Let’s get the festive season started!
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Tunes Du Jour Presents 1969
The music of 1969 captures a unique crossroads in cultural history—a year teetering between optimism and cynicism, unity and rebellion. Looking at a playlist from this year reveals a blend of genres and voices, each reflecting a society in flux. The playlist’s tracks encompass themes of love, social change, disillusionment, and raw individualism, echoing the era’s contradictions and bold spirit.
On one end of the spectrum, songs like Elvis Presley’s “Suspicious Minds” and Tammy Wynette’s “Stand By Your Man” echo traditional themes of love, loyalty, and heartbreak, though with a hint of modern skepticism. Presley’s soulful performance marked his return to chart-topping success, while Wynette’s hit became a polarizing anthem, embraced by some for its devotion and questioned by others for its apparent passivity. Meanwhile, Glen Campbell’s “Wichita Lineman” captured a more introspective side of the decade, blending pop and country into a haunting portrayal of loneliness and perseverance.
But 1969 wasn’t all about introspection; it was also a year of unrestrained expression and pushing boundaries. Creedence Clearwater Revival’s “Bad Moon Rising” hinted at a sense of looming danger, with its ominous lyrics striking a nerve during a time of political upheaval. In contrast, “Honky Tonk Women” by The Rolling Stones embraced the gritty allure of rock and roll without aiming for a larger societal message. Jagger’s tales of chance encounters and gin-soaked nights represent the Stones’ unapologetic celebration of indulgence, sidestepping introspection in favor of pure hedonism.
Amidst the wild spirit of rock, 1969 also offered more uplifting messages with a hint of idealism. Sly & The Family Stone’s “Everyday People” and The Youngbloods’ “Get Together” conveyed calls for unity that resonated deeply in an era fraught with political and racial tensions. Sly Stone’s anthem became a rallying cry for acceptance, emphasizing individuality while embracing common ground. Similarly, “Aquarius/Let the Sunshine In” by The 5th Dimension captured the essence of the countercultural movement in all its utopian ambitions, even if the optimism was a bit idealistic in hindsight.
Then there was the music that addressed disillusionment head-on, perhaps best captured by Simon & Garfunkel’s “The Boxer” and Peggy Lee’s “Is That All There Is?” Both songs offer reflective, sometimes jaded perspectives on life’s struggles and the disappointments that can accompany maturity. Where “The Boxer” tells the story of a young man grappling with hardship and loss, Lee’s dry wit in “Is That All There Is?” confronts the emptiness that can lie beneath life’s surface pleasures.
Ultimately, this playlist from 1969 feels like a time capsule of an era balancing between hope and disillusionment. From the raw proto-punk of The Stooges to the tender balladry of Stevie Wonder’s “My Cherie Amour,” the year’s music speaks to a generation grappling with unprecedented social changes. Through these songs, 1969 continues to resonate, reminding us that music often reflects the spirit of its time while challenging listeners to consider where they stand.
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Tunes Du Jour Presents Holland-Dozier-Holland
Brian Holland, Lamont Dozier, and Eddie Holland, collectively known as Holland-Dozier-Holland (H-D-H), are synonymous with the sound of Motown. Their string of hits in the 1960s and beyond fueled the success of the record label, shaping popular music and paving the way for R&B to dominate the airwaves. Each song on this playlist, from The Four Tops’ powerful “Reach Out (I’ll Be There)” to The Supremes’ iconic “Where Did Our Love Go,” credits one or more members of H-D-H. With a blend of melody, rhythm, and hooks that remain timeless, the team’s work redefined what hit songwriting could accomplish.
This songwriting trio didn’t merely write songs—they crafted narratives of love, heartbreak, and resilience that resonated with audiences across generations. Tracks like “This Old Heart of Mine (Is Weak for You)” by The Isley Brothers and Marvin Gaye’s “Can I Get a Witness” reveal the emotional depth in their compositions, supported by rhythms and production styles that have endured decades of cover versions. Their songs often feel instantly recognizable, whether it’s the infectious chorus of Chairmen of the Board’s “Give Me Just a Little More Time” or the stomping beat of Junior Walker & the All-Stars’ “(I’m A) Road Runner.”
The irony, however, is that Eddie Holland, despite being a key member of the team, had only one top 40 pop single as a solo artist, “Jamie”—and it wasn’t written by any member of Holland-Dozier-Holland. Instead, it was penned by Barrett Strong and William “Mickey” Stevenson, fellow Motown talents who contributed in their own right to the label’s powerhouse status. Though Eddie found his calling behind the scenes rather than as a performer, his experience as an artist gave him unique insight into the singer’s perspective, a quality that helped make H-D-H’s songs vocally compelling and relatable.
Beyond Motown, the trio’s influence stretched into rock, pop, and soul genres, as evident from covers and reinterpretations by artists like The Rolling Stones, Rod Stewart, and Bananarama. These renditions, like Linda Ronstadt’s cover of “Heat Wave” or James Taylor’s soulful take on “How Sweet It Is (To Be Loved by You),” show how their music transcended genre boundaries. Each version emphasizes the versatility of H-D-H’s songwriting, capable of adapting to various musical expressions while retaining its core appeal.
Ultimately, the legacy of Holland-Dozier-Holland isn’t just in their impressive catalog but in their contributions to the very essence of popular music. They captured the spirit of a generation through music that continues to find new audiences, sounding as fresh today as it did over half a century ago. Their work endures, a testament to their genius, and is rightly celebrated by the many artists who’ve covered and revived their timeless songs.
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Tunes Du Jour Presents Diana Ross
Diana Ross is a name synonymous with powerhouse vocals, unforgettable style, and a career that has spanned over six decades. But beyond the glitz and glamour, Ross’ impact on music is undeniable. As the lead singer of The Supremes, she shattered racial barriers and brought a new level of sophistication to pop music. Hits like “Baby Love,” “Where Did Our Love Go,” and “You Can’t Hurry Love” remain timeless classics, while tracks like “Love Child” subtly challenged societal norms.
Leaving The Supremes to forge a successful solo career, Ross continued to push boundaries. Songs like “Upside Down” and “Love Hangover” cemented her status as a disco queen, while the uplifting “Ain’t No Mountain High Enough” became a rallying cry for overcoming obstacles, “Theme from Mahogany (Do You Know Where You’re Going To?)” displayed her versatility as a dramatic performer, and “I’m Coming Out” became a cultural touchstone, an anthem for the LGBTQ+ community. Whether intentional or not, Ross’s music consistently resonated with those seeking empowerment and self-discovery. Ross’ music wasn’t just catchy; it spoke to the aspirations and heartaches of a generation.
While the spotlight often shines on her musical achievements, Ross’s philanthropic efforts deserve equal recognition. She has championed causes that touch the lives of many. Here are some highlights:
- Autism Movement Therapy: Ross’s support for this organization underscores her commitment to inclusivity. By promoting movement-based therapies for individuals with autism, she advocates for a world where everyone’s unique abilities are celebrated.
- Elton John AIDS Foundation: Ross’s involvement in this foundation reflects her compassion. She recognizes the devastating impact of HIV/AIDS and works tirelessly to raise awareness and funds for research and support.
- Muhammad Ali Parkinson Center: Inspired by her dear friend Muhammad Ali, Ross contributes to this center, which provides care and resources for those battling Parkinson’s disease. Her empathy extends beyond the stage.
- United Service Organization (USO): Ross’s dedication to supporting military personnel and their families is unwavering. Her performances for troops stationed around the world demonstrate her gratitude and respect.
Listening to the playlist as a whole, it’s clear that Diana Ross’s legacy goes beyond just chart-topping hits. She was a pioneer for Black artists in the music industry, an artist whose music continues to inspire and uplift. By paving the way for future generations of artists, she helped diversify the soundscape of popular music. So crank up the volume, hit play, and let yourself be swept away by the timeless sounds of Diana Ross.
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Tunes Du Jour Presents 1964
In 1964, the musical landscape was undergoing a seismic shift. From the electrifying British Invasion to the soulful sounds of Motown, 1964 was a year that truly had something for everyone.
One cannot discuss the music of 1964 without acknowledging the unparalleled influence of The Beatles. With their chart-topping hit “I Want To Hold Your Hand,” the Fab Four ignited a phenomenon that would forever alter the course of popular music. Their harmonious blend of catchy melodies and innovative arrangements captivated audiences worldwide, laying the groundwork for the British Invasion that would dominate the airwaves in the years to come.
The UK also brought us The Animals, whose “House Of The Rising Sun” captivated audiences with its electrifying intensity, while The Kinks offered a more garage-band, raw sound with “You Really Got Me.”
But 1964 was not just about the British Invasion; it was also a time of soulful sounds and Motown magic. Artists like Martha & The Vandellas, The Supremes, and The Four Tops delivered soul-stirring performances on classic hits.
The surf rock craze was in full swing, with The Beach Boys’ “I Get Around” capturing the carefree California lifestyle. And for those who preferred a more melancholic sound, there were ballads like Dionne Warwick’s “Walk On By.”
Beyond the well-known names associated with 1964, this playlist unearths other soundtracks of the year, like “My Boy Lollipop” by Millie Small, a ska track that became a surprise summer hit, and “The Girl From Ipanema” by Stan Getz & Astrud Gilberto, a bossa nova masterpiece that brought a touch of Brazilian cool to the airwaves.
This playlist is just a taste of the incredible music that 1964 had to offer, though even a brief exploration of 1964’s music reveals a year brimming with creativity and cultural impact. From the infectious melodies of pop anthems to the raw energy of rock and roll, these songs continue to resonate with listeners today, reminding us of the enduring power of music to capture a moment in time and transport us back. It was a year that changed the landscape of popular music forever, leaving behind a legacy that continues to inspire and entertain generations of listeners.
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Tunes Du Jour Presents 1968
In the tumultuous year of 1968, the world was ablaze with social and political upheaval, and the music of the time resonated deeply with the spirit of change. As we reflect on the sounds that defined this pivotal era, it’s impossible not to be swept away by the eclectic mix of genres and emotions that filled the airwaves. From soulful ballads to psychedelic rock anthems, the music of 1968 was a reflection of the turbulent times in which it was created.
One cannot delve into the musical landscape of 1968 without acknowledging the timeless classics that continue to capture hearts and minds today. Marvin Gaye’s “I Heard It Through the Grapevine” remains a soulful testament to the power of love and betrayal, while The Beatles’ “Hey Jude” stands as an enduring anthem of hope and resilience. Meanwhile, Otis Redding’s “(Sittin’ On) The Dock of the Bay” evokes a sense of quiet contemplation amidst the chaos, its melancholic melody lingering long after the last note fades away.
The year also saw the rise of revolutionary artists who pushed the boundaries of conventional sound and style. Jimi Hendrix’s electrifying rendition of Bob Dylan’s “All Along The Watchtower” redefined the possibilities of guitar-driven rock, while Sly & the Family Stone’s “Dance To The Music” infused funk with a vibrant energy that transcended racial and cultural divides. Steppenwolf’s “Born To Be Wild” became the anthem of a generation, capturing the restless spirit of rebellion that coursed through the veins of youth around the world.
Each track on this playlist is a testament to the power of music to unite, inspire, and console, even in the darkest of times. Let us remember the year that was 1968 and the enduring legacy of the artists who helped shape it.
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Tunes Du Jour Presents Smokey Robinson
Smokey Robinson is one of the most influential and beloved figures in the history of American music. He is not only a legendary singer, songwriter, and producer, but also a humanitarian who has used his fame and fortune to support various causes.
William “Smokey” Robinson was born in Detroit, Michigan, in 1940. He grew up in a musical environment, listening to the likes of Nolan Strong, Hank Ballard, and Jackie Wilson. He formed his first vocal group, the Five Chimes, while in high school, and later changed their name to the Miracles. He met Berry Gordy Jr., the founder of Motown Records, in 1957, and became one of his first artists and collaborators. He also suggested the name Motown, in honor of the Motor City.
The Miracles gave Motown its first number one hit with “Shop Around” in 1960, and went on to score many more classics, such as “You’ve Really Got a Hold on Me,” “The Tracks of My Tears,” “I Second That Emotion,” and “The Tears of a Clown.” Smokey Robinson was the lead singer and the main songwriter of the group, as well as a prolific producer for other Motown acts, such as Mary Wells, the Temptations, the Supremes, and the Marvelettes. He wrote and produced some of the most iconic songs of the Motown era, such as “My Guy,” “My Girl,” “The Way You Do the Things You Do,” and “The Hunter Gets Captured by the Game.”
Smokey Robinson left the Miracles in 1972 to pursue a solo career, and continued to create hits, such as “Quiet Storm,” “Cruisin’”, “Being with You,” and “One Heartbeat.” He also became the vice president of Motown, and helped to nurture the careers of new artists, such as Lionel Richie, Rick James, and Teena Marie. He was inducted into the Rock and Roll Hall of Fame twice, as a solo artist and as a member of the Miracles. He also received a Grammy Lifetime Achievement Award, a Kennedy Center Honor, and a Library of Congress Gershwin Prize for his contributions to popular music.
Smokey Robinson has written and sung some of the most romantic songs ever. He has also shown his love for humanity by supporting various charities and causes, such as the Barbara Davis Center for Childhood Diabetes, the Boys & Girls Clubs of America, the Elton John AIDS Foundation, the Gabrielle’s Angel Foundation, the Miami Children’s Hospital Foundation, UNICEF, and the United Negro College Fund. He has also invested in his hometown of Detroit by donating to the Motown Museum and supporting arts and music programs for young people.
Smokey Robinson is a living legend who has enriched our lives with his music and his love. He is a role model for aspiring artists and a source of inspiration for generations of fans. He is a treasure of American culture and a gift to the world. Let us celebrate his legacy by listening to thirty of his best songs as a vocalist, which are featured in the playlist below. Enjoy!
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Your (Almost) Daily Playlist: 2-2-24
The Honey Cone was the first act signed to Hot Wax Records, a label started in 1968 by Eddie and Brian Holland and Lamont Dozier, who previously were staff writers and producers at Motown Records and in that role wrote twelve number one singles between 1962 and 1967, two performed by The Four Tops and the other ten by The Supremes, with lead vocals by Diana Ross, who would soon leave the trio and be replaced by Jean Terrell in 1970, with Terrell being replaced in 1973 by Scherrie Payne, who before then was the singer in a group called Glass House, also signed to Hot Wax Records, who recorded “Want Ads” prior to The Honey Cone, but neither Scherrie nor the track’s producer, Greg Perry, liked their version, leading Scherrie to re-record the song with her sister Freda, who had a number 3 record in 1970 with “Band of Gold,” a song co-penned by Holland-Dozier-Holland under assumed names, but the sisters’ version of “Want Ads” was also discarded, which then led Scherrie to suggest to Perry that he try the song again with Edna Wright singing, Wright being the lead singer for The Honey Cone and the sister of Darlene Wright, the singer for the group The Blossoms, and while you may not recognize the names Darlene Wright or The Blossoms, you may know their music, for producer Phil Spector renamed Darlene Wright Darlene Love (without her knowledge) and released records by The Blossoms under the name The Crystals, who hit number 1 with “He’s a Rebel,” and should not be but will be confused with another group called The Crystals, also produced by Phil Spector at the same time he was working with Wright/Love and The Blossoms, but let’s get back to Edna Wright, who recorded “Want Ads” with backing vocals by the other two members of The Honey Cone, Shellie Clark, who a couple of years earlier was singing backup for Ike and Tina Turner, and Carolyn Willis, who toured as a member of Bob B. Soxx & the Blue Jeans, a group whose records were produced by Phil Spector and featured vocals from Darlene Wright/Love. In June of 1971 The Honey Cone took “Want Ads” to number 1. (This paragraph is pulled from my long-awaited (by me, anyway) book, which I’m trying to get out this year.)
The late Edna Wright of The Honey Cone was born on this date in 1945. A couple of the group’s best-known songs, including “Want Ads,” are on today’s playlist.
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Tunes Du Jour Presents Covers of Show Tunes
The theme of today’s playlist is cover versions of songs that originated in stage musicals. Here are the songs listed with the shows that introduced them:
- Mack the Knife by Bobby Darin – From The Threepenny Opera (1928)
- Till There Was You by The Beatles – From The Music Man (1957)
- Smoke Gets In Your Eyes by The Platters – From Roberta (1933)
- Little Girl Blue by Nina Simone – From Jumbo (1935)
- You’ll Never Walk Alone by Gerry & The Pacemakers – From Carousel (1945)
- I Am What I Am by Gloria Gaynor – From La Cage aux Folles (1983)
- On The Street Where You Live by Vic Damone – From My Fair Lady (1956)
- Everything’s Coming Up Roses by The Replacements – From Gypsy (1959)
- Send In The Clowns by Judy Collins – From A Little Night Music (1973)
- I Don’t Know How to Love Him by Helen Reddy – From Jesus Christ Superstar (1970)
- Hair by The Cowsills – From Hair (1967)
- Put On A Happy Face by Diana Ross & The Supremes – From Bye Bye Birdie (1960)
- Losing My Mind by Liza Minnelli – From Follies (1971)
- Tomorrow by Grace Jones – From Annie (1977)
- My Favorite Things by John Coltrane – From The Sound of Music (1959)
- Well Did You Evah? by Debbie Harry & Iggy Pop – From DuBarry Was a Lady (1939)
- The Man I Love by Kate Bush – From Lady, Be Good! (1924)
- If My Friends Could See Me Now by Linda Clifford – From Sweet Charity (1966)
- Summertime by Big Brother & The Holding Company – From Porgy and Bess (1935)
- Cabaret by Harold Melvin & The Blue Notes – From Cabaret (1966)
- I Get A Kick Out Of You by Frank Sinatra – From Anything Goes (1934)
- Don’t Cry For Me Argentina by Festival – From Evita (1978)
- Somewhere by Pet Shop Boys – From West Side Story (1957)
- The Lady is a Tramp by Tony Bennett & Lady Gaga – From Babes in Arms (1937)
- I’ll Never Fall In Love Again by Dionne Warwick – From Promises, Promises (1968)
- I Love Paris by Screamin’ Jay Hawkins – From Can-Can (1953)
- Night + Day by U2 – From Gay Divorce (1932)
- There Are Worse Things I Could Do by Alison Moyet – From Grease (1971)
- Corner of the Sky by The Jackson 5 – From Pippin (1972)
- I Enjoy Being a Girl by Phranc – From Flower Drum Song (1958)
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