BY JUD COST

As a pair of stunning young female go-go dancers writhed in a scintillating medley of vintage moves-the swim, the watusi the hully gully and the monkey-on either side of the stage, Smokey Robinson appeared, messiah-like, dressed head to tail in a pristine white silk suit, belting out 1966 Miracles hit "Going To A Go Go." The effect was dazzling. And he didn't stop there, completing an amazing opening trifecta with "You've Really Got A Hold On Me" and "I Second That Emotion."

The clarion, high-tenor lead voice of the Miracles from 1961-66 (and Smokey Robinson & the Miracles from '67-'72) was also the songwriting genius behind most of the Motown smashes not penned by Holland-Dozier-Holland. Robinson fanned the flame all night long with a stirring array of hits, cut by his own group and other Motown acts. He also had the crowd-at least those not too wasted by demon alcohol-eating out of his hand with tales of writing breakthrough signature releases for the Temptations, then followed the narrative with knockout versions of Tempts classics "The Way You Do The Things You Do" and "My Girl." Robinson is one of a select handful of songwriters, including Buddy Holly, Chuck Berry and Arthur Alexander, whose numbers were covered by both the Beatles ("You've Really Got A Hold On Me") and the Rolling Stones ("My Girl").

Over decades of performing, Robinson has mastered the vanishing art of between-songs storytelling. A riveting description of those early Motown tours, featuring a star-studded lineup that included Diana Ross & the Supremes, Marvin Gaye, the Four Tops, the Marvelettes and the Temptations, was followed by a priceless imitation of one of the revered label's youngest stars at the time, Stevie Wonder.

While making merry at the Motown Christmas party of 1966, Robinson and Wonder discussed a melody Wonder had written that needed some lyrics. "Stevie was so excited with my ideas he wanted to drive me down to the studio immediately, but I didn't want to do that ... He drove too fast!" Robinson joked. The classic they would create was "Tears Of A Clown," a worldwide chart-topper for the Miracles in 1970, and one of Robinson's career-defining works. That, of course, is a tough call since the man spun so much pure gold, including "I'll Be Doggone" and "Ain't That Peculiar" for Marvin Gaye, "Don't Mess With Bill" for the Marvelettes and "My Guy" for Mary Wells.

Like some lavish review from the glory days of Las Vegas, the stage went dark halfway through Robinson's show for a quick set and costume change. The two keyboards, multi-reed man, guitar, standup bass, drums and a bevy of backup singers were moved stage front to create the intimate vibe of a jazz nightclub. It was the perfect setting for a short list of  great American ballads that included "Fly Me To The Moon" and "I Can't Give You Anything But Love (Baby)." Robinson even updated the latter, changing "Woolworth's" to "Diamond bracelets K-Mart doesn't sell, baby." 

The song that really brought down the house tonight, however, was an alluring, slow-boil version of the Miracles' 1965 hit "Ooo Baby Baby." It might have lasted ten minutes, but it still wasn't long enough. "We should have played that one first," remarked a beaming Robinson to his excellent backup combo, delighted with the standing ovation the tune received.

Michael Jackson, whose recent high-profile memorial service spotlighted Robinson standing tall among the onstage eulogizers, can keep his crown as the King of Pop. Smokey Robinson, as once proclaimed by no less an authority than Bob Dylan, is America's greatest poet.