Sixties Soul Music

  The Motown Sound 

Berry Gordy got his start as a songwriter for local Detroit acts such as Jackie Wilson and The Matadors. Wilson's single "Lonely Teardrops", written by Gordy, became a huge success; however, Gordy did not feel he made as much money as he deserved from this and other singles he wrote for Wilson. He realized that the more lucrative end of the business was in producing records and owning the publishing.

In 1959, Billy Davis and Berry Gordy's sisters Gwen and Anna started Anna Records. Davis and Gwen Gordy wanted Berry to be the company president, but Berry wanted to strike out on his own. On January 12, 1959, he started Tamla Records, with an $800 loan from his family. Gordy originally wanted to name the label "Tammy" Records, after the popular song by Debbie Reynolds. When he found the name was already in use, he decided on Tamla instead.

Gordy's first signed act was The Matadors, a group he had written and produced songs for, who changed their name to The Miracles when Tamla signed them. Miracles lead singer Smokey Robinson became the vice president of the company (and later named his daughter "Tamla" and his son "Berry" out of gratitude to Gordy and the label). Many of Gordy's family members, including his father Berry, Sr., brothers Robert and George, and sister Esther, were eventually given key roles in the company. By the middle of the decade, Gwen and Anna Gordy had joined the label in administrative positions as well.

Also in 1959, Gordy purchased the property that would become Motown's Hitsville U.S.A. studio. The photography studio located in the back of the property was modified into a small recording studio and the Gordys moved into the second floor living quarters. Within a few years, Motown would occupy several neighboring houses with administrative offices, mixing, mastering and rehearsal studios.

Gordy founded a second label, Motown Records, in September 1959. The first Motown release was the Miracles' "Bad Girl". Among early Tamla/Motown artists were Mable John, Barrett Strong and Mary Wells. Tamla's first release was Marv Johnson's "Come to Me" in 1959. Its first hit was Barrett Strong's "Money (That's What I Want)" (1959), which made it to #2 on the Billboard R&B charts; its first #1 R&B hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number two on the Billboard Hot 100, and was Motown's first million-selling record. On April 4, 1960, Motown Records and Tamla Records became incorporated as Motown Record Corporation. A year later, The Marvelettes scored Tamla's first US #1 pop hit, "Please Mr. Postman." By the mid-1960s, the label, with the help of songwriters and producers such as Robinson, A&R chief William "Mickey" Stevenson, Brian Holland, Lamont Dozier, and Norman Whitfield, was a major force in the music industry.

Smokey Robinson said of Motown's cultural impact:

Into the '60s, I was still not of a frame of mind that we were not only making music, we were making history. But I did recognize the impact because acts were going all over the world at that time. I recognized the bridges that we crossed, the racial problems and the barriers that we broke down with music. I recognized that because I lived it. I would come to the South in the early days of Motown and the audiences would be segregated. Then they started to get the Motown music and we would go back and the audiences were integrated and the kids were dancing together and holding hands

In 1968, Gordy purchased the Donovan building on the corner of Woodward Avenue and Interstate 75, and moved Motown's Detroit office   there (the Donovan building was demolished in January 2006 to provide parking spaces for Super Bowl XL). The same year, Gordy purchased Golden World Records, and its recording studio became "Studio B" to Hitsville's "Studio A".

In Britain, Motown's records were released on various labels: at first London (only the Miracles' "Shop Around"/"Who's Lovin' You" and "Ain't It Baby"), then Fontana ("Please Mr. Postman" by the Marvelettes was one of four), Oriole American ("Fingertips - Pt. 2" by Little Stevie Wonder was one of many), EMI's Stateside ("Where Did Our Love Go" by the Supremes and "My Guy" by Mary Wells were Motown's first British top-20 hits), and finally EMI's Tamla-Motown ("Stop In The Name Of Love" by The Supremes was the first release in March 1965 and "Ain't That Peculiar" by Marvin Gaye was among many others).

Move to Los Angeles: 1972–1998
After the songwriting trio Holland–Dozier–Holland left the label in 1967 over royalty payment disputes, Norman Whitfield became the company's top producer, turning out hits for The Temptations, Marvin Gaye, and Gladys Knight & the Pips. In the meantime, Berry Gordy established Motown Productions, a television subsidiary which produced TV specials for the Motown artists, including TCB with Diana Ross & the Supremes and The Temptations, Diana! with Diana Ross, and Goin' Back to Indiana with The Jackson 5. The company loosened its production rules, allowing some of its longtime artists the chances to write and produce more of their own material. This resulted in the recordings of successful and critically acclaimed albums such as Marvin Gaye's What's Going On (1971) and Let's Get it On (1973), and Stevie Wonder's Music of My Mind (1972), Talking Book (1972), and Innervisions (1973).

Motown had established branch offices in both New York City and Los Angeles during the mid-1960s, and by 1969 had begun gradually moving more of its operations to Los Angeles. The company moved all of its operations to Los Angeles in June 1972, with a number of artists, among them Martha Reeves, The Four Tops, Gladys Knight & the Pips, and Motown's Funk Brothers studio band, either staying behind in Detroit or leaving the company for other reasons. The main objective of Motown's relocation was to branch out into the motion picture industry, and Motown Productions got its start in film by turning out two hit vehicles for Diana Ross: the Billie Holliday biographical film Lady Sings the Blues (1972), and Mahogany (1975). Other Motown films would include Thank God It's Friday (1978), The Wiz (1978) and Berry Gordy's The Last Dragon (1985).

Despite losing Holland–Dozier–Holland, Norman Whitfield, and a number of its other hitmakers by 1975, Motown still had a number of successful artists during the late 1970s and 1980s, including Lionel Richie and The Commodores, Rick James, Teena Marie and DeBarge.

By the mid-1980s, Motown was losing money, and Berry Gordy sold his ownership in Motown to Music Corporation of America (MCA) and Boston Ventures in June 1988 for $61 million. In 1989, Gordy sold the Motown Productions TV/film operations to Motown executive Suzanne de Passe, who renamed the company de Passe Entertainment and runs it to this day.

During the 1990s, Motown was home to successful recording artists such as Boyz II Men and New Edition member Johnny Gill, although the company itself remained in a state of turmoil. A revolving door of executives were appointed by MCA to run the company, beginning with Berry Gordy's immediate successor, Jheryl Busby. Busby quarreled with MCA, alleging that the company did not give Motown's product adequate attention or promotion. In 1991, Motown sued MCA to have its distribution deal with the company terminated, and began releasing its product through PolyGram. Polygram purchased Motown from Boston Ventures three years later. In 1994, Busby was replaced by Andre Harrell, the entrepreneur behind Uptown Records. Harrell served as Motown's CEO for just under two years, leaving the company after receiving bad publicity for being inefficient. Danny Goldberg, who ran PolyGram's Mercury Records group, assumed control of Motown, and George Jackson served as president.

Final years of the Motown label: 1999–2005
By 1998, Motown had added stars such as 702, Brian McKnight, and Erykah Badu to its roster. In December 1998, PolyGram was acquired by Seagram, and Motown was absorded into the Universal Music Group. Ironically, Seagram had purchased Motown’s former parent MCA in 1995, as such Motown was in effect reunited with many of its MCA corporate siblings (Seagram had in fact, hoped to build a media empire around Universal, and started by purchasing PolyGram). Universal briefly considered shuttering the floundering label, but instead decided to restructure it. Kedar Massenburg, a producer for Erykah Badu, became the head of the label, and oversaw successful recordings from Badu, McKnight, Michael McDonald, and new Motown artist India.Arie.

Diana Ross, Smokey Robinson, Stevie Wonder and The Temptations had remained with the label since its early days, although all except Wonder recorded for other labels for several years. Ross left Motown for RCA from 1981 to 1988, but returned in 1989 and stayed until 2002. Robinson left the label in the late 1990s, and the Temptations left a second time in 2004. Wonder is today the only artist from Motown's early period still on the label.

Universal Motown: 2005-present
Further information: Universal Motown
In 2005, Massenburg was replaced by Sylvia Rhone, former CEO of Elektra Records. Motown was merged with Universal Records to create the Universal Motown and placed under the newly created umbrella division of Universal Motown Republic Group which oversees the releases and catalogs for Motown, Universal, Blackground, Republic, Cash Money, Casablanca, and other labels.

Motown began celebrating its fiftieth anniversary (January 12, 2009) in late 2008, including the release of a The Complete No. 1's boxset containing Motown #1 hits from Billboard's pop, R&B, and disco charts, reissues of classic-era Motown albums on CD, and other planned events, which were released in collaboration with Universal Music Group's catalog division Universal Music Enterprises.

Universal Motown's current roster includes R&B singers India.Arie, Erykah Badu, Mýa, Kem, and Yummy Bingham, pop singer Lindsay Lohan (better known as an actress), reggae singers Damian and Stephen Marley, and rappers Q-Tip, Trick Trick and Nick Cannon.

The Motown Sound
Motown’s music was crafted with an ear towards pop appeal. The company specialized in a type of soul music it referred to with the trademark "The Motown Sound". The Motown Sound was typified by a number of characteristics: the use of tambourines to accent the back beat, prominent and often melodic electric bass guitar lines, distinctive melodic and chord structures, and a call and response singing style that originated in gospel music. In addition, pop production techniques such as the use of orchestral string sections, charted horn sections, and carefully arranged background vocals were also used. Complex arrangements and elaborate, melismatic vocal riffs were avoided;[2] Motown producers believed steadfastly in the "KISS principle" ("keep it simple, stupid") [3]

Berry Gordy used weekly quality control meetings, held every Friday morning, and veto power to ensure that only the very best material and performances the company came up with would be released. The test was that every new release needed to "fit" into a sequence of the top 5 selling pop singles of the week. As a result, several tracks which later became critical and commercial favorites were initially rejected by Gordy, the two most notable examples being a pair of Marvin Gaye songs, "I Heard It Through the Grapevine" and "What's Going On". In several cases, producers would re-work and re-re-work tracks in hopes of eventually getting them approved at a later Friday morning meeting, as producer Norman Whitfield did with "I Heard It Through the Grapevine" and The Temptations' "Ain't Too Proud to Beg".

Many of Motown's best-known songs, such as all of the early hits for The Supremes, were written by the songwriting trio of Holland–Dozier–Holland (brothers Brian & Eddie Holland and colleague Lamont Dozier). Other important producers and songwriters at Motown's Hitsville U.S.A. recording studio and headquarters included Norman Whitfield & Barrett Strong, Nickolas Ashford & Valerie Simpson, Frank Wilson, Motown artists Smokey Robinson, Marvin Gaye and Stevie Wonder, and Gordy himself.

The many artists and producers of Motown Records collaborated to produce numerous hit songs, although the process has been described as factory-like (such as the Brill Building). The Hitsville studios remained open and active 22 hours a day, and artists would often be on tour for weeks, come back to Detroit to record as many songs as possible, and then promptly set back out on tour again.

The style created by the Motown musicians was a major influence on several non-Motown artists of the mid-1960s, such as Dusty Springfield and The Foundations. In the United Kingdom, the Motown Sound became the basis of the northern soul movement. Smokey Robinson said the Motown Sound had little to do with Detroit:

People would listen to it, and they'd say, 'Aha, they use more bass. Or they use more drums.' no way. When we were first successful with it, people were coming from Germany, France, Italy, Mobile, Alabama. From New York, Chicago, California. From everywhere. Just to record in Detroit. They figured it was in the air, that if they came to Detroit and recorded on the freeway, they'd get the Motown sound. Listen, the Motown sound to me is not an audible sound. It's spiritual, and it comes from the people that make it happen. What other people didn't realize is that we just had one studio there, but we recorded in Chicago, Nashville, New York, L.A.--almost every big city. And we still got the sound.[4]

The Funk Brothers
In addition to the songwriting prowess of the writers and producers, one of the major factors in the widespread appeal of Motown's music was Gordy's practice of using a highly select and tight-knit group of studio musicians, collectively known as "The Funk Brothers", to record the instrumental or "band" tracks of a majority of Motown recordings. Among the studio musicians responsible for the "Motown Sound" were keyboardists Earl Van Dyke, Johnny Griffith, and Joe Hunter; guitarists Joe Messina, Robert White, and Eddie Willis; percussionists Eddie "Bongo" Brown and Jack Ashford; drummers Benny Benjamin, Uriel Jones, and Richard "Pistol" Allen; and bassists James Jamerson, Etan Nechin and Bob Babbitt. The band's career and work is chronicled in the 2002 documentary film Standing in the Shadows of Motown which publicised the fact that these musicians "played on more number-one records than The Beatles, Elvis, The Rolling Stones, and The Beach Boys combined.

Much of the Motown Sound came from the use of overdubbed and duplicated instrumentation. Motown songs regularly featured two drummers instead of one (either overdubbed or in unison), as well as three or four guitar lines.[5] Bassist James Jamerson often played his instrument with only his index finger, and created many of the basslines apparent on Motown songs such as "You Can't Hurry Love" by The Supremes.[5]

Artist development
Artist development was a major part of Motown's operations. The acts on the Motown label were fastidiously groomed, dressed and choreographed for live performances. Motown artists were advised that their breakthrough into the white popular music market made them ambassadors for other African American artists seeking broad market acceptance, and that they should think, act, walk and talk like royalty, so as to alter the less-than-dignified image commonly held by white Americans in that era of black musicians. Given that many of the talented young artists had been raised in housing projects and were short on social and dress skills, this Motown department was not only necessary, it created an elegant style of presentation long associated with the label. The artist development department specialized primarily in working with younger, less experienced acts; experienced performers such as Jr. Walker and Marvin Gaye were exempted from artist development classes.

Many of the young artists participated in an annual package tour called the "Motortown Revue", which was popular, first, on the "chitlin' circuit", and, later, around the world. The tours gave the younger artists a chance to hone their performance and social skills and learn from the more experienced artists.

Motown subsidiary labels
Major divisions
Motown Records: Established 1960, Motown was and remains the company's main label for mainstream R&B/soul music (and, today, hip hop music as well). The label's numbering system was combined with those of Tamla and Gordy in 1982, and the label (and company) was purchased by MCA in 1988. Notable Motown artists have included Mary Wells, The Supremes, The Four Tops , The Jackson 5, Boyz II Men, The Commodores, and Erykah Badu. Motown Records slogan: "The Sound of Young America."
Tamla Records: Established 1959, Tamla was a primary subsidiary for mainstream R&B/soul music. Tamla is actually the company's original label: Gordy incorporated Tamla Records several months before establishing the Motown Record Corporation. The label's numbering system was combined with those of Motown and Gordy in 1982, and the label was merged with Motown in 1988. Notable Tamla artists included Smokey Robinson & The Miracles, Marvin Gaye, Stevie Wonder, and The Marvelettes. Tamla Records slogan: "The Sound that makes the world go 'round."
Gordy Records: Established 1962, Gordy was also a primary subsidiary for mainstream R&B/soul music. Originally known as Miracle Records (slogan: "If It's a Hit, It's a Miracle"), the name was changed in 1962 to avoid confusion with the Miracles singing group. The label's numbering system was combined with those of Motown and Tamla in 1982, and the label was merged with Motown in 1988. Notable Gordy artists included The Temptations, Martha Reeves & the Vandellas, The Contours, Edwin Starr , Rick James, and DeBarge. Gordy Records slogan: "It's What's in the Grooves that Counts"
[edit] Secondary R&B labels
Check-Mate Records: Short-lived (1961–1962) R&B/soul subsidiary, purchased from Chess Records. Notable artists included David Ruffin and The Del-Phis (later Martha & the Vandellas).
Miracle Records: Short-lived (1961) R&B/soul subsidiary that lasted less than a year. Some pressings featured the infamous tagline, "If it's a hit, it's a Miracle." Shut down and reorganized as Gordy Records in 1962. Notable artists included Jimmy Ruffin and early recordings by The Temptations).
Soul Records: Established 1964, Soul was a R&B/soul subsidiary for releases with less of a pop feel and/or more of a traditional soul/blues feel. Notable Soul artists included Jr. Walker & the All-Stars, Shorty Long, Gladys Knight & the Pips and Jimmy Ruffin. The label was dissolved in 1978.
V.I.P. Records: Established 1964, V.I.P. was a R&B/soul subsidiary. Notable artists included The Velvelettes, The Spinners, The Monitors, The Elgins and Chris Clark. The label was dissolved in 1974.
Mo-West Records: Mo-West was a short-lived (1971–1973) subsidiary for R&B/soul artists based on the West Coast. Shut down when the main Motown office moved to Los Angeles. Notable artists included G.C. Cameron, Syreeta Wright, The Commodores (their first two singlesin 1972 and 1973), and Los Angeles DJ Tom Clay.
Motown Yesteryear: a label created in late 1970s and used through the 1980s for the reissues of 7 inch singles from all eras of the company's history, after printing in the initial label has ceased.[6] One Motown Yesteryear single made Billboard's Top 40 - The Contours' "Do You Love Me", in 1988, when its inclusion in the film "Dirty Dancing" revived interest.
[edit] Alternative genre labels
Divinity Records: Short-lived (1961–1963) gospel subsidiary.
Mel-o-dy Records: Established in 1962 as a secondary R&B/soul music subsidiary, Mel-o-dy later focused on white country music artists. Notable Mel-o-dy artists include Dorsey Burnette. The label was dissolved in 1965.
Workshop Jazz Records: Motown's jazz subsidiary, active from 1962 to 1964. Notable Workshop Jazz artists included the George Bohannon Trio and Four Tops (whose recordings for the label went unissued for 30 years).
Rare Earth Records: Established in 1969 after the signing of Rare Earth (after whom the label was named), Rare Earth Records was a subsidiary focusing on rock music by white artists. Notable acts included Rare Earth, R. Dean Taylor, The Pretty Things, Stoney & Meatloaf, Toe Fat, The Cats and Shaun Murphy (singer). The label also was the subsidiary to house the first white band signed to Motown: The Rustix. The label was dissolved in 1976, and its acts moved to the Prodigal subsidiary.
Weed Records: A very short-lived subsidiary. Only one release, Chris Clark's 1969 CC Rides Again album, was issued. This release featured the tongue-in-cheek tagline, "Your Favorite Artists Are On Weed." The name "Weed Records" is now owned by the Tokyo-New York based Weed Records.
Black Forum Records: A Spoken word subsidiary which focused mainly on albums featuring progressive political and pro-civil rights speeches/poetry. Black forum issued recordings by the Rev. Dr. Martin Luther King, Jr., Stokely Carmichael, Elaine Brown, and others from 1970 until 1973.
Natural Resources Records: This label was active from 1972 to 1973 and in 1976 as a minor subsidiary for white artists and instrumental bands. Served as a label for Motown, Tamla, and Gordy reissues and Motown compilation albums in 1978 and 1979.
Prodigal Records: Purchased by Motown in 1974, Motown used Prodigal Records as a second rock music subsidiary; a sister label to Rare Earth Records. The Rare Earth band moved over to the label following the Rare Earth label's demise. Prodigal was dissolved in 1978.
Hitsville Records: Founded as Melodyland Records in 1974, the name was changed to Hitsville in 1976. Like Mel-o-dy before it, Hitsville focused on country music. Notable artists included Pat Boone and T.G. Sheppard. The label was dissolved in 1977.
Morocco Records: Meaning "MOtown ROCk COmpany," As the name suggests, Morocco was a rock music subsidiary. Active from 1983 to 1984, it was a short-lived attempt to revive the Rare Earth Records concept. Only seven albums were released on the label. Its two most promising acts, Duke Jupiter and the black New Wave trio Tiggi Clay (via their lead singer, Fizzy Qwick) eventually moved to the parent label.
Onedirection Records: A record label owned by Stevie Wonder, it had one 12-inch dance release, the 15-minute rap track "The Crown" by Gary Byrd and the G.B. Experience.
Motown Latino Records: Short-lived (1982) subsidiary for Spanish language Latin American music.
Mo Jazz Records: Another jazz label created in the 1990s. Notable artists included Norman Brown, Foley, and J. Spencer.
Mad Sounds Recordings: Short lived hip hop/rap subsidiary label, released 5 albums in the mid 1990s.[7]
[edit] Independent labels distributed by Motown
Chisa Records: Motown released output for Chisa, a label owned by Hugh Masekela, from 1969 to 1972 (prior to that, the label was distributed by Vault Records).
Ecology Records : A very short-lived label owned by Sammy Davis, Jr. and distributed by Motown. Only release: single "In My Own Lifetime"/"I'll Begin Again", by Davis in 1971.
CTI Records: Motown distributed output for CTI Records, a jazz label owned by Creed Taylor, from 1974 to 1975. CTI subsidiaries distributed by Motown included Kudu Records, Three Brothers Records and Salvation Records.
Gull Records: A UK-based label still in operation, Motown released Gull's output in the US in 1975. Gull had Judas Priest on its roster in 1975, but their LP Sad Wings of Destiny, intended for release by Motown in the US, was issued after the Motown/Gull Deal had fallen through.
Biv 10 Records: A hip-hop/R&B label that was founded by Bell Biv Devoe/New Edition member Michael Bivins. The label operated throughout most of the 1990s. Its roster included Another Bad Creation, Boyz II Men, and 702.