That Was the Year That Was
OF MUSIC AND MASKS, STREAMS AND SOCIAL MEDIA – AND SO MUCH MORE
You could hardly have ended 2020 on a more absurd note than Smokey Robinson’s mispronunciation of the name of the Jewish festival of lights.
Then again, the fact that his Cameo message to a former Detroit neighbour went viral this week will more likely please the Motown maestro than annoy him. After all, Robinson seems to have been as professionally active in 2020 as in any year of the past 60. OK, so fewer gigs. But no fewer headlines, I swear.
Welcome to West Grand Blog’s summary of the past 12 months. Here’s hoping you have a minute, because there’s lots to reprise. Plus, there’s my old joke about if you need a cure for insomnia…
Smokey sends greetings with a smile
Robinson’s Hanukkah faux pas was even reported in the Los Angeles Times, linked here if you need to know more. As the newspaper observed, he’s one of numerous celebrities on the income-earning Cameo site: $350 for a message in his case, less (or more) for others. At least two other Motown alumni are there, too, charging for services: Otis Williams and Mary Wilson.
Fortunately, Robinson’s year has also been about music, such as his engaging duet with Charlie Wilson, “All Of My Love,” and his appearance (with other singers) on a new version of “What The World Needs Now,” raising money for the American Red Cross. Recently, he sang with Daryl Hall on the latter’s Live From Daryl’s House online, and made an appearance on television’s Soul Train awards, just as he had done earlier in the year on the Grammys telecast, singing a snatch of “My Girl” with Little Big Town.
The Robinson catalogue continues to draw listeners, all the more so in a locked-down world. Streaming services have been among those to benefit business-wise from these circumstances, as have record companies and music publishers. During Covid-free 2019, Smokey’s Spotify streams came to 20.3 million, representing 1.4 million hours by 4.4 million listeners. This year, the tally has increased to 22.9 million streams among 5.1 million listeners for a total of 1.6 million hours. His songs continue to be recorded by others, of course. Canadian singer Luke McMaster, for one, released Songs Of Smokey: Reimagining the Music of Smokey Robinson in February, garnering approval from the man himself on Twitter.
LETTING HIM BE THE CLOCK
Since turning 80 in February, Robinson has maintained a lively media (and social media) presence to offset the absence of concert dates. This included interviews with Minneapolis’ Star Tribune, the Los Angeles Times and USA Today, during which he promoted his new audio memoir, Grateful and Blessed. Earlier in the year, he was plugging his association with luxury brand Shinola for an expensive watch and (with the help of a new version of “My Guy” by Ayra Goya) a limited-edition turntable. Robinson’s no stranger to commercial endorsements, but one of his songs which hasn’t been deployed for that purpose is “Gang Bangin’,” from his 2004 album, Food for the Spirit. That didn’t stop social media having fun with it this summer, as reported by The Root.
Otis updates his autobiography for audio
Almost as busy has been Otis Williams, filling the gap left by the cancellation of touring; the Temptations had multiple bookings across the U.S. through the summer, and autumn dates in the U.K. with the Four Tops. Many of those are waiting to be rescheduled; at present, the group’s 2021 diary includes shows in Michigan, New York and California, all with the Tops. Next year will presumably see the rebooking of the roadshow version of hit musical Ain’t Too Proud, in which Williams has an interest. The touring production had been set for a 50-city circuit of the U.S., starting this past July. The Broadway original was similarly suspended.
As WGB readers will know, 2020 was also to have marked the Temptations’ 60th anniversary. All things being equal, that celebration will now take place next year. And it still holds calendar legitimacy: the group signed to Motown Records on May 15, 1961. Meanwhile, Williams has been promoting the audiobook update of his autobiography and populating social media with #OtisAtHome posts, answering questions from fans. In June, there was the Temptations’ remake of Carole King’s “You’ve Got A Friend” uploaded on video, with the group’s newest recruit, Mario Corbino, in the line-up.
During 2020, the Temps’ catalogue – almost all of it for Motown – digitally delivered impressive numbers, including 196.5 million Spotify streams by 29.9 million listeners. Movie master Spike Lee is bound to have been one of them: in this summer’s Da 5 Bloods, which he directed, the five lead characters were named David, Eddie, Paul, Melvin and Otis.
THE GREATEST ALBUM
The film’s soundtrack further acknowledged Motown with Marvin Gaye’s “What’s Going On,” heard in a stunning a capella performance engineered out of the original recording. Never was a year more suited to that piece of music and its timeless question, which is surely why Gaye’s album topped Rolling Stone’s “500 Greatest Albums of All-Time,” published in September. It is “one of the most important and influential LPs ever made,” declared the magazine, whose countdown also included Let’s Get It On (at No. 422) and Here, My Dear (No. 493).
(About time, too, you might think. I certainly do. Notwithstanding Ben Fong-Torres’ intriguing interview with Gaye in 1972, Rolling Stone has seldom afforded black music the depth or acuity of coverage equal to that it bestowed upon the kings and queens of rock.)
An exclusive shirt, priced accordingly
The work of Gaye, who would have been 81 this year, continues to cast its spell. Newcomer Devon Gilfillian performed the entirety of What’s Going On in an October streaming fundraiser for voting rights organisation Equity Alliance, and also recorded it for an album released the same month. Singer/songwriter Tayla Parx (co-author of Ariana Grande’s “Thank U, Next”) recorded “What’s Going On” for her new EP, A Blue State. And actor/singer Ryan Shaw – a graduate of Motown The Musical – cut an album, Imagining Marvin, featuring material made famous by the Motown star, as well as new songs in that vein. One of the latter tracks, “Strong Men Can,” was written by Shaw with Valerie Simpson.
If music isn’t enough, there’s merchandise. A so-called “camp shirt” designed and produced by The Better Gift Shop went on sale last month, drawing from the cover artwork of 1974’s Marvin Gaye Live! It was “officially licensed by Motown Records and Marvin P. Gaye Jr. Co.,” according to the store’s website. Dig deep into your pockets, though: this colourful piece of clothing retails at $350.
Less expensive – and in tune with the times – are face masks from the business enterprise of Lionel Richie. Via his website and for $20 apiece, these offer three design variations of “Hello” and one of, er, Lionel’s moustache. There’s more merch: seasonal “Sleigh You, Sleigh Me” and “Easy Like X-Mas Morning” sweaters, plus a trolleyload of tote bags, tumblers and T-shirts. Not to mention his “Hello” perfume.
SPEAKING ON THEIR BEHALF
More seriously, Richie was honoured in October with a “distinguished leadership” award from the Atlantic Council think-tank, which encourages cultural, economic and political co-operation between the United States and Europe. The star exemplifies the “leadership, vision, and character” required to navigate an uncertain, volatile geopolitical environment, according to the award citation. There are, he said in response, “so many people who need a voice, who need someone to speak on their behalf. Every chance I get, I like to take that opportunity to give them their voice, to give them their light.”
Lionel chats with Charles, the Prince of Wales
It isn’t new terrain for Richie. Last year, he was appointed as the first global ambassador of The Prince’s Trust, the British youth charity. The onetime Commodore has been a traveller worldwide throughout his career and, but for the coronavirus, he would have toured Europe this summer. Not that he’s lacking in work projects, including his mainstay role in the American Idol TV series and All Night Long, the movie musical that’s under way at Walt Disney Studios. And did I mention the perfume?
In his time, Stevie Wonder has done product endorsements – remember his pitch for Atari videogames? – but fragrances seem unlikely for him. Endorsing fellow musicians? That’s another story. When Time magazine published in May its 100-strong list of 2020’s most influential people, there was Wonder, praising cellist Yo-Yo Ma. “His gift to us is his music wrapped in a blanket of kind understanding that transcends all boundaries: ethnic, geographic, political, class and genre,” he wrote.
That’s natural Wonder, just as were his words to Oprah Winfrey in November for her Apple TV series of interviews. Asked about the present fragility of American society, he said, “I want the world to get better. I want us to get beyond this place. I want us all to go to the funeral of hate. That’s what I want.” Wonder’s role in this? Campaigning for Joe Biden, naturally, much as he did in previous presidential elections, including those for Barack Obama and Hillary Clinton.
ADIEU, MOTOWN
The welcome news was that Wonder released two new pieces of music during the campaign, including “Can’t Put It In The Hands Of Fate,” which he performed during a Biden rally in Detroit, just days before the election. The postscript was less welcome, at least for Motown Records: the tracks were released by another label at Universal Music, apparently ending his career-long contract with the firm founded by Berry Gordy. (Had he stayed, next year would have marked a 60th anniversary for Wonder: he originally signed there on July 15, 1961.)
Stevie on stage for Joe Biden in Detroit (photo: AFP)
Whether or not he ever releases a new album – it’s 15 years since the last – Wonder is always among us. He made appearances on 2020 releases by newcomer Porcelan and veteran Neil Diamond, for example, while others recorded his older material, such as James Blake’s rendering of “Never Dreamed You’d Leave In Summer.” Best of all? Well, there’s “Wishmaster,” a recent mash-up of Wonder’s “I Wish” with Metallica’s “Master Of Puppets.” Given their respective lyrics, the two songs seem appropriate for the 12 months now coming to their conclusion.
The year offered much more in terms of classic Motown, of course, but there are only so many hours in a day to write about them, never mind to read. Here’s a summary, including links to previous West Grand Blog posts. If there are omissions, please forgive – or better still, let me know with a comment.
Among the reissues were an expanded Diana Ross & the Supremes Sing and Perform ‘Funny Girl’ and The ‘Sound’ of the R & B Hits, the latter from Ace Records being an uplifting upgrade of a 1964 compilation first available on EMI Records’ Stateside label in the U.K., before the Tamla Motown label was introduced there. Another supremely welcome compilation was A Cellarful Of Motown! Volume 5, the signature series produced by Britain’s Paul Nixon – who had almost given up hope of seeing it continued. As before, the range of tracks and artists is remarkable.
Another most welcome CD release was Live In Detroit 1978 by Kim Weston, brought about by Paul Stuart Davies to help the singer’s current financial difficulties. It features her previously-unissued performance at Detroit’s Paradise Theatre, built around a tribute to Dinah Washington, and with an orchestra led by veteran Motown musical director, Gil Askey. The disc is a limited-edition; details are available on Davies’ Facebook page.
The year’s books of note included Stephen Stevlor’s biography of Motown evangelist Dave Godin and that new memoir by Smokey Robinson, one of a number of audio titles detailed here.
Rhythm & blues, from Stateside to Ace
June saw the launch of an official YouTube channel for The Ed Sullivan Show, alive with 1960s performances by Motown stars. The programme was an essential platform for the company’s roster, such as Smokey Robinson & the Miracles, who debuted on March 31, 1968, performing “Yesterday.” Mary Wilson, meanwhile, launched her own YouTube channel, part of a raised social media profile this year. She also continued her campaign to have the U.S. Postal Service honour Florence Ballard with a commemorative stamp, as it previously did with Marvin Gaye.
Various audio, video and podcast interviews with Motown’s finest came into circulation this year, including this with Otis Williams, talking to Universal Music’s Harry Weinger about the Temptations’ Anthology, which placed on Rolling Stone’s all-time best albums countdown. Another was Mary Wilson’s interview for the National Arts Club, and WDET Detroit’s Ann Delisi in conversation with (ahem) yours truly about Motown sales sultan, Barney Ales.
Diana Ross’ ongoing “Top Of The World” tour was due in Europe this summer, but has been rescheduled for 2021. That’s also when her new album – thought to be for Universal Music’s Polydor label – should appear, assuming its completion in the current environment. The superstar’s social media presence includes an enigmatic, often very personal Twitter feed. “WE are our own saviours,” she advised in August.
Among the year’s sorrowful deaths were Barbara Martin of the Supremes (March 4); Barney Ales (April 17); onetime Motown touring bandleader Hamilton Bohannon (April 24), who was best profiled in this piece from Georgia’s Newnan Times-Herald; late ‘90s Motown president/CEO Andre Harrell (May 7), recalled in this WGB post; Bonnie Pointer (June 8), a solo hitmaker at Motown after her career with her sisters; Bruce Williamson Jr. of the Temptations (September 6); Georgia Dobbins of the Marvelettes (September 18); and Gordon Keith (December 15), whose Steeltown Records was the first to record the Jackson 5. Of those, Williamson was a victim of coronavirus, as was a former international executive at Motown, James Fisher, who died on April 3. May they all rest in peace.
Music notes: specifically, a West Grand Blog playlist to see out 2020, featuring an assortment of tracks mentioned above. Ace Records’ The ‘Sound’ of the R & B Hits doesn’t yet appear on streaming services, but finding one of its tracks is easy enough – and what better than the Miracles from 1962 segueing into Smokey Robinson 2020? Meanwhile, the extract from the expanded edition of Diana Ross & the Supremes Sing and Perform ‘Funny Girl’ is the version of “I Am Woman” with the vocals by Mary Wilson and Cindy Birdsong that were dropped from the original 1968 release. As for Neil Diamond’s “September Morn,” you can hear Stevie Wonder’s harmonica throughout. Pretty much everything else speaks for itself, musically.
West Grand Blog is taking a holiday break. See you back on the Boulevard next year, with luck.