr. is an office building located at 1619 Broadway on 49th Street in the Manhattan borough of New York City, just north of Times Square and further uptown from the historic musical Tin Pan Alley neighborhood. It is famous for housing music industry offices and studios where some of the most popular American music tunes were written. The building has been described as "the most important generator of popular songs in the Western world......Wikipedia
This building housed some of the the most prolific publishers, songwriters and producers of the times. By 1962 it is noted the Brill Building contained over a 165 music businesses on on it's premises. Musicians/Artist alike could find all that was needed to cut a deal. That is could find a publisher and printer, cut a demo, promote the record and cut a deal with radio promoters, all within this one building.
Many of the greatest songwriters producers etc worked within this building Burt Bacharach and Hal David, Bert Berns, Neil Diamond, Gerry Goffin and Carole King, Marvin Hamlisch, Jerry Leiber and Mike Stoller, Barry Mann and Cynthia Weil, Doc Pomus and Mort Shuman, Neil Sedaka and Howard Greenfield and Phil Spector just to name a few.
Artist who were headquartered at the Brill Building were Bobby Darin, The Drifters, Connie Francis, Lesley Gore, Ben E. King, Darlene Love, Liza Minnellie, Tony Orlando, Gene Pitney, The Ronettes, The Shangri-Las, The Shirelles, The Sweet Inspirations, Doris Troy, Frankie Valie & The four Seasons Seasons, Dee Dee Warwick and Dionne Warwick.
Over a period of time the building took on what was noted as the Brill Building Sound which was somewhat inaccurate as a lot of the music came from outside the building from such places as that other important address on Broadway at 1650.
Butch Leake (CORNER TALK REPORT)
For more info log into the link below.....
Monday, April 22, 2013
Bell/Arista Drifters/The Pivotal point
By the late 60s Atlantic Records had all but ceased to release new recordings on the Drifters and the group of the nostalgic heyday had begun to fade away into the pages of history. The next recording session on 11/8/67, had only three voices - Johnny Moore, Rick Sheppard and Bill Fredricks. December of 1967, Charles Baskerville leaves the lineup and is replaced by baritone Milton Turner who sang with Bill Fredricks in The Packard's. Guitarist Abdul Samad also leaves around this time and is replaced By Butch Mann the former guitarist for Ruby and The Romantics of the (Our Day Will Come) fame. Milton Turner leaves in 1969, and is replaced by another Charles Thomas, who later changes his name to don so as not to confuse it with the original Charlie Thomas. Both Don and Charlie were from the state of Virginia. From this point on The Drifters as a group spiraled downward. Atlantic Records had only been releasing one record a year on the group from 1967 Thur 1971, non making it to the top 100 in the charts. In 1970, the group broke up over internal problems relating to management. Bill Fredricks stayed because of closeness with management who was then Faye Treadwell wife of the late George Treadwell. Johnny, Rick and Don wanted to go it alone, but nothing came out of these plans. Rick left and became a police officer, even though he continued singing with his own review. Johnny rejoined Bill Fredricks and the management. Don Thomas also returned for a short period.
1972 was to be the pivotal point or what you might call the Resurrection with the signing of the Drifters to then Bell Records through Greenway Music headed by writer and producer Roger Greenway. The lineup by this time featured Johnny Moore, Butch Leake, Bill Fredrick's and Grant Kitching's and it was this rendition of The Drifters that would propel the brand to the heights of it's former glory. There are those who try and down play the significance of the this lineup but there is no mistaking that the success of this signing brought the brand back from obscurity. Even now in 2013 the current brand of Drifter groups have yet to duplicate the success of the Bell/Arista years. Recently in 2012 the brand went gold with the release by Sony Music who now is custodian of the Bell/Arista catalog a CD titled The Drifters "Up On The Roof" the very best of... This CD sold 200,000 units but it was largely the Bell/Arista songs which carried this CD to it's gold status. It remains to be seen if the current official lineup of Drifters will duplicate the success? There are still the pros and cons of the Drifter sound and style that has to be met as far as hardcore Drifter fans who grew with the group over the years are concerned. The young generation of fans have know Idea of the significance of truly what made The Drifters what they were over the years and in my opinion current management miss the mark somewhat! maybe it's not needed we shall see. In the back round "The Drifter wars" continue as former members and the proliferation of wannabe drifter acts compete in this now cottage industry on both sides of the Atlantic. The story will continue to be recorded and written here as we move into the next decade of Drifter drama stay tuned......
Butch Leake (CORNER TALK REPORT)
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Tuesday, April 16, 2013
Honoring Great Legends.....
Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American composer, pianist, and big-band leader. Ellington wrote over 1,000 compositions.
We are honoring many of the Greatest of legends like Mr Ellington in showbiz and beyond over at CTR Blog Journal. Log in for and informative journey.....
http://www.ctrblogjournal.com/#!honoring/c1wqj
Butch Leake(CORNER TALK REPORT)
Friday, April 12, 2013
42 The True Story Of And American Legend/Review
It might not be a home run but 42 is an inspiring tribute to and American
baseball legend.
Written an directed by Brian Helgeland (who wrote “LA Confidential’’) 42
is a reminder for those who are familiar with the period of trials and tribulation
that were endured by the first African American (Jackie Robinson) played by
Chadwick Boseman to enter major league baseball.
Boseman is cast along side Harrison Ford who is great in this character role
as gruff Brooklyn Dodgers General Manager Branch Rickey.
An Idealist and smart businessman Ricky in 1945 senses an opportunity to
make history, as well as a lot of money, by tapping the huge talent pool in
the Negro Leagues during a time when racism was pervasive beyond the
Jim Crow south.
Robinson has to deal with the taunting of his team mates being turned
away from hotels, planes and lynch mobs and even though he shows
exceptional skill during his time in the minors doesn't get him any respect
when he finally joins the Dodgers in 1947.
Several teammates sign a petition demanding his firing, and a bigoted pitcher
hits him in the head with a baseball.
The racial slurs are high when Phillie's Manager Ben Chapman played by
(Alan Tudyk) unleashes a stream of vile unleashes a stream of vile racist epithets
at Robinson while on the mound waiting for the ball to be pitched.
The film highlights other major connection in his life including Nicole Beharie as Jackie’s
strong wife, Rachel; Andre Holland as Robinson's friend and chronicler sportswriter
Wendell Smith; and Lucas Black as shortstop Pee Wee Reese.
This is a film that has something for everyone weather you are a sport
enthusiast or not, a biopic that takes in the world and people around it's subject.
Butch Leake (CORNER TALK REPORT)
For more info log into http://www.ctrblogjournal.com/
Tuesday, April 9, 2013
No Room For Error
There is know doubt we are in trying times after years now in the Afghan Iraq / war
and now we are seeing potential conflict brewing in Syria, Iran and now the latest Korea.
Much is being throw around by all sides which even at this time is having far reaching
political and economic consequences on the world as a whole.
Is it all possible to live in a world where we are not in constant threat of our neighbors
for one reason or the other.
It is all but natural for the small guy to want to join the bigger club on the block or at
least try to even the playing field.
Yet the question is at what price do we pay for such including or non inclusion
of rogue nations in the Nuclear stable of countries....
Technology advancement is something any smaller nation of people will seek to have
and in the eyes of such, anything less amounts to nothing more than being in slavery
to the bigger power. The Israel Palestine issue is a perfect example of this sort of
feeling that exist between people and will continue as long as basic human rights
that of food, shelter, clothing, education and technological advancement and the general
right to exist is denied..
Much of what we see in the world today particularly that of grievances by smaller nations of
people is the direct result of years of colonization and occupation by bigger foreign
nations. So as the old saying says you reap what you sew....
Much is now coming back to bite us where it hurts.....
There is know room for error in what ever coarse we take to quell the unrest in the family
of nation. For it could lead us down a dark road of destruction unprecedented in today's
times.
Butch Leake (CORNER TALK REPORT)
For continued info visit us at http://www.ctrblogjournal.com/
Friday, April 5, 2013
Corner Talk Report Blog Journal
I have now expanded Corner Talk Report to bring you more information
with a new website in seeking to centralize things here on the web....
I'm in the early days of the site and will be expanding in to new topic areas
which I hope will be of interest......
You can still join us over at The Drifters Legends Clubhouse over on
Facebook or follow me and DLegends over at Twitter....
Corner Talk Report Blog Journal http://www.ctrblogjournal.com/
DLegends https://twitter.com/dlegendsny
Butch Leake https://twitter.com/BUTCH_LEAKE
Butch Leake (CORNER TALK REPORT)
Wednesday, April 3, 2013
Temptation/Confession Of A Marriage Counselor (Review)
SYNOPSIS: A bold look into the intrigue and perils of infidelity, Tyler Perry's Temptation: Confessions of a Marriage Counselor is a moving love story that dives straight into the heart of obsessive passion. "It's about a woman Judith (Jurnee Smollett-Bell) who starts to get restless in her relationship and her choice to be with another man has a huge effect on the rest of her life," explains screenwriter/producer/director Tyler Perry. "She goes on a journey - in her career and in her marriage - and she ends up in a very different place than she expects/.
Temptation: Confessions of a Marriage Counselor is a drama-thriller film produced, written, and directed by Tyler Perry. The film is adapted from the play of the same name written by Perry, with several changes.
The story depicts the marital crisis of Judith (Jurnee Smollett-Bell), who works as the “in-house therapist” for an up scale therapist agency for Janice (Vanessa Williams), a high-end matchmaker. Married to her childhood sweetheart Brice (Lance Gross), a druggist whose modest dream is to someday own his own pharmacy, she finds herself increasingly unhappy over such transgressions as his forgetting her birthday two years in a row.
Due to the nature of her husbands forgetfulness she become susceptible to the charms of a handsome billionaire Harley (Robbie Jones), a social-media entrepreneur negotiating a business deal with her boss (Vanessa Williams.
Harley who owns a posh up scale townhouse and a private jet manages to seduce Judith and convinces her to travel to New Orleans on a business trip.
Almost immediately afterward, he reveals his true colors as an abusive womanizer and drug and alcohol abuser. Suddenly the previously cordial Judith is wearing revealing outfits, swigging champagne and snorting cocaine, much to the consternation of her husband and her mother Sarah (Ella Joyce)
Brice is consoled by Melinda (Brandy Norwood) who was once married to Harley and as this story goes was infected by HIV from his sleeping around with other woman. He later race to Harley's house to get his wife and finds her beaten up.
No matter what you say about this film it has a Tyler Perry signature all over it. For me it addresses the morality question at the heart. Though the supporting cast can be somewhat whimsical, and there to fill in the gaps! it does hold your attention and has it's moving moments.
Release Date: March 29, 2013
Studio: Lionsgate
Director: Tyler Perry
Screenwriter: Tyler Perry
Starring: Jurnee Smollett-Bell, Lance Gross, Kim Kardashian, Vanessa Williams, Robbie Jones, Renée Taylor, Ella Joyce, Brandy Norwood
Genre: Comedy, Drama, Romance
MPAA Rating: PG-13 (for some violence, sexuality and drug content)
Official Website: Temptationthemovie.com | Facebook | Twitter
Butch Leake (CORNER TALK REPORT)
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