Great American Songwriters: Holland-Dozier-Holland

Most of the songwriters we have highlighted here on our HillTop Records blog have enjoyed successful solo careers. However, just as often, a hit song is written by a duo or team. One of the greatest American songwriting teams was comprised of Lamont Dozier and brothers Brian Holland and Edward Holland, Jr. You may not know Holland-Dozier-Holland by name; however, you have definitely heard the trio's sound: It actually helped define 1960's Motown. "How Sweet It Is (To Be Loved by You)" by Marvin Gaye, "Baby Love" by The Supremes, "Please Mr. Postman" by The Marvelettes--these are only a few of the great contributions Holland-Dozier-Holland made to American music over the course of their prolific career.

In the early 1960's, during the golden days of Motown Records, Eddie Holland had already established a professional relationship with Motown founder Berry Gordy; the two were working together even before the label was formed. Gordy produced "You" (performed by Mercury and written by Eddie Holland) in 1958, several years before the songwriter landed on the US charts with 1961's "Jamie." Also in 1961, Brian Holland (who was working as a staff songwriter for Motown at the time) co-composed "Please Mr. Postman" for The Marvelettes. That single rose to the Number 1 spot on the US music charts, proving that Eddie's brother was just as talented as he. The third member of the soon-to-be-trio, Lamont Dozier, was a recording artist for several labels during the late 1950's and early '60's, including Anna (the label owned by Berry Gordy's sister) and Motown subsidiary Mel-o-dy. And thus, through Motown, the three eventually teamed up.

At first, Holland-Dozier-Holland (or H-D-H, as they were more casually called) created material for themselves. However, the three discovered early on that they much preferred remaining behind the scenes. Eddie, especially, suffered from severe stage fright; he retired completely from performing in 1964. Luckily, the songwriting trio had no problem finding others willing (and eager) to perform their tracks. In fact, they had their pick of Motown's greatest artists. Altogether, Holland-Dozier-Holland wrote and produced 25 Number 1 hit singles for Motown. These include ("Love Is Like a) Heat Wave" for Martha and the Vandellas, "How Sweet It Is (To Be Loved by You)" by Marvin Gaye, and 10 of The Supremes' 12 US No. 1 singles (including "Stop! In the Name of Love", "Baby Love", and "You Keep Me Hangin' On".)

Following a dispute with Berry Gordy Jr., H-D-H left Motown in early 1968 to form their own labels: Invictus Records and Hot Wax Records. Both companies were modestly successful, despite a lengthy lawsuit and countersuit between the trio and Motown that is to this day one of the longest legal battles in music industry history. Oddly enough, just a few years later, the entities had seemingly resolved their differences: In the early '70's, after Dozier left Holland-Dozier-Holland Productions, Inc. (HDHP) to pursue a solo career, he was replaced by Harold Beatty--and the new group produced quite a few songs for Motown artists (including The Supremes and Michael Jackson.) Decades later, in response to questions about the infamous lawsuit and how the parties involved still managed to work together during and afterwards, Lamont Dozier shrugged the entire thing off: "Business is business, love is love."

Love is obviously a prevalent theme, both within the trio's songwriting process and the music itself. From "Baby I Need Your Loving" by the Four Tops to "Where Did Our Love Go" by The Supremes, so many of HDHP's songs were written about finding (and losing) love. Obviously, the universal theme was embraced by a wide audience; in fact, it is difficult (if not impossible) to imagine Motown without the trio's songs. Among them, hits like "I Can't Help Myself (Sugar Pie, Honey Bunch)" and "It's the Same Old Song" by the Four Tops, "I Hear a Symphony" by The Supremes, and "Band of Gold" by Freda Payne have withstood the test of time--making them not only Motown classics, but American classics.

Today, Lamont Dozier has his own production company. He continues to work as a solo artist and producer, while the Holland Brothers (under HDH Records and Productions) record new material as well as songs from the Invictus and Hot Wax catalogs. While their collaborations are mostly far behind them, the three songwriters are still most often referenced as a team. Holland-Dozier-Holland is mentioned (along with some of their contemporaries) in the lyrics of the 1986 Billy Bragg song "Levi Stubbs' Tears" and also in The Magnetic Fields' "The Death of Ferdinand de Saussure" (1999.) They were inducted as a group into the Rock and Roll Hall of Fame in 1990, and into the Michigan Rock and Roll Legends online Hall of Fame in 2010.

The year before that, in 2009, came another sort of landmark event for H-D-H: The opening of the musical production of "The First Wives Club," based on the novel by Olivia Goldsmith and produced by Paul Lambert and Jonas Neilson (and also adapted into a hit film in 1996.) For a "one-time only reunion," the trio got together to compose the entire score for the musical. The score included 22 new songs, which were first heard by the public that July at The Old Globe Theater in San Diego. The production was a smash success, selling about 29,000 tickets in its five-week run. It was so successful, in fact, that The Old Globe extended its original four-week run prior to opening night.

How does a songwriting trio that was successful half a century ago remain in touch with the country's current culture? Perhaps by sticking to universal and timeless themes, but also by paying attention to evolving trends and tastes. When asked to offer some advice to aspiring songwriters in a recent interview, Brian Holland said:

"Berry Gordy always said, 'listen to the radio.' It’s important to get a pulse on what’s going on out there. Listen to different sounds for production ideas. Be inspired by great songs and great production."

Lamont Dozier agreed, adding: "Young writers should definitely research the current sounds and styles. They also need to realize that a song is a mini-story, with a beginning, a middle and an end. It has to have a complete, meaningful story. The song’s story and theme has to be universal, so that listeners can identify with it. A hit record is a song that almost everyone can identify with."

Dozier definitely knows what it takes to make it in the music industry, as he has spent his entire life there: He began singing as a child in his grandmother's choir, and he wrote his first song by the age of 10. His first recording was with the Romeos at 15. As part of H-D-H, Dozier wrote music and lyrics while the Holland brothers filled the gaps on either side: Brian helped to compose the melodies, and Eddie contributed lyrics. Together, the trio worked well off one another and managed to remain innovative. Of their groundbreaking style, Brian once said: "People don't know that on 'Nowhere to Run,' we used chains, the kind you put on your tires when it snows. We'd do anything. Anything goes.”

This sort of out-of-the-box thinking should remain a great source of inspiration for America's songwriters, here at HillTop Records and beyond.

U.N. Ambassador Herbie Hancock Launches International Jazz Day

Last July, American jazz legend Herbie Hancock was named a UNESCO Goodwill Ambassador. And just yesterday, he announced his first major initiative under that title: International Jazz Day, to be celebrated on April 30 of each year. The date was set to coincide with the last day of Jazz Appreciation Month here in the United States; Hancock hopes that the new holiday will help to celebrate the genre in other countries.

In a recent interview, the famous pianist-turned-philanthropist said that he encountered very little difficulty in gaining support for his proposal from the 195-member U.N. cultural organization. The reason? Well, as Hancock says:

"So many countries have been affected in crucial ways over the years by the presence of jazz. Jazz has been the voice of freedom for so many countries over the past half century. This is really about the international diplomatic aspect of jazz and how it has throughout a major part of its history been a major force in bringing people of various countries and cultures together."

We at HillTop Records certainly agree with his sentiments, and we're excited to have a new annual holiday dedicated solely to music. Music is often an integral part of a celebration, so International Jazz Day is sure to have plenty of it! The inaugural event, organized by the U.N. Educational, Scientific and Cultural Organization in partnership with the Thelonious Monk Institute of Jazz (which Hancock chairs), will include start-studded concerts across the globe. From Paris to New Orleans, Algeria to Uruguay, jazz-related events and live concerts are set to take place in at least two dozen countries.

Festivities will officially commence on April 27, with an all-day kick-off program hosted at the UNESCO Headquarters in Paris. The day will be filled with roundtable discussions, master classes, improvisational workshops and performances by beloved jazz artists from multiple countries. There will also be special scat classes for young students, conferences, and debates. The fete's crowning jewel is sure to be the evening concert featuring Dee Dee Bridgewater, South Africa's Hugh Masekela, Tania Maria from Brazil, and other international celebrities including Mr. Herbie Hancock himself.

Hancock is, of course, also scheduled to appear on April 30: There will be a sunrise concert at Congo Square in New Orleans, the birthplace of jazz. The previous weekend is the first of the city's gigantic Jazz and Heritage Festival, so the streets will already be filled with revelry. International Jazz Day's special events in New Orleans will include performances by Terence Blanchard, Ellis Marsalis, Dr. Michael White, Kermit Ruffins, and the Treme Brass Brand. Hancock also plans to perform "Watermelon Man" with high school students from around the world, broadcast over the Internet.

Afterwards, he will fly to New York to participate in a sunset all-star jazz concert for the international diplomatic corps at the U.N. General Assembly Hall. The glamorous event will be hosted by Morgan Freeman, Robert DeNiro, Michael Douglas and Quincy Jones, and the line-up is still in progress but already pretty exciting: Along with Hancock and Bridgewater, the concert will feature Esperanza Spalding, Wynton Marsalis, Wayne Shorter, Christian McBride, Jimmy Heath, Jack DeJohnette, Derek Trucks, and Susan Tedeschi. These American musicians will be joined by Hiromi Uehara of Japan, Richard Bona of Cameroon, Angelique Kidjo of Benin, Lang Lang of China, Romero Lubambo of Brazil, and Zakir Hussain of India among others from around the world. The entire concert will be streamed live via the U.N. and UNESCO websites, which means that you may virtually attend no matter where you are.

Hancock says that the two concerts, one at sunrise and one at sunset, symbolize the gradual globalization of jazz. Over the course of his career, launched half a century ago, the musician has witnessed great growth of the genre:

"It's America's music, born and bred in America, that has spread its wings throughout the rest of the world... I'm really excited about International Jazz Day because so many artists from various countries and genres have a connection to jazz and will be able to honor this music that has had a profound effect on them... I hope that this day spreads the joy of spontaneous creation that exists in this music... My feeling is that jazz will be getting its just due."

UNESCO Director-General Irina Bokova endorsed Hancock's initiative, which is sure to bring together performers, educators, government officials, experts and fans alike as they collectively explore the history, meaning, impact, and legacy of jazz. In her official statement, Bokova says that the new holiday intends to help people all around the world "celebrate and learn more about the art of jazz, its roots and its impact, and to highlight its important role as a means of communication that transcends differences."

To put you in the mood, Click to Listen to HillTop COOL Radio on our home page at:  http://www.hilltopradio.com/myjukebox_1.html to hear Jazz-flavored HillTop recordings of songs from our Songwriters.

What's Happening In Music In: San Diego

Just a few hours south of HillTop Records' Hollywood headquarters, San Diego is a thriving city all its own. Its unique culture is largely the product of its geographic location: As a border town, San Diego is heavily influenced by its large Mexican-American population; at the same time, its beautiful beaches promote its reputation as a surfers' paradise--and it has the laidback, casual atmosphere to match. These and other components create a dynamic cultural landscape, one whose variety and versatility are especially evident in a smaller but quickly growing art scene. Picturesque neighborhoods like La Jolla and Solana Beach are filled with galleries; San Diego is also home to several major museums, including the San Diego Museum of Art and the Museum of Contemporary Art San Diego (MCASD). Routine events like "Kettner Nights on select Friday nights in the Art and Design District, and the monthly "Ray at Night" at North Park help to promote tourism and foster a deep appreciation for the arts.

Music is an integral part of San Diego's culture. In fact, the city was once dubbed the "Next Seattle"--and it probably has one of the most eclectic local music scenes in California. The local scene hit its stride in the late 1980's through mid-'90's, in the midst of the national independent rock craze. Music-lovers from across the United States flocked to San Diego to see pioneering rock acts hit the stages of clubs and cafes before they hit it big. The area helped kickstart the careers of Three Mile Pilot, Rocket From the Crypt, Pinback and Thingy. However, San Diego's music history predates that grunge rock era--and its variety of genres extend far beyond that sound.

In 1966, Iron Butterfly formed in San Diego. Their national hit, 1968's "In-A-Gadda-Da-Vita," won them recognition as the first-ever heavy metal band. Even before then, Rosie & The Originals put the city on the map with their success following "Angel Baby" in 1962. Yet another industry pioneer from San Diego is the group Gary Puckett & The Union Gap, formed in 1967. However, no San Diego spawn has reached quite the level of success as international superstar Frank Zappa, who formed The Mothers of Invention back in 1967. The next decade saw the likes of Tom Waits and Stephen Bishop, as well as the opening of Solana Beach's now-legendary Belly Up Tavern. In the second half of the 1970's, R&R radio station KGB broke ground with its Homegrown Series; local artists were invited to write and record songs about San Diego County, and the results were sold to raise money for local charities.

Other important dates in San Diego's music history: 1981, when the First Adams Avenue Street Festival (still the largest free music festival in Southern California) was held; 1984, when the First San Diego Street Scene Music Festival was held; 1990, when San Diego native Eddie Vedder moved north to Seattle to form Pearl Jam; 1992, when the Stone Temple Pilots relocated to San Diego to avoid the corporate scene of Los Angeles--and also when local pop/punk trio Blink-182 signed with Geffen Records; 1995, when folk singer Jewel was discovered in San Diego's Innerchange Coffeehouse; 1996, when Switchfoot formed before becoming hugely successful in the Christian music market; and 2001, when Jason Mraz was (like Jewel) discovered in a small San Diego venue.

Far older than all of these artists and institutions, the San Diego Symphony played its first concert at the end of 1910 as the San Diego Civic Orchestra. Today, it performs over 100 concerts each season in the beautiful French Rococo-style Copley Symphony Hall from 1929. The newer Symphony Towers (the second tallest building is the county) was built around Copley Hall in 1989, further solidifying its stature as a local landmark. The San Diego Symphony continues to delight and enchant its fans with annual series like the Winter Pops, Masterworks, an outdoor Summer Pops, a Family Festival and holiday events, and the Light Bulb Series. Their talents are often accompanied by the likes of Ben Vereen, the Dublin Philharmonic and Arturo Sandoval.

If you share an affinity for classical music, you should also check out the La Jolla Symphony and Chorus, the Orchestra Nova San Diego, and the music departments of San Diego State University, the University of California at San Diego, Pont Loma Nazarene Collage, and the University of San Diego. The San Diego Opera has been ranked by Opera America as one of the top 10 opera companies in the United States, and free concerts of organ music (via the largest outdoor pipe organ in the world!) are regularly presented at the Spreckels Organ Pavilion in San Diego's Balboa Park. Also in Balboa Park is the outdoor Starlight Theatre, which frequently hosts musical productions by the Lyric Opera San Diego company. And San Diego has still more for the classical music lover: Back in 1988, the city held its first Mainly Mozart Festival--and the annual event is still going strong! Each year, it sets up stages at La Jolla's Neurosciences Institute, at the Inn at Rancho Santa Fe, and in the Balboa Theatre downtown.

Of course, other types of music are equally easy to come by in San Diego. From rock to jazz, hip hop to cover bands, a vast variety of acts tour the city's outdoor amphitheatres and intimate clubs. Along with the historic Belly Up Tavern, which was declared one of the best live music venues on the West Coast by Rolling Stone, clubs throughout the city--including Croce's Restaurant and Bar, Brick by Brick, Canes, the House of Blues, the Hard Rock Hotel San Diego, the Epicentre, Lestat's West, 4th & B, SOMA (which has hosted Rage Against the Machine and the Stone Temple Pilots) and the Casbah (where Nirvana, the Smashing Pumpkins and the Lemonheads played at the starts of their careers)--showcase local legends and internationally acclaimed acts alike.

The Cricket Wireless Amphitheatre draws massive crowds to Chula Vista, as do the Viejas Concerts in East County and Humphrey's Concerts By the Bay. The Del Mar Fairgrounds and Racetrack also serves as a popular venue, especially during the San Diego County Fair and horseracing season. Additionally, the aforementioned Adams Avenue Street Fair is a beloved institution; it highlights up-and-coming bands from around San Diego County and other parts of the country over two days of free music. Other major music events held each year in San Diego are San Diego IndieFest and the Identity Festival (popular among those who love electro and house music.)

For more information on San Diego's lively music scene, check the music sections of the San Diego Reader, San Diego CityBeat, and SanDiego.com. Also keep checking back with us here at HillTop Records as we bring you the latest music news from around the country!

Great American Songwriters: Hank Williams

Widely considered to be one of the most important country music artists of all time, Hank Williams (September 17, 1923 – January 1, 1953) recorded 35 Top 10 singles over the span of his short but spectacular songwriting career. Of those, 5 were released posthumously--and 11 reached the Number 1 spot on the Billboard Country & Western Best Sellers chart. These songs have been covered by numerous American artists, and we know that Hank Williams has inspired many of our own HillTop Records songwriters. Perhaps as inspiring as the legend's incredible talents is the fact that the singer-songwriter came from extremely humble beginnings--or, to be more precise, the small town of Mount Olive, Alabama during the bleakest days of the Great Depression.

Born Hiram King Williams, Hank changed his first name when he decided to become a country musician; he thought that "Hank" was more fitting for the genre. One of his earliest influences was Rufus Payne, a street performer who gave him guitar lessons in exchange for meals shortly after Williams had moved to Georgiana and gotten his first Silvertone guitar as a gift from his mother (who, as the story goes, earned the money for it by selling peanuts by the side of the road.) Hank Williams also took early inspiration from Jimmie Rodgers, Moon Mullican, Johnnie Ray and Roy Acuff while working towards creating his own unique sound. However, he later credited Payne as his only teacher. He also never learned to read music, and based his compositions in storytelling throughout his career.

The Williams family's next move brought the 14-year-old Hank to Montgomery, where he participated in a talent show at the Empire Theater. His first original song, "WPA Blues", won him the first prize of $15. He played that and other songs on the sidewalk in front of the WSFA radio studios until the producers hired him to perform and host a 15-minute program. He eventually dropped out of school to focus on his career (what started off as an occasional gig had led to a twice-a-week salaried job) and he also formed his first band: the Drifting Cowboys, who were managed by Williams' mother. The band toured throughout central and southern Alabama, performing in small clubs and at private parties--and then, once the boys had dropped out of school, they were able to travel as far as western Georgia and the Florida Pandhandle for gigs. They sometimes played in theaters before the start of movies, and in honky-tonks; between shows, Williams would return to Montgomery to host his radio show.

America's entry into World War II in 1941 marked the beginning of a dark time for Williams. His bandmates were all drafted, and their replacements took issue with Williams' worsening relationship with alcohol. Despite these serious setbacks, Hank found steady work during the war--and he eventually went back to hosting his show at WSFA. This time, however, Williams used his radio show as a vehicle to showcase the new songs he was writing. The expanded repertoire was so successful that he decided to publish his first song book, Original Songs of Hank Williams. The book contained only lyrics, as a way to attract a wider audience. Among the 10 songs in it are "Won't You Please come Back", "Grandad's Musket", "Honkey-Tonkey", and "You'll Love Me Again". Williams' first wife, Audrey Sheppard, took over as his manager and sometimes sang with him on duets.

In 1946, Hank Williams auditioned for the Grand Ole Opry--and was rejected. Not ones to be discouraged, Hank and Audry left for Nashville with the hopes of attracting the attention of the recently formed label Acuff-Rose. They did, and managed to leverage that attention to sign Williams with Sterling Records. In his first recording session towards the end of that year, Williams recorded "Never Again"; it was that song, along with "Honkey Tonkin'", that landed him a deal with MGM Records. In the years that followed, Hank Williams' star steadily climbed. In 1947, he released his first major country hit: "Move It On Over". The following year, he moved to Shreveport to join Louisiana Hayride, the radio show that made the country star a household name. Soon thereafter, he began to host his own show on KWKH throughout western Louisiana and eastern Texas. He also continued to release new music, including his own version of "Lovesick Blues" (written in 1922 by Clifford Friend and Irving Mills, and first made popular by Rex Griffin.) It was only then that he was finally admitted into the Grand Ole Opry. He made his debut on June 11, 1949--and was the first performer there to receive six encores. That year (1949) proved to be a banner one for Williams: He formed the most famous version of the Drifting Cowboys, and released seven hit songs after "Lovesick Blues". It was also the year that his wife gave birth to his son, Randall Hank Williams (better known as Hank Williams, Jr.)

Williams took a short hiatus from his usual sound in 1950, when he began recording under the name "Luke the Drifter." The moniker was established out of fear that DJ's and jukebox operators would not accept the unusual recordings--they were religious-themed, and many sounded more like recitations than songs. However, although "Luke the Drifter" was supposed to remain anonymous so as to avoid hurting the marketability of the Hank Williams name, the country star often performed some of this strange material (which depicted Hank's alter ego traveling around from place to place, narrating stories and musings on his own life philosophies--sometimes while accompanied by a pipe organ) on stage. Nonetheless, "Luke the Drifter" did not hinder Williams' career; he continued to release more hit songs, including "My Son Calls Another Man Daddy" and "Nobody's Lonesome for Me". In 1951, "Dear John" became popular--but it was the flip side, "Cold, Cold Heart" that became one of Williams' most famous songs. Tony Bennett immediately released a pop cover version that stayed on the charts a whopping 27 weeks, peaking at Number 1.

In 1951, a fall suffered during a hunting trip triggered old back pains--and Hank Williams' dependency on alcohol and painkillers increased. His addictions led him down a tumultuous road, whereon he divorced his first wife and was fired from the Grand Ole Opry for habitual drunkenness. He continued to perform (on radio shows for KWKH and WBAM, as well as in the Louisiana Hayride) but the results were unreliable: If he managed to show up sober, his performance was excellent--but if not, he did not do so well. Fred Rose, his longtime collaborator and producer, stopped working with him; around the same time, the Drifting Cowboys left to back another singer. There were a few final successes during these years (most notably "Kaw-Liga", "Your Cheatin' Heart" and "Take These Chains from My Heart") but for the most part, Williams' career--and overall health--were on a steep decline. On New Year's Day 1953, at the age of 29, Hank Williams tragically died from a combination of heart problems and drug abuse.

Sadly, this sort of ending is not uncommon in the music world. The silver lining is that Hank Williams left in his wake an incredible legacy: The state of Alabama still celebrates "Hank Williams Day" each September 21, and the songwriter's greatest hits remain popular today. In 1961, Williams was inducted posthumously into the Country Music Hall of Fame; in 1985, the Alabama Music Hall of Fame similarly honored him. Two years later, he was inducted into the Rock and Roll Hall of Fame under the "Early Influence" category. When CMT published their "40 Greatest Men of Country Music" in 2003, Hank Williams came in second after Johnny Cash. His son, Hank Jr., also made the cut. He was listed at Number 74 in Rolling Stone's "100 Great Artists of All Time" and countless artists--including Carl Perkins, Jerry Lee Lewis, Bob Dylan and Elvis Presley--have publicly cited him as a major influence.

Since his untimely passing, Williams has also earned a Grammy nomination (for Best Historical Album) and even won a Pulitzer Prize for his "craftsmanship as a songwriter who expressed universal feelings with poignant simplicity and played a pivotal role in transforming country music into a major musical and cultural force in American life." And just last year, an album was made using unfinished lyrics (discovered by a janitor the night Williams died): The Lost Notebooks of Hank Williams, released on October 4, 2011, features the voices of Norah Jones, Lucinda Williams, Sheryl Crow, Bob and Jakob Dylan, and Jack White, and other great American artists.