Soul legend smokes up the charts once again

Time flies when you're having fun. Or so says soul legend William "Smokey" Robinson, whose new album is titled exactly that. The singer-songwriter, who has recently been commenting heatedly about the media's coverage of Michael Jackson's death, is celebrating his 50th anniversary in music this year, as is the iconic label Motown Records. Speaking here before the release of his new studio album, Smokey, who has sold 60m records, looks back at his career, working with Motown founder Berry Gordy, the songwriting process and his personal battles along the way.


What's the origin of the nickname Smokey?

My favourite uncle, who was also my godfather, gave it to me when I was three. I used to love cowboys; that was my thing – especially ones who sang. And he would always take me to see cowboy movies. His cowboy name for me was Smokey Joe. Whenever anybody asked me what my name was, I'd tell them "Smokey Joe". The Joe dropped off when I became 12.

When did you first know you wanted to be a singer-songwriter?

I have felt like that since I was four years old. At times it seemed like it was going to be my absolutely impossible dream given where I grew up in Detroit. Nobody in my family was a professional musically. My mother sang in church and played the piano; my dad sang in the shower (laughs). However, I listened to everything that was being played at home, from gospel to gut-bucket blues to jazz and classical. I formed my first group when I was 14. We went from being the Five Chimes to the Matadors and changed members until we got to be the Miracles.

You've said previously that Motown founder Berry Gordy was your mentor. What did he teach you about music?

When I met Berry, I had a loose-leaf notebook of about 100 songs. Back then, I had five songs in one song because the first verse had nothing to do with the second verse, and the second had nothing to do with the bridge. It was just a bunch of ideas all rhymed up because I always rhymed things. Berry made me understand a song is like a short story, film or book with a beginning, middle and end that all ties together. And even if you don't give it a definite ending, you have to give people enough material to create their own ending.

A striking element of your writing is your skillful use of metaphors, as Bob Dylan pointed out when he called you "America's greatest living poet". Why are metaphors important?

Once I learned how to write songs, I recognised that there are no new words. There are also no new notes on the piano or guitar. And there are really no new ideas. So you have to work within the framework of what's been going on for thousands of years; the trick was to try and say the same thing differently.

Did you realise at the time what a major role Motown was playing in breaking down racial barriers?

We knew we wanted to make great music. Not only black music but quality music for everyone. I only wish we'd have known we were making history while we were making history. If we'd have known, I would have saved everything. When we started to have hit records, we used to get letters from the white kids in [some Detroit areas] saying, "We love your music. But our parents don't know we have it. If they did, they'd make us throw it away." Then about a year or so later, we began getting letters from the parents saying, "We found out our kids listen to your music and they turned us onto it. We love it and we're so glad you're making this music."

Why did you decide to go solo?

I had no intention of going solo. Ever. When I retired from the Miracles, I was already a VP at Motown. I figured that would be the rest of my life, going to the office every day and making official decisions. At that point, my kids were born after my (wife at the time) Claudette had suffered several miscarriages, and I just wanted to spend more time with my family. The Miracles had done everything a group could do three or four times over by then and I wasn't contributing as much anymore. My plan was to retire from the group and probably write and produce records for other artists. But I would never again be onstage as a singer. I did that for (a while) and went stir crazy until Berry said, "You know what I want you to do? Get a band together and get out of here, because you are miserable."

You later overcame a personal battle with drugs.

I speak at schools, churches, gang meetings, rehab facilities, telling people that drugs don't discriminate. I was 39 years old and my life was going exactly as I would have it go. I couldn't have written it any better. But drugs don't care who you are, what you're doing, where you are or where you're going. When you open yourself up to them, you are vulnerable. And I was. You think drugs won't get the best of you, that you will never become an addict. Ninety-nine per cent of the people who start doing drugs do so with their friends. It's a social thing and you call yourself having fun. Then you look up and fun has wiped you out like it did me. I did it for two years. I was a walking corpse, totally out of it.

Drugs are also a spiritual condition. If you don't get your spiritual self together, you'll never conquer them. I went to church and was prayed for; I gave it to God. I went to church one night a drug addict and when I came out of that church, I was free. That was May 1986. I haven't even thought about drugs since then other than that I'm at war with them.

If you could, what one thing would you change about the industry?

I would change the fact that people are able to get your music whenever they want to, free of charge. After you've laboured over it and taken time to create it, that's unfair.

Is there anything you'd change about your career?

I'm sure there are some things I would do differently. However, I'd leave the majority of things just as they are, including the hardships. That just builds your character. Time is the greatest educator that we have. It gives you a great outlook on life and teaches you – if you're looking. In my case, I just hope I've made a positive imprint and that I will continue to do so.


PROFILE: Smokey Robinson Singer-songwriter

William "Smokey" Robinson, Jr is an American R&B and soul singer-songwriter, record producer, and former record executive. Born on February 19, 1940 and raised in Detroit, he is one of the primary figures associated with Motown Records, second only to the company's founder, Berry Gordy. Robinson's consistent commercial success and creative contributions to the label have earned him the title "King of Motown".

As a member of the vocal group The Miracles and as a solo artist, he delivered 37 Top 40 hits for Motown between 1960 and 1987.

Keep up with the latest business news from the region with the Emirates Business 24|7 daily newsletter. To subscribe to the newsletter, please click here.

Follow Emirates 24|7 on Google News.