Born in Detroit, Michigan. Schooled in the blossoming vocal group scene of the late 50s, Lamont Dozier sang alongside several Motown Records notables in the Romeos and the Voice Masters during 1957-58. He befriended local songwriter and producer Berry Gordy around this time, and was one of Gordy's first signings when he launched the Motown label at the end of the decade. Dozier issued his debut single, "Let's Talk It Over", under the pseudonym "Lamont Anthony" in 1960, and issued two further singles in the early 60s. In 1963, he recorded a one-off release with Motown songwriter Eddie Holland and was soon persuaded into a writing and production team with Eddie and his brother Brian Holland. The Holland/Dozier/Holland credit graced the majority of Motown's hit records for the next five years, as the trio struck up particularly successful working relationships with the Supremes and the Four Tops. Dozier contributed both lyrics and music to the partnership's creations, proving the initial impetus for hits such as "Stop! In The Name Of Love" by the Supremes, "Bernadette" by the Four Tops and "Jimmy Mack" by Martha And The Vandellas. As a pianist, arranger and producer, Dozier was also prominent in the studio, supporting the central role of Brian Holland in the recording process. Dozier and the Hollands left Motown in 1968, unhappy at the financial and artistic restrictions imposed by Gordy. The following year, they set up their own rival companies, Invictus and Hot Wax Records, who produced hits for artists such as Freda Payne and the Chairmen Of The Board. Dozier resumed his own recording career in 1972, registering a US hit with "Why Can't We Be Lovers" in partnership with Brian Holland. The Holland/Dozier/Holland partnership was fragmenting, however, and in 1973 Dozier severed his ties with Invictus and signed to ABC Records. "Out Here On My Own" and "Black Bach" demonstrated the creative liberation Dozier felt outside the constraints of the HDH team, and he enjoyed major US hits in 1974 with "Trying To Hold Onto My Woman", the anti-Nixon diatribe "Fish Ain't Bitin'", and "Let Me Start Tonite." Dozier switched labels to Warner Brothers Records in 1976, issuing the highly regarded "Peddlin' Music On The Side" the following year. That album included the classic "Going Back To My Roots", an avowal of black pride that became a big hit in the hands of Odyssey in the early 80s. Dozier also continued his production work, overseeing Aretha Franklin's "Sweet Passion" in 1977, plus recordings by Zingara and Al Wilson. In the late 70s and early 80s, Dozier's brand of soul music lost ground to the burgeoning disco scene. After several overlooked albums on Warners and A&M, he re-emerged in 1983 on his own Megaphone label, recording the muscular "Bigger Than Life," and paying tribute to his own heritage with a remarkable 18-minute hits medley, "The Motor City Scene". Since then, he has remained out of the public eye, working sporadically on production projects with the Holland brothers. Other film music credits include DETROIT 9000 (1973) and FUN WITH DICK AND JANE (1977). Dozier and the Hollands were elected to the Rock and Roll Hall of Fame in 1990.  Nominated for Achievement in Music (Original Song) 1988: BUSTER "Two Hearts" - Music 1 nomination