And then…it just picked up and nothing stopped it. David Cassidy and his stepmother Shirley Jones were the only cast members of the TV series who appeared on the group's recordings, and Jones says, "I did very little…I literally was the backing vocals for David. I never thought I'd have a gold record…it hangs on my wall and I'm very proud of it.

After struggling for 15 years, the group scored a No. It was the second single, "Love Rollercoaster," that returned the group to pole position. Asked to submit another song, they sent "Waiting for a Star to Fall," and when the answer was no, they recorded it themselves as Boy Meets Girl. Four months after he was No. A hitless Vinton was about to be dropped by Epic, when he found this song in a reject pile and asked to be given one more chance. The label agreed to a second session with a new arrangement, added strings and a vocal choir and the result was a No.

It still never gets old, no matter how many times I sing it. Lulu hated the songs the producers of the film "To Sir With Love" were considering for the soundtrack. She asked her friend Mark London to write a title song she could sing. He composed the music in five minutes and the next day Don Black wrote the lyrics. Right after she was signed to Columbia, Carey wrote her debut single with Ben Margulies. That's What Love Will Do.

Natural Born Bugie. Humble Pie. Track Listing - Disc 3. In The Summertime. Mungo Jerry. You To Me Are Everything. The Real Thing. Band Of Gold.

Freda Payne. Chairmen of the Board. Kung Fu Fighting. Carl Douglas. Get Dancin'. Disco Tex and the Sex-O-Lettes. Dancing On A Saturday Night. Barry Blue. Where Did Our Love Go. Donnie Elbert. Indian Reservation. Don Fardon. Mouldy Old Dough. Lieutenant Pigeon. Banner Man.

Stephanie de Sykes. Galaxy Of Love. Dozier recorded a few unsuccessful records for various Detroit labels before the trio started working together as a writing and production team for Motown in In , "Where Did Our Love Go" became the first of ten number 1 pop hits which Holland—Dozier—Holland would write and produce for the Supremes over the next three years or so.

Dozier departed from Holland—Dozier—Holland in the mids and was replaced by new arranger-producer Harold Beatty. Dozier went on to record a number of albums as a performer in his own right, also writing much of the material.

In , he scored a beach music hit with "Cool Me Out". Dozier had another number 1 hit as a songwriter in the s, joining with Phil Collins to write the song " Two Hearts " for the movie soundtrack for Buster. Cooper Square Press. Where Did Our Love Go? The Rise and Fall of the Motown Sound. Martin's Press. Retrieved February 6, Retrieved July 28, Retrieved March 23, Chicago: Chicago Review Press, November Urbana and Chicago: University of Illinois Press.

Motown: Music, Money, Sex, and Power , p. History of the American Cinema. Time Warner. Retrieved November 6, Greenwood Press. Blackwell Publishing. The New York Times. March 2, Johnson Publishing Company — via Google Books. New York Times. Retrieved January 4, Retrieved March 26, Motown: Music, Money, Sex, and Power, pp. Dreamgirl: My Life as a Supreme , pp. Taken from Wilson, Mary and Romanowski, Patricia , , New York: Cooper Square Publishers. Archived from the original on March 2, Retrieved February 12, October 16, Retrieved September 15, March 17, Retrieved January 31, Diana Ross returns to Las Vegas with start of mini-residency".

Las Vegas Sun News. Retrieved July 15, Las Vegas Review-Journal. Retrieved April 19, November 19, Eau de Parfum - - HSN". Archived from the original on February 10, Retrieved February 9, Retrieved November 1, January 30, Retrieved May 24, March 26, Diana Ross?

Retrieved September 1, Irish Mirror. The Washington Post. June 1, Chicago Tribune. The Oprah Winfrey Show. Season Episode February 25, January 14, Oprah Magazine. Retrieved December 7, Us Weekly.

September 22, Archived from the original on September 1, Let's Be Friends. Sony BMG. Aloha from Hawaii via Satellite. Raised on Rock. Good Times. Elvis Recorded Live on Stage in Memphis. Having Fun with Elvis on Stage. Elvis Unlimited. Promised Land. Moody Blue. Elvis in Concert. I was too excited to really process it.

So the live action footage in the sequence looks like it could have been shot in the s. How did you achieve that classic grainy film look? Alan: A huge challenge for us was dealing with various mediums and film stock. Our killer producer, Tess Sitzmann, was a godsend for this job managing all of these various assets throughout each stage. We loved connecting the visuals of vibrating particles and low-fi photocopied flyers to the grain and degradation of Super 8 film.

What distortion pedals did to electric guitars, we wanted to do with our film stock. And so we settled on a look of raw, grainy, black and white film. We shot test early on with a Super 8 camera that really sold this look to HBO.

Music is central to the series and to the opening titles as well. What were some of the initial ideas for the theme song?

Jess: We only went through three songs in this process, which is pretty crazy if you consider this show is solely about music. It took on its own personality and became distracting, instead of contributing to the feel of the overall piece.

We were looking for something that had energy, something that felt like a fist to the face! In our first tone edit, I used a song from Thee Oh Sees. Jess: That was the song that pushed this baby all the way until the last weeks of the edit. It was gritty, aggressive, fuzzy, and felt like it could be from that era. Ultimately, they decided upon a song that was created exclusively for the title, which totally made sense.

Which tools and software did you use to put it all together? Displacement, global illumination, and depth of field were impressively fast when rendered through C4D's Physical Render engine which allowed us to create tonnes of material for Jessica to cut to. Bhakti Patel really led this project in the CG department creating the majority of the needle shots. Along with the needle shots, she dominated the task of creating the NYC subways in the s, and along with the help of the brilliant Dan Meehan and Sekani Solomon destruction shots of walls crumbling and dust flying.

The most wonderful surprise was just how trusting and open the team was to wild ideas. Never once did we feel our creativity was stifled but instead celebrated and encouraged. When they did have feedback, it was superb.