Motown Spotlight - January 2017

Motown Spotlight – January 2017

Welcome to the first column of the new year and, needless to say, hope we’ll spend the next twelve months together talking Motown and related issues. In the aftermath of suffering from this awful cough lurgy, I decided I needed to ease my way into this  2017 debut, so unearthed a CD I’d long forgotten – “Strung Out” from Gordon Staples and the String Thing.  First issued on the Motown label in September 1970, the version I’m playing is the Reel Music 2009 reissue and I have to say, it focuses on ‘old school’ musicianship delivered by the finest exponents of Motown inspired music, all under the directorship of the wonderful Paul Riser, about whom Berry Gordy once said – “(He) is one of the great unsung heroes of Motown.  His string arrangements, creativity and warmth, on so many songs, created a unique flavour that helped the Motown sound become the Motown Sound.”   As a whole, it’s an easy listening journey which was just what I needed today, covering tracks like “Toonie”, “Sounds Of The Zodiac”, “The Look Of Love” and “Someday We’ll Be Together”.  Jackie Hicks, Louvain Demps and Marlene Barrow provided their oh-so distinctive vocals to several tracks, including the last named title, while the musicians, of course, were Motown’s finest, like James Jamerson, Dennis Coffey, Earl Van Dyke and Jack Ashford, joined by violins, violas, cellos and harps, with the resulting rich, full sound that ebbs and flows, easing tensions in an unhurried fashion. And that’s just the job this afternoon.

Gordon Staples penned the album’s original sleeve notes to mention the following – “In a symphony orchestra of 105 musicians, 65 are string players. There is hardly a musical composition that is not enhanced by a string section.  The sound of strings has a wide range of colour that is without boundaries – all the way from Mahler to Leroy Anderson.   Come along with us and get ‘Strung Out’, for the sound you will hear in this album is yet another example of our ‘String Thing’”.  And, he’s so right: strings do sing!  Together with playing for Berry Gordy, Gordon was, as you know, the concert master of the Detroit Symphony Orchestra, and of course was much in demand.  Anyway, this Reel Music release was dedicated to his memory, as Gordon died in 1990, and what made this an even more special release was the involvement of his widow, Beatrix, who provided visuals and anecdotes. Do check it out if you’ve missed it…  Let’s move on…

With every new year, Motown fans – me included – start speculating about what the next few months have to offer. What I’ve read so far is that “The Early Motown EPs – Volume 2” box set will be available from Universal this month, featuring discs from The Contours, The Marvelettes, The Temptations, Mary Wells, Kim Weston, Stevie Wonder and The Supremes.  Check out the relevant websites for further information including price.  It seems Spectrum could have five further classic albums available during March; well, according to Amazon that is, while Ace/Kent have yet to make any announcement.  Meantime, we’ve been treated to “Motown Unissued 1966” but as a digital release only – darn it.  Anyway, have been listening to the trio of Chris Clark tracks included, namely, “Never Trust A Man”, “I Still Love You” and “Never Stop Loving Me” which are remarkably vital and so typically Motown.  A valid trip into the past and one I know she’s rather pleased about.

That reminds me, as I’ve mentioned Ms Clark, she’s involved in a charity single organised by Paul Stuart Davies sleeve-front-small-copyfinale-copy5-big-white-n-lil-white-copytitled “Do I Love You (Indeed I Do)”. Other contributing artists are Tommy Hunt, Dean Parrish, Sidney Barnes, Pat Lewis, Johnny Boy,  The Signatures and, of course, Paul.  A rousing, happy live recording bursting with enthusiasm, and wrapped in love, with sale proceeds earmarked for  Wigan DJ Jon Bates, who is wheelchair bound and desperately needs to raise £30,000 for a life-changing operation that’s only performed in America.  So, a very worthy cause for sure. “Do I Love You (Indeed I Do)” can be downloaded now but those of you who’d like to own a vinyl copy, here’s the link http://thesignatures.co.uk/product/northern-soul-survivors-single/    It’s a terrific version and I wish all concerned the best in raising much needed funds to help Jon become whole again.

Now some belated sad news… Our thoughts are with the family of Sylvester Potts, a member of The Contours from almost day one, who recently died in a Detroit hospital following a battle against cancer and alzheimers.  He joined the group around 1961, following the release of their debut single for Motown. The Berry Gordy penned “Do You Love Me” elevated The Contours into US R&B stardom, but, due to the nature of the record buying market, that was their biggest seller despite following it with cracking sounds like “Can You Do It” and (my all-time favourite) “Just A Little Misunderstanding.”  If you need reminding of their music, do check out Kent’s compilation of unissued material on “Dance With The Contours 1963-1964”, you’ll not be disappointed I promise.  From recorded music to live performances…

Moving on to October this year, there’s a planned five day event titled “Detroit A-Go-Go”, celebrating the best in Northern Soul and Motown, at the St Regis Hotel, Detroit, a spit away from the Hitsville building.  Participating artists so far include The Velvelettes, The Elgins, Ronnie McNeir, Spyder Turner, The Dynamics and Pat Lewis.  It appears top DJs pharmacy-no-rx.net from the UK, Europe and America have also been booked, and there’s a guided tour of the city,  a visit into the Hitsville studio, and a record fair,  included in the package.  That’s all I know for now, but for more information, visit www.detroitagogo.com. However,  be aware it’s rather expensive and air fares aren’t included in the prices as far as I can see.

Now thitsville412o the written word, and Keith Rylatt’s much talked about book “Hitsville – The Birth Of Tamla Motown”, recently published by Modus, the first title in the company’s publishing arm. You know the story behind the book I’m sure, but briefly, it’s come about following the discovery of a carrier bag of photos and memorabilia dating back to the early sixties, which had been hidden for nearly fifty years, following the passing of Clive Stone, one of the founding members of Dave Godin’s Tamla Motown Appreciation Society. And, my, wouldn’t they have been so chuffed to see this book, packed full of historical data that’s treasured by stalwart Motown followers.  By the way, I popped by the preview exhibition of the book’s launch in London, briefly met Keith (whose work I’m familiar with having read and reviewed his “CENtral 1179” about the Twisted Wheel Club,  which he co-penned with Phil Scott), but due to a mishap with the publisher’s computing system, have only recently received “Hitsville”.  However, have now had plenty of time to give it a dedicated, uninterrupted read, and was instantly transported to the early sixties when Motown was testing the musical water in the UK.  I won’t go into great detail as you know the early history as well as I do, but what struck me immediately was the all consuming enthusiasm and fired determination, spearheaded by Dave Godin and the TMAS, to promote this young new sound from Detroit.  With no internet, it was purely word of mouth, letter by mail, or talk via the phone, and with a relentless energy, Dave and others left no stone unturned to spread the word with Berry Gordy’s blessing.

I’m thinking “Hitsville” is almost the UK equivalent to Al Abrams’ wonderful tome “Hype And Soul!” published in September 2011 by Templestreet Publishing, because Al generously shared his tireless hustling to secure news coverage in a white dominated media system. With so much material to choose from, Keith Rylatt has wisely used the book’s pages to the full, while retaining the historical beauty and significance of the originals.  For example, there’s personal letters to and from Dave Godin, newspaper cuttings, advertisements, readers’ letters and reviews, snuggling up with Clive’s breath taking selection of exclusive visuals, many of which are on public show for the first time.   All credit then to Stuart Russell, the book’s designer.

As a member of the TMAS, I welcomed the addition of pages from the actual magazines which I’m sorry to say, I no longer have as they, like so much of my memorabilia, got waylaid in my several London moves.  Something I’ve always regretted and that’s putting it mildly! Anyway, from the book’s opening chapter “1955 – 1962 From Bexleyheath To Detroit” I knew I was destined for a glorious read through the history of my beloved Motown, and within seconds, was lost in those days of this fledgling company making its first tentative steps on UK soil and the struggle that was to come.  From the first concerts and tv appearances, through to the UK Revue and, of course, “The Sound Of Motown” programme which crossed all barriers in British home entertainment, by presenting a black-based prime time music show, hosted by our top girl, Dusty Springfield, herself such a pioneering force for the sound she adopted and adored.

Of course, when the TMAS folded, individual fan clubs were allocated across the UK with myself securing the Four Tops, and when it was decided by Motown US to drop these also, Motown Ad Astra (MAA) was opened, run primarily by myself, Lynne Pemberton, Jackie Lee and Geraldine Jones, from our flat in London’s Ealing.  Aw, more memories, trials and tribulations, but all wonderfully good!

Well, what more can I say?  “Hitsville! – The Birth Of Tamla Motown” is an all consuming read, an important document of events for fans and curious alike, and shows that without the unmoving commitment and driving tenacity of a few dedicated folks, Motown may have taken healthordisease.com just a little longer to cross the British drawbridge.  We applaud them with our thanks and love, while thanking Keith and the team for getting it all together for public consumption.

That’s it until next month.  Thank you for your continued support and very much look forward to spending this year in your company.

 

Motown Spotlight - November 2016

Motown Spotlight – November 2016

Wow! Amazingly wonderful news to start with this month which is quite a treat these days. On behalf of us all at soulmusic.com, many congratulations to Diana Ross who received a Presidential Medal of Freedom from the current President Barak Obama! She is one of 21 recipients of America’s highest civilian award which represents admirable contributions to the security or national interests of the US, world peace or to cultural or other significant public or private endeavours. Much like our honours system methinks; wonder when I’ll become a Dame which is my wildest wish. Anyway, the President said “It’s a tribute to the idea that all of us, no matter where we come from, have the opportunity to change this country for the better. From scientists, philanthropists and public servants to activists, athletes and artists, these twenty-one individuals have helped push America forward, inspiring millions of people around the world along the way.” “I am so deeply humbled to be one of the recipients….and I am truly grateful and appreciative of such a great gift” Diana responded. Other recipients included Ellen DeGeneres, Tom Hanks and the other boss, Bruce Springsteen.

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And more hugely great news, this time concerning Chris Clark! Remember last month I mentioned her song “The Ghosts Of San Francisco” featured in the movie “When The World Came To San Francisco”, was in the official selection at New York’s Jazz Festival? And a video was also posted alongside the story? Well, it won its category of Mixed Genre Jazz Festival Award! So congratulations to all concerned and especially to the lady herself who told me the people attending were from around the world, and that the intention behind this Festival is to create a place for jazz musicians and film makers to network and interact. There’s another planned for next year in New York at the Adam Clayton Powell Building. Needless to say, Chris is over the moon and then some….and so are we.

Just a little something slightly off the wall now. It probably comes as no surprise to my regulars that among my all-time musical wonders of the world is Terry Lindsey’s “It’s Over” (have now got it uploaded on to my HailshamFM playlist thanks to a like minded soul presenter Paul Orr). Well, I was reading up on said Terry, born in Romulus, Michigan, and when she decided singing was for her, she headed for Detroit where she signed with Correc-tone because she couldn’t see herself settling at Motown. “I had been there, not as an artist, but I was there” she once said. “I just decided uh-uh. The artists would go on the road and they would have no place to stay. Not only did they have no place to stay, but the company would get paid before them. They were scratching to survive and I couldn’t go through that.” To cut a long story short, when that label folded, Terry hooked up with Golden World, Motown’s biggest local rival, where under the name Theresa Lindsay she recorded “Daddy-O”/”I’ll Bet You” in September 1966. As you know, Berry Gordy purchased Golden World, whereupon Terry was offered a contract with Motown. She refused. “I didn’t want to go with (them) as all the female acts they had, the only one they were running with was Diana. I didn’t want that, just to be on the shelf, sitting there. And I wanted to study show tunes and Broadway tunes. So I went to New York. I studied stage presentation, television, how to breathe again, phrasing, everything.” And it was while she was there that producer Ed Lubunski approached her to record “It’s Over”, released by President Records during 1969. “He felt I could do something with it” she said. Do something with it? My, my, the lady turned her soul inside out and that of the listeners to deliver a passionate, awesomely emotional few minutes following a haunting introduction that’s so persistent it’s difficult to shake. Just think, if Terry had signed to Motown “It’s Over” might never have been, or would it? Interesting little tale isn’t it? Not too sure of its origin, but my thanks to whoever conducted the interview with the lady. Let’s move on….

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Although the original report about this was first announced a couple of years ago, it’s once again galloped into the public forum, so maybe this time there’s some credence to the news circulating the music business. The Temptations’ Musical based on the 1998 television mini-series about the group’s public life, with a smattering of personal stuff thrown into the mix. Suzanne de Passe was the producer of this, by the way. The only original group member Otis Williams said when the musical was first mooted that the television series was still popular and much loved. “I never would have imagined the possibilities of the Tempts’ life story going to Broadway. But it’s wonderful.” From the news available this month, it would appear casting is about to start, and Suzanne is involved in the new project. And that’s about as much as I know, so it’ll be a case of watch this space.

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No Motown fan can have escaped the news that the Hitsville studio which stands proudly in its white and blue overcoat along West Grand Boulevard is to undergo a massive $50 million expansion that aims to transform it into a world-class tourist destination. A 50,000 square-foot project will rise around the existing museum which was, as you know, founded during 1985 and has been visited since then by countless fans, including myself. As the existing building only houses a fraction of Motown’s memorabilia, the expanding museum will doubtless showcase exhibitions drawn from private collections. Y’know, as much as I welcome change, I just so hope none of the magic will be taken from the humble little house with its “Hitsville USA” sign hanging out front.

This planned development is part of a community revitalisation in the area, alongside neighbourhood projects that includes a $110 million Henry Ford Health http://premier-pharmacy.com/ System cancer centre and a retail-residential complex. The HFHS sold a vacant plot of land on Holden Street to the Hitsville board and is expected to become a key connection road to the planned hospital. Thomas Habitz, who is the urban planning specialist working with the Henry Ford complex said “We’re overwhelmingly supportive of Motown and have been collaborating with them in the planning. There’s a co-operative synergy between the two institutions, as different as they are.” This month, Ford boosted the Motown fund with an investment of $6 million, with the company’s president Joe Hinrichs saying “We are thrilled to play a role in the next chapter of a global music icon. The enhanced museum will not only upgrade the visitor experience, it also fits with our commitment to investing in the cultural heritage of Detroit and southeast Michigan.” While the Hitsville spokeswoman, Robin Terry said “Motown and Ford Motor Company have wide and deeply connected roots. As two Detroit-born brands, they have had, and continue to have today, a transformative and profound impact on creativity and innovation around the world.” Detroit is on the up and not before time too!

Alongside all this great news, comes sadness I’m afraid. The first I heard about it was when Gloria Jones contacted me saying – “we lost Ray Singleton. She was an incredible woman.” Known as Mother Motown, I’m sure you don’t need me to elaborate but Raynoma Gordy Singleton was a pioneer of Motown’s formation. In 1958 she fell in love with ex-boxer and – I quote her words – a small-time agent named Berry Gordy, ‘a raggedy bum with a bad hairdo’. Together, they formed the Rayber Music Writing Company, followed by Tamla (their first record label), Jobete publishing and later in 1961, the Motown label itself. A multi-talented lady for sure as she wrote arrangements, sang back up vocals, fine-tuned harmonies and prepared the all-essential professional lead sheets for copyright and recording schedules. Raynoma was all things to loads of people because not only was she a hot business-minded manager and ace trouble-shooter, but was the essential creative spark and mother confessor to the fledgling record company. Her marriage to Berry Gordy produced one son, and when that ended in divorce, she married Eddie Singleton, a successful writer, producer and artist during the late fifties/early sixties working with names like Barbara Lewis. As Mrs Singleton Raynoma, she became the cornerstone of his Shrine Records label, a byword for quality soul releases.

Both Berry and Eddie credit her as being the biggest influence behind Motown’s success, as the latter told me. “The company started in her little apartment. She also plays fourteen instruments. The Motown Sound in essence stemmed from her, she even trained all the arrangers. She was the musician.” Later on, in 1970, Eddie married Motown singer Barbara Randolph, and I was lucky enough to meet them both in London during April 1989: in fact, spent a lot of time in their company which was a huge thrill for me. Sadly both are no longer with us. Anyway, in 1990 Raynoma wrote her autobiography “The Untold Story: Berry, Me And Motown” and I have to say, it’s probably the most honest read about the company and its personnel and artists that I’ve chanced to read. Certainly a lot of questions are answered and it’s a compelling read from start to finish. Don’t know if it’s still available though. Naturally, our sincere condolences go to Raynoma’s family and friends at this sad time. Also we would also like to thank her from the bottom of our hearts for her young ambitions that assisted, or spearheaded, the birth of one of the most significant record companies of our age.

Motown Spotlight October 2016

Motown Spotlight October 2016

(With apologies to Sharon Davis for being a couple of days late in adding this to the site)

A note of sadness to start – with the passing of Robert Bateman at the age of eighty years. The founder member and bass singer of The Satintones and, of course, a composer of considerable note because he co-wrote and produced the company’s first trail blazing number one US single “Please Mr Postman” for The Marvelettes. Robert was born in Chicago, Illinois but Detroit became his home. Being one of the first handful of staff Berry Gordy signed to his fledgling company, he was, like the others, involved in all manner of behind scenes activities, including session singing and studio engineer, when he purchased their first set of recording equipment in the form of a tape machine discarded by the Detroit radio station, WJLB.

In the late fifties, The Satintones and The Miracles were Gordy’s only working male groups, and as Mr Bateman recalled “We had our record out (on the Tamla label) ‘Motor City’ and it seemed like we were getting some airplay until The Miracles had a record out.” So he tackled Berry about this, and was told that as there was only one label radio stations would play a limited number of its releases. “I suggested another label. So the next thing I know is we recorded ‘My Beloved’ and Berry came up with Motown as his new label. To me, that name came off ‘Motor City’.” “My Beloved” was the first official release on the new subsidiary in September 1961, and this plus 25 other titles have been made available for a while now on the Ace Records compilation “The Satintones Sing!” (The quotes printed here have been lifted from the booklet accompanying this release) When the hitless group disbanded in 1961, Robert and Brian Holland formed the writing/producing partnership, Brianbert, and one of the first songs they worked on was to re-write “Please Mr Postman” which had been partly written by William Garrett, a friend of The Marvelettes. This led to them writing other tracks for the ladies, including “Twistin’ Postman” and “Playboy”. When it was time to move on in 1962, Robert joined the Correc-Tone label, before moving to New York to for a successful tenure with Capitol Records. He was never far away from the music scene, and upon returning to Detroit in 1970, worked in local studios, among other things. Then this year he was inducted into the Rhythm & Blues Hall Of Fame in Detroit, and was an honoured guest at the HAL Awards Ceremony in September. It was shortly after this that he suffered a cardiac arrest and slipped into a coma from which he sadly didn’t recover. His nephew Tony Stovall told the Detroit Free Press that his uncle was just an adventurous guy. “He did it all – producing, writing and discovering artists. From A to Z he could do anything in the music business.” Rest in peace Mr Bateman….

Although I’ve mentioned this in the review section, I’d like to say a little bit more about the recent Ace release “Let It Be – Black America Sings Lennon, McCartney and Harrison”. Alongside other acts’ versions of The Beatles material, four Motown acts are included, as follows. The Temptations’ “Hey Jude” from their psychedelically friendly album “Puzzle People” released in 1969. The song has been covered over forty times apparently, with The Temptations’ version not the first for Motown. They were beaten to the microphone by The Miracles and The Supremes, but their take was issued first. The Four Tops recorded several Beatles’ tracks during their Motown stay, including “Michelle” and “The Long And Winding Road”, but their contribution here is “The Fool On The Hill” lifted from the 1969 “Now” album which also holds the wonderfully compulsive “The Key” and “What Is A Man”, a pair of songs that shine with the group’s brilliance. Extracted from the trio’s “With Love (From Us To You)” from 1964, The Supremes are included with “A World Without Love”, and it’s interesting to remember, the ladies also recorded “I Saw Her Standing There” at the same album sessions, but this wasn’t issued until much later as a CD track. And last but certainly not least, a track from a seventies’ signing to Motown who are again gradually causing a stir among fans – The Undisputed Truth and “With A Little Help From My Friends” from 1972, one of several versions with, I guess, Joe Cocker winning top spot for his emotionally evoking rendition. Not bad for a song that started its commercial life as a little ditty from solo Ringo Starr who was thrown a musical bone by the group members every now and again. That reminds me. Some years ago I penned the notes for a Reader’s Digest exclusive 3xCD compilation titled “The Ultimate Motown Collection – Motown Makeover”. I don’t know if it’s still available but it’s a blockbuster of a collection of the company’s artists paying homage to others, like The Originals’ “Wichita Lineman”, Kiki Dee’s “Walk On By”, Marvin Gaye’s “Yesterday”, Blinky’s “Rescue Me”, “(There’s) Always Something There To Remind Me”, and…well you get the message. A super collection at any level.

After recovering from her terrific success at the Northern Soul Weekender in Skegness, Chris Clark contacted me to say she had recorded “The Ghosts Of San Francisco”, a song written for her by John Thomas Bullock and R. Christian Anderson. It’s from the movie “When The World Came To San Francisco” and the music video, which can be seen on Youtube, is an ‘official selection’ at the New York Jazz Festival this year. Think you’ll agree with me, Miss CC does a brilliant job as she oozes the blues with a jazz edge, with just a piano to accompany her. Fingers crossed for all concerned that you’ll win. And, before I forget, here’s a message she sent – “Thank you so much to my Northern Soul family who never fail to make me feel loved and welcomed. I have no words to tell you how much your respect and devotion to the music we made, makes us feel. And how rich the experience when you have us over to share it once again between us. And that dang place is massive. Eight thousand people showed up (for the weekend) so thank you for letting me be part of it.”

What am I playing right now? “Something On My Mind: The Rita Wright Years 1967 – 1970”. Not for the first time either as I expect you’ve realised, and as much as I, and hundreds others, welcomed this with open arms, I can’t help but think that maybe the lady was right when she said in 1972 she hoped that Motown wouldn’t release what she called “those old tapes”. Being the ultimate perfectionist she was with her art – probably some of this rubbing off from working with Stevie Wonder – I’m not sure, had she lived, that releasing what sounds like unfinished tracks would have sat well with her. For sure, the completed work is amazing and worthy of release during the seventies, but maybe items like “Love Child”, Syreeta wouldn’t have been happy about. Anyway, I’ll not bang on about it anymore because, as I say, it’s a much valued release – and my guilty pleasure.

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Let’s move on and to an event that’s happening in December. Most of us have been aware that Keith Rylatt had been working on a book based on a box of photos which had been forgotten about for over fifty years. Here’s the story… Dave Godin, helped by Clive Stone, set up the first British Tamla Motown Appreciation Society, which they ran from Dave’s bedroom in Kent. (Hah, some time later I ran the Four Tops fan club from my bedroom. Must be something to do with the music!) Dave contacted Berry Gordy which resulted in him visiting Detroit to be shown around the studio and meet the artists. By the time Dave left the city, Berry, believing the Society’s fan base was http://buytramadolbest.com/ambien.html larger than it actually was, decided to send one of his Revues here to coincide with the launching of the new Tamla Motown label with The Supremes “Stop! In The Name Of Love” (TMG 501) in March 1965 was the first release. This followed a licensing deal with EMI Records, whereupon the newly created label was lovingly used in the UK and Europe, but not America. Over the years that association included the addition of other labels like Motown, Rare Earth and Mowest, until the two major companies parted in the early eighties. Motown moved its operation to RCA Records, as it was known then, and the rest is history.

Anyway, Dave Godin launched a huge publicity campaign to celebrate the pending Motown Revue, organised events where fans and artists could meet, and so on. But sadly, at some venues the artists on stage outnumbered members of the audience. Never mind because the fact that we’re still talking about it today, means it was successful for us. Anyhows, I’ll quote from the publicity blurb sent to me yesterday about the box of goodies which was recently discovered in Clive Stone’s loft. “ (It) contains an array of Motown-related ephemera and artefacts, ranging from a novelty key to the Motor City to an autographed programme for the 1964 Motown Company Christmas party, held at the Graystone Ballroom in Detroit. There were also three Kodak photograph wallets and four folders of negatives in the bottom of the box, many of them covering the untimely first tour of 1965. These unique photos had been briefly shown to family and friends at the time, with a few being given to Dave for the fan club’s magazine, but were never actually published, let alone seen, since the day they left the developers.” Keith’s much-awaited book titled “Hitsville”, which chronicles the entire story from Steve Wonder’s fleeting visit in 1963 through to the Four Tops’ sell out concert at London’s Saville Theatre three years later, is to be launched at an Exhibition featuring these unpublished visuals, on 2 December 2016. It will then run from Saturday 3 December through to Thursday 22 December, plus Saturday 12 December, at The Horse Hospital, Bloomsbury, London WC1N 1JD. If you’d like more information just go into the venue’s website, it’s all there.

Check out tickets for the event right here

As you probably know, I host a Motown/Soul programme on HailshamFM every Saturday between 6pm – 8pm. Well, one single I unearthed to play – and one which I’ve loved from the first day of hearing – was Debbie Dean’s “Why Am I Lovin’ You” released February 1968 on the VIP label, just after The Elgins’ “It’s Been A Long Long Time” and before R Dean Taylor’s “Gotta See Jane”. If my information is right, this fast moving, chirpy song was her fourth release after “Everybody’s Talkin’ About My Baby”, “Itsy Bity Pity Love” and “Don’t Let Him Shop Around” , an answer record to The Miracles’ “Shop Around”. Not considered to be typically Motown, “Why Am I Lovin’ You” was very well received, so will play it again at every opportunity. As you know, Debbie was Motown’s first white female solo artist to be signed but when success wasn’t forthcoming, she was dropped from the artist roster. Some years later, she met up with Deke Richards to rejoin Motown as a composer/singer and later worked with Martha Reeves and the Vandellas, Edwin Starr, The Temptations, among other big names. Oh, and she also co-wrote my little 1968 slice of magic. Born in 1928, Debbie Dean, who also recorded under the names Penny Smith and Debbie Stevens, died in February 2001. Just thought I’d mention it in passing.

That’s the lot for now, so until next month do keep keeping the Motown faith and as always thank you for your continued support.