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Each week of June, we open the 88.9 Vault of Soul with profiles of iconic soul pioneers. To continue 2026’s June coverage, WERS recognizes Nickolas Ashford and Valerie Simpson, also known as Ashford & Simpson. The married songwriting duo created so many of the classic Motown hits that we know and love today, along with a prolific vocal career that earned them legendary status!
Biography
Long before the two met, before their songwriting partnership, and before the unbreakable love that they had for one another, Nickolas Ashford and Valerie Simpson were born in two places that couldn’t have been more different from one another. Nickolas Ashford was born in Fairfield, South Carolina with his family moving to Michigan not too long after his birth. On the other hand, Valerie Simpson was born in one of the most historical neighborhoods in the country, the Bronx in New York City.
Ashford would find himself in Michigan in a similar situation to many Black singers. His family would join the Christ Temple Baptist Church, where he would get his start. Initially a part of the church choir, Nick knew that in some way he wanted to pursue music as his full-time career.
Valerie Simpson took a much more traditional route to the world of music. She attended and graduated from the Chatham Square Music School in New York. It was in 1964 when she met Ashford at a Baptist church in New York.
Songwriting Excellence
After joining up for the first time as a musical pairing in 1964, Ashford and Simpson initially didn’t have a staggering amount of success as a recording duo. They had a few smaller releases here and there, but nothing hinted at the magnitude of what they would become accustomed to later in their careers. Deciding to pivot to more behind the scenes work, the pair began writing for groups and artists such as The 5th Dimension and Ray Charles. It was specifically their time with Ray Charles that brought them more attention as a songwriting duo, being scouted by the likes of Motown writing legends Holland-Dozier-Holland. Their scouting and recruiting of Ashford and Simpson led to them earning them a spot on Berry Gordy’s Motown label in 1966 as songwriters.
Marvin Gaye and Diana Ross are a few of the many artists that Ashford and Simpson wrote for during their early years at Motown. Notably, they wrote the original rendition of Marvin Gaye;s famous “Ain’t No Mountain High Enough.” They would also write every single song on three of Diana Ross’ albums in the 70s. Along with the 70s came another new chapter for the pair with their marriage in 1974.
Outstanding In Front of the Microphone
The other half of Ashford and Simpson’s careers was their recording accomplishments. As performers, their roles were different. Simpson took on more of the singing role, while Ashford focused on being in studio bands while the two were at Motown. Most notably for Ashford, he played tambourine and various percussion on several tracks recorded on Marvin Gaye’s most well-known release, “What’s Going On.”
In the 70s, Valerie began to step out more on her own while at Motown, recording multiple albums, Exposed and Valerie Simpson back to back. However, the label refused to push the albums. This along with a refusal from Motown to allow the two to compile an album singing their greatest songwriting hits lead to the two leaving Motown in 1973.
After their Motown years, the two artists, now united in matrimony, began releasing their own music under the Warner Bros. label. These included albums like Gimme Something Real, I Wanna Be Selfish, and more. Another feature that came with recording with Warner Bros. was access to another market of artists. Because of this, Ashford sang with Paul Simon on his song “50 Ways To Leave Your Lover.” The duo also featured with Chaka Khan and Quincy Jones over the years.
All of this culminated in the two sharing one of the most successful decades of their career in the 1970s, allowing them to focus on building their family. After the 70s, they would make various appearances on tour both alone and with other artists.
Into the 80s, Ashford and Simpson entered another long spell of success. Notably, their album Solid was released in 1984. This would be the peak of their commercial success as artists. Solid would reach number one on the US R&B charts, and receive certified gold status as well.
In 1996, they opened their famous bar in New York City, the Sugar Bar. Smaller appearances on radio stations and other channels would follow until sadly in 2011, Nickolas Ashford passed away from throat cancer.
Who Inspired Ashford and Simpson
- The Black Church
- Nina Simone
- Aretha Franklin
- Smokey Robinson
- Norman Whitfield
- Holland Dozier Holland
Who Was Inspired by Ashford and Simpson
- Marvin Gaye
- Chaka Khan
- Whitney Houston
- Paul Simon
Ashford and Simpson Awards and Honors
- 3 BMI Awards For Ain’t No Mountain High Enough, Ain’t Nothing Like The Real Thing, and Your Precious Love (1969)
- ASCAP Founders Award (1996)
- The Rhythm and Blues Foundation Pioneer Award (1999)
- (Valerie Simpson) Honorary Doctorate from Berklee College of Music (2014)
- Grammy Trustees Award (2019)
- (Valerie Simpson) Women Songwriter’s Hall of Fame Induction (2021)
- Songwriter’s Hall of Fame Induction (2022)
Spotlight Tracks
“Solid” (1984)
When you listen to a song like “Solid,” you can fully hear the sound of the 80s. There’s a big, whooping drum, and bouncy bassline that guides the song the whole way through. The standout of course are the smooth vocals from both Ashford and Simpson. In this song, you can hear the passion that each brings to lyrics that provide intimate details about their relationship with one another.
“Street Corner” (1984)
On “Street Corner”, just like “Solid”, there’s a pulsating bounciness throughout the track. The song’s incredibly powerful underlying message is what warrants it being listed here. It talks about being secure and satisfied with the life that you have, not needing to chase unhealthy ways of living on the “street corner.”
“It Seems to Hang On” (1978)
One of the smoother songs by Ashford and Simpson, there’s a subtle sultriness within each line that draws you in. What I love most about this song, just like all the others, is the harmonious back and forth between Ashford and Simpson. When listening to it, you can imagine the two performing it with their eyes affixed on each other.
