SMOKEY ROBINSON & THE MIRACLES - THE TEARS OF A CLOWN

Released: July 1970 (UK)  September 24, 1970 (US)

Charted:  UK: #1 (1 week)  US: #1 (2 weeks)

"The Tears of a Clown" is a song written by Hank Cosby, Smokey Robinson, and Stevie Wonder and originally recorded by Smokey Robinson & the Miracles for the Tamla Records label subsidiary of Motown, first appearing on the 1967 album “Make It Happen”. The track was re-released in the United Kingdom as a single in July 1970, and it became a #1 hit on the UK Singles Chart for the week ending 12 September 1970. Subsequently, Motown released a partially re-recorded and completely remixed version as a single in the United States as well, where it quickly became a #1 hit on both the Billboard Hot 100 and R&B Singles charts.

Smokey Robinson based this song on the Italian opera Pagliacci, which is about a clown who must make the audience laugh while he weeps behind his makeup because his wife betrayed him. In the last verse, Robinson sings: "Just like Pagliacci did, I try to keep my sadness hid". Robinson heard the Pagliacci story when he was young, and always found it intriguing.

Stevie Wonder came up with the music for this song with a top Motown producer named Hank Cosby. They recorded an instrumental demo and asked Robinson to complete the song - it was common practice for Motown writers to work on each other's songs at the time. Robinson listened to the song for a few days and decided it sounded like a circus - he came up with the lyrics based on the clown. "I was trying to think of something that would be significant, that would touch people's hearts, but still be dealing with the circus," said Smokey. "So what is that? Pagliacci, of course. The clown who cries. And after he makes everyone else happy with the smile painted on his face, then he goes into his dressing room and cries because he's sad. That was the key."

SMOKEY ROBINSON & THE MIRACLES - I SECOND THAT EMOTION

Released: October 19, 1967

Charted:  UK: #27     US: #4 

"I Second That Emotion" is a 1967 song written by Smokey Robinson and Al Cleveland. First charting as a hit for Smokey Robinson and the Miracles on the Tamla/Motown label in 1967. This was the first Top 10 hit for the group after their 1967 name change from The Miracles.

"I second that motion" is a common phrase heard at meetings in America where policy is being determined. It's what Motown producer Al Cleveland meant to say when he was on a shopping trip with Smokey Robinson. As Robinson recalls in his 1989 autobiography, he and Cleveland went to a Detroit department store called Hudson's to do Christmas shopping in December 1967. Smokey's wife, Claudette, had recently given birth to twins that didn't survive the premature birth, and he was looking to get her a gift. At the jewelry counter, Smokey picked out some pearls and asked Robinson what he thought. "I second that emotion" was his reply, and later that afternoon the pair wrote a song around the misspoken phrase. Robinson and Cleveland produced the song, and it was released in October 1968, entering the US Top 40 in December, about a year after it was written. The song was also a #1 R&B hit.

Robinson and Cleveland wrote a third verse for this song, which pushed the length to 3:15. Acutely aware that songs longer than 3 minutes were often denied airplay, Motown head Berry Gordy had them eliminate the verse and bring the song down to 2:38, which was much more palatable for radio programmers. Robinson was OK with altering the song, as he had tremendous respect for Gordy's judgment and wanted the song to be a hit. He felt that he could tell a story in a song in whatever time he was allotted - even under 3 minutes.

In songwriting circles, this one is often studied for its use of secondary rhymes and melodic intricacy. Smokey Robinson sprinkled in words like "notion" and "devotion" to compliment the title, all while rhyming verses with phrases like "kisses sweet" and "no repeat." The guitar line also perfectly accents the vocal.

 FOUR TOPS - REACH OUT I’LL BE THERE

Released : 1966

Charted:  UK: #1     US: #1 

"Reach Out I'll Be There" is a song recorded by the Four Tops from their 1967 fourth studio album “Reach Out”. Written and produced by Motown's main production team, Holland–Dozier–Holland, the song is one of the most widely-known Motown hits of the 1960s and is today considered the Four Tops' signature song.

The Four Tops recorded this in just two takes, and had practically forgotten about the song until it was released, assuming it was a "throwaway" album track. Motown boss Berry Gordy had other ideas and released it as a single. Gordy had a knack for identifying hit songs, and got this one right.

Dozier explained: "Brian, Eddie and I often had discussions about what women really want most of all from a man, and after talking about some of our experiences with women, we all three agreed that they wanted someone to be there for them, through thick or thin, and be there at their beck and call! Thus this song was born."

The line, "happiness is just an illusion" appeared in another Motown song that was on the charts at the same time: "What Becomes of the Brokenhearted" by Jimmy Ruffin. That one also rhymed "illusion" with "confusion."

This song has an interesting chart history in the UK: The original hit #1 in 1966, Gloria Gaynor took a disco version to #14 in 1975, a remix of the Four Tops version by the production team Stock, Aitken & Waterman went to #11 in 1988, and Michael Bolton's version hit #37 in 1993.

It was just the second Motown song to hit #1 in the UK, following "Baby love”  by The Supremes, which reached the summit in 1964.

FOUR TOPS - BABY I NEED YOUR LOVING

Released : July 10, 1964

Charted:  US: #11 

"Baby I Need Your Loving" is a 1964 hit single recorded by the Four Tops for the Motown label. Written and produced by Motown's main production team Holland–Dozier–Holland, the song was the group's first Motown single and their first pop Top 20 hit. It was also their first million-selling hit single.

The Four Tops were around for 11 years before they broke through with this song. It was their first single for Motown Records, which signed the group in 1963 after they had been touring and recording on smaller labels for a decade. The investment paid off for Motown, and The Four Tops became one of the most successful and enduring acts on the label.

Like many Holland-Dozier-Holland compositions, the uptempo music belies the subject matter in the song: the guy is lonely and heartbroken, desperate for a love that will never return. They often wrote these songs as ballads before working them over. He explained the process: "As a rule, most of the songs we started out to get the right feeling and the right emotion of the chords. And to get that feeling, we would start writing in ballad form - a slower, torch-song type of feeling. Then when we got in the studio, we would pick up the tempo. Because at the time, dance music was in with the kids, so we tried to make them commercial by picking up the speed. That's what made the songs commercial."

This was the first of many Motown hits for the group, and the beginning of a fruitful collaboration with the Holland-Dozier-Holland songwriting team. Lamont Dozier said in a 1976 interview with Blues & Soul: "We've all been together virtually since I was a kid in Detroit and we always had no problem working together. We used to just lock ourselves in the studios with some barbecue ribs and Cold Duck and come up with an album in a couple of days. I would say that they were probably the easiest guys to work with, always professional and polished."

 

MARY JANE GIRLS - IN MY HOUSE

Released : October 1984

Charted:  UK: #77    US: #7 

"In My House" is a song produced, written and arranged by American musician Rick James and recorded by his protégées, the Mary Jane Girls, for their 1985 second studio album, “Only Four You”. It was released as the album's lead single in October 1984 by Gordy Records. James released a song in 1978 called “Mary Jane" which is about his love for marijuana, so the group name is rather obvious (although one of the four members, JoJo McDuffie, claimed it could be a term for femininity, or possibly the shoes little girls wore).

The song finds the girls inviting a guy over for some good loving anytime he feels the need. It's an inviting offer, as they promise to satisfy his every need. McDuffie claimed it was an answer to all the songs where guys lure women to their houses. "How many women have dreamt of doing the same thing?," she said.

This song got the attention of the Parents Music Resource Center (PMRC), which put it on their list of 15 songs they found patently offensive, in this case, for sexual content. The group formed in May 1985, shortly after this song peaked on the charts. Founded by four wives of prominent politicians (including Tipper Gore, wife of then-Senator Al Gore), they succeeded in getting warning stickers placed on albums with objectionable content. "I remember being really, really irritated, because there was nothing in the song that would suggest anything inappropriate," JoJo McDuffie told Newsweek. "Was the song about sex? Of course it was. But lyrically, it was very tastefully done."

The "In My House" video was directed by Mark Rezyka, who was one of the most prolific directors of the era. It shows the girls doing some light dancing in a very nice house. MTV aired the video, something they didn't do for Rick James clips.

 

LIONEL RICHIE - ALL NIGHT LONG (ALL NIGHT)

Publicació: 31 d'agost de 1983

Llistes: Regne Unit: #2    EUA: #1 (4 setmanes)

"All Night Long (All Night)" és un single d'èxit del cantant i compositor nord-americà Lionel Richie. Tret del seu segon àlbum en solitari de 1983, "Can't Slow Down", combinava l'estil commodores de Richie amb influències del Carib.

La cançó és un himne de festa alegre i contagiós que celebra l'alegria i la unitat que es troben en la música i el ball. La lletra anima els oients a deixar anar les seves preocupacions i submergir-se en un ambient festiu. Les primeres frases, ""Well, my friends, the time has come / To raise the roof and have some fun / Throw away the work to be done / Let the music play on" (Bé, amics meus, ha arribat l'hora / d'aixecar el cap i divertir-se / deixar la feina per fer / deixar que la música soni), marquen el to de la cançó. Suggereix que és hora de deixar-se anar, oblidar-se de les responsabilitats i gaudir dels plaers de la vida. La repetició de "play on" emfatitza la idea de deixar que la música prengui el control i gaudir sense inhibició. A mesura que la cançó avança, emfatitza en el poder de la música per unir la gent. La frase "Everybody sing, everybody dance / Lose yourself in wild romance" (tothom a cantar, tothom a ballar / deixat portar pel romanç) subratlla la naturalesa inclusiva de l'ambient de festa, on tothom pot participar, independentment de la seva trajectòria o estatus. La declaració reiterada "We're going to Party, Karamu, Fiesta, forever" (Anem a la Festa, Karamu, Festa, per sempre) posa de manifest el caràcter multicultural i universal de la celebració i l'experiència compartida de gaudir.

La tornada, "All night long, All night” (Tota la nit), és una tornada senzilla però enganxosa que fomenta que la celebració i el ball no s’aturin. Representa la idea de perdre la noció del temps i estar completament immers en el moment. La repetició de "All night" reforça el tema de gaudir sense límit i el poder de la música per crear una experiència atemporal i memorable. Al llarg de la cançó, Lionel Richie posa èmfasi en l'energia contagiosa i les vibracions positives de l'ambient de festa. Les referències a la gent que balla als carrers i sent el ritme als seus peus posen de manifest la naturalesa universal de la capacitat de la música per animar i inspirar l gent. La frase ""Feel it in your heart and feel it in your soul / Let the music take control" (Sent-ho al teu cor i sent-ho a la teva ànima / Deixa que la música prengui el control) parla del poder emocional i transformador de la música, que pot transportar les persones a un lloc de pura alegria i alliberament. 

En els versos finals, la lletra incorpora algunes frases suahili com "Jambo Jumbo" i "Tam bo li de say de moi ya", que milloren encara més l'esperit multicultural i inclusiu de la cançó. Les referències a diferents tipus de festes i celebracions ("Karamu", "Fiesta", "Liming") parlen de la universalitat del ball i la gresca entre les cultures. Hi ha un ambient molt multicultural en aquesta cançó, ja que Richie esmenta paraules alegres en diferents idiomes. "Karamu" és una paraula suahili per a dir festa; "Liming" és un terme caribeny ue convida a reunir-se, i "Fiesta" ja sabem el que és. Richie va parlar a la revista Q sobre una part de la lletra: "Vaig trucar a l'ONU i vaig dir: 'Necessito alguna cosa africana per a la lletra d'aquesta cançó que estic escrivint". Em van informar que hi ha milers de dialectes africans diferents. No m'ho podia creure. Una regió no té ni idea de què està parlant l'altra. Així que, "Tambo liteh sette mo-jah!'? Ho vaig inventar. Ara crec que "Jambo" podria tenir un significat en suahili (com "hola"), però has d'anar amb compte perquè pot significar "benvingut" en un dialecte i et tallen el cap per dient-ho en un altre".

Richie es va trobar amb la incredulitat dels qui el rodejaven quan va revelar que estava llançant aquesta cançó amb ritme de Calypso. Va dir a Entertainment Weekly el 2014: "Fins i tot la meva pròpia companyia discogràfica em va dir:" Estàs malament del cap? I vaig respondre: "Nois, he viatjat pel món, i aquest és el ritme que tothom balla a les vacances".

Richie va interpretar "All Night Long (All Night)" a la cerimònia de clausura dels Jocs Olímpics d'estiu de 1984 a Los Angeles modificant una mica la lletra per a l’esdeveniment.

LIONEL RICHIE - ALL NIGHT LONG (ALL NIGHT)

Released : August 31, 1983

Charted:  UK: #2    US: #1 (4 weeks)

"All Night Long (All Night)" is a hit single by American singer and songwriter Lionel Richie. Taken from his 1983 second solo album, “Can't Slow Down”, it combined Richie's soulful Commodores style with Caribbean influences.

The song is an upbeat and infectious party anthem that celebrates the joy and unity found in music and dancing. The lyrics encourage listeners to let go of their worries and immerse themselves in the festive atmosphere. The opening lines, "Well, my friends, the time has come / To raise the roof and have some fun / Throw away the work to be done / Let the music play on", set the tone for the song. It suggests that it's time to let loose, forget about responsibilities, and indulge in the pleasures of life. The repetition of "play on" emphasizes the idea of letting the music take control and enjoying oneself without inhibition. As the song progresses, it emphasizes the power of music to bring people together. The line "Everybody sing, everybody dance / Lose yourself in wild romance" underscores the inclusive nature of the party atmosphere, where everyone can join in regardless of background or status. The repeated statement "We're going to Party, Karamu, Fiesta, forever" highlights the multicultural and universal nature of celebration and the shared experience of enjoyment.

The chorus, "All night long, All night," is a simple yet catchy refrain that encourages continuous celebration and dancing. It represents the idea of losing track of time and being fully immersed in the moment. The repetition of "All night long" reinforces the theme of lasting enjoyment and the power of music to create a timeless and memorable experience. Throughout the song, Lionel Richie emphasizes the infectious energy and positive vibes of the party atmosphere. References to people dancing in the streets and feeling the rhythm in their feet highlight the universal nature of music's ability to uplift and inspire. The line "Feel it in your heart and feel it in your soul / Let the music take control" speaks to the emotional and transformative power of music, which can transport individuals to a place of pure joy and liberation. In the final verses, the lyrics incorporate some Swahili phrases like "Jambo Jumbo" and "Tam bo li de say de moi ya," which further enhance the multicultural and inclusive spirit of the song. The references to different types of parties and celebrations ("Karamu," "Fiesta," "Liming") speak to the universality of dancing and revelry across cultures.

There is a very multicultural vibe to this song, as Richie mentions joyful words in different languages. "Karamu" is a Swahili word for a party accompanied by a feast; "Liming" is a Caribbean term for getting together, and "Fiesta" is Spanish for party. Richie explained to Q the lyric, "Tambo liteh sette mo-jah! Yo! Jambo jambo:" "I called the UN and said 'I need something African for the breakdown in this song I'm writing.' They informed me that there are thousands of different African dialects. I couldn't believe it. One region doesn't have any idea what the other is taking about. So, 'Tambo liteh sette mo-jah!'? I made it up on the spot. Now I think that 'Jambo' might have a meaning in Swahili (it does- "hello"), but you gotta be careful because it might mean 'welcome' in one dialect and you might get your head cut off for saying it in another." 

Richie was met with incredulity when he revealed that he was releasing this Calypso-flavored song. He told Entertainment Weekly in 2014: "Even my own record company said to me, 'Are you out of your mind?' And I said, 'Guys, I've traveled the world. This is the rhythm that the whole world dances to on vacation.'"

Richie performed this song at the closing ceremony of the 1984 Summer Olympics in Los Angeles. Among the dancers was a young Cuba Gooding Jr., making his first appearance as an entertainer. For this performance, Richie wrote a different set of lyrics, which begin:

‘Hello to you all, these many who are here

Come and join me in this special cheer’.