First incarnation
Formed in 1971 in Berkeley, California, the band (then called The Warfield Foxes) moved to Los Angeles by 1973 seeking a record deal. The band consisted of Martha Davis on vocals and guitar, Dean Chamberlain on lead guitar, Chuck Wada on 2nd lead guitar and others. While in L.A., the band changed its name to "The Motels" and the line-up consisted of Martha Davis, Dean Chamberlain, Chuck Wada, Robert Newman on drums and Richard d'Andrea on bass. Both Martha Davis and Chuck Wada contributed original songs to the repertoire.
The Motels and two other local bands, The Pop and The Dogs, kicked off the local band scene with a hallmark concert at a self-produced show, 'Radio Free Hollywood' held at the venerable old theatre, Troupers Hall. (Prior to this show, few if any unsigned bands played local high profile clubs like the Whisky and The Roxy.) The band guested on Rodney Bingenheimer's popular radio show.
After recording a demo for Warner Brothers, which was turned down, they were offered a contract with Capitol but the band turned that down by disbanding in 1976. Dean Chamberlain was soon heard again in his band Code Blue and signed to Warner Brothers Records. Richard d'Andrea joined The Pits and later enjoyed almost three years with The Know. Robert Newman is a successful art director and designer. Chuck Wada still writes and performs and is a financial advisor.
Second, most successful incarnation
In March 1978, Martha Davis was approached by lead guitarist Jeff Jourard to form a new Motels. Extensive auditions resulted in a new lineup consisting of Jourard's brother Marty Jourad who played both saxophone and keyboards, Michael Goodroe on bass, and Brian Glascock on drums.
Short on funds, they shared rehearsal space with The Go-Go's at L.A.'s notorious punk basement, The Masque. Playing in Chinatown at Madame Wong's restaurant/nightclub so many times they were nearly the house band, they began to draw a faithful crowd around the L.A. music scene. By Mother's Day 1979, The Motels had signed with Capitol Records and released their first album in September of that same year. Their first single, "Closets and Bullets," made no impact on the charts, but their second single, "Total Control," found its way to the Top 20 in France and the Top 10 in Australia.
In 1980 Jeff Jourard was replaced with Martha's boyfriend Tim McGovern as lead guitarist. The band went back into the studio to record their second album, entitled "Careful." Released in June of 1980, the album made it to the #45 spot on the US album charts. In Europe and the UK, the songs "Days Are OK" and "Whose Problem?" were Top 50 hits, and the latter was also a top hit in Australia. "Danger" was a Top 20 hit in France.
The band hired record producer Val Garay for their next album. The album, "Apocalypso." was scheduled to be released in November 1981, but after hearing the final product Capitol Records rejected it. Frustrated, the band attempted to go back and rerecord the entire album. In the process, Davis and McGovern's relationship had gone sour. By December of 1981 McGovern was no longer in the band. The rest of the members forged on and finished recorded the new album with Val Garay producing. Using studio musicians to fill in for the vacant guitar spot, the band was able to finish the album by March of 1982. Having auditioned several guitarists to take McGovern's place, Guy Perry finally was given the job. The album, now titled "All Four One," was released in March of 1982.
Before any singles were released, the song "Mission of Mercy" had made enough airplay to land the #33 on the Billboard Rock Album Cuts chart. Their first single from the album, "Only the Lonely," found its way into the Top 10 in the U.S. by June. Other hits included "Take the L" and "Forever Mine." Their first successful U.S. album coincided with the emergence of MTV, which led to music videos for both "Only the Lonely" and "Take the L." Martha Davis won a "Best Performance in a Music Video" award in 1982 for her performance in the "Only the Lonely" video. By now, the band had added a sixth member, Scott Thurston.
The Motels returned in 1983 with the album "Little Robbers." Garay by now not only was producing their albums, but their videos as well; and, he became the band's manager. The first single from the album, "Suddenly Last Summer," made its way to the Top 10 in the U.S. The album went gold in the U.S., Canada, and several other countries. Despite their success, the band cancelled their tour and fired Garay as manager for personal reasons.
With new management, the band forged on in 1984. They appeared on Saturday Night Live in January. They recorded songs for two movie soundtracks: "Long Day" was recorded for Moscow on the Hudson and "In the Jungle" was recorded for the movie Teachers.
In 1985 the band released their sixth album "Shock." The first single "Shame" became a Top 30 hit on the pop charts and a Top 20 on the dance charts. Two other singles were released, "Shock," and "Icy Red."
On February 13, 1987, Davis decided to dissolve the band and go solo.She reformed a version of the band called Martha Davis & The Motels, in 1998; as of 2006 she continues to appear under that name with various lineups.
Three members of the 1978 version of the band reunited with Davis in 2004 for an appearance on Bands Reunited; rejoining Davis were Michael Goodroe, Marty Jourard, and Brian Glasscock. Also appearing in that group was Adrian Peritori (aka "Guy Perry.") The Motels also appeared on the U.S. version of Hit Me Baby One More Time in 2006, and on the Nick at Nite reality program "Class Reunion" in 2007.
Albums
Motels (1979) #175 US
Careful (1980) #45 US
Apocalypso (1981) never released
All Four One (1982) #16 US
Little Robbers (1983) #22 US
Shock (1985) #36 US
Policy (1987) #127 US
Edit description
Anthologyland (2001)
So the Story Goes (2004)
There are also other The Motels:
2) The Motels are an alternative/indie rock band consisted of four 15-year-old members formed in Rio de Janeiro, Brazil in 2006. The Motels have composed five songs, however, only one ("Under Street Lights") has been professionally recorded, and "Knapsack" is still in progress. Their music has influences from bands such as The Strokes, Arctic Monkeys, Radiohead, Bloc Party, The Libertines, The Velvet Underground, Moptop, Legião Urbana, and Franz Ferdinand.
The band, who has debuted their single Under Street Lights in two New York radios, is made up of Pedro Paulo Ferraz (vocals), Lucas Feith (lead guitar), Antonio Pedro Ferraz (bass guitar), Carlos Eduardo (Kauai) Moliterno (rhythm guitar), and Beto Damazio (drums).
Two versions of Under Street Lights and the demo of Knapsack can be previewed in their website, www.myspace.com/themotelsrio.
(3)The Motels were formed by rock/jazz guitarist Cliff Hanley in 1976, based in Glasgow, Scotland. They mixed funk with punk and added reggae to the mix, with even some bebop creeping in. An extended fill-in by Ronnie Teape for Al Kerr on keyboards also added a bit of prog-rock,too. An early incarnation of the band included Danny Thomson on piano and Louie Rose (of Georgie Fame's Blue Flames) on congas. A lead guitarist, Tam Kerrigan, typical of Glasgow's fine tradition in rock, joined the front line for some months. Several bass players joined, notably the Pastorious-influenced Billy Lang, and Gordon Blank, from another Glasgow band, The Khyber Trifles.There was darkness as well as humour in their music, and they influenced other Scottish bands of the 70s. They eventually split up in London (1981) and the members joined other bands or moved on to session work, Hanley and frontman Craig Lockhart forming a production company.
One Album: Lo-Fi (2008) UK - to hear and download tracks by this band, look for 'Lo-Fi' in Albums.
tag: punkfunk, male vocals, new wave
Total Control
The Motels Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Knowing what could happen
Any moment maybe you maybe even you
Steadfast collapse
Always certain any moment
Maybe you maybe you
Maybe even you
I can't do it not with you
Not even with you
Maybe never with you
And I'd sell my soul for
Total control
Yeah I'd sell my soul for
Total control
Street wet tonight, lovers touch
It's pure delight
Always certain any moment
Maybe even you
Stay in bed stained sheets
My head hurts I repeat
Maybe you maybe you maybe even you
And I'd sell my soul for
Total control
Yeah I'd sell my soul for
Total control
Oh I'd sell my soul for
Total control over you
Over you
Total control over you
The lyrics to The Motels' song Total Control reflect the singer's desire for complete power and domination over a lover, as well as a fear of losing control. The repeated phrase "any moment" creates a sense of uncertainty and instability, heightening the singer's need for control. The lines "Looking counter clockwise, Knowing what could happen" suggest an awareness of potential dangers or negative outcomes, which may contribute to the singer's desire for control as a means of avoiding such situations.
The imagery in the song is sensual and intimate, as seen in the lines "Street wet tonight, lovers touch, It's pure delight". However, even in these moments of pleasure, the desire for control persists. The line "Maybe never with you" suggests a hesitancy to fully surrender to the relationship, and the repeated phrase "maybe you, maybe even you" reinforces the idea that no one is exempt from the singer's need for total control.
Line by Line Meaning
Looking counter clockwise
Observing the surroundings in a non-traditional manner, scanning for the slightest sign of trouble.
Knowing what could happen
Aware of the potentiality of danger or difficulty that could arise in the moment.
Any moment maybe you maybe even you
Threat can come from anyone, even those thought to be trusted.
Steadfast collapse
Strong resolve slowly deteriorating, to the point of breakdown.
Always certain any moment
Constant awareness that danger could arrive suddenly and imminently.
Maybe you maybe you
Suspicion that those once trusted may be the source of the potential danger.
Maybe even you
Hesitation and questioning of one's own allies or acquaintances in uncertain circumstances.
Recline complete dream too sweet
Allowing oneself to fall into a state of complacency and comfort, dreaming of a life free of worries and danger.
I can't do it not with you
Relinquishing the desired state of comfort associated with the complacency, knowing that the comfort could lead to betrayal or danger.
Not even with you
The sense that potential threats could even come from those closest and most trusted.
Maybe never with you
The uncertainty that trust and complacency can ever be truly established with anyone, even those thought to be close.
And I'd sell my soul for
The extent to which a sense of control is desired, to the point of sacrificing eternal damnation.
Total control
Complete dominance over every aspect of circumstance and life, to eliminate any possibility of the unexpected.
Street wet tonight, lovers touch
The sensory experience of a romantic moment, juxtaposed against the potential danger lurking in the surrounding environment.
It's pure delight
The inherent pleasure and joy in connecting with another person, even in an uncertain environment.
Stay in bed stained sheets
The aftermath of the pleasure experienced earlier, but also the potential for danger or regret.
My head hurts I repeat
The sense of repeating patterns and coping mechanisms used to protect oneself and remain alert.
Total control over you
The ultimate goal of complete domination over those once thought to be trusted, to eliminate any possible threats or uncertainty.
Over you
The sense of a specific need to dominate and control one particular person or group, to ensure personal safety and security.
Lyrics © Reservoir Media Management, Inc.
Written by: Jeff Jourard, Martha Davis
Lyrics Licensed & Provided by LyricFind
@andrewpalmer7157
Drink in hand, lights turned off, eyes shut and opened ears...What a beautiful song from the heart of the writer and many listeners
@isabellaabile4344
E dire che questo solendido pezzo viene attribuito ad Anna Oxa , che interpretò semplicemente la cover..
@monogramadikt5971
exactly my friend
@StephenMWest
The sax solo is so hauntingly beautiful. Great song.
@mustafa1name
Still sounds fresh. Great production, a gorgeous soundscape. Love the pauses in this song. A true gem for those with ears.
@oinkooink4672
Yeah agree with all that
@notnilc1545
Sounds incredible on any speaker
@stevenkeller3047
Been a fan of Martha and the Motels since their first album in the late 70's. Saw them in the late 90's when I lived in Monterey. This was one of my favorite songs. So basey, deep, and sexy. People that say 80's music was crap never heard the good stuff. Miss you Martha.
@grahamparsons1070
Well said
@sanseiryu
Thanks for this upload. Pristine recording. That drum and bass just crisp and banging. Sax solo, Martha's vocals and the song lyrics, I obsessed over it for such a long time. So happy to find this again.