WRITTEN BY Brian Holland, Lamont Dozier, Edward Holland, Jr.
PERFORMED BY Martha and the Vandellas
APPEARS ON Dance Party/Watchout (original releases 1965/66; rerelease 2002); The Ultimate Collection (1998); many others.
NOTE "Dancing in the Street" is not only an essential Martha and the Vandella song, it is an essential part of 60s soul. No Vandellas anthology or collection of 60s soul is complete without it.
In the early 60s, a happy cultural confluence of the efforts of Elvis Presley, the Civil Rights movement, and iron-fisted but savvy recording executive named Berry Gordy inadvertently combined to change the nature of popular music. Back then, the surest and most effective way for a large audience to hear an act was to hear it on AM radio. For most of the 50s, mainstream white exposure to black acts came via the filter of Pat Boone and his ilk, who released desexualized versions of R&B hits that reduced their joy and meaning to the sentiments of a Hallmark card.
In 1960, songwriter-producer Gordy formed Motown, a recording juggernaut that released a dozen #1 singles between 1964-1966 and that for 20 years would be synonymous with the idea of a hit record. Although Martha and the Vandella's "Dancing in the Street" peaked at #2, it has nevertheless become one of the label's most beloved songs, as linked to Motown as anything by Smokey Robinson or even the Supremes. It will be remembered and played long after other Motown #1's like "The Happening" and "Love Hangover" are forgotten.
"Dancing in the Street" opens with a challenge to the entire world to prepare itself for a new beat: The new, urban black sound of the 60s, a sound not heard around the world until now. Next comes the beginning a litany of African-American centers, a litany that will progress throughout the song. These cities are the source of the sound, places for
Swingin', swayin', records playin'Why doesn't it matter what you wear? The song isn't an invitation to an exclusive formal; it's a festive "invitation across the nation" that we all step outside of ourselves, take advantage of "a chance for folks to meet," and dance with each other to the "music, sweet music." The end of the song pointedlyrefers to areas associated with white populations (Canada and England), grandly demonstrating the reach of the "brand new beat."
And dancin' in the streets
Joyous and exuberant, a unity song in the same tradition as "Everyday People," "Dancing in the Street remains one of the great songs of the 60s. While very much of its time, its call for brotherhood through song and dance represents the best of the enduring spirit of that unique era in American history.
LYRICS
Callin' out around the world
Are you ready for a brand new beat?
Summer's here and the time is right
For dancin' in the streets
They're dancin' in Chicago
Down in New Orleans
Up in New York City
All we need is music, sweet music
There'll be music everywhere
Swingin', swayin', records playin'
And dancin' in the streets
Oh, it doesn't matter what you wear
Just as long as you are there
Come on, every guy grab a girl
Everywhere around the world
There'll be dancin'
They're dancin' in the street
This is an invitation across the nation
A chance for folks to meet
There'll be laughin' and singin' and music swingin'
And dancin' in the streets
Philadelphia PA
(Philadelphia PA)
Baltimore and DC now
(Baltimore and DC now)
Don't forget the Motor City
(Can't forget the Motor City)
All we need is music, sweet music
There'll be music everywhere
Swingin', swayin', records playin'
And dancin' in the streets
Oh, it doesn't matter what you wear
Just as long as you are there
Come on, every guy grab a girl
Everywhere around the world
There'll be dancin',
They're dancin' in the street
Philadelphia PA
(Philadelphia PA)
Baltimore and DC now
(Baltimore and DC now)
Don't forget the Motor City
(Can't forget the Motor City)
All the way in L.A., California
Not to mention Halifax, Nova Scotia, Manchester
Alexandria, Virginia Virginia
