Hitsville ’21: Looking Back
MOTOWN’S MAGICIANS STILL HOLD THE WORLD IN THEIR SPELL
So 2021 has passed without the release of Through the Eyes of Wonder…
OK, that’s hardly unexpected: Stevie and deadlines were not made for each other. What has been a surprise this year is the prodigious activity of so many of the great and the good of classic Motown, albeit weighed against a number of sorrowful departures.
Here, then, is a special WGB edition (the blog is currently taking a break) with a retrospective view, plus some hints of what’s ahead. But be warned: this is not brief. More than 60 years since Motown’s birth, it is extraordinary how much news and commentary continues to swirl around that modest house on West Grand, literally and metaphorically.
Stevie salutes BG at the Kennedy Center Honors
Sticking with Wonder, it’s been less than a week since his 23rd House Full of Toys benefit concert, held in Los Angeles. This report by Billboard’s Gail Mitchell delves into the details, but the deity’s 150-minute performance featured many of his signature songs, an appearance by his youngest daughters (joining him vocally on “What Christmas Means To Me”), and an improbable, harmonica-tinged rendering of “Ave Maria.”
In an interview with Mitchell a couple of months earlier, Wonder had mentioned his new album, even suggesting that this might (“hopefully”) be out in November. He also referenced two of its songs, “The Living Killing Life” and “Where Did All Your Happy Go,” the former about global warming, the latter “about not letting anybody steal your happiness or take your joy away.”
Wonder discussed his 2022 Grammy contenders, including which award categories he had hopes for, with “Where Is Our Love Song” submitted for Best American Roots Performance, and “Can’t Put It In The Hands Of Fate” for Best Melodic Rap Performance. “I just felt that if I was going to look at a category this time,” he told Mitchell, “I would look at something that’s a little different.” (In the event, neither track made the final Grammy nominations.)
DANCING INTO DETROIT
On December 5, Wonder appeared in Washington, D.C. to help celebrate the Kennedy Center Honor bestowed on Berry Gordy – more on that below – and to perform several of his anthems in tribute, “Higher Ground” among them. Nine days later, that same song was the focus of attention at the Motown Museum, when visitors from the Dance Theater of Harlem were given a special tour. In January, this repertory group will premiere in Detroit a new ballet by celebrated choreographer Robert Garland. Entitled “Higher Ground,” the 26-minute production for six dancers is set to five Wonder songs, including “You Haven’t Done Nothin’ ” and “Village Ghetto Land.” It’s due to play at the Detroit Opera House on Jan. 22-23 before heading for a springtime spin in New York.
Harlem’s Dance Theater comes to the Motown Museum (photo: Andy Morrison, Detroit News)
But the year’s most Wonderful moments can arguably be found in Summer of Soul (…Or, When the Revolution Could Not Be Televised), Questlove’s rainbow of excavated film footage from the 1969 Harlem Cultural Festival. Stevie seizes the spotlight early with an explosive drum solo, then again later with an extended “Shoo-Be-Doo-Be-Doo-Da-Day.” The high voltage of the performances is matched only by the vividness of his stage outfit. Elsewhere in the movie, Gladys Knight & the Pips and David Ruffin are seen electrifying the crowd in New York’s Mount Morris Park. During “I Heard It Through The Grapevine,” the group’s choreography is compelling – have they ever moved as brilliantly (and is that Maurice King leading the band)? – while Ruffin’s note-holding in “My Girl” is a moment of sheer magic.
Perhaps the only Hitsville inhabitant who matched Stevie’s ubiquity this year has been Marvin Gaye, with most of the activity driven – predictably – by the 50th anniversary of the release of What’s Going On. It began with Michigan governor Gretchen Whitmer’s recognition of January 20 as “What’s Going On” Day (the single’s original release date in 1971), followed by a CNN television documentary in February. By May, the bandwagon was accelerating, with a special Motown Museum tour to celebrate the album, including such guest speakers as Miller London, a former senior exec of the record company, and Louvain Demps and Jackie Hicks of the Andantes. That same month, across the Atlantic, a 16-foot mural of Gaye by visual artist Dreph was unveiled in London’s Brixton district to hail the music milestone.
In June, Detroit renamed a section of Outer Drive, where Gaye once lived, as Marvin Gaye Drive. The city’s mayor, Mike Duggan, was among those on hand for that, as was the singer’s youngest brother, Antwaun Gay.
London’s Dreph commemorates Marvin’s masterwork
Over the decades, Motown Records’ custodian, Universal Music, has reissued What’s Going On in various physical and digital forms. This year’s additions to the catalogue included a four-track “remix suite” entitled Save The World. The Gaye tracks remixed by record producer SaLaAM ReMi are “Save The Children,” “Sad Tomorrows,” “I Want To Come Home For Christmas,” and an instrumental, “No Need.” In addition, the third of these was made into an animated video, which debuted on November 11 (Veterans Day in the U.S.) via the website of Paralyzed Veterans of America. Lyric videos for other tracks on What’s Going On were commissioned and released by Universal Music.
Meanwhile, What’s Going On will re-appear on January 28 in a 2LP, 180gm anniversary edition, with the main album mastered from analogue for the first time since its original release, and an additional disc including all the mono single mixes. An e-commerce edition will include three exclusive lithographs from the What’s Going On photo sessions by Jim Hendin.
Smokey Robinson’s 2021 work schedule has been rather different, including an appearance in a Christmas-themed TV movie, Miracle in Motor City, which debuted on America’s Lifetime channel last month. This was preceded by a round of autumn media headlines when Robinson confessed that, last year, he contracted Covid-19. “I got it severely and I was hospitalised for 11 days, and four or five of those I do not even remember,” he told the Daily Mail. “I was not sure that I would ever be able to sing again because it took my voice.”
LIVELY, CHATTY AND ENGAGING
Fortunately, it gave his voice back, and this summer, Robinson unveiled a series of videos for AARP (formerly known as the American Association of Retired Persons) called Smokey Wrote That. In these short clips, he recalls the circumstances and making of eight of his best-known songs, ranging from “Shop Around” and “You’ve Really Got A Hold On Me” to “I Second That Emotion” and “The Tears Of A Clown.” In the recording studio setting, Robinson is lively, chatty and engaging – and, indeed, the only complaint can be that most of the anecdotes are too familiar. One longs for insights into more of his extraordinary work: say, “I’ve Been Good To You,” “Who’s Lovin’ You” or “Your Mother Called On Me Today.” Or is that too much of a Miracle to ask for?
Diana debuts on Decca, with gratitude
The fourth Motown solo superstar to make headlines this year did so by actually releasing new music. Diana Ross’ Thank You, billed as her 25th studio album, shipped out on Decca Records on November 5, preceded by several singles. As is contemporary fashion, it was shaped by what Rolling Stone called “an army of songwriters and producers,” featuring a variety of moods and tempos. As is also fashionable, the 13-track package was made available both digitally and physically, the latter formats including coloured vinyl, compact disc and cassette.
While Ross’ return to active recording duty has been widely welcomed, the reviews varied. Fansite The Diana Ross Project was naturally enthusiastic but reasoned, endorsing the songs’ intent and messages, even calling Thank You “the album of her career.” The 3-star (out of 5) NME judgement suggested it lacked attitude, with an emphasis on “schmaltzy, mid-tempo diva empowerment.” Pitchfork was more positive in its 6.2 verdict (out of 10), “offering signs of renaissance even as [Ross] teases tender farewells.” Rolling Stone (3.5 out of 5) liked that the album “recalls a time when pop was proud to be pop.”
Thank You has enjoyed a relatively modest chart life so far, its peak being a Top 10 slot in the U.K. in its opening week. There have been videoclips for several tracks, but Ross doesn’t seem to have undertaken any in-person promotional activity so far. Presumably, this will occur when she returns to the transatlantic concert trail (Glastonbury included) in 2022, coronavirus allowing.
The pandemic’s twists and turns, meanwhile, are currently taking their toll on Broadway, where both the returning Ain’t Too Proud and the new Michael Jackson musical, MJ, have had to scrap performances recently because team members have contracted the virus. The touring edition of the Temptations’ musical has been affected, too, with its opening at the Kennedy Center in Washington, D.C. pushed back to later this month.
ROCKWELL LEADS THE PACK
If Covid-19 has boosted stay-at-home pursuits, digital music services such as Spotify and iTunes have been among the beneficiaries. And what was the most-streamed classic Motown track this year, worldwide? Improbably, it was Rockwell’s “Somebody’s Watching Me,” which garnered 425 million plays – largely the result of its explosive popularity on TikTok around Halloween. Marvin & Tammi’s “Ain’t No Mountain High Enough” was the second most-popular track with 376 million streams, followed by Rick James’ “Super Freak” (312m), the Jackson 5’s “I Want You Back” (275m) and the Temptations’ “My Girl” (232m).
Still temptin’: Otis at 60 (and 80)
Three titles in 2021’s most-streamed top 20 were by Boyz II Men: “End Of The Road,” “I’ll Make Love To You” and “On Bended Knee,” which together generated 480 million streams. This bodes well for Brotherly, the coming-of-age movie musical presently being planned at Amazon Studios, and which will prominently feature the group’s work. The project’s writer is Marcus Gardley, who has also scripted the biopic of Marvin Gaye which landed at Warner Bros. this summer, and is expected in 2023. Its title? What’s Going On, of course.
Set to touch down before that is a TV documentary being made by Wise Owl Films for the BBC. This will focus on 1965’s historic Motown package tour of the U.K. and its background story, and is produced by the same company which made When Bob Marley Came to Britain and When Nirvana Came to Britain. The programme is expected to air during the first half of next year.
Also delving into Motown’s rise in Britain is a new book by Sharon Davis and Duncan Sibbald, due in the spring. This detailed history, two years in the works, traces a timeline which began in Detroit and ended in London, thanks to a helping hand “from a passionate, blonde, panda-eyed fan,” as co-author Davis puts it. She’s well-known to Hitsville pilgrims, of course, by way of such previous titles as Motown: The History and Rhythms of Wonder.
At least two other forthcoming books hold promise. Omnibus Press will publish Duke Fakir’s I’ll Be There: My Life With the Four Tops on May 5. The memoir, written with filmmaker Kathleen McGhee Anderson, was previously called The Last Top Standing, but the new title ties in tighter with the Tops’ stage musical, currently in production with Fakir’s involvement. More distant on the horizon is Callista Gould’s biography of Motown’s mistress of etiquette, Maxine Powell. Gould, herself a certified etiquette instructor, has interviewed many of those who knew Powell at Hitsville, and before.
WHEN THEY WERE KINGS
Motown’s other male monarchs, the Temptations, are continuing with their 60th anniversary celebrations – a campaign officially launched last May 15, six decades to the day since the group signed to Motown. Founding member Otis Williams is flying the flag with gusto, including a lively presence on social media. A return to the road is anticipated next year and, in the meantime, Temptations 60 has been scheduled for release by Universal Music Enterprises on January 28. Two of its tracks have already been in circulation: “Is It Gonna Be Yes Or No,” written and produced by Smokey Robinson, and “When We Were Kings,” reminiscent of an earlier reflection, “Still Tempting,” on the Temptations’ 2004 long-player, Legacy. Five of the new album’s 12 cuts were co-produced by Williams, two by Narada Michael Walden.
Mary motors into Abbey Road, 1989
Williams, who turned 80 in October, has been blessed with longevity, as has Fakir (he’s 86 on December 26). Sadly, others who were born and raised – so to speak – at Hitsville have died this year: Mary Wilson (February 8) and Wanda Rogers (December 15), as well as songwriter Marilyn McLeod (November 24) and Rare Earth’s Gil Bridges (December 8). Studio engineer Ed Wolfrum, a respected veteran of Motown, Golden World and United Sound, died on November 2, Carl (“I Was Born This Way”) Bean on September 7. Robert Gordy Jr., son of Berry’s brother, Robert, died on June 3.
Another loss was that of Malcolm Cecil on March 28. The British-born musician, producer and technician – co-creator of the influential TONTO synthesiser – played a vital role in Stevie Wonder’s creative coming of age in the first half of the 1970s, together with Bob Margouleff. “We were able to create some wonderful music,” Wonder told Rolling Stone’s Elias Light of that historic partnership, in delightful understatement.
And so to the chief executive, and the chairman.
During a recent visit to London, Motown’s present-day CEO, Ethiopia Habtemariam, gave an extensive interview to trade paper Music Week. Much of the result was devoted to the firm’s current activities and market strategies – about which WGB readers, I suspect, have limited interest – but she also paid homage to its founder, while acknowledging the pressure of his legacy. “It could be overwhelming to think about what’s been done historically,” said Habtemariam, “But my job is to honour the values of what Berry Gordy created with Motown in the beginning.”
MOVING AMERICA’S SOUL
That includes paying attention to the perpetual potential of the past. “Obviously there’s a team at Universal that handles catalogue,” she continued, “but we’re at the forefront of working with them on building catalogue initiatives going forward.” Habtemariam is keen, for instance, to further explore the possibilities of TikTok – a worthwhile move if this year’s popularity of “Somebody’s Watching Me” is any guide. “We want to do something really ambitious with the Motown catalogue on TikTok, because we know it will resonate.” She added, “Of course, the catalogue is still very healthy in its own right, but there’s so much room for growth and I get very excited when I think about that.”
A capital celebration for the chairman
And now…the chairman (as he likes to be called). Berry Gordy returned to the public’s gaze just a few weeks ago as one of the recipients of the 2021 Kennedy Center Honors. Ceremonies included the December 5 gala concert at which Stevie Wonder, Smokey Robinson and the Ain’t Too Proud cast performed in tribute, and the previous night’s presentation to Gordy of his medal, at the Library of Congress. There was a reception at the White House, too, hosted by President Biden. “Motown moved the soul of America, because Motown set the beat of America,” he said, citing the names of many of its legendary artists. “If I had my cellphone with me, I’d play them all for you.”
That Gordy was humbled by the honour was evident in images and footage of the related events in Washington, D.C., including the CBS-TV telecast on December 22 of the Kennedy Center concert. Those who attended made his appreciation plain, too, including former Motown Productions president Suzanne de Passe and Motown Museum chair Robin Terry during an Instagram chat organised by the museum. “He’ll help you out, but you’ll get a lecture with it,” laughed de Passe about Gordy’s management philosophy. “He’s a tough critic, and it makes you tough,” added Terry.
The Kennedy Center Honors briefly returned the retired Motown founder to the media circuit, with interviews granted in Los Angeles to CBS-TV’s morning show and the Washington Post. After answering all manner of questions about his life’s work, the 92-year-old concluded on a melancholy note. “I’m just trying,” he told the newspaper’s Robin Givhan, “to be happy with my happy life.”
You could call that higher ground.
Music notes: 2021 offered more than the above, of course, including a number of album releases, such as the digital debut of Mary Wilson’s 1979 solo outing with previously-unavailable material, and the deluxe reissue of the colored section, the 2003 Giant Step/Motown album – heavily Stevie Wonder-influenced – by Donnie, with bonus tracks. (A new Wilson 2CD set, The Motown Anthology, is due early in the new year.) There were also album reissues – the exact number is not clear – from Motown’s political Black Forum label, such as Stokely Carmichael’s Free Huey! A new, climate-change song from the Four Tops, “Freedom,” snuck out digitally mid-year, and there was a vinyl reissue of the Originals’ rare “Young Train” single. Ace Records weighed in with the fourth edition of its popular Motown Girls CD series (this one entitled Good Good Feeling!). More unusual – provocative, even – was Lotown Vol. 1, ten lo-fi remixes by producer/engineer Louis Bartolini of various classic Motown hits, while A Symphony of Soul featured the Royal Philharmonic Orchestra performing various classics from the Hitsville catalogue. On that album, producer Brian Rawling also recruited Beverley Knight and Mica Paris to “duet” with Marvin Gaye and Jimmy Ruffin, respectively, on “Abraham, Martin And John” and “What Becomes Of The Brokenhearted.”
The Royal Philharmonic visits Detroit
Freak notes: Bitchin’: The Sound and Fury of Rick James was a powerful, cinematic re-telling of the late musician’s life story, directed by Sacha Jenkins. Together with ample interview and performance footage of James himself, it included commentary and illumination from the likes of Bootsy Collins and Ice Cube, as well as Nancy Leiviska, Motown’s onetime VP of video production; David Ritz, author of the punk-funk musician’s autobiography, Glow; Universal Music’s Motown catalogue captain, Harry Weinger; and others. It was screened mid-year at the Tribeca film festival, then segued to the Showtime network in the U.S. (but not, it seems, internationally).
Factory notes: Eddie and Brian Holland are involved in the creation of the Four Tops’ stage musical cited above, but they were also depicted – with Lamont Dozier – in another musical, The Soul of Motown, which recently debuted in Calgary, Canada to favourable reviews. Earlier in the year, the H/D/H story was also the subject of Love Factory, a new book by Howard Priestley from New Haven Publishing. Other Motown titles in circulation this year included Freda Payne’s autobiography, spotlighted here, and the second book by West Grand’s renowned tape librarian, Frances (Fran Heard) Maclin, entitled Motown From The Other Side, reflecting a spiritual view of the world’s most famous record company.
Recognition, at last, as it should be
Snakepit notes: given the 50th anniversary celebrations for What’s Going On, it’s worth noting again the album’s important role in revealing the identities of Motown’s magicians, the studio musicians at 2648 West Grand – not least, the world’s greatest bass player, James Jamerson. Welcome news this summer was the placement of an appropriate, handsome gravestone – finally – at his resting place in Detroit’s Woodlawn Cemetery. This was result of a three-year fundraising campaign by Jamerson’s cousin, Anthony McKnight; among those at the Woodlawn ceremonies on August 27 was Annie Jamerson, his widow. Meanwhile, Jamerson and other Funk Brothers will be spotlighted anew in All Turned On! from Ace Records. It’s a 24-track compilation of Motown instrumentals by the likes of Earl Van Dyke, Johnny Griffith, Choker Campbell and the San Remo Golden Strings, and is due early in ’22.
Museum notes: there is nothing which better represents and honours the legacy of Hitsville U.S.A. than the Motown Museum, and – even though temporarily closed – it has had a busy year, as it continues to receive funding for its $55 million expansion programme and implements the first phase of that, including a front-yard upgrade. Then there’ll be restoration work on the main structure. All of this, while the Museum continues to support new generations of Detroit’s creative talent with singing and spoken word competitions and a workshop for budding entrepreneurs. And the coolest thing that the Museum is currently selling at its downtown merchandise store? A Motown snow globe. Every home should have one, no matter what year.