R.I.P. to a Motown tunesmith and a pop icon

The talented musicians, songwriters and entertainers who dominated the charts in the ’60s, ’70s and into the ’80s have been passing away with disconcerting regularity lately. Not surprisingly, some of them were important and influential to me, responsible for songs and/or albums that rank high among my musical preferences. Others, while wildly popular among many listeners, were never really my cup of tea. Such is the case with two notable deaths this week, both of whom I feel are worthy of a detailed look back.


Because they work their magic behind the scenes instead of on stage, songwriters are often not widely known by name. That’s probably the case with Lamont Dozier, who died August 8th at age 81.

Dozier is partly responsible for many of the biggest hits to come from the legendary R&B artists at Motown Records in the 1960s. He teamed up with songwriting brothers Brian and Eddie Holland while they were all in their mid-20s and became Motown’s most successful songwriting team. Holland-Dozier-Holland, as they were known, composed an astounding TEN #1 singles for The Supremes between 1964 and 1967: “Where Did Our Love Go,” “Baby Love,” “Come See About Me,” “Stop! In the Name of Love,” “Back In My Arms Again,” “I Hear a Symphony,” “You Can’t Hurry Love,” “You Keep Me Hanging On,” “Love Is Here and Now You’re Gone” and “The Happening.”

The Supremes (L-R: Cindy Birdsong, Mary Wilson and Diana Ross) with Ed Sullivan

As if that wasn’t remarkable enough, the trio also wrote the bulk of the hits registered by The Four Tops: “Baby I Need Your Loving,” “I Can’t Help Myself (Sugar Pie, Honey Bunch),” “It’s the Same Old Song,” “Reach Out I’ll Be There,” “Standing in the Shadows of Love” and “Bernadette.”

Hang on, I’m not done. Dozier and Company also wrote “How Sweet It Is (To Be Loved By You)” for Marvin Gaye (later a hit for James Taylor) as well as “Baby Don’t You Do It” (later covered as “Don’t Do It” by The Band), plus “You’re a Wonderful One” and “Can I Get a Witness.”

More? You bet: “Heat Wave,” “Nowhere to Run” and “Jimmy Mack” for Martha and The Vandellas; “This Old Heart of Mine” for The Isley Brothers; and “I’m a Road Runner” for Jr. Walker and The All-Stars.

These were just the biggest hits out of an enviable catalog that included many dozens of lesser singles for these and other acts. Talk about prolific!

“Brian and Eddie and I, we had a special kind of chemistry,” Dozier said for a 2003 Rolling Stone article. “It was like being at the carnival and hitting that bell. Bam! Number One! Bam! Number One! Bam! Number One! When we weren’t doing that with The Supremes, we were over here with the Four Tops. Bam! It was just surreal.”

Dozier (seated) with Brian and Eddie Holland, 1965

As too often happens in the music business, Holland-Dozier-Holland got involved in an ugly, lengthy contract dispute with Motown mogul Berry Gordy in 1967 over profit-sharing and royalties, which wasn’t settled for more than a decade. The trio went out on their own label, but without Motown’s promotional muscle, they weren’t able to sustain as much commercial success. Still, a few of H-D-H’s songs climbed the charts with other artists, most notable Freda Payne’s #1 smash “Band of Gold” and Chairman of the Board’s #3 hit “Give Me Just a Little More Time.”

Dozier, born in Detroit in 1941, had begun his career as a singer with local doo-wop groups like The Romeos and The Voicemasters, so it wasn’t out of his wheelhouse to return to recording his own songs in 1972. He enjoyed some success on the R&B charts and had a #15 pop hit with 1974’s “Trying to Hold On To My Woman.”

He enjoyed a resurgence as a songwriter in the ’80s when his song “Invisible” was a #21 UK hit and a #31 US hit for singer Alison Moyet. Then he teamed up with the ubiquitous Phil Collins to write “Two Hearts,” a #1 smash from the 1988 British film “Buster.” It won a Golden Globe for Best Original Song from a film, and was nominated for an Oscar and a Grammy as well. From that “Buster” soundtrack LP, Dozier also wrote “Loco in Acapulco” for The Four Tops.

Holland-Dozier-Holland were inducted in the Songwriters Hall of Fame in 1988 and the Rock and Roll Hall of Fame in 1990.

Dozier, circa 2005

In a 2019 interview, Dozier was humble in discussing his legacy. “Everything I wrote or co-wrote, I give credit to God, the master muse,” he said. “I thank him for letting me put my name on his music. That’s how I look at it. I don’t read music, and I can’t write it out either. I did it all by ear and feeling when I sat down at the piano. I’m stunned that I still hear all those songs over and over. It still hasn’t let up. It’s amazing. I thought some of it wouldn’t last a day. But it’s been here and all over the world for 60 years, and that’s a great feeling.”


For more than 50 years, Olivia Newton-John — wholesome songstress, iconic actress, sexy pop star, committed activist — has been in the public eye, and her worldwide legion of admirers shed a collective tear August 8 when she died at age 73, succumbing to a long battle with cancer.

Newton-John, 1974

Full confession: I’ve never been much of a fan of Newton-John’s music. I found her stuff to be way too cloying and middle-of-the-road for my rock and roll tastes, although she did adopt a more aggressive, uptempo approach for a while. To be fair, I haven’t really been a part of her demographic, so my opinion matters not at all to her millions of fans. I can say that I have enormous respect for her, both as an entertainer who gave her audience what they wanted, and as a strong woman of integrity who showed uncommon dedication to important health and environmental causes. By all accounts, she was a kind-hearted soul who embraced life.

She is most widely known as the goody-goody exchange student Sandy in the 1978 film version of the Broadway musical “Grease,” who radically transforms herself into a sexy vixen in order to win the heart of Danny, her erstwhile love interest played by John Travolta.

“My dearest Olivia, you made all of our lives so much better,” said Travolta this week in an Instagram post. “Your impact was incredible. I love you so much. We will see you down the road and we will all be together again. Yours from the first moment I saw you, and forever! Your Danny, your John!”

Born in Cambridge, England, Newton-John was just 6 when her family moved to Melbourne, Australia. She was 14 when she formed her first group, Sol Four, with three girls from school. Program directors at local Australian TV stations, enamored by her voice and charisma, began featuring her in solo performances under the name “Lovely Livvy.” At 18, she came in first in a talent contest and won a trip to Britain, where she recorded her first single, “’Til You Say You’ll Be Mine” (although it failed to chart).

Her first chart appearance came in 1971 with a cover of Bob Dylan’s “If Not For You,” which reached #7 in the UK, #25 on the US pop chart and her first #1 on the US “adult contemporary” (read: easy listening) chart. This kicked off a run of five pristine, quasi-country singles that established her presence on Top 40 radio through the mid-’70s: “I Will Be There,” “If You Love Me (Let Me Know),” “I Honestly Love You,” “Have You Never Been Mellow” and “Please Mr. Please.” This was all pretty featherweight stuff, a Record of the Year Grammy notwithstanding.

That all changed in 1978 when Newton-John was cast in “Grease.” Critics couldn’t ignore the fact that she not only turned in a winning acting performance but also gave the mega-platinum soundtrack album its biggest hits: “Summer Nights,” “Hopelessly Devoted to You” and especially “You’re the One That I Want,” her duet with Travolta that served as the film’s finale after she’d morphed into the tough chick. That new image — big hair, skintight black pants, off-the-shoulder black top, red stiletto heels, vamped-up makeup — was the one that adorned many a teenage bedroom wall.

Applying the evolution of her “Grease” character to her singing career, Newton-John titled her next album “Totally Hot,” complete with an album cover clad in shoulder-to-toe leather. The singles “A Little More love” and “Deeper Than the Night,” which peaked at #3 and #11 respectively, offered more aggressive rock flavorings than in the past, and her fan base went along for the ride.

In 1980, her next film, the musical fantasy “Xanadu,” was a box-office disaster (although it did great business when revived on Broadway years later). The soundtrack album, though, was another big success, thanks to the #1 single “Magic” and her collaboration with Electric Light Orchestra on the title track.

Her savvy management should get credit for her next move, which was to position her as a sort of exercise fitness queen in the Jane Fonda Aerobics mold on the cover of her 1981 LP “Physical.” She gave the music video industry and MTV a shot in the arm with a suggestive video often depicting buff hardbodies in Speedos working out around Newton-John’s instructor as she sang the double entendre lyrics.

Hank Stuever, in a commentary in The Washington Post this week, wrote: “You can hear ‘Physical’ a hundred times, maybe a thousand, before you really hear what it’s about, and it’s not exercise. It’s a woman taking control of seduction, claiming for herself the tactics usually deployed by men: the flirtation, the dinner, the movie, the horny insistence. ‘There’s nothing left to talk about, unless it’s horizontally… /I’ve been patient, I’ve been good, tried to keep my hands on the table, /It’s gettin’ hard, this holdin’ back, you know what I mean… /You gotta know that you’re bringin’ out the animal in me, /Let’s get physical, physical…‘ Although Newton-John would not survive a coming onslaught of the far more suggestive pop hits of Prince and Madonna and beyond, she showed us a door to a kind of forbidden zone, if you chose to go through it, and naturally, we did.”

The song, of course, went through the roof, setting records by remaining in the #1 slot for a ridiculous 10 weeks in 1981. An international tour, a greatest hits package with a hot new single (“Heart Attack”) and an HBO special all followed in rapid succession. It seemed the world couldn’t get enough of The New Olivia. Reuniting her with Travolta in the 1983 film “Two Of a Kind” proved to be a misfire, although the single “Twist of Fate” was yet another Top Five single.

By 1985, she was a wife and a mom, and consequently put her career on hiatus for a while. When she re-emerged in 1989 with “Warm and Tender,” an album of lullabies for parents and their children, few people bought it, with fans deciding they preferred the new pop sensations like Debbie Gibson and Tiffany.

At age 44, she was diagnosed with breast cancer, and her life took on a whole new mission. She threw herself headlong into advocacy work for cancer research and self-examination, which augmented the efforts she had already been making on behalf of other health and environmental concerns. She established the Olivia Newton-John Foundation Fund that remains active to this day.

It gave me pause this week to see a quote attributed to her from a 2019 interview with Rolling Stone regarding her audience-friendly approach to music: “It annoys me when people think because it’s commercial, it’s bad,” she said. “I think it’s completely the opposite. If people like it, that’s what it’s supposed to be.”

Fair enough. Rest in peace, Olivia.


I have compiled two Spotify lists below, one featuring the songs written by Lamont Dozier, and another that highlights Olivia Newton-John’s biggest hits.

Have you got the information??

Here at Hack’s Back Pages,” I’m continually providing bits of what I hope you find interesting music trivia, and now and then, I like to share these facts in the form of a quiz to test my readers’ knowledge.

Go ahead, give Rock Music Trivia Quiz #4 a shot! You might know more than you think you do.


1. Who was the first of these female artists to have a #1 single in the U.S.?

Petula Clark

Dusty Springfield

Lesley Gore

Dionne Warwick

2. Which David Bowie album features Stevie Ray Vaughan’s guitar work on most tracks?

“Scary Monsters” (1980)

“Let’s Dance” (1983)

“Heroes” (1977)

“Tonight” (1984)

3. Which of these four songwriters did NOT have one of their songs turned into a Three Dog Night hit single?

Randy Newman

Laura Nyro

Harry Nilsson

Carole King

4. Who was Neil Young singing about in his hit “Old Man”?

His grandfather

The caretaker of his ranch

His high school music teacher

B.B. King

5. Which major songwriter wrote this iconic line of lyric: “I was so much older then; I’m younger than that now”?

Paul Simon

Joni Mitchell

Bob Dylan

John Lennon

6. Which of these fine guitarists did NOT made a guest appearance on a Steely Dan record?

Rick Derringer

Eric Clapton

Mark Knopfler

Larry Carlton

7. Who had the most Top Ten singles on U.S. charts during the disco era (1974-1980)?

The Bee Gees

Donna Summer

K.C. & The Sunshine Band

Kool and The Gang

8. What album from 1973 is the only solo Beatles album to feature all four Beatles on it?

“Mind Games,” John Lennon

“Ringo,” Ringo Starr

“Band on the Run,” Paul McCartney

“Living in the Material World,” George Harrison

9. In the 1980s, Michael Jackson’s “Thriller” was far and away the most popular album, holding on to the #1 spot on Billboard’s Top Albums an incredible 37 weeks in 1983-84. What album ranked second behind “Thriller” for most weeks at #1 in the 1980s?

“Synchronicity,” The Police

“Hi Infidelity,” REO Speedwagon

“Purple Rain,” Prince

“Whitney Houston,” Whitney Houston

10. Which hit single by Creedence Clearwater Revival was NOT written by singer John Fogerty?

“Lookin’ Out My Back Door”

“Fortunate Son”


“Proud Mary”

Extra credit question!

There are several examples of different Top Ten songs that share the same title. Which song title below has been used on more Top Ten hits than the others?















1 Lesley Gore

Gore was only 17 when “It’s My Party” rocketed to #1 in June 1963. Petula Clark’s #1 hit “Downtown” didn’t come until January 1965. Dionne Warwick’s early hits failed to reach #1, and she didn’t reach the top spot until 1974 with “Then Came You.” Dusty Springfield’s “You Don’t Have to Say You Love Me” was #1 in England in 1966 but peaked at #4 in the U.S.; she never had a #1 hit here.

Stevie Ray Vaughan and David Bowie, 1983

2 “Let’s Dance”

In 1982 at the Montreux Jazz Festival in Switzerland, Bowie first heard Austin, Texas-based blues guitarist Stevie Ray Vaughan, then mostly unknown, and when the time came to record “Let’s Dance,” Bowie tracked Vaughan down and enlisted him to overdub lead guitar solos on six of the album’s eight tracks, most notably on “Criminal World,” “Cat People (Putting Out Fire)” and the title track. It was the only time Vaughan appeared on a Bowie album.

Carole King and Gerry Goffin

3 Carole King

King, usually with her then-husband Gerry Goffin, wrote many hits for other artists (“I’m Into Something good” for Herman’s Hermits, “Don’t Bring Me Down” for The Animals and “Pleasant Valley Sunday” for The Monkees, among others). But Three Dog Night never recorded one of her tunes. The vocal trio did record Randy Newman’s “Mama Told Me Not To Come,” Laura Nyro’s “Eli’s Comin'” and Harry Nilsson’s “One.”

4 “Old Man” was written about the caretaker on Neil Young’s ranch

In 2006, Young explained the origin of “Old Man”: “Being a rich hippie for the first time, I had purchased a ranch, and there was a couple living on it who were the caretakers, an old gentleman named Louis Avila and his wife Clara. Louis took me for a ride in his blue Jeep, and he gets me up there on the top side of the place, and there’s this lake up there that fed all the pastures, and he says, ‘Well, tell me, how does a young man like yourself have enough money to buy a place like this?’ And I said, ‘Well, just lucky, Louis, just real lucky.’ And he said, ‘Well, that’s the darnedest thing I ever heard.’ And I wrote this song for him.”

5 Bob Dylan wrote “I was so much older then; I’m younger than that now” in “My Back Pages”

By the time of his fourth album, appropriately titled “Another Side of Bob Dylan,” he had begun to veer away from what he called “finger-pointing songs” that took issue with political leaders. Music critic Tim Riley said the new material “constituted a decisive act of non-commitment… in which he renounced his over-serious messianic perch and disowned false insights.” Dylan would occasionally return to so-called protest songs in his career, but at that point, he was eager to show a sense of humor and idealism, as shown in the song “My Back Pages.”

6 Eric Clapton

Rick Derringer played on three Steely Dan songs — “Show Biz Kids,” “Chain Lightning” and “My Rival.” Mark Knopfler guested on the single “Time Out of Mind.” Larry Carlton was almost a regular member, playing on “Daddy Don’t Live in New York City No More,” “Kid Charlemagne,” “Don’t Take Me Alive,” “Everything You Did,” “The Royal Scam,” “Third World Man” and five out of seven tunes on the “Aja” album. Eric Clapton was either never asked or declined to participate in any Steely Dan session.

7 Donna Summer

“The Queen of Disco” compiled 10 Top Ten disco hits between 1974-1980: “Love to Love You Baby,” “I Feel Love,” “Last Dance,” “MacArthur Park,” “Heaven Knows,” “Hot Stuff,” “Bad Girls,” “No More Tears,” “On the Radio,” “The Wanderer.” KC & The Sunshine Band accumulated seven hits in the Top Ten in those years; and The Bee Gees and Kool and The Gang both had five Top Ten disco hits (they had more hits before and after the era in question, of course).

8 “Ringo”

As the album’s back cover indicates, the “Ringo” album includes songs written by each of Starr’s former bandmates. Lennon wrote, played piano and sang on “I’m the Greatest”; McCartney wrote, played keyboards and sang on “Six O’Clock”; and Harrison wrote or co-wrote, played guitar and sang on “Photograph,” “Sunshine Life For Me” and “You and Me Babe,” although the four of them never played together on the same track. Ringo played drums on George’s “Living in the Material World” LP, but no other ex-Beatle played on John’s “Mind Games” nor Paul’s “Band on the Run.”

9 “Purple Rain,” Prince and the Revolution

A few months after “Thriller” completed its amazing reign at #1, Prince’s soundtrack album to his “Purple Rain” feature film began its own remarkable run as the #1 album, lasting 24 weeks. REO Speedwagon’s “Hi Infidelity” cornered the market as the #1 album for 21 weeks in 1981; The Police’s final album “Synchronicity” held the top spot for 17 weeks in 1983; and Whitney Houston’s debut album was #1 for 14 weeks in 1985.

10 “Suzie-Q”

Virtually every song Creedence Clearwater Revival ever recorded was written by their singer/guitarist, John Fogerty. There were exceptions — they did some fine cover versions of songs like “Good Golly Miss Molly,” “The Night Time is the Right Time,” “Before You Accuse Me” and even an 11-minute jam on “I Heard It Through the Grapevine,” but these were all deep album tracks. The only bonafide hit single Creedence had that Fogerty didn’t write was “Suzie-Q,” written by Dale Hawkins in 1957, which reached #11 in 1968 as the band’s first chart appearance.

Extra credit: “Lady”

There have been four different hit songs entitled “Lady” — Styx in 1975 (#6); Little River Band in 1979 (#10); Kenny Rogers in 1980 (#1); and The Commodores in 1981 (#8).

Three hit songs use the title “Magic” — Pilot in 1975 (#5); Olivia Newton-John in 1980 (#1); and The Cars in 1984 (#12).

Three hit tunes have the title “Fire” — Crazy World of Arthur Brown in 1968 (#2); Ohio Players in 1975 (#1); and The Pointer Sisters in 1979 (#2). (Jimi Hendrix had a ferocious rocker called “Fire,” but it wasn’t a single.)

As for the title “Venus,” it was a #1 hit for Frankie Avalon in 1959, and then a different “Venus” was a #1 hit for Shocking Blue in 1970, and a cover of Shocking Blue’s tune by Banamarama also reached #1 in 1986.