Tunes Du Jour Presents 1961

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The year 1961 didn’t roar in with a musical revolution—but in hindsight, that’s part of its charm. Instead, it offered a series of small but significant steps toward what would become a much louder, wilder, and more politically charged musical landscape. If the ’50s laid the foundation for rock and R&B, then ’61 felt like a transitional hallway: not quite out of the doo-wop era, but inching toward soul, girl groups, and the unmistakable rise of youth-driven pop. Listen closely, and you can hear a generation beginning to test its voice.

The playlist for this year paints a picture of variety and crossover. Ben E. King’s “Stand by Me” combines gospel roots with a pop sensibility, creating a timeless anthem of emotional resilience. Meanwhile, The Marcels inject a doo-wop jolt into “Blue Moon,” turning a Rodgers and Hart chestnut into something utterly of the moment. And “Shop Around” by The Miracles helps define the early Motown sound—polished, melodic, and unmistakably urban—hinting at the empire Berry Gordy was quietly building in Detroit.

Pop and R&B weren’t the only sounds of 1961. The jazz world was still vibrant, and John Coltrane’s take on “My Favorite Things” stretched the familiar into something exploratory and modal, giving the Broadway tune a hypnotic new dimension. Similarly, Art Blakey’s “A Night in Tunisia” offered a fiery reminder that hard bop was far from finished. This year wasn’t just about three-minute singles on AM radio; it also made room for longer-form musical statements that spoke to listeners seeking complexity.

And then there were the voices—so many distinct, unforgettable voices. Roy Orbison’s near-operatic Crying and Patsy Cline’s aching “Crazy” each showed that vulnerability could be commercially viable. The same went for Etta James, whose rendition of “At Last” remains one of the most iconic vocal performances ever recorded. Elsewhere, the lighter side of pop was thriving with Neil Sedaka’s “Calendar Girl” and Bobby Vee’s “Take Good Care of My Baby,” songs built for teenagers who were beginning to see themselves as a cultural force.

Taken together, the music of 1961 reflects a moment in flux: the last glimmers of the 1950s still lingered, but the seeds of what would define the 1960s were clearly being planted. Whether it was Ray Charles fusing gospel and R&B on “Hit the Road Jack,” or the early stirrings of girl-group grandeur from The Marvelettes and The Shirelles, this was a year where nothing yet dominated—but everything seemed possible.

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Tunes Du Jour Presents The Smokey Robinson Songbook

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ABC wasn’t wrong—when Smokey sings, everything is wonderful. But just as impressive as his voice is his pen. Smokey Robinson didn’t just write hit songs; he crafted narratives, emotions, and melodies so timeless that they continue to be recorded and reinterpreted decades later. His songwriting, marked by poetic lyricism and effortless hooks, helped define the Motown sound and set a gold standard for pop and R&B composition.

His songs weren’t just catchy; they were masterclasses in storytelling. “My Girl” gave The Temptations a signature hit with a lyric so simple yet evocative that it remains a cultural touchstone. “My Guy” did the same for Mary Wells, its playful devotion making it an anthem of unwavering love. Whether it was the swagger of “Get Ready,” the tenderness of “Ooh Baby Baby,” or the clever metaphor of “The Hunter Gets Captured by the Game,” Smokey knew how to tap into universal feelings and dress them in melodies that lingered.

His influence extended far beyond Motown, as shown by the sheer range of artists who have covered his work. The Beatles took on “You Really Got a Hold on Me,” Elvis Costello recorded “From Head to Toe,” The Rolling Stones tackled “Going to a Go-Go,” D’Angelo put his own spin on “Cruisin’,” and Peter Tosh reimagined “(You Gotta Walk And) Don’t Look Back.” Whether through his own performances or the countless reinterpretations of his songs, Smokey Robinson’s writing continues to resonate, proving that while it’s great when Smokey sings, it’s just as magical when Smokey writes.

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Tunes Du Jour Presents Holland-Dozier-Holland

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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 Smokey Robinson

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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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