Motown ’24: The Stars Still Shine

‘BETWEEN HISTORY’S PAIN AND TOMORROW’S PROMISES’

On November 28, 1929, when Berry Gordy, Jr. was born in Detroit, it was Thanksgiving Day. Ninety-five years on, many have reason to give thanks.

For the music of Motown which shaped popular culture and numerous lives. For the opportunities which Gordy gave to hundreds of singers, musicians and songwriters. For the scale of his team’s creativity, encouraging and obliging countless people worldwide to recognise that talent, regardless of colour.

“Tonight, it’s our turn to show you just how deeply you are appreciated,” said Carol Perrin on November 24 at a party in Los Angeles to celebrate the Motown founder’s 95th birthday. She is the CEO of his business interests, but no singer. That duty fell to Thelma Houston, who led guests in a rendition of “Happy Birthday,” then got the Chairman dancing to her performance of “Don’t Leave Me This Way.”

The names of the night’s guests reinforce how many have stayed connected to the man who changed their lives: among them, Stevie Wonder, Smokey Robinson, Janie Bradford, Mickey Stevenson, Eddie and Brian Holland, Otis Williams, Rebecca Jiles Davidson, Claudette Robinson, Suzanne de Passe, Shelly Berger. “Mr. Gordy,” voiced Stevie, “you are the sunshine of our lives, that’s why we’ll always be around.” Also present: all of Gordy’s eight children.

That birthday event alone would be sufficient reason to hail 2024 as a special part of Motown history. But there is much else to note about this, its 65th anniversary year – and that’s excluding the abundant activity reported here at the halfway point, such as Martha Reeves’ recognition by the Hollywood Walk of Fame; Smokey, Diana Ross, Gladys Knight, Lionel Richie, the Temptations and the Four Tops all continuing to perform and tour; and Stevie accepting honorary citizenship of Ghana.

Another milestone is currently being hailed at the Motown Museum. On December 21, 1964, the Temptations’ “My Girl” was released, and tomorrow, the museum is holding a special event in Studio A with the hit’s orchestral arranger, Paul Riser. Ticketed guests will hear a remixed, remastered version of the record and participate in a Q&A with Riser and museum staff.

Each visitor will also receive a voucher for a copy of a new pressing of “My Girl,” which includes on one side, interviews with Riser, Robinson and Otis Williams about the recording, and on the other, the remastered edition with the means to isolate the instrumental track, vocals and string section. The packaging includes recollections by photographer Don Paulsen, who took the historic images of Robinson (and the song’s co-writer, Ronnie White) introducing “My Girl” to the Temptations in an Apollo Theater dressing room.

Currently being manufactured, the new, limited-edition 45 kicks off the Motown Museum’s Legacy Vinyl Project, supported by Universal Music and Detroit’s Third Man Pressing. Vinyl reissues by others of vintage Motown recordings have continued throughout 2024 (as previously outlined here) and more are scheduled for next year. If new music recently touted by Robinson – his Spanish album – and Martha Reeves makes it to market in 2025, perhaps vinyl versions will, too.

The Temptations, who are also said to be planning new music, maintained their profile this year via gigs – with and without the Four Tops – and an appearance on a float at Macy’s annual Thanksgiving Day parade in Manhattan. The group has shows booked at least through next April, including stops in New Orleans and Otis Williams’ birthplace, Texarkana.

More than three million U.S. television viewers saw the Temptations take part in yet another of this year’s Motown moments: the December 11 broadcast of NBC-TV’s A Motown Christmas, starring Smokey Robinson and Halle Bailey. Also on the special were Martha Reeves and Gladys Knight, while younger stars performing Hitsville hits included Andra Day, Ashanti, October London and Pentatonix. Co-host Bailey sang a Supremes medley to popular effect.

That aside, Robinson’s media profile seems as high as ever. He has at least 15 concert dates set for next year, including a rare return to the U.K. in July. Bookings in Glasgow, Birmingham, Cardiff and London offer his VIP package, this one with a premium ticket, meet-and-greet and photo opportunity, an autographed poster and “exclusive” merchandise. The bundle sells for about £300, while non-VIP show tickets range from £60 to £200. The shows will also celebrate the 50th anniversary of his 1974 album, A Quiet Storm.

‘WORTH THE PRICE OF ADMISSION’

Still more Motown superstars were on the road in 2024, namely, Lionel Richie and Diana Ross. The former toured with Earth, Wind & Fire – not to the best reviews of his career – and was a headliner at September’s Fool in Love music festival in Los Angeles. There, too, were Robinson, Ross and Knight. “While none of these artists are in their performing prime,” wrote reviewer Hugh McIntyre for Forbes, “there is something spectacular about seeing them live. Names like Ross, Richie, [Dionne] Warwick and Knight are legends with countless timeless hits in their discography. They aren’t getting any younger, and there may not be many opportunities to see them live again. Even if they weren’t at their best, being in their presence was worth the price of admission alone.”

Stevie Wonder isn’t getting any younger, either, but he seems able to summon boundless energy for a cause in which he believes. This year, it was Kamala Harris’ presidential campaign. “We stand between history’s pain and tomorrow’s promises,” the musician told delegates to the Democratic National Convention in Chicago in August. “We must choose courage over complacency. It is time to get up and go vote.” Then he launched into a live performance of “Higher Ground.”

A few weeks later, Wonder sang at a memorial service in Washington, D.C. for Robert Kennedy’s widow, Ethel, where he was greeted by former President Bill Clinton. The next evening, October 17, he took his 11-date, “Sing Your Song! As We Fix Our Nation’s Broken Heart” tour to Baltimore – and former President Barack Obama and wife Michelle escorted him onto the stage.

(The Obamas are among those responsible for a new podcast, The Wonder of Stevie, from their – what else? – Higher Ground production firm. The six-episode effort, released in October, includes words of wisdom from George Clinton, Questlove, Jimmy Jam and Jonelle Monáe, among others, and Wonder himself.)

Still, given the election’s outcome, perhaps 2025 will be the year in which Wonder moves to Africa, as he has said, in the past, that he would. At least in Ghana, he can now do so as a citizen.

Berry Gordy, too, looked to the future at his birthday party, while giving thanks to the multitude of friends and family who gathered to celebrate. “This is love,” he declared. “This is amazing! I can’t wait until I get to be 100.” And then he joked, “Unfortunately for me, though, most of you may not be here.”

Notes of loss: every year takes away Motown heroes and heroines, and this has been no exception. Among the departed during 2024 were Abdul (Duke) Fakir of the Four Tops; Tito Jackson of the Jacksons; Don Foster, road manager for the Temptations, the Supremes and others; singer Pat Lewis, an honorary Andante; and Detroit disc jockey Lee Alan. Also, England’s Keith Hughes, who created the Don’t Forget The Motor City website, and was deeply involved in annotating and producing many Motown reissues over the past 20 years.

Postscript notes: there was no shortage of additional Motown news in 2024. A few items which come to mind, augmenting those published here in July, are…

In April, Smokey Robinson was among 200 signatories to an open letter urging technology firms to stop exploring artificial intelligence which will undermine the work of artists, songwriters, musicians and rights holders. In part, it read: “Unchecked, AI will set in motion a race to the bottom that will degrade the value of our work and prevent us from being fairly compensated for it.”
Also in April, music professor Andy Flory, author of 2017’s I Hear A Symphony: Motown and Crossover R&B, received academic grants to support his next book, Marvin Gaye: The Detroit Years.
In May, Berry Gordy pledged a $5 million gift to The UCLA Herb Alpert School of Music in Los Angeles, to establish The Berry Gordy Music Industry Center within the school’s organisation. The unit will support the development of new courses and specialised curriculum in songwriting and production.
On October 19, Suzanne de Passe was inducted into the Rock & Roll Hall of Fame, receiving the Ahmet Ertegun Award for non-performers. Norman Whitfield was also inducted for “musical excellence.”
In November, Marvin Gaye’s “Let’s Get It On” acquired an official music video from Motown/Universal Music. The animated clip was directed by Monica Cordero.
Also in November, Samara Joy’s Christmas EP, A Joyful Holiday, was Grammy-nominated for two jazz awards. It includes a new rendering of “Twinkle Twinkle Little Me,” written by Jobete Music’s Ron Miller and William O’Malley, and originally cut by the Supremes.
On December 8, Rolling Stone published a feature about Motown’s unsuccessful attempts to break into the country music market, including fresh interviews with singer T.G. Sheppard and producer Mike Curb.
Also in December, Ernie Barnes’ iconic “Sugar Shack” painting, adapted for use on the cover of Marvin Gaye’s I Want You album, went on display at the Mint Museum in Charlotte, VA, through next June. The work is owned by actor Eddie Murphy.
Smokey Robinson continued to present his Smokey’s Soul Town channel on the SiriusXM network in the U.S. and Canada, playing classic soul, R&B and Motown hits. It is currently broadcasting Smokey’s Holiday Soul Town with Christmas and other seasonal music selections.
Lastly, the top 5 most-read West Grand Blog editions of 2024 were, in reverse order, A Motown Timeline: 1959, A Motown Timeline: 1987, In, Then Out, at Motown Industries, The Motown Matriarch, and at #1, A Motown Timeline: 1960.

West Grand Blog is taking a break for the holidays. See you on the other side, with luck.