You were part of perhaps the richest and most exciting era of music since the German and Italian classics of the 19th century. How was it for you and what made it all tick? eamonmcc
William Stevenson discovered me after I had won an amateur contest. It was like a dream come true that a producer would come and approach me and say, “You have talent, come to Hitsville, USA.” I took his advice and showed up the next day unannounced and was immediately placed in a position as secretary [at Motown Records]. It felt real good that I was at the right place at the right time. It was magical to me and it’s all been just a glorious ride.

The Motown production line is sometimes compared to the production line of cars in Detroit. Is there anything to that, do you think? mesm
Motown and Ford are synonymous. My dad worked for Ford and [Motown founder] Berry Gordy worked there as an employee. It taught Berry Gordy the way to represent and how to manage and how to give people assignments. He called it Motown or Motortown. So, it’s all combined: Motor City, Detroit, manufacturing, making music as an assembly line.

Who do you think was the best artist that recorded on Motown? 1Love1Heart
[Batting away the question] When you have a house full of talented children, you don’t do that! To me, everybody had a super talent. I first met Stevie Wonder when he was nine years old, conducting an adult choir in a Pentecostal church: that takes genius.

There must be three or four different accounts of how you got to sing Dancing in the Street. What really happened? Redordead
I was standing outside the studio window in awe of Marvin Gaye because he was so fine. He saw me peering at him in the window and said, “I want you to sing this song.” I sang it in the same key that he was singing it. He played keyboard, drums. He had a melodica that he played like a horn. He was so talented – he could play anything he put his hands on. You can tell that on Dancing in the Street: that piano solo is Marvin’s.

Marvin would walk around half the time with his eyes closed, humming and writing. I remember having breakfast with him, and he would be sitting at that counter at about eight o’clock in the morning, reading a Bible and looking for words to rhyme in the songs that he was writing. He was always writing. He was not here, if I can say that: he always seemed like he was in a trance writing songs.

It was wonderful when Dancing in the Street became an anthem during the civil rights movement because it quenched the excitement and the opportunity to riot. People stopped thinking that way; they started rejoicing and dancing as opposed to breaking windows and burning down buildings.

What was it like working with the songwriting trio Brian and Eddie Holland and Lamont Dozier in those days? They must have been working nonstop. Barylka
Holland-Dozier-Holland were such thoughtful writers. They had the goods. They made the Four Tops happy, they delighted the Supremes, and they were my pride and joy. They always had a spiritual intent. Heat Wave has meant so much to me – it was about more than the weather or the temperature. When I sang it for Eddie Holland I mimicked him completely. I thrilled him more than anyone else that I’ve ever recorded with. So from then, on any song that they gave us, I could nail it.

Your performances on Heat Wave and Jimmy Mack are some of my favourites from Motown artists – so much feeling, from euphoria to disappointment. What were you channelling in each of those performances? steve__bayley
Mama said when I first started singing at the age of four in my grandfather’s church, she said, “Baby, don’t sing a song unless you know what you’re singing, and that you feel something.” Every time someone gave me a song: can I relate to these lyrics? Have I been there before? I’ve been in my lonely room. I’ve asked people to come and get these memories. I have danced in the street – so, yes, I have put myself in the songs, only because Mama told me.

Please tell us about your friendship with Dusty Springfield. Reykjavik_Calling
We got to know each other at the Brooklyn Fox in New York [in the early 1960s]. She was alone because her manager had left her, and she was having fits. She had gone to the local store and bought some pottery, some saucers and plates and cups, and came back to the dressing room at the Apollo theatre and was throwing them against the wall. She explained to me that in England, when you were confused or disappointed or you just didn’t get what you expected, you could release your anxiety and anger by throwing pottery. I picked up something and started throwing things with her. I said, hey, this looks like fun! And from then on, we were friends. We travelled to Brazil together. We spent a lot of time in London. We had a very good, close relationship and I miss her dearly.

What are your memories of touring the Jim Crow south with the Motown Revue of 1962? MissIdahoPotato
I remember that we learned how to pee-pee without getting it on our shoes because there were signs saying “white only” or “no blacks allowed” or whatever. We’d go somewhere in some bushes or some cornstalks. But we saw the signs come down. We saw the people change their mind about being segregated and we helped with our music.

For me, Dancing in the Street is what summer sounds like, and it’s impossible to hear those opening bars without feeling the warmth of sunlight on my skin, wherever I am. What song has the same effect on you? NoelCWilson
Every song I’ve ever been involved with has been love to me. I don’t really go beyond myself. I have a gospel repertoire that I listen to for strength and encouragement. If you ask me about an artist, I’m listening to me.

I first discovered you and the Vandellas’ music through the Jam’s cover of Heat Wave. Are there any covers of your songs that are particular favourites? SaunteredSally
No. I don’t really want nobody else to sing my songs. I’m selfish. They might not treat Heat Wave nicely. I was jealous [when she heard Bowie and Jagger’s version of Dancing in the Street]. I had a tropical dress I could have put on and done the video with them. I can out-dance both of them, and to see Mick Jagger and David Bowie dancing, honey, I wanted to be in that video. I told Mick Jagger when he came to Detroit – he smiled and gave me a big kiss.

You got involved in local politics [Reeves was a Detroit city councillor between 2005 and 2009]. What was the inspiration? CFMBanks
I have properties in the city of Detroit and I wanted to know what to do with them: why the property tax is so high, and how I could benefit from the purchasing of the properties I bought. I did wonderful. I didn’t go to jail! I had a few of my little laws that I introduced. I even introduced America to the roundabout. We’ve got several roundabouts here in Michigan now.

Have you got a favourite performance of yours that you’re particularly proud of? Revolution98
In my grandfather’s church – I was about 11 years old when I was given the privilege of teaching the Sunday school. Singing the songs and teaching people to sing. That’s my song.