William "Mickey" Stevenson

[Diamond Girl]

Songwriter and producer William "Mickey" Stevenson was one of the unsung heroes behind the extraordinary success of the Motown sound. As the
label's first A&R director, he not only recruited major stars like Martha Reeves, but also assembled the company's legendary roster of studio musicians, additionally authoring a number of perennial hits for acts including Marvin Gaye and then wife Kim Weston.

Admired for his street and business savvy,
Stevenson began his career in gospel and doo wop before joining the Tamla/Motown staff in 1959; in addition to co-producing and arranging records for Marv Johnson, the label's first recording artist, his earliest duties included organizing the company's house band.
Installing pianist Joe Hunter as bandleader, Stevenson brought together a truly remarkable group of Detroit-area jazz and club musicians, including bassist James Jamerson, guitarists Robert White and Joe Messina, and drummer Benny Benjamin. Though their lineup changed frequently in the years to follow, the "Funk Brothers" remained the bedrock
of the Motown sound throughout the company's golden age.

In 1961, Stevenson teamed with co-writer Barrett Strong to score his first major hit, Eddie Holland's "Jamie." For the Marvelettes' "Beechwood 4-5789," he partnered with Motown founder Berry Gordy, Jr., as well as recent roster addition Marvin Gaye.
Weeks later, Motown released Gaye's first hit single, "Stubborn Kind of Fellow," a reflection of Gaye's personality at times, which Stevenson co-wrote as well. Backing vocals on the record were contributed by the Vandellas, who included Stevenson's then secretary, Martha Reeves; when singer Mary Wells failed to show up for a subsequent session, Stevenson cut a record with the Vandellas instead, resulting in the group's 1963 debut "I'll Have to Let Him Go." That same year, the producer inspired the Miracles' smash "Mickey's Monkey." In 1964, Stevenson, Gaye, and Ivy Hunter collaborated on Martha & the Vandellas' "Dancing in the Street," his biggest songwriting hit for the label. Equally important, and around that same time, he hired Norman Whitfield as his A&R assistant, launching the career of one of Motown's most influential and successful staff producers.

Stevenson's last major hit for Motown was 1966's classic "It Takes Two," a duet between Gaye and the producer's wife, Kim Weston. In early 1967, both Stevenson and Weston left Motown to form their own label, People. That spring, Weston signed to MGM and her husband was offered a reported million-dollar deal to assume control of the company's floundering Venture subsidiary. In 1969, he shifted gears and scored the film Changes. He went on to write and produce a series of theatrical musicals, including Swann, Showgirls, Wings and Things, The Gospel Truth, TKO, and Chocolate City. For 1999's Sang, Sista, Sang -- a tribute to legendary vocalists like Bessie Smith, Billie Holiday, and Josephine Baker -- he reunited with fellow Motown alum Smokey Robinson.

In 2002, Motown Records' first A&R director/vice president launched Stevenson International Entertainment Group (SIE Group), a multi-faceted music and entertainment company.
SIE Group's divisions include:
Mikim Music, a publishing company and recording facility with a music catalog that spans over 30 years; B&W Management, representing up-and-coming signed and unsigned artists; and Stevenson Productions, specializing in live stage shows.

[Motown Honey]

I have new found respect for Mickey

I believe he's the man behind it all

[Diamond Girl]

motown said:

I have new found respect for Mickey

I believe he's the man behind it all

He was, I guess he still is very sharp.
I sure hope he still is :word:

[timmy84]

WOW! Mickey Stevenson is the MAN! Smokey Robinson should kiss at his feet! HA HA! Anyway, wow @ the hits he & Marvin did together. And the fact them two co-wrote "Dancing in the Streets" together is just enough to make me bow down to the both of them.

Callin' out around the world, are you ready for a brand new beat!?! YES WE ARE!!!!

[fantagurl]

:thumbsup: Mickey should be honored because he played a major role in the Motown Machine.

[timmy84]

Ok, I'm just gonna say this and I hope no BG apologists see this but if so, wth:

Mickey was the one who really started Motown and he deserves R-E-S-P-E-C-T, take care of TCB, FOOL! :soapbox:

Yeah, you can take that to the bank.

[Emerald City]

Glad to see the love for Mickey!! ;D

[timmy84]

As long as he is forever remembered, he'll always be loved and respected.

[fantagurl]

timmy84 said:

Ok, I'm just gonna say this and I hope no BG apologists see this but if so, wth:

Mickey was the one who really started Motown and he deserves R-E-S-P-E-C-T, take care of TCB, FOOL!

Yeah, you can take that to the bank.

I totally agree with you. If you noticed the majority of hits that was written and produced came from other key players at Motown.

[timmy84]

Uh-huh. :yes:

Add Harvey Fuqua to the list. He was the one who helped distributed THE first Motown hit: "Money (That's What I Want)", which was sung by none other than future acclaimed Motown songwriter Barrett Strong. Harvey brought Marvin to the label.

Mickey actually recruited the Funk Brothers (tho in the "Standing in the Shadows" docu, Berry take credit for that ish too ), he actually helped add people like Mary Wells, Martha Reeves & the Vandellas, and the like to the label (and Smokey only can get least half credit for "bringing" in the Supremes, lol). Plus, he co-wrote and produced THE greatest rock song ever with "Dancing in the Street".

I mean, with all that has gone down, you think the "other guys" will get the respect. Berry Gordy's actual contributions to Motown was conning artists out of royalties, making one ugly woman famous after she demanded to lay with him ( ), and pitting groups against groups, members against members and the like.

Mickey, Marvin, the Funk Bros, the Miracles, Mary Wells, Martha and the Vandellas, the Marvelettes and the like contributed more to Motown than Berry, Diane and Smokey combined and yet they get shafted because they "only contributed but weren't founding blah blah blah" or whatever. Makes me sick.

And yeah, the majority of the hits that were written and produced came from the ones not mentioned so much.

[Kay]

That is what is so annoying, aside from making hits writers and artists are responsible for bringing in even more people who allowed Motown to evolve into what it did

[timmy84]

For real. Berry Gordy just... he takes too much credit for the little stuff he actually did: which was being an a-hole. Yeah that must've taken some hard work, Berry. :lol:

[ban2006]

He was working on a book about his Motown years. I remember calling his organization in California (I've since lost the number) back in 2001 or 2002 and his representative stated it was due the next year. Anyone know anything about it?

Yes, I agree that he and the great Henry Cosby, Ivy Hunter & Clarence Paul should get MUCH more credit for the success of Motown.

[Kay]

ban2006 said:

He was working on a book about his Motown years. I remember calling his organization in California (I've since lost the number) back in 2001 or 2002 and his representative stated it was due the next year. Anyone know anything about it?

Yes, I agree that he and the great Henry Cosby, Ivy Hunter & Clarence Paul should get MUCH more credit for the success of Motown.

The most I know about that book ((ban2006)) is that it's another we have yet to see

Welcome by the way!