Since becoming a vinyl junkie at the age of 15, I’ve been an enthusiast for ‘sounds’ rather than individual artists. Motown stated ‘It’s What’s In The Grooves That Counts’, not simply an artists reputation. For example, whilst I bought Elvis Presley’s rock and roll greats in the 1950’s, most of his 60’s material passed me by. I most admire soul artists and particularly the ones who have adapted to new styles and arrangements, while maintaining their artistic integrity.

'navel gazing, pretentious puerility'

I know some people, usually rock, and progressive rock fans of groups like Emmerson Lake and Palmer and Pink Floyd (who have made an art form out of navel gazing pretentious puerility) consider the Motown sound formulaic and predictable.

However, during the years the Motown output has developed, refined and adapted to encompass new ideas of producers and recording artists. Smokey Robinson who was once described by Bob Dylan as America’s greatest living poet is one of the best song writers of all time. Stevie Wonder has always experimented with sound and arrangements – you get my point.

Did You Know?

Marvin Gaye co wrote Dancing In The Street with Mickie Stevenson

A troubled man with many insecurities, he was the liquid gold voice of Motown, and gave us some varied and very meaningful music.

Click The Record Below For Music

These records were often spun at clubs I visited during the late sixties, and by the time I started DJ’ing, others like Little Darling (I Need You), I’ll Be Doggone and One More Heartache were regular spins at youth clubs and my local haunt, Peppers Club in Wrexham.