Amy Winehouse & Paul Weller • I Heard It Through The Grapevine

On New Year's Eve of 2006, two British superstars appeared together on 'Hootenanny', a show hosted by Jools Holland, a television host since the mid-1980s of various programs, including 'Later...With Jools Holland'. He began his career as a musician, and is perhaps best known as a founding member of the band Squeeze. But on that holiday evening, singer Amy Winehouse sang with Paul Weller, an iconic name in British music, who had penned and recorded many hits before Ms. Winehouse was born. Weller was a founding member of The Jam in the mid-1970s, and later founded The Style Council, another popular British group formed in 1983, the year of Amy's birth. On 'Hootenanny', the performed "I Heard It Through The Grapevine", a song written by Norman Whitfield and Barrett Strong for Motown Records in 1966. The song was made famous by the great Marvin Gaye in 1968. This is Amy Winehouse and Paul Weller with "I Heard It Through The Grapevine".

Have a great weekend!

Motown Top Selling Singles Part 2

I already mentioned that Berry Gordy, Jr., founded Motown Record Company in 1959, after discovering that writing hit songs will not guarantee making a living in music. So Motown was born, in a nod to his hometown of Detroit, Michigan, known as the Motor City for the auto industry that was at the core of the area. Gordy was making music with a strong stable of writers and talent, with the Motown label, as well as the other companies under the umbrella, like the Tamla label.

So I happened across a list of the top-selling Motown hits, and I decided to feature the songs released from 1959 to 1975, a period I consider the 'classic' years of the record company. The list is from Billboard magazine, and is an amazing collection of talent. The #5 song on the list was written by The Corporation, made up of Berry Gordy, Jr., Freddie Perren, Alphonzo Mizell and Deke Richards. It was also the second single for a young family group, as well as their second #1 song. Jackie, Tito, Jermaine, Marlon, Randy and Michael were first discovered by Gladys Knight, who recommended Gordy sign them, but Gordy was hesitant to sign young boys. Later, when Gordy saw a videotape of the boys performing, he decided to sign them, and it wasn't long before he was grooming the Jackson 5 to be the next big thing from Motown. The second single from the family act is the #5 best-selling single for Motown, "ABC", as it was debuted on 'American Bandstand' in 1970.

In the #4 position, we have the last entry from the ladies many consider the most successful 'girl group' of all time. In 1968, Diana Ross & the Supremes had a huge hit with "Love Child". But it wasn't the Supremes everyone knew. While it was still Diana Ross and Mary Wilson, in 1967 Florence Ballard was let go, and Cindy Birdsong was brought on. (Many see this rift as the core for the Broadway musical 'Dreamgirls') by Diana Ross & the Supremes in 1968. But right after the change, the sales fell off. So Gordy got together with the team called The Clan; R. Dean Taylor, Frank Wilson, Pam Sawyer, Deke Richards, and Henry Cosby. Out of this came "Love Child, which spent two weeks atop the Billboard Hot 100 in 1968.

It is hard for me to imagine a song that is more sultry, and more suggestive than the #3 entry on the list. In a song written by performer Marvin Gaye and Ed Townsend, "Let's Get It On" went to #1 on the Billboard Hot 100 for two weeks, and #1 on the Billboard Soul chart for an amazing 8 weeks. Marvin certainly put the finishing touches on his reputation for being a sexual icon with the 1973 song released on the Tamla label.

For the #2 song on the list, we will have to return to the boys from Gary, Indiana. The Jackson 5 were already on a roll, having the first three singles top the Pop charts. But with "I'll Be There", they changed things up by offering a beautiful ballad instead of the frothy bubblegum Pop they had previously offered. The song, written by Berry Gordy, Bob West, Willie Hutch, and Hal Davis, went to #1 on the Billboard Hot 100 and stayed there for five weeks. This made the Jackson 5 the first group of African American males to have four consecutive #1 Pop hits. The lead vocals were shared by Michael and his brother Jermaine.

And finally, after a long wait, we find out what was the best-selling song of the Motown classic years. It only seems right we return to one of the great talents already on the list. In his second appearance on the list, and his second in the top 3, we have Marvin Gaye and the amazing "I Heard It Through The Grapevine". The song was written by Norman Whitfield and Barrett Strong in 1966 for Smokey Robinson and the Miracles, but was rejected by Berry Gordy, Jr., who thought it wasn't strong enough. Whitfield and Strong worked on it more, and had Gaye record it in 1967, only to have Gordy once again veto the release. With a few more touches, it was recorded by Gladys Knight & the Pips, and went to #2 on the Billboard Pop chart. So Whitfield returned to the studio with Marvin, and produced the song that became the biggest selling single for Motown Record Company between 1959 and 1975. This was released the year following Gladys' version, and was on top of the charts for seven straight weeks, from December 1968 to January 1969. This is Marvin Gaye singing his best-selling hit on the Tamla label, "I Heard It Through The Grapevine".

So there you have it, folks. Hope you enjoyed visiting all these great songs!

Motown Top Selling Singles Part 1

Motown Record Corporation was founded in 1959 by Berry Gordy, Jr., in Detroit, Michigan. The name was, in fact, a nod the Detroit, known as the Motor City. At the time, Gordy was a songwriter of note, writing for stars like Jackie Wilson. Gordy felt like he was making little money writing songs, and the real money was in running a label. The first songs were put out on the Tamla label, in 1959. The first act signed by the fledgling company was a group called the Matadors. They changed their name to the Miracles, and the lead singer was William 'Smokey' Robinson.

With that bit of history written, I thought it would be interesting to look at what the top-selling singles for Motown Record Corporation, and it's subsidiaries, from 1959 until 1975, what I would call the heyday of the label. Of course, I was surprised when I discovered the top five-selling singles for the label didn't come from that period, but from the 1990s and one from the 1980s. However, I will take the top ten from the era I picked out, and unveil them today and tomorrow. To kick off this trip down memory lane, I will being with the #10-#6 songs according to Billboard. The #10 selling single is a group who had three songs in the top 10, and one more from the lead singer after she went solo. I am of course referring the great Supremes, with lead singer Diana Ross. In 1964, the group had the utterly charming "Baby Love", written by the brilliant team of Lamont Dozier and brothers Brian Holland and Edward Holland, Jr. It was said Gordy suggested the writers to give Ross, Florence Ballard and Mary Wilson a song similar to their last hit, "Where Did Our Love Go?" The song topped the Billboard Hot 100 for five weeks in the fall of 1964, just what Gordy was looking for.

In 1956, The Aims were signed by Chess Records to record, having been 'discovered' while performing in and around Detroit. Only they had to change their name, for fear they might be confused with the Ames Brothers. So Levi Stubbs, Abdul "Duke" Fakir, Renaldo "Obie" Benson, and Lawrence Payton called themselves The Four Tops. Their time at Chess, as well as a few other record companies, didn't work out, and in 1963, Gordy signed them for Motown. With the brilliant Levi Stubbs on lead vocals, the group were a great success for Motown, including on their great single, "I Can't Help Myself (Sugar Pie Honey Bunch)". It was the #9 song on this list, once again written by the songwriting team of Holland - Dozier - Holland. The son was #1 on the Billboard Hot 100 for four weeks in 1965, so enjoy this clip of the Four Tops singing it live.

The ever-brilliant Miss Diana Ross has the #8 song on the list with what was only her second solo single, and her first solo #1 on the Billboard Hot 100. "Ain't No Mountain High Enough" was written by another incredible team of writers in the Motown stable, the husband/wife team of Nickolas Ashford and Valerie Simpson. They wrote it as a duet for the first release, featuring the ample talents of Marvin Gaye and Tammi Terrell. It was a big hit for them in 1967, but was also a great hit for Ross in 1970, making it to the top of the Billboard Hot 100. Watch as 'The Boss' performs "Ain't No Mountain High Enough", a song that quickly became one of her signature songs.

While we are at it, the #7 entry on the list is another great song from The Supremes. In fact, it was the song that inspired the previous entry. "Where Did Our Love Go" was also the first Billboard #1 for Diana Ross, Florence Ballard, and Mary Wilson. It was also the first of five singles in a row by the ladies to make it to the top of the charts. Again, it was written by Holland - Dozier - Holland, men who definitely put their stamp on the music world. Here is the great 1964 hit, "Where Did Our Love Go?"

Now it is time to visit with the #6 song on the list. It was written by Norman Whitfield and Barrett Strong. Strong was the first member of the Motown roster to have a radio hit, with "Money (That's What I Want)", in 1959. He remained with the label, writing and performing. Teaming up with the bold vocals of Edwin Starr, "War" went to #1 on the Billboard Hot 100. The song was not only a popular song, it was also one of the most popular protest songs of all time. Oddly, after the attacks of 9-11, media powerhouse Clear Channel put this song on a list of inappropriate songs. This is still a great song, so enjoy Edwin Starr on "War".

Look for the Top 5 tomorrow!

Motown Dance Party

Clockwise: Junior Walker & the All-Stars; The Velvelettes; The Contours; and The Isley Brothers.

Some of the greatest dance music of the 1960s came out of Hitsville, USA, also known as Motown. Motown started out in Detroit, Michigan, in 1959. It was founded by Berry Gordy, Jr., and continues to helm the business today. In fact, there was recent talk Gordy was working on a Broadway musical about the early years of the company. But for our entertainment tonight, I thought I would give a listen a couple of the great dance songs from the Motown acts of the era. While it might be easy to pick some of the songs of the great artists like Diana Ross, The Supremes, Marvin Gaye, Martha Reeves, The Temptations, Smokey Robinson, Stevie Wonder and so many others, I thought I might take a look at a couple of songs that I remember hearing my sister play on the record player, that really speak to a time. I will begin with a song that was a huge hit in 1962. A group called The Contours recorded a song written by the main boss at Motown, Berry Gordy, Jr. Well, before anyone could blink an eye, "Do You Love Me" soared up the charts to #3 on the Billboard Hot 100, and #1 on the R&B chart. Although originally written for The Temptations, it was recorded by The Contours and became a big success. This same version was on the charts once again 28 years later, when it became popular as part of the Dirty Dancing soundtrack, going to #11 on the Billboard Hot 100.



In 1965, the first single for a new Motown act hit the airwaves, and the band never looked back. The song was written by Autry DeWalt, better known for his stage name, Junior Walker. "Shotgun" went to the top of the R&B charts, and to #4 on the Billboard Hot 100. Here it is, sung by Junior Walker & the All-Stars.



The next song was written by great Motown songwriters Norman Whitfield, William "Mickey" Stevenson, and Edward Holland, Jr. and first In 1965, the The Velvelettes took "He Was Really Saying Something" to #64 on the Billboard Hot 100. However, in 1982, the song had it's strongest showing when recorded by the British group Bananrama released it, with background vocals by Fun Boy Three. But here is the original, with The Velvelettes singing "He Was Really Saying Something".



The founding members of The Isley Brothers were Ronald Isley, older brothers Rudy and Kelly and younger brother Vernon. They began as a gospel quartet, the group turned to doo-wop following the death of Vernon. They had their first hit in 1959 with "Shout", but it was a while before they had the second hit. In 1966, they released a song written by the greatest songwriters on the Motown roles, Lamont Dozier and brothers Brian Holland and Edward Holland, Jr., along with Sylvia Moy. "This Old Heart Of Mine (Is Weak For You)" went to #12 on the Billboard Hot 100, and at number six on the Billboard R&B Singles chart. I love this song!



Keep on dancin'!

RIP Nickolas Ashford

Nickolas Ashford met Valerie Simpson in 1963 when both attended the same church in Harlem. They joined forces, both in their professional and personal lives, and the world was a better place for it. They bucked the odds, and had an a successful life, filled with both love and success. That is until this past Monday, when Nick Ashford passed away following a battle with cancer. He leaves Valerie Simpson and two daughters.



Together as a songwriting team, they gave the world some truly memorable songs. That list included Ronnie Milsap's Never Had It So Good, Maxine Brown's (and the Shirelles and Chuck Jackson) One Step At A Time, Ray Charles' number one hit, Let's Go Get Stoned. Here is a clip of Joe Cocker singing that song at Woodstock.



As part of the Motown stable of writers, Ashford & Simpson wrote some of their best-known songs included Ain't No Mountain High Enough. Here are Marvin Gaye & Tammi Terrell singing the Top Twenty hit from 1067.



As if that wasn't enough, they continued their successful career at Motown, and wrote great songs like You're All I Need To Get By", "Ain't Nothing Like the Real Thing, and Reach Out and Touch (Somebody's Hand). Reach Out And Touch became a hit for Ross, the first of her solo career. It is a staple of her career to this day. But here is a version by Ashford & Simpson at Live Aid, featuring the first appearance by Teddy Pendergrass following his recovery from a paralyzing car accident. This was especially moving as it was in Teddy's hometown of Philadelphia.



But the song for which the duo is best known could be the song they wrote and sang, Solid. The song went to #12 on the US Billboard Hot 100 in 1983. It was a song everyone was singing back them.



Rest In Peace, Nick Ashford. Your talent, love, and grace will be misssed.

Worth Another Listen • Four Tops

Detroit natives Levi Stubbs, Abdul "Duke" Fakir, Renaldo "Obie" Benson and Lawrence Payton first sang as a group while all were still high school students, and the sound was so good, they decided to stick together. They called themselves The Aims, and set their sights on success. They were first signed in 1956 to the Chess Records label, the first in a series of unsuccessful contracts with label. But it was there they did decide to change their name so as to not get confused with the Ames Brothers. Soon they were being billed as The Four Tops, a name that stuck with them. Finally, in 1963 Berry Gordy, Jr. signed the group to his roster at Motown Records.



It didn't take long for the magic to start to happen. In 1964, Gordy put them to work with the legendary songwriting team of Lamont Dozier and brothers Brian Holland and Edward Holland, Jr., and the boys scored a #11 on the Billboard US Pop chart with their first single of their Motown career. Baby I Need Your Loving is just the type of song that became synonymous with the group, as Levi's heartfelt lead vocals charmed all.



Berry Gordy was never one to play with a working model, and with the career of the Four Tops, it was no different. Once again the were singing a song written by the team of Holland - Dozier - Holland and in 1965, The Four Tops had their first #1 song on the Billboard Pop chart with I Can't Help Myself (Sugar Pie Honey Bunch). With the perfect vocals and the slick choreography that were the trademark of the Motown men, it is now wonder this song shot to the top.



Later that same year, the Four Tops returned to the charts with a song that is very much a classic for them, It's The Same Old Song. One of the things that sets a song like this apart is the vocal performance by Stubbs, who just ours his heart and soul into every song. And another great song written by Holland-Dozier-Holland, scoring #5 on the Billboard Pop chart.



Proving that the Four Tops truly deserved to be recording at Hitsville, USA, they were quickly back on top of the charts. In 1966 they released another Holland-Dozier-Holland song, Reach Out I'll Be There. Once again having the benefit of the great vocals of Levi Stubbs, and the song soared to #1 on the Pop chart.



Needless to say this was not the end of this group. In fact, it was only the beginning. I am sure I will be revisiting the Four Tops again!

Dancing With Martha & the Vandellas

Bottom photo, left to right: Rosalind, Betty and Martha.

Four girls grew up in Detroit, Michigan, wanting to sing and make music, a dream had by many, but realized by so very few. When Rosalind Ashford, Annette Beard, Martha Reeves and Gloria Williams were singing in the clubs, parties and churches in the late 50s, they were noticed. Soon, they were being put together, using a series of names, including The Del-Phis and The Vels. Soon, Martha was working as a secretary to an exec at Motown Records, and the other ladies were singing background for the big names for the studio. According to the lore, singer Mary Wells didn't make it in to the studio for a session with the great Marvin Gaye. The ladies were called in to do a demo track of the song Gaye was working on, and the track, with Martha on lead vocal, garnered the attention for all the executives, and they were all offered contracts. Gloria Williams decided to not sign, fearing the life in the spotlight would interfere with her hopes of a family. But Rosalind Ashford, Annette Beard and Martha Reeves signed the contracts, and were soon recording as Martha & the Vandellas.

Motown didn't have to wait long to see if their decision to back the girls would pay off. Their first hit came quickly, when the song written by the legendary team of Lamont Holland, Brian Dozier and Edward Holland delivered the 1963 hit, (Love Is Like A) Heat Wave. The song went to #4 on the Billboard Pop chart, and became a song that was remembered for the strength of the vocal performance for the talented ladies.



The next year, there was a line-up change, as Beard married and started a family, and decided to step down from the band. Betty Kelly was brought in to round out their sound. Martha & the Vandellas were back on the charts with a song written by Marvin Gaye, William "Mickey" Stevenson, and Ivy Jo Hunter that would become a calling card for the ladies. Dancing In The Streets was a song that certainly had people dancing whenever they heard it, and it soared up the charts, topping out at #2 on the Billboard Pop chart in 1964.



In 1965, the ladies released what I think is my favorite song in their wonderful catalog, Nowhere To Run To. It was thought to have been in heavy rotation on the Armed Forces Radio playlists, and beloved by the troops in Vietnam. Since then, the song was used extensively in movies and television shows, helping to define an era. The song was written by the team of Holland-Dozier-Holland, and went to #8 on the Billboard Pop chart.



I might have been a child at this point, but I had older siblings, and I still remember this music. And certainly this hit by the songwriting team of Holland-Dozier-Holland in one to remember. In 1967, Martha & the Vandellas released Jimmy Mack, a catchy pop song that was on the lips of the nation. It climbed to #10 on the Pop chart, and was another that became a signature tune for the group.



By 1968, there were changes afoot at Motown, and that included the exit of the songwriters from the Motown stable. There was also a shift in priorities, and Martha & the Vandellas were pushed out of the forefront by The Supremes and Diana Ross, who was just a few years shy of starting an illustrious solo career. After a series of replacements in the line-up, the group was 'retired' in 1972. In the 80s, the group would reunite from time to time, doing tours with other groups from the 60s. Their songs have been covered by some of the top names in the business, and their music is still held in high esteem by fans and music critics alike.

Jason Walker Unplugged Pt 1

The opportunity to talk to Jason Walker about his music was something I could not possibly pass up. When the appointed time came, I have to say Jason was sweet and charming, and more than willing to talk about the music. So much so, I have to break the interview into two parts! I shall start from the beginning, like what music had he grown up with in Pittsburgh? “My mother had, and still has,” he told me proudly, “a record collection that would be the envy of many a DJ, and I grew up around really great music, like Motown, Disco and Pop music.”

It seems his mother could be credited for much of his current path. “I started singing when I was 4, and my mother put me in a church choir,” he explained. “I joined the choir and found that I loved Gospel music and lady singers, if you will.”

Does Jason feel like part of Pittsburgh is still with him? “I feel like my really young years are still with me, like the years when I’d blast Patti LaBelle from the dining room when my parents weren’t home,” he told me, laughing. ”And the neighbors would tell them “Oh, he was singing again…” I feel like I carry that with me all the time. I think a lot of the imprinting I did as an artist happened in Pittsburgh. I feel that is how I really started to learn how to sing.”



So what was the next step? “Once I started finding myself in high school, I started writing music, too. I was singing with a black group, at the time, there was some interest from some labels - we wrestled with them for a few years. Then there was some interest from Motown. But they just wanted me, not the group. I was kind of looking for a way out at the time, so that was a welcome exodus, if you will. Well, that ended up being a really, really bad deal. I remember my attorney at the time telling me “if you sign this, there is no way out for you. They’re wanting you to relinquish all rights to everything, but promising you next to nothing.” So I ended up not signing. I was living in Pittsburgh, immersed in the dance music and the club scene. I was just 18 when all this went down.”

I’d heard of his triumphant turn on the Harlem stage, and wondered how much winning on Showtime At The Apollo influence or change his career? “That show, that night, that performance, it really changed me. They say that the Apollo is a really harsh crowd, and I feel like that puts it lightly,” he recalled, laughing. “And if you can sing there, you can pretty much sing anywhere. If you can win that audience over, then you’re on the right path. That was definitely a life changing evening. My singing and winning is what prompted me to move to NY, because I felt it was where I had to be.“

And so the New York leg of the journey begins. Walker moved to the city, and was soon signed by legendary DJ/Producer/Music Impresario Junior Vasquez. It is with Vasquez that Walker’s first two albums, This Is My Life and Flexible, were born. I asked about the sound and energy of the music. “I was a big Junior fan before I moved to New York, so the thought that I got the chance to work with him was a big thrill for me. His music was kind of uninhibited, wild, and sometimes erratic. And I got to be a part of that. I thought I had a better chance of working with Peter Rauhofer or Danny Tenaglia than with Junior Vasquez. No one else was sounding like him. He paved the way for a lot of people, with that kind of sound."



What was it like working with the legendary DJ? “I feel like my music with him came in on the heels of when he was really, really big on the New York club scene. But he was still packing the really big places. The insanity that was Junior Vasquez was still, like – the city was still abuzz with him and everything he did.”

After the muscular vocals and driving sound of Junior Vasquez, Jason worked with Quentin Harris. With Harris, this work seemed to have a more personal touch. “Oh, yeah. I agree with you there. I have always considered myself to be a pretty well-rounded singer. I moved to NY because I wanted to do club music – that was my plan when I moved here. Just because an opportunity came along to work with Junior didn’t mean I didn’t want to do anything else, or wasn’t able to do anything else. An opportunity presented itself and I jumped on it. I jumped on it because I love that music and I thought Quentin was amazing. It was a thrill for me to do it. I guess I was a little burnt out with ‘All-things-Junior’, which could happen with anybody. I felt like dance music was moving in a different direction and I had come to know and admire a lot of producers I wanted to work with, and who wanted to work with me. And Quentin was one of them.”



“He remixed Foolish Mind Games, my second record with Junior,” Jason remembered. “That kinda sparked a relationship between he and I, and when he was doing his first album, No Politics, he asked me to be a part of it. That is were Can’t Stop happened. I remember him telling me, “OK, I have two ideas, we can record them both and whichever comes out better… He wanted to do a cover song with me, which I was fine with. It was either going to be You Belong To Me, which was originally by Carly Simon but Michael McDonald had done a great cover, or it would be Can’t Stop, by After 7. I always loved that song, and thought it could be a really hot contrast. So that is just the one we did first. When he heard how it came out, and saw the natural progression of the song, he said, ‘OK, this is the one are going to go with.’ So it went on his album and became a single off his album, and it further solidified our relationship, as far as working together. I feel it made our friendship grow stronger, cause he is a really good friend of mine. He is really underrated in the US, cause if you travel outside of the country, he is everywhere, all over the place.”

“But when we did that record together, then when he did the second album, Sacrifice, which I think came out last year, we ended up doing two songs together; a cover, Circles, by Atlantic Star, and an original composition of mine called Home. I wanted to work with other people. By that time, the partners split and Junior Vasquez Music dissolved. So I was free and clear to do whatever it is I wanted to do, which is how my latest album, Leave It All Behind, happened.

In the final half of the interview, I discuss Jason's latest album, Leave It All Behind, and the new EP, Live And Unplugged. Look for it next Sunday night, June 26. You can purchase Jason's music on iTunes here and here, and Amazon.com here or here. You won't regret it for a moment! Don't forget to check out Jason on his official website here.

Idol Takes on Motown Once Again

American Idol is in the third week of the finals, and once again the producers have the novel idea to make the kids sing selections from the Motown collection. The music is some of the best written in the last 50 years, and was responsible for some of the greatest vocals from the same period. Crusty opens the show with a black and white period piece, with kids dancing around him a la American Bandstand. Soon he his back in living color, and talking about the great history of Berry Gordy and Motown. It is a rich history, indeed. Soon Crusty is introducing the judging panel. Interestingly enough, it was Steven who made the most interesting statement, about the music having the rhythm of a kiss.



Casey is up first, singing I Heard It Through The Grapevine. The song was a big hit for Marvin Gaye, and was written by Norman Whitfield and Barrett Strong. Casey is doing a nice job with it, and is less pitchy than I thought he'd be. The judges are crazy for him, calling him an original. They are way more impressed than I am, but it was a big step up from last week. I think I still prefer to hear the great Marvin sing the song.



After the break, we find out Thia is singing (Love Is Like A) Heatwave, a hit for Martha and the Vandellas. It was written by the incredible team of Lamont Dozier, Brian Holland and Edward Holland, Jr. She wanted to sing an uptempo song, and that is what she plans to do! I am surprised, but I think she is doing a great job, bringing it up to date a bit, yet offering a nod to the great history of the song. There is an unfortunate moment with the lyrics toward the end. The judges are loving it tonight, and ignoring the slip. They like what they are hearing, and it reminds them why they chose her in the first place. Time for the next break.

Crusty tells us that Jacob is up next, singing You're All I Need to Get By. It was sung once again by the great Marvin Gaye, as a duet with the super Tammy Terrell. It was written by Nickolas Ashford & Valerie Simpson, who later had hits of their own on the charts. They keep talking about restraint before the song, and it would be nice to see. However, I don't hear that. His top-end is near screaming, and a bit shrill. However, Steven ran on stage to congratulate him, and the judges are falling over themselves about the performance. Randy tells him it is yet another of the greatest performances on the show ever. I am at a loss. There is a hug-fest, and some slight gay-joke. Cut it out, Crusty! Next up is Lauren, who is singing You Keep Me Hanging On, by the great Diana Ross and the Supremes. It is another classic song written by the team of Holland-Dozier-Holland. Lauren has a nice voice, and does a nice job with the song, but I have to admit I was thinking we'd get more. Again, the judges are loving her, predicting great things for her to come.

After the break, we return to Stefano singing a great song from Lionel Richie, Hello. Lionel wrote the song, and before he starts, Crusty mentions Season 8 winner David Cook having a big moment with is a few seasons ago. Stefano starts at 98%, and goes to 125% on the emotional chart. I would have liked to hear a bit more nuance, a bit more lyrical content. Wow, the judges kinda agree with me, they want more emotional connection. Stefano seems a bit shocked he is getting some negative feedback, even from Steven!



After the commercial, Gordon Ramsey rips on the food prepared by Stefano's mother, and we hear that Otis Williams, a founding member of the Temptations in the audience. We have Haley on stage to sing You've Really Got a Hold on Me, the great song by the Miracles, and written by lead singer Smokey Robinson. She comes walking down the steps as she is singing, and is sounding pretty good. In the chorus, she falls back on the forced growl, which is unfortunate. The judges are liking her very much, and J-Lo even says she has the most soulful voice in the competition, save maybe Jacob. Steven loves her growl, which I, of course, find forced and fake. They are glad she is back on form.

Country teen Scottie is on after the break. There is a clip of him sinking a basketball shot, for some unexplained reason. We discover that he will sing For Once In My Life, with a country spin. It was a hit for many artists, including Stevie Wonder. While he has a nice enough voice, his performance style is just cheese on a stick. It wasn't bad, just rather unexceptional. Steven loved it, and both Jennifer and Randy remark it was good, but not his best. But they love the low note he hits. Guess that forgives the lack of connection to the lyrics.

Pia is up next, singing Stevie Wonder's All In Love Is Fair. Written and recorded by Stevie in 1973, it is a great ballad, also recorded by Barbra Streisand the next year. She starts off rather nicely, but I have a tough time when about in the middle, she seems to confuse volume for emotion. Jennifer loved it, as did Randy, although he did want something other than ballad soon.



Paul is up after the commercial, and takes on Tracks Of My Tears by the great Smokey Robinson and the Miracles, written by Smokey. Paul pulls out the acoustic guitar, and loads the performance with his trademark quirk, looking at taking Motown in the Folk-Rock direction. The majority of the song is a bit sleepy for me, but the end is rather nice. Oddly, I am kinda agreeing with Randy. Steven loves it, as did J-Lo. There are not-so-vieled encouragements for the Cougar vote, I wonder if that will work.

After the break, Naima is due to perform. I am amazed that we are having a commercial break between all the performers in the later half of this show. Naima will be doing Dancing In The Streets by Martha & the Vandellas. I have to say, Naima is nailing it tonight, hitting the notes and performing like a pro, complete with the Dance break. I thought she was fantastic, her best so far. The judges are on board as well, and

After the commercial, James sings Living For The City by Stevie Wonder. His lack of control is painfully obvious from the start, another who is all smoke and no fire for me. The story part of the song at the beginning just laid there like a lead balloon on the stage. the judges loved him, although Randy does mention the slow start. J-Lo disagrees, but then again, it's J-Lo. Steven, of course, loves it.



This was a pretty good night for Idol, with no disasters, so to speak. No real train wreck, and it should make the contestants worry, cause there might just be a battle for the votes. Will this be the first time a guy is in the bottom 3? I think Haley will be in the bottom group, but not sure who will be joining her. I suspect Pia, Lauren, Scottie and Casey are safe, but the rest, well, there has to be a bottom 3, right? Will Naima fight her way out of the quicksand? During the recap, the clip was particularly kind to Stefano, could this mean trouble for him? Will Paul's connection with his guitar keep him safe? Will Casey or Thia be remembered by the voters nearly 2 hours after they opened the show? Guess we will have to wait until tomorrow to know for sure.