Motown Spotlight - March 2018

Motown Spotlight – March 2018

Can it really be over fifty years ago that one of the most groundbreaking programmes was screened on prime time national television?  Well, indeed it is, and for people as young as myself, we settled in to watch an event that, in my opinion, was a first, not only for Motown fans, but the British public in general. As Rediffusion covered the  London area, and I lived in East Sussex, I needed to secure the indoor television aerial in just the right position to pick up a viewable signal.  Quite an art I can tell you, but possible. So, what am I talking about? The Sound Of Motown, screened at 9.40pm on 28 April 1965 on Associated Rediffusion Television.  To say it was the most exciting of programmes would be a total understatement. It was a dream come true, an ambition realised, and, although not recognised at the time, the programme made significant inroads into breaking down the barriers erected in the entertainment world.

So, how did it come about?  As years passed, different stories emerged but I think it’s fair to say that this is probably what happened. However, let’s backtrack for a second to another programme which, to all intents and purposes, was the launching pad for The Sound Of Motown.  On 9 August 1963, Ready Steady Go, a brand new, and innovative music programme was screened for the first time by Rediffusion. I won’t dwell too much on this because the series – which lasted until 23 December 1966 – has been well documented over the years, but suffice to say, it revolutionised the way in which music was presented to viewing audiences.  Originally filmed in the small Studio 9 in London’s Kingsway, where participating acts mimed to their songs, Ready Steady Go was later transferred to the larger Studio 5 at Wembley, enabling artists to perform live, with an orchestra tucked away somewhere which was difficult due to the layout of the studio floor.  Artists performed on different mini-stages, often in the middle of a dancing audience; occasionally from studio gantries, or from the top of a staircase. As if this wasn’t tricky enough, the ever present cameras were large with rotating lens turrets rather than zooms, and weaved around the audience, often careering into unsuspecting individuals.  But, hey, that was part of the fun and no serious damage was done. RSG was glorious organised mayhem, broadcast live, bringing into our living rooms some of the best soul music of the time, alongside the major names in popular music.

The best remembered presenters, Keith Fordyce and Cathy McGowan, steered the programme as best they could, often stumbling over their lines and presenting acts that weren’t ready to perform.  Joining them was the now solo Dusty Springfield, riding off her first hit single “I Only Want To Be With You”.  A regular visitor to the programme as a member of The Springfields, and as a member of the audience, Dusty was a Britain’s top female singer and a huge coupe for the RSG team. Besides she loved to party!  By now, of course, it was no secret that The Beatles and Dusty were avidly flying the Motown flag, mentioning the company in interviews and singing its material on live and television shows. What better ambassadors could Motown have had!  “I suppose I had a lot to do with promoting them,” Dusty once said. “I didn’t realise it at the time.  It’s only when people have told me that, including Motown people themselves.  (Motown was) running my motor so to speak, so it never occurred to me that I was doing PR for them.  I was just entranced.”

Due to her immense drawing power it was decided to give Dusty her own television programme and, as she and Martha Reeves and the Vandellas were now best friends, -after meeting up when Dusty appeared on Murray The K’s Rock ‘n’ Roll Extravaganza at New York’s Fox Theatre with a host of American acts including a Motown contingent – they were lined up to be her special guests.  This was to change, Dusty told me, when Berry Gordy planned to send his first Motown Revue to tour Britain to celebrate the opening of the Tamla Motown label during March 1965. Following a licensing deal with EMI Records, it was deemed logical to include all the touring acts with Martha and the girls. Besides it was a brilliant marketing tool to promote the new label, marking the longest free advertisement for a relatively unknown American artist roster on black and white commercial television.   The Motown Revue was to kick off at the Finsbury Park Astoria on 20 March, before hitting venues in Bristol, Cardiff, Glasgow, Edinburgh, Newcastle, Wolverhampton, among others.  Twenty-one towns in twenty-four days, with a television programme to rehearse, film and complete before they left London.  No mean feat!

Shortly after 7am on Monday, 15 March 1965, the Motown contingent arrived at London Airport on their chartered Boeing 707.  Berry Gordy’s artists were accompanied by lawyer George Schiffer, Maxine Powell, chaperones Evelyn Johnson and Ardena Johnson, road managers, assistants and hairdressers, while Berry Gordy brought his three oldest children (Hazel, Berry and Terry), his mother and father.  Carrying customised B.O.A.C. Cunard flight bags advertising the Tamla Motown label, they were all enthusiastically welcomed by members of Dave Godin’s Tamla Motown Appreciation Society.  Prior to the visit, Berry had written to Dave confirming that 15 March was a red letter day because his new label would be launched on that date. “It is as a result of such loyal and devoted efforts as yours that such an historic event is possible. All the artists and entire staff join me in thanking you for your loyal and unwavering support of Tamla Motown and its artists.”

Once everyone was settled in the Cumberland Hotel in Marylebone, meeting up with The Temptations was first for obligatory photo shoots around London’s tourist attractions. This was supervised by Motown UK’s Peter Prince and, my, how those historic visuals have remained relevant through the decades.  Almost magical. Next was free time where they explored the West End. Incidentally, The Supremes were the only group to occupy the penthouse suite next to the Gordy family, confirmed by the ladies in later press interviews. They also talked of the gifts Berry lavished on them, including diamond rings.

Anyway, back to the plot, and following hasty meetings between Dusty and Vicki Wickham, producer of Ready Steady Go, Rediffusion were asked to approve the  revised plan for the television programme.  Dusty was now to host a Motown show featuring Martha and the Vandellas, The Temptations, The Miracles, The Supremes, Stevie Wonder and The Earl Van Dyke Sextet, whose membership was the company’s finest – Jack Ashford, Eli Fontaine, Robert White, Bob Cousar, Tony Newton, led by their leader, keyboardist Earl Van Dyke.  Not surprisingly, Berry Gordy wouldn’t allow his two most valued musicians, drummer Benny Benjamin and bassist James Jamerson, to tour. They stayed in Detroit to head up the remaining musicians, to keep recording sessions flowing in the artists’ absence. Martha Reeves was happy with this new concept. She still had an ace up her sleeve.  By the way, The Temptations, who weren’t on the Revue, were already in Britain on a promotional trip, and returned to Detroit following the show’s taping. Stevie Wonder was also in town prior to the Revue arriving, while Gordy’s most in-demand soloist Marvin Gaye was unable to join them due to a serious viral infection.

Originally, called Dusty Springfield Presents The Sound Of Motown, it was during production abbreviated to The Sound Of Motown, although the concept remained untouched.  Music journalist, Bob Dawbarn, who attended the rehearsals at the Wembley studio wrote “It was the usual shambles as the fast-moving show was assembled. With artists streaking like greyhounds in and out of dressing rooms for quick costume changes and sweating cameramen given only seconds to switch from one group to the next.”   Supremes, Florence Ballard told him – “We’ve brought fourteen changes of costume on this trip. The big problem is sizes.  Finding something that we all liked, that will look right in all our sizes.”  However, Bob’s immediate impression was one of complete and polished professionalism of the participating artists which, he wrote, “makes some of our miming monsters look the rank amateurs they really are.”

The acts worked for twelve hours solid at the studio, with no retakes, singing live to pre-recorded tracks although upon viewing it did seem Earl Van Dyke’s musicians were also playing in the moment.  The studio itself was more like a large industrial yard and looking at a picture of it now, showing all the acts for the finale, there was scaffolding to one side of the studio, the audience seated on the other, with a backdrop of the artists’ names littered across the skyline of Detroit. Immediately in front of the backdrop was a raised area for the dancers which stretched from one side to the other; in front of this, the musicians, who looked out onto the huge space in front of them. On this particular picture, Martha and the Vandellas were next to The Temptations and Dusty on one side, in the middle The Miracles and Stevie Wonder, and on the other side The Supremes.  Scattered around them were cameramen, steering cumbersome equipment, varying in size.

However, although the running order was planned in advance, it became apparent that as rehearsals progressed Berry Gordy was calling the shots. Martha Reeves, who was Dusty’s first choice, noticed these changes, as she recalled in her autobiography “Dancing In The Streets”. “I took offence when Berry began moving acts around until The Supremes were in a co-starring position.  The Supremes didn’t even know Dusty but suddenly they were incorporating a cover version of Sam Cooke’s ’Shake’ to supply them material for an additional spot.”  She also commented that The Supremes’ records were just starting to sell in Britain, while she and the Vandellas had toured once before, cementing a solid fan base, therefore her group should have been awarded the extra spot.  She told Berry of her feelings and balked at his response which went along the lines of that The Supremes were on the top rung of the ladder and Martha and the Vandellas were on the lower one. “My disappointment showed clearly on my face and in my voice. As we lined up for the finale, I was directed by the producers to a spot where the camera did not reach.  Standing off to the sidelines for the finale, I must have looked real ugly because I was so sad and hurt.”

However, what Martha didn’t realise at the time, because the comments came from the television viewers, her duet with Dusty on “Wishin’ And Hopin’” was voted as one of the programme’s highlights, even to this day.  “I could see Diane in the wings eating her heart out because she hadn’t been chosen to do it,” Martha further wrote in her book. “On another number (‘Can’t Hear You No More’) we also sang backup for Dusty.”  I’ve just watched a video of “Wishin’ And Hopin’” and smiled because  Dusty is gooning around part way through the song, which I suspect, is a reaction to being plagued by nerves.  In her book “Dreamgirl”, Mary Wilson wrote that she enjoyed working with Dusty.  “Her and the crew treated each one of us like a star, but it was clear that Martha and the Vandellas were their favourites.  That was okay. I always thought there was room for all of us at the top.”

Once the cameras had rolled for the last time and the programme was in the bag, the Motowners  headed for a party hosted by singer Dana Valery in Holland Park.  There they joined Vicki, Dusty and her brother Tom, members of the Rolling Stones, Madeline Bell, Sandie Shaw, Goldie and the Gingerbreads, among others. A who’s-who in British music, all wanting to bask in Motown’s magic.

So, it’s now the evening of 28 April and The Sound Of Motown is about to start.  And one by one, we’re introduced to the Sound of Young America on a whistle-stop tour of classic songs, iconic dance routines and lifetime memories.  We salivated to Martha and the Vandellas with “Heatwave”, “Nowhere To Run”, “Dancing In The Street”;  The Supremes and “Baby Love”, “Stop! In The Name Of Love” and “Where Did Our Love Go”.  We loved The Temptations impeccable choreography while performing “My Girl”, “It’s Growing”, “The Way You Do The Things You Do”, while soaking up The Miracles’ smooth deliveries on “Ooo Baby Baby”, “You’ve Really Got A Hold On Me”. Little Stevie’s “I Call It Pretty Music But The Old People Call It The Blues” and “Kiss Me Baby” was compulsive viewing as, in one instance, he performed on top of a pedestal without falling off.  Then, before you can catch your breath or believe your eyes, the finale “Mickey’s Monkey” with all acts singing and dancing, rounded off this once-in-a-lifetime programme, in true Motown style!   “The actual sound of Tamla Motown is always distinctive and unmistakable” said Dusty at the time. “The music is light, lifting but strong..and never boring. The songs are excellent and because of this many have become standards.  The artists are as exciting as their records. All professional and knock-out performers. There’s the phenomenal Supremes, and Martha and the Vandellas.  Their ‘Heatwave’, ‘Live Wire’ and my all-time favourite ‘Dancing In The Street’ make them one of the most exciting acts I’ve ever seen.”

As time passed fans were desperate to own a copy of the programme, but nothing seemed to be available either legally or not. Dave Clark International bought the rights to the programme and it appears refused, for some reason, to make it commercially available. Then in 1985, “Ready Steady Go! Special Edition” was released, featuring The Sounds Of Motown including a clumsy insert of Marvin Gaye singing two songs, “How Sweet It Is” and “Can I Get A Witness”.  Until 2018, Dave Clark retained the rights, whereupon it was announced that BMG Rights Management had acquired ancillary rights to the whole Ready Steady Go series which I’m assuming, includes the Motown special.  Could it be a re-issue is on the horizon?

There’s much more that could be written about this extraordinary time in Motown’s British history, and the programme that’ll always remain a highlight, but I just thought an overview of how/where/when it came about might be of some interest. Sure, I realise I’ve neglected the actual Revue, so maybe we’ll get to this another time.

As always, thank you for being with me this month and, believe me,  there’s loads more coming your way this year.

Watch the entire show on YouTube…

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 order klonopin online canada 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)

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 where to buy clonazepam 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