Simon Law 2017 SoulMusic.com Interview

Simon Law 2017 SoulMusic.com Interview

“Absolutely one of the best albums of 2017 so far and a personal favourite, with some great guest appearances and stellar musicianship,” David Nathan, Founder, SoulMusic.com

Renowned producer/songwriter and musician Simon Law (aka ‘The Funky Ginger’) first came to prominence for his work with Soul II Soul in the late ’80s. Subsequently, he’s worked with the likes of Chante Moore, Brenda Russell, Maxi Priest and others. His very first solo project, the brilliant Look To The Sky album (with guest appearances by Lain Gray formerly of Nu Colors, Caron Wheeler and Jazzie B among others) is released by the UK’s Dome Records. In his interview with David Nathan, he shares about the creation of the album – and discovers that he and David share a mutual deep appreciation for EW&F founder, Maurice White…

Motown Spotlight: A Tribute to Sylvia Moy - May 2017

Motown Spotlight: A Tribute to Sylvia Moy – May 2017

“How do you stop loving the ones you loved for a lifetime – you don’t. Sylvia Moy made it possible to enrich my world of songs with some of the greatest lyrics.  But not only that, she, through her participation and our co-writing those songs, helped me become a far better writer of lyrics,” so sayeth Stevie Wonder about the quiet and gentle lady who was something of a trail blazer, being one of the first women to join the male dominated production/composing team at Motown during the sixties.

And it was with the boy wonder that she first made her presence felt, as Hank Cosby’s widow Pat remembered, “Sylvia was the nucleus.  None of (his success) would have happened if she hadn’t seen that Stevie had more in him.”  “She broke that glass ceiling for women in the music industry,” Sylvia’s brother Melvin said. “In the sixties, women weren’t encouraged to play instruments, let alone be producers.“ So, let’s delve a little deeper into this story of a star in the making, and the lady behind him who had the faith and determination to ensure he had a future.

Sadly Miss Moy is no longer with us.  She died, aged 78 years-old, on 15 April, succumbing to complications from pneumonia at the Beaumont Hospital, in Dearborn, Michigan.

Born on 15 September 1938 in Detroit to Hazel Redgell and Melvin Moy, Sylvia Rose was one of nine children. They had relocated to the city from the South for a better life, with music in their blood lines, and ambitions in their hearts. While attending the Northern High School, where, alongside academic lessons, Sylvia studied jazz and classical music, writing songs when the mood took her.  With a handful of local musicians, she recorded backing tracks for her material and, with encouragement from her teachers, travelled to New York for auditions.  Nothing materialised from these trips, but fate had another path for her nearer home when, on 12 February 1963, while singing in Detroit’s Caucus Club on Congress Street, Motown’s A&R director Mickey Stevenson was in the audience, with other Motowners like Hank Cosby,  Eddie Holland, Brian Holland, Lamont Dozier and Ivy Joe Hunter.  “…I sang and they joined in with the rhythm, beating on the table” Sylvia recalled. “That was the beginning of it all.”   Indeed it was because she was offered a recording and songwriting contact with the company, where, somewhat ironically she said, “I sang the same songs at Motown I was playing in New York!”

In an interview with The Free Press last year, she confirmed, “Motown came forth with (the two contracts) which shocked me.  Then I was told ‘Sylvia, we’ll get to you as a singer, but in the meantime, we’ve got all these artists and they have no material.  You’re gonna have to write.  I said OK because I was kind of shy anyway, and that’s what I started doing.  I got into it, and the hits started coming.”  More importantly, despite being told ‘women don’t produce’, Sylvia was welcomed as a valued addition at Motown’s production meetings!

Clarence Paul was Stevie’s exclusive producer until the time came when he felt unable to keep up with the young Stevie’s ideas about music.  They had journeyed as far as they could creatively, and it appeared Stevie’s career was heading towards the exit door. No hits, no potential, no future – so what to do? Eventually a plan was hatched. Clarence Paul would continue to be Stevie’s touring musical director and conductor, and, under instruction from Berry Gordy, Hank Cosby would replace him in the studio, a logical move as he had been involved in writing and arranging Stevie’s music from day one. Mickey Stevenson recalled that they all liked Sylvia’s style of writing and that at the time, Motown’s sound was changing, “Clarence was an older producer and guys like Holland, Dozier and Holland were taking us in a different direction. Very swinging and happening.”  So with her singing career on hold, Sylvia Moy began forging ahead as a composer, earning respect from her colleagues, and learning of Stevie’s dilemma, put herself forward to work with Hank Cosby, or as composer/producer John Glover recalled, “Sylvia…was like a throw in.  I think she’d actually written some stuff with Stevie, so I don’t know that she volunteered to ‘take over’ writing with him as much as she already was.”

“(Stevie) was in puberty and his voice had changed,” Melvin Moy added. “Other producers couldn’t find something that fit.”  For his sister to be allowed to take on this role was practically unheard of in the sixties, he said, “Racism and sexism, that was what was going on in the sixties. And certain disciplines relative to the music business were taboo for women.”  Sylvia agreed.  “(Because) his voice had changed, he just wasn’t selling for a period. But I just believed in him.  I knew it was possible (Motown) might let him go, so I was begging ‘please give him to me.’  And that’s when I was finally told ‘well, if you can come up with a hit on him, we’ll keep him’.”

After touring with The Rolling Stones, Stevie planned to record his own song using the incessant, driving beat they used in “(I Can’t Get No) Satisfaction”, and to this end, he laid down the basics of the song, then sought out Hank and Sylvia, as she remembered, “He went through everything.  I asked ‘are you sure you don’t have anything else?’  He started singing and playing ‘everything is all right, uptight’. That was as much as he had, so I said ‘that’s it, let’s work with that’.” With Stevie’s input, Sylvia and Hank stitched together “Uptight (Everything’s Alright)”.  Once the music was part-recorded, she constructed a lyrical skeleton into which she added Stevie’s phrases, and the resulting song ensured the young singer had a future with Motown, with the single laying the foundation upon which to build and expand his new musical team.  Yeah, Sylvia had successfully found her niche and, of course,  Motown was determined to keep her. Giving her the freedom to create and work, not only with the young Stevie, but also other signed acts, was their way of ensuring her exclusivity.   “Uptight (Everything’s Alright)”  raced into the American top three in 1965 (peaking at number ten in Britain) –  and a new career was re-launched.

The impetus had to be guaranteed, and following any runaway hit is an awesome task for writers and producers, so the trio took the easy route.  They part-cloned the hit to release “Nothing’s Too Good For My Baby”.  The ploy backfired; it failed to repeat its predecessor’s success, prompting Stevie to vow that that would be the last time he’d release a copycat single.  When a ‘change of mood’ single “With A Child’s Heart” also sold poorly, Stevie’s team chose different, contemporary composers, like Bob Dylan and Ron Miller, for future singles. The downside was they failed to sell albums, so Berry Gordy reunited the singer with Sylvia Moy and the gang.  Their first collaboration, that also included Stevie’s mother, was the uplifting “I Was Made To Love Her” and that hit the spot – literally!  The boy genius was back where he belonged.

However, recording with Stevie wasn’t always easy Sylvia said, because it was frustrating to start with. She needed to re-educate him from the way he used to record with Clarence Paul, into a more comfortable, communicative style, while keeping him focused on the song in hand because his over active mind was gearing itself up for the next one!  Stevie, at one time, admitted he contributed little, leaving Sylvia to actually write all the lyrics, which then had to be converted into Braille for him to read, or, if pushed for time (which was invariably the case) she sang or spoke the lyrics to him through his headphones as he was recording.  “I would stay a line ahead of him and we didn’t miss a beat.”  She even grabbed people passing by the studio when his enthusiasm deteriorated saying, “If there was no one around, his vocal just died.  Stevie had to feel the presence of people.” The softly spoken lady roared with her lyrics from which Stevie benefitted, as he proudly told a packed audience in 2006 when he was a surprise guest at the ceremony where Sylvia was inducted into the 37th annual Songwriters Hall Of Fame, alongside Hank Cosby: “(Sylvia found) unique ways to take the melodies I wrote and putting them into a lyric that was incredible, that touched many hearts.”

Ms Moy worked with her emerging star through to the seventies with hits like “I Was Made To Love Her”, “I’m Wondering”, “Shoo-Be-Doo-Be-Doo-Da-Day” and “My Cherie Amour”, with others in between, while the last released song credited to the Wonder, Moy, Cosby team appears to be “I’m More Than Happy (I’m Satisfied)”, the flipside of 1970’s “Signed, Sealed, Delivered I’m Yours” penned by Syreeta and others.  I think it’s fair to say that Syreeta replaced Sylvia in the singer’s creative team, and, indeed, looking at early photos of both ladies, there’s a spooky facial similarity.

When talking about “My Cherie Amour” Sylvia recalled that Stevie had approached her with a song about a girl he was involved with.  “Every song he had at that time had a girl’s name attached to it. He had a little idea and it was ‘Oh my Marsha.’” The lyricist transformed Marsha into “My Cherie Amour”, one of Stevie’s biggest and most endearing hits. (This song also held a special significance for Sylvia: so much so that she used its opening bars of music as a symbol on her personal stationery).  Pat Cosby told the media after Ms Moy’s passing that although Stevie received most of the credit on his material, she believed Sylvia, “was the beginning of so many of those songs. Between the three of them, Sylvia with her imaginative mind was just groundbreaking.  If she were a man instead of a woman, there would have been a lot more you’d have heard from her. But once her work became known, the resistance waned away, and the producers started looking at her differently and could see the value of what she was trying to do.”


Stevie Wonder wasn’t the only artist to benefit from Sylvia’s talented pen and imaginative mind.  For instance, in 1966 she wrote with Holland-Dozier-Holland, one of the company’s anthems, “This Old Heart Of Mine”, highlighting her favourite themes of love and heartache.  With Mickey Stevenson she penned “It Takes Two”, with Marvin Gaye and Kim Weston in mind, and with Harvey Fuqua and Johnny Bristol wrote one of The Velvelettes’ signature tunes – “These Things Will Keep Me Loving You”.   Martha Reeves and The Vandellas also benefitted.  Songs included their 1967 single “Honey Chile” (the first to show Martha’s full name) full of Southern connotations, “Love Bug (Leave My Heart Alone)” and “(We’ve Got) Honey Love”, all from the trio’s “Ridin’ High” album.  There was also “Forget Me Not” a year later.   As a point of reference, there are fourteen pages on the Songwriters Hall Of Fame website listing all the songs Sylvia penned alone or with others, and those she wrote at Motown were, of course, re-recorded by several artists, each giving a different take on the song.  During her stay at the company, Ms Moy earned fifteen+ gold and platinum records for herself and Motown – not bad for a woman who was told she would never be a composer!

Detroit was Sylvia’s home and there she wanted to stay, so when Motown relocated to Los Angeles, they moved without her.  While the company settled into their new home, she embarked upon another adventure by signing with 20th Century Records as both writer and singer.  One of her first projects was to record and release “And This Is Love” during 1973, a song penned by herself and Frederick Long, arranged by Paul Riser, which is now considered to be a much-valued addition to any soul collection.  Placing her recording career on hold again, Sylvia went on to write theme music for films like “Mr Holland’s Opus” and “Dead Presidents”, and theme songs for several television series, including the popular “The Wonder Years” and “Blossom”.  From here, she expanded further by founding the non-profit organisation, the Centre for Creative Communications, her own studio named Masterpiece Sound, and rehearsal room, on the West Side of Detroit, where she mentored underprivileged young folks.  Her intention was to give back what she was offered while growing up, “to encourage children to live a good life…because that’s how are parents were.”

Then during 1989, alongside a host of ex-Motowners, Sylvia was persuaded by Ian Levine to once again hold a microphone to record “Major Investment” for his innovative Nightmare Records, later Motorcity Records. While there, she also recorded her versions of “My Cherie Amour” and “I Hear A Symphony”.  All entirely credible recordings from the lady with the delicate smile and warm personality, who, despite her shyness, hugged the ambition as a young girl to sing for a living.

At her funeral at the Greater Grace Temple in Detroit, officiated by Bishop Charles Ellis III, family and friends mingled with Motowners like Martha Reeves, and city officials. A statement from Berry Gordy was read by his great niece Robin Terry (head of the Motown Museum) that included the words, “At this moment we are all sharing a tremendous loss.  In addition to her early work with Stevie, Sylvia went on to do other great things at Motown, gaining the respect of fellow songwriters and opening the door for other women.”

Although in Ireland, performing at golfer Rory Mcllroy’s wedding, Stevie paid tribute in a taped video….”I loved Sylvia from the moment that I met her.  Her heart and passion, her desire to not only do great music, but to do great things with my music.  Even in these later years, I longed for us to collaborate again, yet who am I to fight with the Most High in His decision to making her one of His angels for song for eternity.  Maybe someday in eternity, at its given time and space, we will write together again.  I love you, Sylvia.”  He then ended the video with a personalised version of “My Cherie Amour”.

Survived by two brothers and five sisters, Sylvia Moy, who never married, was buried in Elmwood Cemetery, on 1200 Elmwood Street on Detroit’s East Side, one of Michigan’s most important historic sites.  It goes without saying, she will be missed dreadfully but happily her work will live on through the voices of others.

The final words here belong, of course, to Stevie, “You know that we learn at an early age that we are not meant to be here forever.  So please, even through the pain of it all, celebrate this wonderful African-American woman’s life, for she was another example of one of God’s greatest creations.”

(credits: “Signed, Sealed And Delivered” – Mark Ribowsky/wwwtelegraph.co.uk/www.freep.com/www.rollingstone.com/www.washingtonpost.com)

Sylvia Moy – Digital Downloads (Amazon UK)

Sylvia Moy – Digital Downloads (Amazon US)

Angie Greaves 2017 SoulMusic.com Interview

Angie Greaves 2017 SoulMusic.com Interview

Angie Greaves has been a staple in the British broadcasting industry for over two decades and with her weekday show on Magic Radio in the UK, she’s heard by millions of listeners who enjoy her mix of great music and chat. As a woman of Caribbean descent, Angie is a true pioneer and in this conversation with David Nathan, she shares about her journey and her current activities including her work with the burgeoning ‘Magic Soul’ digital platform…

Click here for Magic FM

Click here for Magic Soul

Click here for Angie at Magic FM

Angie’s website

Angie on Twitter

Soul Talkin': Maysa 2017 SoulMusic.com Interview

Soul Talkin’: Maysa 2017 SoulMusic.com Interview

Celebrating an amazing twenty-six years as a recording artist and performer. with thirteen solo albums to her credit, Maysa Leak has created the rare distinction of consistency in an industry where that is no longer commonplace. With the release of “Love Is A Battlefield,” her third CD of cover tunes, the Grammy-nominated singer/songwriter shares about her new project, new management and her love for her loyal audience in this two-part interview with David Nathan…

Check out the music from Maysa’s new CD…

Motown Spotlight, April 2017

Motown Spotlight, April 2017

It’s all happening this month for Supremes’ fans. Just in case the news has escaped you the much talked about extended version of “The Supremes A Go-Go” has been released. It seems ages ago when this was first mooted, with lots of information bites but nothing concrete. But, hey, here it is at about £28 a copy – and with a slight colour change on the front cover, plus an added apostrophe after “A”. Originally issued in 1966, it was Motown’s first album to top Billboard’s popular music chart, and the first from a girl group during what’s considered to be the rock era. Alongside their seventh chart topper “You Can’t Hurry Love”, there’s the top ten title “Love Is Like An Itching In My Heart”, but what will interest Supremes’ fans more are the mono and stereo mixes of the original twelve tracker, their versions of other acts’ songs like “Baby I Need Your Loving” and “Money (That’s What I Want)”, and outtakes including The Rolling Stones’ “(I Can’t Get No) Satisfaction” and Bob Dylan’s “Blowin’ In The Wind”. What did catch my eye, though, was the girls’ duet with the Four Tops on “Shake Me Wake Me (When It’s Over)”, but I don’t know that that’s enough for me to part with my pocket money. Anyway, there’s a massive 53 tracks across two CDs, with an accompanying booklet, one of which recreates The Supremes’ 1966 tour book, while the other offers the album’s production notes and so on.

The second release is the 1980 album “diana”, originally produced by the Chic guys Nile Rodgers and Bernard Edwards. It’s a double album release on pink vinyl, but that’s not all – instead of being 33rpm, it’s 45rpm for maximum fidelity, the blurb says. I re-read that, just to check it wasn’t a typo. Anyhows, when Diana first heard Chic’s finished work on the original project she was unhappy because she felt it sounded too much like Sister Sledge and Chic themselves, with too much disco added to the mix. Plus, she believed, as the guys had only been in the music business for a couple of years or so, they didn’t have the experience to Diana Ross-ize the work. So, she pulled in her engineering team and worked with them until she considered it to be a more commercial album for release. Needless to say, Nile and Bernard were furious initially, but after hooking up with the artist, accepted where she was coming from, saying they were happy with the album because she was. I have to say, I worked on this while at Motown, and it was a glorious experience as the product was high class, with not a bum track, and, of course, we had a large budget to work with. So we pulled out all the stops to promote it knowing it was to be her last for the company. On top of the usual promotion, we produced life size 3D cut outs of her for instore display (I had one standing in my office for a while intending to use it as a competition prize. Then it was gone and I never discovered what happened to it, bearing in mind it couldn’t have walked out by itself!) and practically covered London in posters and flyers. However, the biggest promotional tool we could have wished for was Diana herself, who willingly cut short a private holiday in London with Gene Simmons, to film a promotional video for “My Old Piano” which was a bit of a fiasco to arrange, then agreed to attend an invitation only reception at the Inn On The Park Hotel. This is where I officially met her for the first time; a great thrill for me. As I was working my professional face remained on public show, but inside I was as wildly excited as a fan can be. Peter Prince (who we talked about last month) presented Diana with several silver discs. So heavy were they that she had to lean against a wall behind her while photographers clicked away. Once she had left, with her discs being carried this time by a colleague, I had the largest alcoholic drink I could lay my hands on!

The album (originally titled “Friend To Friend”) went on to sell one million copies in the UK alone, after giving birth to several runaway hits including “I’m Coming Out”, “My Old Piano” and “Upside Down”, re-establishing the lady as an international selling power, paving the way for her lucrative deal with Capitol Records. For years after this release, Ross fans were pining to hear the original mixes, so in 2003 they were issued as part of a CD deluxe edition, and it’s now available again as a 2-album set. For vinyl collectors only methinks. Apparently, there’s a couple more items due for re-issue and re-mastering including “The Supremes Sing Holland-Dozier-Holland”.

Actually, if I may, I’ll digress for a moment but still with Diana. A reader sent me a note to say that there’s talks to upgrade her playground in Central Park West. Having visited it with Keith Russell a few years back – we took a long stroll around the Park checking out Strawberry Fields and others places of interest, and it was long trek too – he showed me where it was. Pretty understated by comparison to what’s on offer for children these days, but that could change as the singer told the New York Post this month. “Every time I’m in the city I always go by and peek, and see how it’s doing. To watch the children playing, it really warms my heart. We have been in conversations about refurbishing the playground and updating it, which I would like to do very much.” Positive thinking there, so perhaps it will renovated by the time I return to New York whenever that’ll be as the dates keep changing. In the same interview, Diana spoke of being awarded the Presidential Medal of Freedom, by the then President Obama. She sat next to Robert Redford, alongside Tom Hanks, Bruce Springsteen and others. “I do not take my freedom or the freedom that we all have in our country for granted.” Mmm, I wonder what her feelings are about the new president?!

Back to the music again. “Motown Funk” has also been issued. A 2-album set in red vinyl, holding 22 tracks highlighting the immense talent of Motown’s in house band, the mighty Funk Brothers. Not only were these guys the very heartbeat of the company, but they can be heard on thousands of records where their presence was played down for years. However, not so now – they are shining brightly in their own right. Participating artists include Barbara McNair, Willie Hutch, Sisters Love, Frankie Valli and the Four Seasons, The Temptations, among others, and as I write this it’s not clear to me whether this is a re-issue – “Motown Funk” from 2003 springs to mind – or a compilation of previously issued Funk albums. Time will tell.

Anyway, to round off this music talk: next month, the fourth “The Motown 7s Box” is to be released, and once again offers rare and unreleased items to delight us. Compiled by Richard Searling, artists featured on the seven singles include Rita Wright, Marvin Gaye (“Sweet Thing”), Brenda Holloway (“Can’t Hold The Feelin’ Back”), David Ruffin (“That World I Lived In”), Shorty Long (“Baby Come Home To Me”), The Monitors (“Share A Little Love With Me”), Tammi Terrell, Gladys Knight and the Pips (“Ain’t You Glad You Chose Love”) and Thelma Houston, among others. By the way, like the previous releases, this set includes a voucher to download MP3 versions of the singles by logging into www.backtoblackvinyl.com. You’ll need to dig deep as these sets aren’t cheap.

Like so many, I was so deeply saddened by the death of our Sylvia Moy just recently, and plan to spend some time reflecting on her great contribution to music next month. However, on behalf of myself and the guys here at soulmusic.com, am sending our condolences to Sylvia’s family, friends and fans across the world. A wonderful lady who will be missed like hell.


Finally, this item has popped up in my intray today about “Needle In A Haystack”, the story of The Velvelettes. This is all I know for now. Being staged at the New McCree Theatre, billed as Michigan’s most exciting venue, it’s a musical by Charles H Winfrey. The group don’t appear in it, but it seems it centres around their Motown recordings; their significant, yet understated musical presence at a time when the company was growing but concentrating on other artists. I smiled at the musical’s advertisement because the pose used has been liberated from their Motorcity Records single’ “Pull My Heartstrings”. Hope whoever is responsible has got clearance from Mr Levine. More when I know it, but can confirm “Needle In A Haystack” runs from 4 – 27 May 2017.

That’s it for this month, and as always, my thanks for supporting me and long may we be together.

Kim Tibbs 2017 SoulMusic.com Interview

Kim Tibbs 2017 SoulMusic.com Interview

Independent music artist Kim Tibbs has enjoyed considerable response to her work among soul music lovers, particularly in the UK, where she has been a frequent visitor over the last few years. The Huntsville, Alabama-born singer/songwriter shares about her career, her approach to her music and her goals with SoulMusic.com founder David Nathan…

Listen to Kim’s music on SoundCloud

Kim Tibbs MP3s for download – UK

Kim Tibbs MP3s for download – US

TEENA MARIE: Voice Your Choice (2010) and Interview (2009)

TEENA MARIE: Voice Your Choice (2010) and Interview (2009)

In conjunction with the April 2017 release of the SoulMusic Records’ 2-CD set, “Ooo La La La, The Epic Anthology,” we’re revisiting two compelling interviews with the much-missed multi-talented SoulMusic Hall of Fame inductee, Teena Marie.  First up, a two-part session (Voice Your Choice) conducted by David Nathan in which Teena talks about seven of her favourite tracks from her distinguished catalogue and then selects three tracks by other artists.

Then, a three-part interview by Jeff Lorez with Teena about her best-selling album, “Congo Square” via YouTube videos…

SOUL TALKIN': Junior Giscombe 2017 SoulMusic.com Interview with David Nathan

SOUL TALKIN’: Junior Giscombe 2017 SoulMusic.com Interview with David Nathan

Video interview, April 6, 2017

Recently inducted into The SoulMusic Hall Of Fame, Junior Giscombe is one of Britain’s  true musical pioneers, experiencing international fame (including a breakthrough for UK black music artists in the US) with “Mama Used To Say” in the early ’80s and beyond.  He’s known David Nathan even longer and in this lively video conversation, Junior talks about The British Collective and the challenges he and his peers have faced over the decades…

Motown Memories:  Adam White on Sylvia Moy (Renowned Songwriter/Producer)

Motown Memories: Adam White on Sylvia Moy (Renowned Songwriter/Producer)

Songwriter and producer Sylvia Moy has penned many of the classics that are at the very heart of the vast Motown catalogue  including “Uptight (Everything’s Alright)”, “My Cherie Amour”, “I Was Made to Love Her”, and “Never Had a Dream Come True” by Stevie Wonder; and “Honey Chile” and “Love Bug Leave My Heart Alone” by Martha and the Vandellas;  and co-wrote “This Old Heart of Mine (Is Weak for You)” with Holland-Dozier-Holland for the Isley Brothers; and “It Takes Two” with William “Mickey” Stevenson for Marvin Gaye and Kim Weston.

Author and medicines4all.com Motown historian Adam White blogs about Sylvia….

http://www.adampwhite.com/new-blog/2017/4/9/sylvia-and-stevie-inspiration-and-influence