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/ 25 February 2021 1200 Views Dusty Springfield’s soul credentials were firmly established when, in April 1965, she co-devised and presented a special edition of the TV pop show Ready Steady Go! dedicated to the thrilling music coming out of Detroit. Subtitled The Sounds Of Motown, it gave key UK exposure to the likes of The Supremes, Temptations, Stevie Wonder, Marvin Gaye and Smokey Robinson. The visitors’ British cheerleader also got to be a Vandella for the night, joining Martha Reeves and mates for lively renditions of Wishin’ And Hopin’ and Can’t Hear You No More. Yet Springfield’s own recorded output of the time remained rooted in more traditional pop melodrama. Occasional torch-like testifying numbers such as I Just Don’t Know What To Do With Myself hinted at something deeper or richer, but for the most part she plied her trade via orchestra-heavy bombast (All I See Is You, I Close My Eyes And Count To Ten, and her sole chart-top ....
The Pointer Sisters performing in New York City in 1983, the year the group released its album em Break Out /em , which included four top 10 hits. If you spun the dial of your AM/FM radio on any given day in the early 1980s, chances are you heard a Pointer Sisters record. The group was in heavy rotation in a variety of formats whose playlists included Duran Duran, Bruce Springsteen and the Human League or Patti LaBelle and Earth, Wind and Fire. The electro-pop sound of the Pointer Sisters Jump (For My Love), Automatic or Neutron Dance dominated the charts during the first half of the decade. The popularity of these records rested in the accessibility of their lyrical content and melodic structure and the hypnotic nature of their rhythms. Anyone could sing Jump for My Love after hearing the chorus once; after Neutron Dance was featured prominently in Eddie Murphy s breakout film ....