DAY & DATE: Peaks at No. 2 on the Billboard Hot 100 for the week ending Saturday, October 17, 1964.
“Dancing in the Street” by Martha and the Vandellas is more than just a Motown classic; it’s a cultural touchstone. This track, which vibrated through the summer of 1964 and continues to resonate today, almost topped the Billboard charts, held back only by Manfred Mann’s “Do Wah Diddy Diddy.” But the song’s journey and impact extend far beyond chart positions, cementing its place as an anthem of joy and liberation.
The story of “Dancing in the Street” is deeply intertwined with the creative energy of Motown Records in its golden era. The songwriting credits belong to William “Mickey” Stevenson, Marvin Gaye, and Ivy Jo Hunter, a powerhouse trio within the Motown system. Stevenson, who also produced the track, initially envisioned the song for Kim Weston, his wife at the time. However, fate, and Martha Reeves’ undeniable talent, had other plans.
As Stevenson recounts in his memoir, The A&R Man, Martha Reeves, then his secretary, was asked to record a demo vocal for Weston. The moment Reeves finished singing, a hush fell over the control room. The raw energy and star quality she brought to the song were undeniable. Marvin Gaye, Ivy Jo, and Stevenson himself were stunned. Reeves’ performance wasn’t just a demo; it was the definitive rendition. “[Martha] sung the song like a star,” Stevenson wrote, recognizing the magic that had just been captured.
Marvin Gaye’s perspective adds another layer to the song’s creation narrative. As he shared with biographer David Ritz in Divided Soul, Gaye was eager to step into the spotlight as a performer, even while contributing significantly behind the scenes. Working on tracks like “Dancing in the Street” for Martha and the Vandellas allowed him to hone his songwriting skills while keeping his performance aspirations alive. Gaye admitted to sharing songwriting credit generously, prioritizing his singing career. While his songwriting talent on “Dancing in the Street” is evident, it was undoubtedly his vocal prowess that ultimately propelled him to superstardom.
Martha Reeves herself, in her autobiography co-written with Mark Bego, acknowledged “Dancing in the Street” as “one of our crowning achievements.” She recalls initially hearing Marvin Gaye’s vocal version and feeling it wasn’t quite right for her vocal range. When given the opportunity to put her own stamp on it, Reeves crafted the melody that became instantly iconic. She credits Mickey Stevenson’s vision and production for the song’s success, playfully reminding Kim Weston that a hit song slipped away right from her own home, as it was written in her attic.
Despite its undeniable popularity and cultural impact, “Dancing in the Street” peaked at number two on the Billboard Hot 100 for two weeks in October 1964. Manfred Mann’s catchy tune “Do Wah Diddy Diddy” held the top spot, preventing Martha & the Vandellas from reaching the summit. Ironically, Motown eventually replaced Manfred Mann at number one with The Supremes’ “Baby Love,” adding another layer to the competitive yet collaborative atmosphere within the label. For Martha and the Vandellas, “Dancing in the Street” remained their closest brush with the top of the Hot 100, a testament to its enduring appeal even without reaching the coveted number one position.
The infectious energy of “Dancing in the Street” has resonated with artists across genres and generations, resulting in a vast array of remakes. From rock and roll pioneers like Little Richard to funk icon George Clinton, and from folk-pop artist Livingston Taylor to crooner Neil Diamond, the song has proven its versatility. Glam rock’s Gary Glitter and pop-rocker Phil Collins have also put their spin on it. Female artists like Brenda Lee, Cilla Black, Petula Clark, Linda Jones, Irma Thomas, and Laura Nyro have all been drawn to its powerful message and rhythm.
Perhaps even more significantly, “Dancing in the Street” has become a favorite for groups spanning diverse musical landscapes. The Everly Brothers, the Dovells, The Kinks, The Mamas & the Papas, The Walker Brothers, The Who, the Grateful Dead, Black Oak Arkansas, The Flirtations, Van Halen, Human Nature, and Atomic Kitten represent just a fraction of the artists who have kept the “street” dancing. This enduring popularity underscores the song’s universal appeal and its ability to transcend genre boundaries.
[Placeholder Image: Martha and the Vandellas performing “Dancing in the Street” – Alt text: Martha Reeves and The Vandellas energetic performance of Dancing in the Street, a classic Motown hit.]
The most famous remake of “Dancing in the Street,” however, came from an unexpected pairing for a powerful cause. In 1985, David Bowie and Mick Jagger joined forces for a charity rendition of the song, spearheaded by Live Aid organizer Bob Geldof. Geldof sought out these rock titans to raise funds for African famine relief. In a remarkably efficient session at Abbey Road Studios in London, while Bowie was working on the Absolute Beginners soundtrack, they recorded their vocals in just a few takes. Jagger, as quoted in Rolling Stone, described it as “an interesting exercise in how you can do something without worrying too much.”
Bowie and Jagger further amplified the song’s impact by creating a music video, also filmed in London. This video was broadcast twice during the global Live Aid event, reaching a massive audience and driving donations. Their charitable effort was a resounding success. “Dancing in the Street” reached the Top 10 in the US, soared to Number One in the UK for four weeks, and achieved chart success in numerous other countries. This charity version not only raised significant funds but also reintroduced “Dancing in the Street” to a new generation, proving its timeless power to unite and inspire.
“Dancing in the Street,” in its original Martha and the Vandellas version and through its countless iterations, stands as a testament to the unifying power of music. From its Motown origins to its global reach, the song continues to invite everyone to celebrate joy, freedom, and the spirit of dancing together, wherever they are.
