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HDH

Holland–Dozier–Holland (HDH), often abbreviated as H/D/H, was a pioneering American songwriting and record production team formed in 1962, consisting of brothers Brian Holland (composer and producer, born February 15, 1941), Eddie Holland (lyricist, born October 30, 1939), and Lamont Dozier (composer and producer, born June 16, 1941 – died August 8, 2022), all hailing from Detroit, Michigan.^[1]^[2] As the creative backbone of Motown Records during the 1960s, HDH shaped the label's signature "Sound of Young America" by writing, arranging, and producing over 400 songs that propelled the careers of iconic artists including the Supremes, Four Tops, Martha and the Vandellas, Marvin Gaye, and the Marvelettes.^[1]^[2] Their breakthrough came with the 1963 hit "Locking Up My Heart" for the Marvelettes, followed by a string of chart-toppers such as "Heat Wave" (Martha and the Vandellas, 1963), "Baby Love" (Supremes, 1964), "Stop! In the Name of Love" (Supremes, 1965), "I Can't Help Myself (Sugar Pie, Honey Bunch)" (Four Tops, 1965), and "You Can't Hurry Love" (Supremes, 1966), which collectively sold tens of millions of records and amassed over 100 million radio airplays.^[1]^[2] HDH's innovative approach blended sophisticated pop structures with soulful rhythms, catchy hooks, and emotionally resonant lyrics, revolutionizing the Motown sound and influencing the broader landscape of rhythm and blues and pop music.^[3] Their tenure at Motown ended in 1968 amid a royalty dispute with founder Berry Gordy, prompting them to depart and establish their own labels, Invictus Records and Hot Wax Records, where they continued their success with hits like "Want Ads" by Honey Cone (1971) and "Band of Gold" by Freda Payne (1970).^[2]^[1] Throughout their careers, HDH received numerous accolades, including induction into the Songwriters Hall of Fame in 1988 and the Rock & Roll Hall of Fame in 1990 as non-performers, the Johnny Mercer Award in 2009, and a star on the Hollywood Walk of Fame in 2015.^[1]^[2] The team's legacy endures as one of the most prolific and impactful creative forces in 20th-century popular music, with their compositions remaining staples of classic soul and Motown repertoires.^[3]

Formation and Motown Era

Origins and Team Assembly

In the early 1960s, brothers Brian and Eddie Holland joined Motown Records as staff songwriters, marking the beginning of their influential tenure at the label. Brian Holland, who had already contributed to the Marvelettes' 1961 hit "Please Mr. Postman," focused primarily on composing melodies and production, while Eddie handled lyrics and initially explored a performing career with his own single "Jamie," which reached the Top 30 on the Billboard Hot 100 that same year.^[4]^[5]^[6] Lamont Dozier entered Motown in 1962 following unsuccessful solo recording attempts with earlier groups like the Romeos and Voicemasters, bringing his skills as a songwriter and aspiring artist to the fold. Under the guidance of founder Berry Gordy, Dozier partnered with the Hollands, formalizing the trio known as Holland-Dozier-Holland (HDH) to address Motown's growing demand for in-house hitmakers amid intensifying competition from labels like Stax and Atlantic Records.^[7]^[1]^[8] Their first collaboration as HDH was "Locking Up My Heart" for the Marvelettes, released in February 1963 and reaching No. 44 on the Billboard Hot 100. This was quickly followed by "Come and Get These Memories," a track for Martha and the Vandellas that peaked at No. 29 on the Billboard Hot 100 later that year and established the team's signature blend of emotional lyrics, catchy hooks, and polished production.^[9]^[10]^[11]^[1] This partnership quickly became central to Motown's strategy of fostering internal creative competition among songwriters to sustain the label's rapid output of crossover hits.^[9]

Roles and Songwriting Process

In the Holland-Dozier-Holland (HDH) trio, Eddie Holland served as the primary lyricist, specializing in crafting emotionally resonant words that captured themes of love, longing, and heartbreak.^[12] His approach drew from personal experiences and conversations, often infusing lyrics with relatable storytelling to evoke deep emotional responses from listeners.^[12] This role allowed him to focus on vocal arrangements and guiding lead singers in the studio, ensuring the words aligned seamlessly with the artists' delivery.^[13] Brian Holland handled the production responsibilities, overseeing the arrangement of instrumentation and integrating the Motown "assembly-line" efficiency that characterized the label's output.^[14] He collaborated closely on musical foundations, directing studio musicians—such as drummers and bassists—to build layered tracks that supported the vocal elements.^[12] This production style emphasized a streamlined workflow, where defined roles enabled the team to maintain high productivity within Motown's fast-paced environment.^[13] Lamont Dozier contributed the melodic structures, including hooks and bridges, frequently initiating ideas through piano demos that set the tonal foundation for songs.^[14] As the central idea generator, he developed both musical and lyrical concepts before refining them with the brothers, often handling background arrangements and teaching parts to performers.^[13] His melodies were designed to complement Eddie's lyrics, creating a cohesive emotional arc.^[15] The HDH songwriting process began with the development of musical ideas and melodies before lyrics and full production elements were layered in.^[12] Dozier and Brian Holland would typically start at the piano, sketching out basic tracks with scratch vocals, while Eddie Holland composed lyrics separately to fit the emerging structure.^[12] This approach prioritized the core song elements first, allowing for rapid iteration and adaptation to artists' styles.^[14] The collaborative efficiency of this technique supported an extraordinary output rate, enabling the team to produce dozens of hits during their Motown tenure.^[16]

Key Productions and Hits

Work with The Supremes

Holland–Dozier–Holland (HDH) exclusively produced all ten of the Supremes' consecutive Billboard Hot 100 No. 1 singles from 1964 to 1967, marking a transformative period for the group and Motown Records.^[17] These hits included "Where Did Our Love Go" (1964), which topped the chart for two weeks; "Baby Love" (1964), holding No. 1 for four weeks; "Come See About Me" (1964); "Stop! In the Name of Love" (1965); "Back in My Arms Again" (1965); "I Hear a Symphony" (1965); "You Keep Me Hangin' On" (1966); "You Can't Hurry Love" (1966); "Love Is Here and Now You're Gone" (1967); and "The Happening" (1967).^[18] This unprecedented streak elevated the Supremes from a struggling act with no prior chart-toppers to Motown's flagship group, redefining their career trajectory.^[19] HDH tailored these songs specifically to lead singer Diana Ross's distinctive voice, emphasizing her breathy, teenage-like delivery in adult-themed narratives to create emotional immediacy and crossover appeal.^[4] Their productions featured lush orchestral arrangements, such as the elongated symphonic chords in "I Hear a Symphony," alongside rhythmic call-and-response elements like the signature "Ooh, ooh" hooks in "Baby Love" and handclaps in "Stop! In the Name of Love," which enhanced the songs' pop-R&B hybrid sound and dance-floor energy.^[4] This approach not only maximized Ross's vocal strengths but also incorporated sophisticated instrumentation from Motown's studio musicians, blending simplicity with layered depth to dominate both R&B and pop charts. The 1967 album The Supremes Sing Holland–Dozier–Holland served as a dedicated showcase for HDH's material, compiling recent hits like "You Keep Me Hangin' On" and "Love Is Here and Now You're Gone" alongside new tracks, all produced by the team to highlight the group's polished harmonies and evolving sophistication.^[20] Reaching No. 6 on the Billboard 200, the album underscored HDH's integral role in the Supremes' artistic peak.^[20] Overall, this collaboration transformed the Supremes into global pop icons and fueled Motown's commercial dominance, largely driven by the group's success.

Contributions to Other Motown Artists

Holland-Dozier-Holland (HDH) demonstrated their versatility by crafting hits for a range of Motown artists beyond the Supremes, infusing soulful R&B with pop accessibility and innovative arrangements. Their collaboration with The Four Tops began in 1964 and yielded several landmark singles that propelled the group to stardom. "Baby I Need Your Loving," released that year, marked their breakthrough, reaching number seven on the Billboard Hot 100 with its urgent, call-and-response vocals and driving rhythm section.^[21] This was followed in 1965 by "I Can't Help Myself (Sugar Pie, Honey Bunch)," which topped the Hot 100 and became a defining Motown anthem through its infectious hook and Levi Stubbs' emotive delivery.^[22] The team's momentum continued with "Reach Out I'll Be There" in 1966, another number-one hit that showcased orchestral swells and a gospel-inspired urgency, solidifying HDH's role in elevating the Four Tops to international prominence.^[23] HDH also contributed significantly to Marvin Gaye's early solo career, blending his smooth tenor with sophisticated lyrics and upbeat grooves. In 1963, "Can I Get a Witness" peaked at number 22 on the Hot 100, its testifying style drawing from gospel traditions while incorporating Motown's polished production.^[24] The following year, "How Sweet It Is (To Be Loved by You)" reached number six, celebrated for its joyful celebration of romance and Gaye's charismatic phrasing, which helped transition him from duet work to solo success.^[12] The team's influence extended to other Motown acts, particularly female-led groups and vocal ensembles, where they emphasized empowering themes and danceable energy. For Martha and the Vandellas, HDH produced "(Love Is Like a) Heat Wave" in 1963, a number one R&B hit that captured the intensity of infatuation with Martha Reeves' powerhouse vocals and a Latin-tinged beat.^[25] They followed with "Nowhere to Run" in 1965, which hit number eight on the Hot 100, its tense guitar riff and raw emotion highlighting the Vandellas' gritty soul style.^[25] Similarly, for The Isley Brothers, "This Old Heart of Mine (Is Weak for You)" in 1966 reached number 12 on the Hot 100, its buoyant tempo and harmonious interplay underscoring HDH's ability to adapt their formula to the group's dynamic range.^[26] Overall, HDH's output for these and other artists resulted in over 80 charting singles, masterfully blending R&B roots with pop and soul elements to define Motown's golden era sound.^[27]

Departure and Independent Ventures

Conflicts and Lawsuits with Motown

By the mid-1960s, tensions between Holland-Dozier-Holland (HDH) and Motown founder Berry Gordy escalated over inadequate royalties and limited creative control, despite the team's role in crafting numerous chart-topping hits that propelled the label's success.^[9] HDH sought renegotiated contracts for fairer profit-sharing, but Gordy refused, viewing their demands as a threat to his authority over the company's operations.^[28] These disputes highlighted broader frustrations within Motown's staff-driven model, where songwriters and producers like HDH operated under restrictive terms that prioritized the label's growth over individual compensation.^[9] The conflict reached a breaking point in late 1967 when HDH staged a work stoppage, halting song submissions and productions to pressure Motown for better terms; this walkout effectively led to their departure from the label in 1968.^[28] After leaving Motown, HDH used the pseudonym "Edythe Wayne"—derived from Eddie Holland's then-girlfriend—for songwriting credits on their initial independent releases to navigate the ongoing contractual restrictions from the dispute.^[9] Legal battles ensued, with Motown filing a breach-of-contract lawsuit against HDH in 1968 to enforce their exclusive agreement and prevent further independent work.^[28] HDH countersued, alleging unpaid royalties and seeking compensation for their contributions to Motown's catalog; the protracted litigation, one of the music industry's longest, drained resources on both sides and involved accusations of fraud and withheld earnings.^[28] The suits were settled out of court in 1977, though ongoing royalty claims extended into later years, ultimately benefiting lawyers more than the parties involved, according to Gordy.^[28] In the immediate aftermath, the unresolved disputes led to HDH being effectively blacklisted by major labels wary of Motown's influence, compelling the trio to navigate a challenging path toward self-reliance without access to established distribution networks.^[9]

Founding of Invictus and Hot Wax Records

After departing from Motown amid ongoing royalty disputes, the Holland-Dozier-Holland team—comprising Brian Holland, Lamont Dozier, and Eddie Holland—established Hot Wax Records in 1968 as their first independent venture, based in Detroit, Michigan.^[29] The label focused on soul and R&B acts, with initial distribution handled by Buddah Records, though the team soon expanded their operations. In 1969, they launched the sister label Invictus Records, also in Detroit, which was distributed by Capitol Records and served as a platform for a broader roster of artists.^[30] These labels allowed HDH to retain greater creative and financial control, producing and writing material for new talent while drawing on ex-Motown personnel for operations. The labels quickly achieved commercial success with standout hits that showcased HDH's signature upbeat, hook-driven sound. Invictus's inaugural major release, "Give Me Just a Little More Time" by the Chairmen of the Board in 1970, climbed to No. 3 on the Billboard Hot 100 and No. 8 on the R&B chart, selling over one million copies and earning gold certification.^[31] Another key Invictus hit was "Band of Gold" by Freda Payne in 1970, which reached No. 3 on the Billboard Hot 100.^[32] On Hot Wax, the girl group Honey Cone delivered the 1971 smash "Want Ads," which topped the Billboard Hot 100 for one week and the R&B chart for three weeks, also achieving gold status for over 500,000 units sold.^[33] Other notable acts included 100 Proof (Aged in Soul), whose 1970 Hot Wax single "Somebody's Been Sleeping" peaked at No. 8 on the Hot 100 and No. 6 on R&B, alongside releases from artists like the Flaming Ember. Collectively, Invictus and Hot Wax produced more than 20 charting singles between 1969 and 1973, spanning pop, R&B, and soul genres.^[34] Despite early triumphs, the labels faced mounting challenges from internal conflicts among the partners, exacerbated by creative differences and financial strains from royalty issues. By 1973, Lamont Dozier's departure due to these disputes marked a turning point, leading to Hot Wax's closure that year after cash flow problems and diminished output. Invictus continued briefly but declined similarly, folding in 1977; however, the labels' output during their peak sold over one million records in total, cementing HDH's influence in post-Motown soul production.^[9]

Later Career and Legacy

Reunions and Post-Motown Projects

Following their departure from Motown and the closure of their independent labels Invictus and Hot Wax in the mid-1970s, the members of Holland-Dozier-Holland pursued largely individual paths in the 1980s and 1990s, with occasional collaborative efforts. Lamont Dozier released his solo album Peddlin' Music on the Side in 1977 on ABC Records, featuring self-penned tracks blending soul, funk, and disco elements, including the single "Sight for Sore Eyes," which showcased his continued focus on melodic songcraft outside the Motown framework.^[35] Dozier also contributed to productions for artists such as Peabo Bryson, co-writing the 1987 duet "Without You" with Bryson and Regina Belle, which peaked at No. 14 on the Billboard Hot R&B/Hip-Hop Songs chart and No. 8 on the Adult Contemporary chart and highlighted his enduring influence on contemporary R&B. Meanwhile, Eddie Holland shifted his emphasis to music publishing, managing the extensive HDH catalog through affiliations with major firms, ensuring the longevity of their song rights amid evolving industry standards.^[24] Brian Holland maintained a lower production profile during this period but participated in a notable reunion with his former partners in 1983, when the trio produced the Four Tops' album Back Where I Belong for Motown, marking their first joint Motown project in over a decade.^[1] This collaboration stemmed from the Four Tops' return to Motown amid the label's 25th anniversary celebrations, though it did not lead to further group productions at the time.^[36] The most significant reunion came in 2009, when Holland-Dozier-Holland collaborated on the score for the musical adaptation of The First Wives Club, providing original music and lyrics for the production that premiered at the Old Globe Theatre in San Diego.^[37] The show, which reunited the trio after more than 30 years, incorporated their signature Motown-inspired sound but received mixed reviews for its book and pacing during subsequent tryouts, including a 2015 Chicago run; planned Broadway transfer was ultimately canceled due to creative and logistical challenges.^[38] No major joint projects followed in the 2010s, as health concerns limited their activities; the group was honored collectively with induction into the Michigan Rock and Roll Legends Hall of Fame in 2010.^[39] Lamont Dozier's death on August 8, 2022, at age 81 further curtailed possibilities for collaboration.^[40] In the 2020s, tributes to Holland-Dozier-Holland appeared in Motown-focused documentaries, such as the 2019 Showtime film Hitsville: The Making of Motown, which featured archival interviews and footage emphasizing their pivotal role in the label's golden era, underscoring their lasting cultural resonance without new joint endeavors. In 2024, a box set compiling hits and rarities from Invictus and Hot Wax was released, renewing interest in their post-Motown work.^[41]^[28]

Awards, Inductions, and Cultural Impact

Holland-Dozier-Holland received numerous accolades recognizing their pivotal role in shaping mid-20th-century popular music. In 1988, the trio was inducted into the Songwriters Hall of Fame for their prolific output of hit songs that defined the Motown era. Two years later, in 1990, they were honored as non-performers in the Rock & Roll Hall of Fame, acknowledging their innovative production techniques and songwriting that bridged R&B and pop.^[42] Additionally, in 1998, they were awarded the Grammy Trustees Award by the Recording Academy for their significant contributions to the recording industry.^[43] In 2003, BMI recognized their enduring legacy by presenting them with the BMI Icon Award at the 51st Annual Pop Awards, celebrating their catalog's influence on generations of musicians.^[44] In 2009, they received the Songwriters Hall of Fame's Johnny Mercer Award.^[45] In 2015, HDH received a star on the Hollywood Walk of Fame in the recording category.^[46] The team's commercial success is underscored by impressive performance metrics from BMI, which has awarded them 248 citations collectively, reflecting over 80 million radio and television airplays for their compositions.^[47] Their songs generated 14 number-one hits on the Billboard Hot 100, including iconic tracks for artists like the Supremes and the Four Tops, contributing to sales in the tens of millions of records worldwide during their Motown tenure.^[18] These achievements highlight their efficiency as a creative unit, often crafting multiple chart-toppers within a single year. Beyond formal honors, Holland-Dozier-Holland's cultural impact endures through their foundational influence on the Motown sound, characterized by sophisticated harmonies, driving rhythms, and relatable lyrics that popularized Black music with mainstream audiences. Their compositions have been widely sampled in hip-hop, with tracks like "Heat Wave" and "You Can't Hurry Love" repurposed by artists such as The Roots and J Dilla, bridging soul and modern genres.^[48] The 2002 documentary Standing in the Shadows of Motown, which explores the Funk Brothers' role in realizing HDH's visions, further amplified their legacy by drawing renewed attention to the behind-the-scenes architects of Motown's golden age.^[49] This body of work continues to inspire pop and R&B production, cementing HDH as architects of a timeless musical blueprint.

Individual Members

Brian Holland

Brian Holland was born on February 15, 1941, in Detroit, Michigan.^[5] As a teenager, he entered the Motown Records scene in 1961, initially contributing as a songwriter and producer; he co-wrote and co-produced the Marvelettes' breakthrough hit "Please Mr. Postman," which became Motown's first number-one single on the Billboard Hot 100.^[5] This early success marked his entry into the label's creative ecosystem, where he honed his skills amid the burgeoning soul music landscape of early 1960s Detroit. Within the Holland-Dozier-Holland (HDH) team, formed by 1963 with his brother Eddie Holland and Lamont Dozier, Brian served as the primary producer alongside Dozier, overseeing the musical arrangement and studio execution of their compositions.^[5] He pioneered elements of a "symphonic soul" production style, blending dense layers of strings and horns to create a lush, orchestral texture often likened to a Motown adaptation of the "wall of sound" approach, as heard in hits like the Four Tops' "Reach Out I'll Be There."^[50]^[51] This technique emphasized seamless integration of instruments—treating horns and strings almost as a unified entity—to drive the rhythmic and emotional intensity of tracks for artists including the Supremes and Marvin Gaye.^[50] Following HDH's departure from Motown in 1968 due to contractual disputes, Brian co-founded the independent labels Invictus Records and Hot Wax Records in 1969 with his HDH partners, where they continued producing soul and funk acts like Chairmen of the Board.^[5] In the post-HDH era, he maintained a production role, contributing to projects such as the score for the 2009 musical The First Wives Club, which premiered at the Old Globe Theatre in San Diego.^[5]) He is the younger brother of lyricist Eddie Holland, and the siblings' collaborative dynamic was central to HDH's workflow, with Brian often finalizing arrangements based on Eddie's vocal structures and Dozier's melodies.^[52] As of 2025, at age 84, Holland remains alive.

Eddie Holland

Edward James "Eddie" Holland Jr. was born on October 30, 1939, in Detroit, Michigan. Growing up in the city's vibrant music scene, he initially aspired to become an accountant and had no formal musical training, but his path shifted after auditioning for Barry Gordy in 1958 while still in high school.^[6]^[53] Holland signed with Motown Records as a vocalist in the late 1950s, releasing several singles that showcased his smooth R&B style. His early career highlight came in 1961 with "Jamie," which reached No. 30 on the Billboard Hot 100 and No. 6 on the R&B chart, marking one of Motown's first significant hits by a male solo artist. However, plagued by stage fright and the demands of live performances, Holland transitioned away from singing that same year, recognizing greater potential in songwriting and the royalties it offered.^[6]^[54] As a founding member of the Holland-Dozier-Holland (HDH) team alongside his brother Brian Holland and Lamont Dozier, Eddie served as the primary lyricist starting in 1962, crafting emotionally resonant and relatable narratives that became hallmarks of the Motown sound. His lyrics often drew from everyday experiences, emphasizing themes of love, patience, and heartache in accessible, conversational language. A prime example is "You Can't Hurry Love," a 1966 No. 1 hit for the Supremes, where Holland's words advise perseverance in romance through lines like "You can't hurry love / No, you just have to wait." Through HDH, he contributed to over 150 Motown chart entries, including 10 No. 1 singles for the Supremes alone.^[6]^[53]^[55] Following HDH's departure from Motown in 1968 amid contractual disputes— in which Holland was a key participant— he shifted focus to music publishing and artist management. He established Holland Brothers Music to oversee the team's catalog and took on executive roles at Invictus Records, the independent label he co-founded with his brother and Dozier in 1969, where he managed acts and helped produce soul and funk releases. By the 1980s, Holland had largely semi-retired from active involvement in the industry, prioritizing behind-the-scenes work over public engagements.^[56]^[53]^[6] Throughout his career, Holland has maintained a low public profile, avoiding the spotlight that defined many Motown figures and rarely granting interviews. In the 2010s, he participated in family-oriented tributes, including discussions at the Motown Museum honoring HDH's legacy alongside his brother Brian. As of 2025, at age 86, Holland remains alive and occasionally involved in commemorative events tied to his songwriting contributions.^[6]^[54]^[57]

Lamont Dozier

Lamont Dozier was born on June 16, 1941, in Detroit, Michigan, where he grew up immersed in the city's vibrant musical scene.^[40] As a child, he began writing lyrics and composing music before his teenage years, influenced by gospel and R&B sounds prevalent in local churches and clubs.^[58] Dozier started his professional career performing with doo-wop groups such as the Romeos and the Voicemasters, and he released several unsuccessful solo singles on Anna Records, a label founded by Berry Gordy's sister Gwen, in the late 1950s and early 1960s.^[59] In 1962, he signed exclusively with Motown Records as a singer, songwriter, and budding producer, marking the beginning of his rise within the label's creative ecosystem.^[7] Within the Holland-Dozier-Holland (HDH) team, Dozier played a pivotal role as the primary melody composer, collaborating closely with Brian Holland on musical arrangements and production while Eddie Holland focused on lyrics.^[60] This division of labor allowed HDH to craft a signature sound characterized by infectious hooks and sophisticated harmonies, with Dozier's contributions particularly shining in uptempo soul tracks that drove Motown's chart dominance during the mid-1960s.^[13] His melodic sensibilities helped bridge lyrical storytelling with rhythmic energy, resulting in timeless hits that defined the era's pop-soul crossover appeal.^[61] Following his departure from Motown and HDH in 1968 amid contractual disputes, Dozier embarked on a solo recording career, achieving his biggest success with the 1972 single "Why Can't We Be Lovers," which peaked at No. 9 on the Billboard R&B chart. He released his debut solo album, Out Here on My Own, in 1973 on ABC Records, showcasing his versatile songwriting in a blend of soul and funk styles.^[62] In the 1980s, Dozier collaborated with Phil Collins, co-writing and co-producing the upbeat duet "Two Hearts" for the 1988 film Buster, which topped the Billboard Hot 100 and earned a Golden Globe nomination.^[63] Dozier passed away on August 8, 2022, at his home near Scottsdale, Arizona, at the age of 81.^[64] In his later years, Dozier reflected on his career through his 2019 memoir, How Sweet It Is: A Songwriter's Reflections on Music, Motown, and the Mystery of the Muse, offering insights into his creative process and experiences at Motown.^[65] The book highlights his melodic talents and the collaborative dynamics that fueled HDH's success, while also detailing his independent ventures, including hits produced for artists on his own labels.^[14]

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The heart of the machine: H/D/H were songwriters, producers, magicians. They shaped “the Sound of Young America” and skyrocketed Motown.
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Give Me Just A Little More Time - The Chairmen Of The Board
The song was also a # 8 hit on the Billboard R&B chart and a # 3 hit on the UK Singles chart. One million in sales of the record was confirmed in May of 1970, ...
[33]
Forever No. 1: The Honey Cone's 'Want Ads' - Billboard
Sep 14, 2020 · Here, we honor the late Edna Wright of The Honey Cone by diving into the group's lone Hot 100 chart-topper, the early-'70s pop-soul gem “Want ...
[34]
"Somebody's Been Sleeping" (100 Proof (Aged in Soul))
Jan 21, 2025 · This single, on Hot Wax Records, was released in September of 1970 and peaked at #8 on the Billboard Hot 100 and #6 on Billboard's R&B chart. “ ...
[35]
Peddlin' Music on the Side - Lamont Dozier | A... | AllMusic
Rating 7.8/10 (8) Peddlin' Music on the Side by Lamont Dozier released in 1977. Find album reviews, track lists, credits, awards and more at AllMusic.Missing: solo | Show results with:solo
[36]
The Temptations and The Four Tops - Mayo Performing Arts Center
” By 1983, riding the wave of the company's 25th anniversary celebration, the Tops were back with Motown and H-D-H. The reunion resulted in the R&B Top 40 ...
[37]
Holland-Dozier-Holland Bound for Broadway | News | BMI.com
Aug 7, 2009 · Bound for Broadway, The First Wives Club will continue its run at the Old Globe Theatre through August 23. Performances are Sunday, Tuesday and ...
[38]
Pre-Broadway Review: 'First Wives Club,' The Musical - Variety
Mar 12, 2015 · It's a shame, because Prince and Sherrill and Cusack all have comic and vocal chops, but those talents are never given an opportunity to shine.
[39]
BRIAN HOLLAND-LAMONT DOZIER-EDDIE HOLLAND
The first official H-D-H collaboration was “Dearest One”, a Lamont Dozier single released on Motown's Mel-O-Dy subsidiary in the summer of 1962. Eddie kept ...
[40]
Lamont Dozier, Writer of Numerous Motown Hits, Dies at 81
Aug 9, 2022 · Lamont Dozier, the prolific songwriter and producer who was crucial to the success of Motown Records as one-third of the Holland-Dozier-Holland team, died on ...Missing: percentage | Show results with:percentage
[41]
Hitsville: The Making of Motown (2019) - IMDb
Rating 7.9/10 (1,935) Documentary film that focuses on the period beginning with the birth of Motown in Detroit in 1958 until its relocation to Los Angeles in the early 1970s.
[42]
Holland, Dozier and Holland | Rock & Roll Hall of Fame
Born and raised in Detroit, Holland, Dozier and Holland cranked out hits with the regularity of the auto plants they grew up surrounded by.
[43]
https://www.grammy.com/awards/trustee-awards
[44]
2003 BMI Pop Awards: Holland-Dozier-Holland | News | BMI.com
May 13, 2003 · ... 100 million radio and television broadcast performances. Holland-Dozier-Holland were inducted to the Rock and Roll Hall of Fame in 1990 ...
[45]
About | BMI History | BMI.com
The legendary trio of Holland-Dozier-Holland – principal creators of the early Motown sound – have collectively earned 248 BMI Awards and their songs have ...
[46]
5 Mind-Blowing Facts About Holland-Dozier-Holland - Funkologie
Aug 23, 2024 · Holland-Dozier-Holland wrote an impressive 25 number-one hit singles, cementing their status as one of the most successful songwriting teams in music history.
[47]
Holland-Dozier-Holland - Samples, Covers and Remixes
Strong Island by J.V.C. F.O.R.C.E. (1987) · Megablast (Hip Hop on Precinct 13) (7" Mix) by Bomb the Bass (1988) · Dat Scat by The Roots (1994).
[48]
Standing in the Shadows of Motown (2002) - IMDb
Rating 7.8/10 (3,976) Standing in the Shadows of Motown: Directed by Paul Justman. With Richard ... by Brian Holland, Lamont Dozier and Eddie Holland (as Edward Holland Jr.)
[49]
A Sweet 'Boy' and a Pacesetting Trio - Adam White
May 22, 2020 · “It was one of the very first songs I did,” Brian Holland ... horns, strings – almost as one and blend these instruments almost as one.
[50]
Soul Train – Golden Age Producers | Music - Krystal Alliance
Dec 14, 2024 · ” Among the most prominent producers at Motown were (Brian) Holland ... Their productions were characterised by smooth string arrangements, horns ...
[51]
Brian Holland | NAMM.org
May 12, 2004 · Brian Holland and his brother Eddie are among the most popular songwriting teams in the history of popular music!
[52]
Edward Holland | Songwriters Hall of Fame
As part of the Holland/Dozier/Holland (HDH) production and songwriting axis, Eddie Holland helped pioneer the classic Motown sound of the 1960s.Missing: lyricist examples
[53]
Eddie Holland | NAMM.org
May 12, 2004 · Eddie Holland gained worldwide fame as a Motown Record's songwriter and music publisher along with his brother Brian.
[54]
100 Greatest Girl Group Songs of All Time: Critics' Picks - Billboard
Jul 10, 2017 · 1. The Ronettes, “Be My Baby” (1963) · 2. TLC, “Creep” (1994) · 3. The Shirelles, “Will You Love Me Tomorrow?” (1961) · 4. The Supremes, “Where Did ...
[55]
Motown Hitmaker Eddie Holland: 'Nobody Argues More ... - Billboard
Dec 3, 2019 · Their departure from Motown to start their own labels, Invictus and Hot Wax Records, led to lawsuits and countersuits over breach of contract, ...Missing: semi- | Show results with:semi-
[56]
Eddie Holland - Who's Alive and Who's Dead
Eddie Holland. Alive. Born: 10/30/1939 in Detroit, Michigan, USA Age: 86. Full name: Edward Holland Jr. Noted For: songwriter; partner of Lamont Dozier and ...
[57]
Lamont Dozier | Songwriters Hall of Fame
Reflecting on the 60's Motown collaboration with the Holland's, Dozier said that he and the Hollands had no idea in the '60s what impact their songs were ...
[58]
https://www.songhall.org/profiles/lamont-dozier
[59]
Lamont Dozier, Motown songwriting-production great, dies at 81
Aug 9, 2022 · A royalties dispute with Gordy and Motown prompted Holland-Dozier-Holland to leave the company in 1967. Amid what would become a decades ...Missing: percentage | Show results with:percentage
[60]
Lamont Dozier | NAMM.org
Lamont Dozier was one of the most successful songwriters in popular music history. From 1962-1967 he teamed with Brian and Eddy Holland to write a string of ...Missing: HDH | Show results with:HDH
[61]
https://www.namm.org/library/oral-history/lamont-dozier
[62]
The Number Ones: Phil Collins' "Two Hearts" - Stereogum
Jun 21, 2021 · To properly evoke that feeling, Collins worked with the great Motown songwriter Lamont Dozier, who'd been one third of the unstoppable Holland- ...
[63]
Lamont Dozier, Motown Songwriter of Countless Classics, Dead at 81
Aug 9, 2022 · Dozier was born in Detroit on June 16, 1941 and launched his career in music as a singer, performing with various local doo-wop groups like the ...Missing: biography early
[64]
Motown's Lamont Dozier looks back on success ... - Detroit Free Press
Nov 24, 2019 · The memoir chronicles Dozier's impoverished but largely cheerful early life in Detroit, his high-pressure Hitsville heyday, his label startups with the ...