Holland Dozier Holland the Motown Sound Mp3, Flac, Wma

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Holland Dozier Holland The Motown Sound mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: The Motown Sound Country: US Released: 2006 Style: Rhythm & Blues, Soul MP3 version RAR size: 1150 mb FLAC version RAR size: 1115 mb WMA version RAR size: 1437 mb Rating: 4.2 Votes: 802 Other Formats: FLAC ADX ASF MP4 MOD MMF MP2 Tracklist Hide Credits Mickey's Monkey 1 –The Miracles 2:47 Composed By – Holland-Dozier-Holland Baby I Need Your Loving 2 –Four Tops 2:46 Composed By – Holland-Dozier-Holland Where Did Our Love Go 3 –The Supremes 2:35 Composed By – Holland-Dozier-Holland Candy To Me 4 –Eddie Holland* 2:27 Composed By – Holland-Dozier-Holland (I'm A) Road Runner 5 –Jr. Walker & The All Stars* 2:49 Composed By – Holland-Dozier-Holland Can I Get A Witness 6 –Marvin Gaye 2:48 Composed By – Holland-Dozier-Holland Come See About Me 7 –The Supremes 2:42 Composed By – Holland-Dozier-Holland Heaven Must Have Sent You 8 –The Elgins 2:33 Composed By – Holland-Dozier-Holland Nowhere To Run 9 –Martha & The Vandellas* 2:53 Composed By – Holland-Dozier-Holland How Sweet It Is (To Be Loved By You) 10 –Marvin Gaye 3:01 Composed By – Holland-Dozier-Holland You Keep Me Hangin' On 11 –The Supremes 2:48 Composed By – Holland-Dozier-Holland Reach Out I'll Be There 12 –Four Tops 3:02 Composed By – Holland-Dozier-Holland When The Lovelight Starts Shining Through His Eyes 13 –Dusty Springfield 2:57 Composed By – Holland-Dozier-Holland This Old Heart Of Mine (Is Weak For You) 14 –The Isley Brothers 2:46 Composed By – Holland-Dozier-Holland (Love Is Like A) Heat Wave 15 –Martha & The Vandellas* 2:47 Composed By – Holland-Dozier-Holland You Can't Hurry Love 16 –The Supremes 2:53 Composed By – Holland-Dozier-Holland Credits Compilation Producer – Timothy Jones Design – Hear Music Liner Notes – Steven Stolder Producer – Brian Holland, Lamont Dozier Notes All Songs courtesy of Motown Records except Track 13 courtesy of Mercury Records Limited. Barcode and Other Identifiers Barcode (Text): 7 62111 71023 9 Barcode (Scan): 762111710239 ASIN: B0006568-02 Matrix / Runout: (B000656802SP) C06C1736C Mastering SID Code: IFPI L771 Mould SID Code: IFPI 2A05 Related Music albums to The Motown Sound by Holland Dozier Holland Diana Ross & The Supremes - Klassiker Marvin Gaye - Super Hits - Marvin Gaye Holland-Dozier - Don't Leave Me Diana Ross And The Supremes - 'Live' At London's Talk Of The Town Holland-Dozier Featuring Lamont Dozier - Why Can't We Be Lovers / Don't Leave Me Various - The Original Motor Town Revue Various - Motown Chartbusters Volume 1 The Supremes - The Supremes Sing Holland•Dozier•Holland.

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MARCH 1–4, 2018 45TH ANNIVERSARY SEASON 2017/2018 Great Artists. Great Audiences. Hancher Performances. WORK LIGHT PRODUCTIONS PRESENTS BOOK BY BERRY GORDY MUSIC AND LYRICS FROM THE LEGENDARY MOTOWN CATALOG BASED UPON THE BOOK TO BE LOVED: MUSIC BY ARRANGEMENT WITH THE MUSIC, THE MAGIC, THE MEMORIES SONY/ATV MUSIC PUBLISHING OF MOTOWN BY BERRY GORDY MOTOWN® IS USED UNDER LICENSE FROM UMG RECORDINGS, INC. STARRING KENNETH MOSLEY TRENYCE JUSTIN REYNOLDS MATT MANUEL NICK ABBOTT TRACY BYRD KAI CALHOUN ARIELLE CROSBY ALEX HAIRSTON DEVIN HOLLOWAY QUIANA HOLMES KAYLA JENERSON MATTHEW KEATON EJ KING BRETT MICHAEL LOCKLEY JASMINE MASLANOVA-BROWN ROB MCCAFFREY TREY MCCOY ALIA MUNSCH ERICK PATRICK ERIC PETERS CHASE PHILLIPS ISAAC SAUNDERS JR. ERAN SCOGGINS AYLA STACKHOUSE NATE SUMMERS CARTREZE TUCKER DRE’ WOODS NAZARRIA WORKMAN SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN PROJECTION DESIGN DAVID KORINS EMILIO SOSA NATASHA KATZ PETER HYLENSKI DANIEL BRODIE HAIR AND WIG DESIGN COMPANY STAGE SUPERVISION GENERAL MANAGEMENT EXECUTIVE PRODUCER CHARLES G. LAPOINTE SARAH DIANE WORK LIGHT PRODUCTIONS NANSCI NEIMAN-LEGETTE CASTING PRODUCTION MANAGEMENT TOUR BOOKING AGENCY TOUR MARKETING AND PRESS WOJCIK | SEAY CASTING PORT CITY TECHNICAL THE BOOKING GROUP ALLIED TOURING RHYS WILLIAMS MOLLIE MANN ORCHESTRATIONS MUSIC DIRECTOR/CONDUCTOR DANCE MUSIC ARRANGEMENTS ADDITIONAL ARRANGEMENTS ETHAN POPP & BRYAN CROOK MATTHEW CROFT ZANE MARK BRYAN CROOK SCRIPT CONSULTANTS CREATIVE CONSULTANT DAVID GOLDSMITH & DICK SCANLAN CHRISTIE BURTON MUSIC SUPERVISION AND ARRANGEMENTS BY ETHAN POPP CHOREOGRAPHY RE-CREATED BY BRIAN HARLAN BROOKS ORIGINAL CHOREOGRAPHY BY PATRICIA WILCOX & WARREN ADAMS STAGED BY SCHELE WILLIAMS DIRECTED BY CHARLES RANDOLPH-WRIGHT ORIGNALLY PRODUCED BY KEVIN MCCOLLUM DOUG MORRIS AND BERRY GORDY The Temptations in MOTOWN THE MUSICAL.
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Legends of Motown: Celebrating the Supremes Opening June 25
Legends Of Motown: Celebrating The Supremes Opening June 25 New Exhibit Features Rare Artifacts from the Premier Motown Records Act Founding Supremes Member Ms. Mary Wilson to Appear at the GRAMMY Museum June 24 For Intimate Interview and Q&A LOS ANGELES (June 5, 2015) — The GRAMMY Museum will explore the enduring legacy and influence of Motown Records' premier recording artists with the unveiling of Legends Of Motown: Celebrating The Supremes on June 25, 2015. The exhibit will offer visitors a unique look at the life and career of one of the most successful American singing groups of the '60s, the Supremes, through rare artifacts from the private collection of founding member Ms. Mary Wilson. On display on the Museum's third floor through spring 2016, the exhibit will feature rare photographs from the personal collection of Mary Wilson; concert posters; tour books, fan memorabilia; and an assortment of performance gowns, including: "Primette Pristine" gowns worn in 1961, one of the earliest sets purchased by the Supremes when they were still known as the Primettes "White De Mink" outfit worn on ABC's "The Hollywood Palace" in 1966 "Turquoise Freeze" dresses worn during a 1967 appearance on "The Ed Sullivan Show" "Red Hot" gown worn by Mary Wilson on "The Ed Sullivan Show" in 1970 for the debut of the new Supremes lineup featuring Cindy Birdsong and Jean Terrell "We've been eager to feature an exhibit celebrating Motown since we honored Berry Gordy and Smokey Robinson at our inaugural benefit gala in 2013," said Bob Santelli, Executive Director of the GRAMMY Museum.
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Motown the Musical
EDUCATIONAL GUIDE C1 Kevin MccolluM Doug Morris anD Berry gorDy Present Book by Music and Lyrics from Berry gorDy The legenDary MoTown caTalog BaseD upon The BooK To Be loveD: Music By arrangeMenT wiTh The Music, The Magic, The MeMories sony/aTv Music puBlishing of MKoevinTown B yM Bcerrycollu gorDyM Doug Morris anD Berry gorDy MoTown® is a regisTereD TraPresentDeMarK of uMg recorDings, inc. Starring BranDon vicTor Dixon valisia leKae charl Brown Bryan Terrell clarK Book by Music and Lyrics from TiMoThy J. alex Michael arnolD nicholas chrisTopher reBecca e. covingTon ariana DeBose anDrea Dora presTBonerry w. Dugger g iiior Dwyil Kie ferguson iii TheDionne legen figgins DaryMarva M hicoKsT ownTiffany c JaaneneTalog howarD sasha huTchings lauren liM JacKson Jawan M. JacKson Morgan JaMes John Jellison BaseD upon The BooK To Be loveD: Music By arrangeMenT wiTh crysTal Joy Darius KaleB grasan KingsBerry JaMie laverDiere rayMonD luKe, Jr. Marielys Molina The Music, The Magic, The MeMories sony/aTv Music puBlishing syDney MorTon Maurice Murphy Jarran Muse Jesse nager MilTon craig nealy n’Kenge DoMinic nolfi of MoTown By Berry gorDy saycon sengBloh ryan shaw JaMal sTory eric laJuan suMMers ephraiM M. syKes ® JMuliusoTown Tho isM asa regisiii TereDanielD Tra DJ.eM waraTTK sof uMDgonal recorD wDeingsBBer, i, ncJr.. Scenic Design Costume Design LighStarringting Design Sound Design Projection Design DaviD Korins esosa BranDnonaTasha vic TKoraTz Dixon peTer hylensKi Daniel BroDie Casting Hair & Wig Design valisia leKae Associate Director Assistant Choreographer Telsey + coMpany charlcharles Brown g. lapoinTe scheleBryan willia TerrellMs clarK Brian h. BrooKs BeThany Knox,T icsaMoThy J. alex Michael arnolD nicholas chrisTopher reBecca e.
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At the OLD GLOBE THEATRE JULY 2009 Welcome
performances at the OLD GLOBE THEATRE JULY 2009 Welcome Dear Friends, UPCOMING Welcome to the world premiere of The First Wives Club - A New Musical. The birth of a musical is always a reason to celebrate, and THE MYSTERY OF with the talent that is assembled IRMA VEP for this production, it is much July 31 - Sep. 6, 2009 more than that. Some of today's The Old Globe Arena Stage at most sought-after artists have the James S. Copley joined forces to bring us this Auditorium, exciting production. The creative San Diego Museum of Art team, comprised of inter- nationally renowned director ❖❖❖ Francesca Zambello, Tony Award®-winning book writer Rupert Holmes and music and SAMMY lyric Motown legends Brian Holland, Lamont Dozier and Eddie Holland, Sep. 17 - Nov. 1, 2009 is just about unbeatable. Starting out with a hugely popular movie (and Old Globe Theatre book) is both an amazing opportunity and a serious challenge. How do we now make this story work for the stage? Theatre is a vastly different ❖❖❖ art form than film and the wisest creators work to bring us something new and fresh. They use the convention of the imaginary "fourth wall" to breathe new life into well-known stories. Bringing an innovative twist T H E SAVA N N A H to a familiar story, a surprising new voice to a known character — these DISPUTATION are some of the key elements in the creation of this show, and you are Sep. 26 - Nov. 1, 2009 the first ones to see the journey from the creators’ vision to the The Old Globe Arena Stage at production fully-realized and on stage.
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In the UNITED STATES COURT of APPEALS for the NINTH CIRCUIT
CA Nos. 15-56880, 16-55089, 16-55626 DC No. CV13-06004-JAK (AGRx) In the UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT Pharrell Williams et al. Plaintiffs, Appellants, and Cross-Appellees v. Frankie Christian Gaye et al., Defendants, Appellees, Cross-Appellants On Appeal From The United States District Court For The Central District of California, Hon. John A. Kronstadt, District Judge, No. 13-cv-06004 JAK (AGRx) BRIEF AMICUS CURIAE OF THE INSTITUTE FOR INTELLECTUAL PROPERTY AND SOCIAL JUSTICE MUSICIAN AND COMPOSERS AND LAW, MUSIC, AND BUSINESS PROFESSORS IN SUPPORT OF APPELLEES SEAN M. O’CONNOR LATEEF MTIMA STEVEN D. JAMAR INSTITUTE FOR INTELLECTUAL PROPERTY AND SOCIAL JUSTICE, INC. 707 MAPLE AVENUE ROCKVILLE MD 20850 Telephone: 202-806-8012 IDENTITIES OF MUSICIAN-COMPOSER AMICI Affiliations and credits represent only a portion of those for each amicus and are given for identification purposes only Brian Holland: Inducted into the Songwriter Hall of Fame, Rock & Roll Hall of Fame, Soul Music Hall of Fame, and member of the legendary songwriting trio of Holland-Dozier-Holland. Mr. Holland has written or co- written 145 hits in the US, and 78 in the UK. Eddie Holland: Inducted into the Songwriter Hall of Fame, Rock & Roll Hall of Fame, Soul Music Hall of Fame, and member of the legendary songwriting trio of Holland-Dozier-Holland. Mr. Holland has written or co- written 80 hits in the UK, and 143 in the US charts. McKinley Jackson: Mr. Jackson is known as one of Soul music’s greatest arrangers and producers. Mr. Jackson arranged nearly every song recorded for the Invictus/HotWax/Music Merchant labels.
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Biographical Description for the Historymakers® Video Oral History with Mickey Stevenson
Biographical Description for The HistoryMakers® Video Oral History with Mickey Stevenson PERSON Stevenson, Mickey, 1937- Alternative Names: Mickey Stevenson; Life Dates: January 4, 1937- Place of Birth: Detroit, Michigan, USA Residence: West Hollywood, CA Work: CA Occupations: Music Executive Biographical Note Music executive Mickey Stevenson was born on January 4, 1937, in Detroit, Michigan, and raised by his mother, blues singer Kitty “Brown Gal” Stevenson, and stepfather Ted Moore. From the age of eight, Stevenson performed in a singing trio with his younger brothers. In 1950, the group won ﬁrst place at Amateur Night at the Apollo Theater in New York City. However, Stevenson’s musical career halted in 1953 when his mother, the group’s coach and producer, when his mother, the group’s coach and producer, passed away from cancer. Stevenson attended Detroit’s Northeastern High School. Stevenson joined the U.S. Air Force in 1956, where he was part of a special unit that organized entertainment for the troops. While on furlough in 1958, Stevenson saw a performance by the Four Aims—later known as the Four Tops—which inspired him to leave the military and pursue a career in music. Stevenson joined the Hamptones, touring with famed bandleader Lionel Hampton. Upon his return to Detroit, Stevenson met Berry Gordy, who told him of his plans to start a record label. Stevenson brieﬂy worked as a producer and songwriter for Carmen Carver Murphy’s gospel label, HOB Records, until 1959, when Gordy hired him to head the artists and repertoire department at Motown Records. As Motown’s A&R executive, Stevenson was responsible for talent scouting, auditions, and managing the artistic development of recording artists and songwriters.
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The Social and Cultural Changes That Affected the Music of Motown Records from 1959-1972
Columbus State University CSU ePress Theses and Dissertations Student Publications 2015 The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 Lindsey Baker Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Baker, Lindsey, "The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972" (2015). Theses and Dissertations. 195. https://csuepress.columbusstate.edu/theses_dissertations/195 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 by Lindsey Baker A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the degree of Bachelor of Music in Performance Schwob School of Music Columbus State University Thesis Advisor Date Dr. Kevin Whalen Honors Committee Member ^ VM-AQ^A-- l(?Yy\JcuLuJ< Date 2,jbl\5 —x'Dr. Susan Tomkiewicz Dean of the Honors College ((3?7?fy/L-Asy/C/7^ ' Date Dr. Cindy Ticknor Motown Records produced many of the greatest musicians from the 1960s and 1970s. During this time, songs like "Dancing in the Street" and "What's Going On?" targeted social issues in America and created a voice for African-American people through their messages. Events like the Mississippi Freedom Summer and Bloody Thursday inspired the artists at Motown to create these songs. Influenced by the cultural and social circumstances of the Civil Rights Movement, the musical output of Motown Records between 1959 and 1972 evolved from a sole focus on entertainment in popular culture to a focus on motivating social change through music.
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Interview with MARY WILSON Was Conducted by the Library of Congress on April 2, 2018
This interview with MARY WILSON was conducted by the Library of Congress on April 2, 2018 Mary Wilson Photo credit: Alan Mercer Library of Congress: Can you tell me about the first time “Where Did Our Love Go?” was presented to you as a song to be recorded? Mary Wilson: We had already released five, or six, or seven singles and they had been received locally very well in Detroit, and the surrounding area, but we had never had a big, national chart hit and Berry Gordy was like, “We’ve got to get the girls a hit record.” That’s when he put us with his top writing team Holland, Dozier and Holland. HDH came up with “When the Lovelight Starts Shining Through His Eyes” and we thought we were on our way with a hit record. Motown then released “Run Run Run”—it never made the charts at all--but “Lovelight” made the charts and we thought, “We’re on the right track.” We kept on trying. One day HDH said they had just come up with some smashes; that’s what they used to say when they felt they had a hit! We were brought several songs to listen to as I recall. When we heard “Where Did Our Love Go?” none of us was really excited about it. I remembered saying to Eddie Holland that if we didn’t get a hit record our parents were going to make us go to college. He said, “Trust me, Mary, this song is going to be a hit.” The reason that we did not care for “Where Did Our Love Go” was that we wanted a song more like the other girl groups, with more R&B driven rhythm, like the Marvellettes and the Vandellas; after all we were the first girl group to sign with Motown.
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The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 4 REACH OUT I'LL BE THERE, The Four Tops Produced by Brian Holland and Lamont Dozier; written by Brian Holland, Lamont Dozier, and Eddie Holland Motown 1098 1966 Billboard: #1 (2 weeks) The shibboleth is that pop music -- from jazz to soul to punk -- is better off as a purely expressive vehicle in which feeling overwhelms thinking. But that's a dangerously sentimental delusion. The fact is, working in a strictly defined, even formulaic context, Holland-Dozier-Holland and Levi Stubbs came up with a record that is a match for anything in the history of rock and roll. It was in part the restrictions of Motown and Top 40 pop which made it possible, by establishing the tension that the producers and performers worked against. "Reach Out" is perhaps the truest single of all: Motown has released "Reach Out" dozens of times, on every medium from singles to CDs, but not one of the remasterings comes close to the sheer sonic crunch of the seven-inch 45. (Not just the Motown "map label" original; even reissued singles will put away any LP track or even the digitalized CD.) Unfortunately, in the squinched-up versions most often available, most of the things that make this the greatest Holland-Dozier-Holland record are missing. The sheer size of the sound, its physical impact; the wild echo that makes the countermelody carried by the flute exotic and eerie; equalization that polarizes voice and drums; the producers' use of what must have been about half of the Detroit Symphony as an adjunct rhythm section; whatever the hell it is that establishes the clip-clap rhythm in the intro.
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Detroit Rock & Roll by Ben Edmonds for Our Purposes, The
"KICK OUT THE JAMS!" Detroit Rock & Roll by Ben Edmonds For our purposes, the story of Detroit rock & roll begins on September 3, 1948, when a little-known local performer named John Lee Hooker entered United Sound Studios for his first recording session. Rock & roll was still an obscure rhythm & blues catchphrase, certainly not yet a musical genre, and Hooker's career trajectory had been that of the standard-issue bluesman. A native of the Mississippi Delta, he had drifted north for the same reason that eastern Europeans and Kentucky hillbillies, Greeks and Poles and Arabs and Asians and Mexicans had all been migrating toward Michigan in waves for the first half of the 20th Century. "The Motor City it was then, with the factories and everything, and the money was flowing," Hooker told biographer Charles Shaar Murray." All the cars were being built there. Detroit was the city then. Work, work, work, work. Plenty work, good wages, good money at that time."1 He worked many of those factories, Ford and General Motors among them, and at night he plied the craft of the bluesman in bars, social clubs and at house parties. But John Lee Hooker was no ordinary bluesman, and the song he cut at the tail of his first session, "Boogie Chillen," was no ordinary blues. Accompanied only by the stomp of his right foot, his acoustic guitar hammered an insistent pattern, partially based on boogie-woogie piano, that Hooker said he learned from his stepfather back in Mississippi as "country boogie." Informed by the urgency and relentless drive of his Detroit assembly line experiences, John Lee's urban guitar boogie would become a signature color on the rock & roll palette, as readily identifiable as Bo Diddley's beat or Chuck Berry's ringing chords.
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Date Top Position Re
TOP TOP RELEASE RELEASE SINGLE ALBUM BILLBOARD TOP POSITION POSITION ARTIST TRIVIA DATE YEAR NAME NAME CHART POSITION REACHED - REACHED - DATE YEAR 1-Jan 2-Jan 3-Jan 4-Jan 5-Jan 6-Jan 7-Jan 8-Jan 9-Jan 10-Jan "The Supremes The second "Love Is Here Sing consecutive #1 pop and Now Holland–Dozi The R&B AND single from this 11-Jan 1967 You're Gone" er–Holland" Supremes Hot 100 1 11-Mar 1967 album. 12-Jan 13-Jan 14-Jan 15-Jan The last song released with Stevie Wonder officially classified as 'Little' on the album label. Also released on this date: "Thank You (For Loving Me All The Way)" by Stevie "Castles In "Stevie At Little Stevie Wonder (did not 16-Jan 1964 The Sand" The Beach" Wonder Pop 52 chart) Also released on this date: "Old Love (Let's Try It Again)" by Martha & The Martha and Vandellas (did not 17-Jan 1964 "Live Wire" the Vandellas R&B 11 chart). 18-Jan 19-Jan 20-Jan Also released on this date: "Beautiful Women" by Gene Henslee (did not chart). 1971 release: “What’s Going On” by Gene Marvin Gaye (Hot 21-Jan 1964 "Shambles" Henslee N/A N/A N/A N/A 100 #2). 22-Jan Also released on this date: "Just Let Me Know" by The Temptations (did not chart) and "If Your "The Way Heart Says Yes" and You Do The "I'll Cry Tomorrow" by Things You "Meet The The The Serenaders (did 23-Jan 1964 Do" Temptations" Temptations R&B 1 not chart).
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Holland, Dozier and Holland 1990.Pdf
NON ■ Fm E R S H-D-H'S GREATEST HITS “Baby Love*’ The Supremes; 1944 “ Coni See About Me” : The Supremes; 1964 g Can't Help Myself/’ The four Tops; 1965. “Where Did Oor Love Go?” ; The Supremes; 1964 ; “Heach Out I’ll Be There” he Supremes' "Stop! In the Name of Love" and "You The Tour Tops; 1944 Can't Hurry Love." The Four Tops' "Reach Out I'll Be “ Ton Can’t H'urry Love” There." Marvin Gaye's "How Sweet It Is to Be Loved by The Supremes; 1946 You." Martha and the Vandellas' "Heat Wave." “Back in My Arms Again” Each of these songs was written by the team of Brian The Supremes; I96S Holland, Lamont Dozier and Eddie Holland, and according “ I Hear a Symphony” '/ to BMI statistics, each has been broadcast or performed more The.Supremes,vl 94 S than 1 million times. If Holland, Dozier and Holland's output “Stop! Intre Name of Love” g | had begun and ended with these five songs, their words and melo . The Suprêmes; 1965 dies would still resound today. But these acknowledged classics are “ Too Keep Me Hangin; On” only the tip of a creative peak that began to take shape three decades ago. fi The Supremes; 1946 , The brothers Brian and Edward Holland and their partner, Lamont Dozier, were “The Happening” bom and raised in Detroit, and the music of their youth was elegant black pop, The Supremes; 1967 big-band jazz and Southern gospel. "Around my house, we heard a lot of Nat Cole, Billy Eckstine, Count Basie, Ellington," says Brian overshadowed superlative H-D-H productions “L ove Is Here and Now for artists like Kim Weston ("Helpless") and the Tou’re Gone” Holland today The Hollands' relationship with The Supremes; 1967 Berry Gotdy dated to 1958 - when the soon-to- Isley Brothers ("This Old Heart of Mine").
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