Even though its title track was initially written for a rival group, the sophomore album from Diana Ross, Florence Ballard and Mary Wilson transformed them from Billboard also-rans to international superstars – and helped define the Motown sound
By 1955 Berry Gordy Jnr [HFN Nov '17] had been a professional boxer, served in the US army, made an unsuccessful attempt at running a jazz record shop, and was working for the Ford Motor Company on its Detroit production line. But his real love was music.
In 1961, a youth culture movie musical accelerated Cliff Richard's rapid transition from rock 'n' roll heartthrob to household name, and was quickly followed by a soundtrack album that scored a trio of Top 10 hits and stayed in the UK charts for 42 weeks
The story starts in the basement of the 2i's coffee bar in Old Compton Street, Soho, where live music had been put on since 1956. This was the time of the UK skiffle boom, a style of music that had developed in America out of rhythm and blues and folk, with elements of jazz. But while it had a hint of swing it was rhythmically more straight ahead, and was popular with young musicians because you didn't have to be a virtuoso to play it. If you had a washboard or could knock together a tea chest bass, you could be in a skiffle rhythm section.
Although planned as the American proto punk's first solo record under new management, Raw Power wound up being a third album for a reconfigured lineup of The Stooges – with David Bowie roped in to try to channel the band's unique energy into a listenable mix
Ever since the early days of rock 'n' roll, fans have vicariously got their kicks from its stars – the larger than life characters who did things us normal folk would never dream of, or would be too scared to try. But while many artists merely flirted with the idea of danger, James Osterburg, aka Iggy Pop, lead singer with The Stooges, located the self-destruct button and kept pressing it over and over again.
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