3 Motown Hits From the 1970s You Definitely Can’t Stop Singing

The whole point of Motown was to get listeners to sing and to dance. Hooks and rhythms and earworms are the DNA of Detroit’s iconic record label. When Motown moved its operations from Detroit to Los Angeles in 1972, it may have marked the end of the label’s golden era, but it wasn’t the end of its groundbreaking albums.

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The 1970s also found Motown’s biggest stars stretching the boundaries of pop music, even challenging their label boss, Berry Gordy, for more control over their artistry. But what didn’t change was the production of timeless songs, as heard in these three Motown hits from the 1970s that you can’t stop singing.

“Isn’t She Lovely” by Stevie Wonder (1976)

“Isn’t She Lovely” celebrates the birth of Stevie Wonder’s daughter Aisha with what became one of his standards from Songs In The Key Of Life. You can hear her voice beneath his soaring chromatic harmonica solo. He played nearly all the instruments on the track, which ends with audio of the soul legend bathing Aisha as a toddler. Songs In The Key Of Life represents Wonder’s peak period, establishing him as one of the most prolific pop and R&B artists of the decade.

“What’s Going On” by Marvin Gaye (1971)

Marvin Gaye wanted a reinvention. No longer content with being Motown’s resident pop star, Gaye wanted to say more with his music than romantic love and pleasure. Motown rejected “What’s Going On” initially, but Gaye refused to release anything else unless the label allowed him full creative control over his work. Berry Gordy relented, and the song became a smash hit. The title track to Gaye’s masterpiece isn’t just a protest anthem against police brutality. At its core, it’s a different kind of love song, one meant for healing and understanding, as the title ponders.

“Ain’t No Mountain High Enough” by Diana Ross (1970)

The anti-glam image on the cover of Diana Ross’s solo debut is striking. With The Supremes, Ross defined glamour. But this was a bold statement. A boldness that continued on Ross’s cover of Marvin Gaye and Tammi Terrell’s 1967 hit, “Ain’t No Mountain High Enough”. Her lengthy arrangement features spoken work, dramatic orchestration, and Ross’s iconic voice. Berry Gordy wasn’t a fan of the experimental track. But soon, radio stations placed an edited version into regular rotation. It reached No. 1, surpassing Gaye and Terrell’s original on the charts. Following “Reach Out And Touch (Somebody’s Hand)”, the single furthered Ross’s reputation as the Queen of Motown.

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