Motown

For the city nicknamed Motown, see Detroit.
Motown
Parent company Universal Music Group
Founded January 12, 1959 (January 12, 1959)
Founder Berry Gordy, Jr.
Distributor(s) Capitol Music Group
(in the US)
Virgin EMI Records
(in the UK)
Universal Music Group
(worldwide)
Genre Various
Country of origin United States
Location New York City
Detroit
Los Angeles
Official website Official website

Motown is an American record company. It was founded by Berry Gordy, Jr. as Tamla Records on January 12, 1959, and incorporated as Motown Record Corporation on April 14, 1960, in Detroit, Michigan. The name, a combination of motor and town, has also become a nickname for Detroit. Motown played an important role in the racial integration of popular music as an African American-owned record label which achieved significant crossover success. In the 1960s, Motown and its subsidiary labels (including Tamla Motown, the brand used outside the US) were the most successful proponents of what came to be known as the Motown Sound, a style of soul music with a distinct pop influence. During the 1960s, Motown achieved spectacular success for a small record company: 79 records in the Top Ten of the Billboard Hot 100 record chart between 1960 and 1969.[1]

Gordy relocated Motown to Los Angeles in 1972, and there it remained an independent company until June 28, 1988, when Gordy sold the company to MCA and Boston Ventures (which took over full ownership of Motown in 1991). Motown was then sold to PolyGram in 1994, before being sold again to MCA Records' successor, Universal Music Group, when it acquired PolyGram in 1999.

Motown spent much of the 2000s as a part of the Universal Music subsidiaries Universal Motown and Universal Motown Republic Group, and headquartered in New York City. From 2011 to 2014, Motown was a part of The Island Def Jam Music Group division of Universal Music.[2][3][4] On April 1, 2014, Universal Music Group announced the dissolution of Island Def Jam; subsequently Motown relocated back to Los Angeles to operate under the Capitol Music Group. It now operates out of the landmark Capitol Tower.[5]

History

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; but 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.

The Hitsville U.S.A. Motown building, at 2648 West Grand Boulevard in Detroit, Motown's headquarters from 1959 to 1968, which became the Motown Historical Museum in 1985[6]

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 and royalties earned writing for Jackie Wilson. Gordy originally wanted to name the label Tammy Records, after the hit song popularized by Debbie Reynolds from the 1957 film Tammy and the Bachelor, in which Reynolds also starred. When he found the name was already in use, Berry decided on Tamla instead. Tamla's first release, in the Detroit area, was Marv Johnson's "Come to Me" in 1959 (released nationally on United Artists). Its first hit was Barrett Strong's "Money (That's What I Want)" (1959), which made it to number 2 on the Billboard R&B charts (released nationally on Anna Records).

Gordy's first signed act was the Matadors, who immediately changed their name to the Miracles. (They were not the Matadors who recorded for Sue.) Their first release, "Got a Job", was an answer record to the Silhouettes' "Get a Job" (issued on George Goldner's End Records). The Miracles' first, minor hit was their fourth single, 1959's "Bad Girl", released in Detroit as the debut record on the Motown imprint, and nationally on the Chess label. (Most early Motown singles were released through other labels, such as End, Fury, Gone and Chess.)

Miracles lead singer William "Smokey" Robinson became the vice president of the company (and later named his daughter "Tamla" and his son "Berry"). Several of Gordy's family members, including his father Berry, Sr., brothers Robert and George, and sister Esther, were 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.

West Grand Boulevard

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 seven years, Motown would occupy seven additional neighboring houses:

Motown had hired over 450 employees and had a gross income of $20 million by the end of 1966.

Detroit: 1959–1972

Early Tamla/Motown artists included Mable John, Eddie Holland and Mary Wells. "Shop Around", the Miracles' first number 1 R&B hit, peaked at number two on the Billboard Hot 100 in 1960. It was Tamla's first million-selling record. On April 14, 1960, Motown and Tamla Records merged into a new company called Motown Record Corporation. A year later, the Marvelettes scored Tamla's first US number-one pop hit, "Please Mr. Postman". By the mid-1960s, the company, with the help of songwriters and producers such as Robinson, A&R chief William "Mickey" Stevenson, Brian Holland, Lamont Dozier, and Norman Whitfield, had become a major force in the music industry.

From 1961 to 1971, Motown had 110 top 10 hits. Top artists on the Motown label during that period included the Supremes (initially including Diana Ross), the Four Tops, and the Jackson 5, while Stevie Wonder, Marvin Gaye, the Marvelettes, and the Miracles had hits on the Tamla label. The company operated several labels in addition to the Tamla and Motown imprints. A third label, which Gordy named after himself (though it was originally called "Miracle") featured the Temptations, the Contours, and Martha and the Vandellas. A fourth, V.I.P., released recordings by the Velvelettes, the Spinners, the Monitors, and Chris Clark.

A fifth label, Soul, featured Jr. Walker & the All Stars, Jimmy Ruffin, Shorty Long, the Originals, and Gladys Knight & the Pips (who had found success before joining Motown, as "The Pips" on Vee-Jay). Many more Motown-owned labels released recordings in other genres, including Workshop Jazz (jazz), Mel-o-dy (country, although it was originally an R&B label), and Rare Earth (rock), which featured the band Rare Earth themselves. Under the slogan "The Sound of Young America", Motown's acts were enjoying widespread popularity among black and white audiences alike.

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.[7]
Berry Gordy House, known as Motown Mansion in Detroit's Boston-Edison Historic District[8]

In 1967 Berry Gordy purchased what is now known as Motown Mansion in Detroit's Boston-Edison Historic District as his home, leaving his previous home to his sister Anna and then husband Marvin Gaye (where photos for the cover of his album What's Going On were taken).[8] In 1968, Gordy purchased the Donovan building on the corner of Woodward Avenue and Interstate 75, and moved Motown's Detroit offices there (the Donovan building was demolished in January 2006 to provide parking spaces for Super Bowl XL). In the same year Gordy purchased Golden World Records, and its recording studio became "Studio B" to Hitsville's "Studio A".

In the United Kingdom, 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) and then Oriole American ("Fingertips" by Little Stevie Wonder was one of many). In 1963, Motown signed with EMI's Stateside label ("Where Did Our Love Go" by the Supremes and "My Guy" by Mary Wells were Motown's first British top-20 hits). Eventually EMI created the Tamla Motown label ("Stop! In the Name of Love" by the Supremes was the first Tamla Motown release in March 1965).

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, Gladys Knight & the Pips and Rare Earth. 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 opportunity 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. By re-locating, Motown aimed chiefly 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 Holiday biographical film Lady Sings the Blues (1972), and Mahogany (1975). Other Motown films would include Scott Joplin (1977), Thank God It's Friday (1978), The Wiz (1978) and The Last Dragon (1985). Ewart Abner, who had been associated with Motown since the 1960s, became its president in 1973.

Despite losing Holland–Dozier–Holland, Norman Whitfield, and some of its other hitmakers by 1975, Motown still had a number of successful artists during the 1970s and 1980s, including Lionel Richie and the Commodores, Rick James, Teena Marie, the Dazz Band and DeBarge. By the mid-1980s Motown had started losing money, and Berry Gordy sold his ownership in Motown to MCA Records 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 continues to run it as of 2012.

During the 1990s Motown was home to successful recording artists such as Boyz II Men and Johnny Gill, although the company itself remained in a state of turmoil. MCA appointed a revolving door of executives 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 absorbed into the Universal Music Group. Seagram had purchased Motown's former parent MCA in 1995, and Motown was in effect reunited with many of its MCA corporate siblings (Seagram had hoped to build a media empire around Universal, and started by purchasing PolyGram). Universal briefly considered shuttering the 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 Records from 1981 to 1988, but returned in 1989 and stayed until 2002. Robinson left the label in the early 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.

Q-Tip was the final artist on the label, releasing The Renaissance.

Universal Motown: 2005–2011

Further information: Universal Motown Records

In 2005, Massenburg was replaced by Sylvia Rhone, former CEO of Elektra Records. Motown was merged with Universal Records to create the Universal Motown Records and placed under the newly created umbrella division of Universal Motown Republic Group. Motown began celebrating its fiftieth anniversary (January 12, 2009) in late 2008, including the release of a The Complete No. 1's box set containing Motown number-one 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.

Relaunch: 2011–present

As of summer of 2011, Universal Motown has been separated from Universal Motown Republic Group, has reverted to the original Motown brand, has hired Ethiopia Habtemariam as its Senior Vice President, and is now operated under The Island Def Jam Music Group.[2][4] Artists from Universal Motown have been transferred to the newly revitalized Motown label.[3] On January 25, 2012, it was announced that Ne-Yo would join the Motown label both as an artist as well as the new Senior Vice President of A&R.[9][10] On April 1, 2014, it was announced that Island Def Jam will no longer be running following the resignation of CEO Barry Weiss. In a press release sent out by Universal Music Group, the label will now be reorganizing Def Jam Recordings, Island Records and Motown Records all as separate entities.[11] Motown would then begin serving as a subsidiary of Capitol Records.[12]

Motown Sound

Motown specialized in a type of soul music it referred to with the trademark "The Motown Sound". Crafted with an ear towards pop appeal, the Motown Sound typically used 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. 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.[13] Motown producers believed steadfastly in the "KISS principle" (keep it simple, stupid).[14] Despite the growth of popular music being written and performed by black artists, the songs would not become popular or recognized unless the music was being performed by white performers. However, the Motown Sound became distinctly unique, making it impossible for white performers to replicate its sound. The "real" Motown Sound became more favorable than the altered renditions.[15]

The Motown production process has been described as factory-like. The Hitsville studios remained open and active 22 hours a day, and artists would often go on tour for weeks, come back to Detroit to record as many songs as possible, and then promptly go on tour again. Berry Gordy held quality control meetings every Friday morning, and used veto power to ensure that only the very best material and performances would be released. The test was that every new release needed to fit into a sequence of the top five selling pop singles of the week. Several tracks that later became critical and commercial favorites were initially rejected by Gordy; the two most notable being the Marvin Gaye songs "I Heard It Through the Grapevine" and "What's Going On". In several cases, producers would 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, including all the early hits for the Supremes, were written by the songwriting trio of Holland–Dozier–Holland (Lamont Dozier and brothers Brian and Eddie Holland). Other important Motown producers and songwriters included Norman Whitfield, William "Mickey" Stevenson, Smokey Robinson, Barrett Strong, Nickolas Ashford & Valerie Simpson, Frank Wilson, Pamela Sawyer & Gloria Jones, James Dean & William Weatherspoon, Johnny Bristol, Harvey Fuqua, Gil Askey,[16] Stevie Wonder, and Gordy himself.

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.' Bullshit. 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.[17]

The Funk Brothers

Main article: 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 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."[18]

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.[18] Bassist James Jamerson often played his instrument with only the index finger of his right hand, and created many of the basslines apparent on Motown songs such as "Up the Ladder to the Roof" by The Supremes.[18]

Artist development

Artist development was a major part of Motown's operations instituted by Berry Gordy. 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 of black musicians by white Americans in that era.[19] 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.[20] 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

In order to avoid accusations of payola should DJs play too many records from the original Tamla label, Gordy formed Motown Records as a second label in 1959. The two labels featured the same writers, producers and artists.

Many more subsidiary labels were established later under the umbrella of the Motown parent company, including Gordy Records, Soul Records and VIP Records; in reality the Motown Record Corporation controlled all of these labels. Most of the distinctions between Motown labels were largely arbitrary, with the same writers, producers and musicians working on all the major subsidiaries, and artists were often shuffled between labels for internal marketing reasons. All of these records are usually considered to be "Motown" records, regardless of whether they actually appeared on the Motown Records label itself.

Major divisions

Secondary R&B labels

Alternative genre labels

Country

Hip hop/rap

Jazz

Rock

Other

Independent labels distributed by Motown

Miscellaneous labels associated with Motown

British (pre-Tamla Motown) labels

See also

References

  1. ↑ The Sound of the City, Charlie Gillett, Sphere Books, 1971, p.247
  2. 1 2 "Ethiopia Habtemariam Named Senior Vice President of Motown Records". Billboard.biz. August 10, 2011. Retrieved December 12, 2011.
  3. 1 2 Ben Sisario, "A Young Music Executive Takes Over at Motown", New York Times, August 10, 2011.
  4. 1 2 "Brandon Creed Joins Universal Republic And Island Def Jam Motown". Universal Music. August 15, 2011. Retrieved December 12, 2011.
  5. ↑ "A revitalized Capitol Records forges a new path forward". LA Times. 2015-02-03. Retrieved 2015-10-30.
  6. ↑ "Motown Museum". Motown Museum. August 24, 2011. Retrieved December 12, 2011.
  7. ↑ Ron Thibodeaux, "My Smokey Valentine", The Times-Picayune (New Orleans, La.), February 14, 2009.
  8. 1 2 "The Motown Mansion!". Motownmansion.com. Retrieved December 12, 2011.
  9. ↑ Williams, Brennan (January 25, 2012). "Ne-Yo Leaves Def Jam For Motown Records". Huffington Post.
  10. ↑ "Rob Markham, "Ne-Yo Leaves Def Jam To Become Motown Exec", MTV News, January 25, 2012.". MTV News. Retrieved October 8, 2014.
  11. ↑ "Island Def Jam Is Over". XXL. Retrieved October 8, 2014.
  12. ↑ "Frequency Magazine". Frequencynews.com. May 2014. Retrieved October 8, 2014.
  13. ↑ Chin, Brian & David Nathan, "Reflections Of..." The Supremes [CD boxed-set liner notes] (New York: Motown Record Co./Universal Music, 2000).
  14. ↑ Williams, Otis & Patricia Romanowski, Temptations (Lanham, MD: Cooper Square, 1988; updated 2002). ISBN 0-8154-1218-5, p. 157.
  15. ↑ Pitts, Leonard. “The Motown Factor.” Jazziz Magazine. December 2013,Vol. 20, No.12, pp.60-62. Print.
  16. ↑ Yourse, Robyn-Denise (May 19, 2006). "Diana Ross: old wine in 'Blue' bottles". The Washington Times (News World Communications). Retrieved September 16, 2012 – via HighBeam. (subscription required (help)).
  17. ↑ Hirshey, Gerri (1994 [1984]). Nowhere to Run: The Story of Soul Music. New York: Da Capo Press. p. 187. ISBN 0-306-80581-2.
  18. 1 2 3 Justman, Paul (2002). Standing in the Shadows of Motown (DVD). Santa Monica, California: Artisan Entertainment.
  19. ↑ Pitts, Leonard, Jr. “The Motown Factor”. Jazziz. Issue 20.12. Dec. 2003. 60-62. Print.
  20. ↑ Laurie, Timothy (2012). "Crossover Fatigue: The Persistence of Gender at Motown Records". Feminist Media Studies. 14 (1): 90–105. Retrieved 2015-10-30.
  21. ↑ Mike Callahan, Patrice Eyries, David Edwards. "Gordy Album Discography, Part 1 (1962-1981)". article. bsnpubs.com. Retrieved 2014-03-16.
  22. ↑ "Miracle | Motown Junkies". article. motownjunkies.co.uk. Retrieved 2014-03-16.
  23. ↑ "Diana-web.com". Retrieved December 12, 2011.
  24. ↑ Mike Callahan, David Edwards. "Weed Album Discography". article. bsnpubs.com. Retrieved 2014-03-16.
  25. ↑ Leigh, Spencer (October 4, 2005). "Obituaries - Ray Ruff". The Independent (London). Retrieved January 25, 2010.
  26. ↑ Mike Callahan, David Edwards. "M.C. Album Discography". article. bsnpubs.com. Retrieved 2014-03-16.
  27. ↑ "Mad Sounds Recordings". Discogs.com. Retrieved December 12, 2011.
  28. ↑ Mike Callahan, David Edwards. "Prodigal Album Discography". article. bsnpubs.com. Retrieved 2014-03-16.
  29. ↑ Rickey Vincent, "Louder Than a Bomb: On The Sounds of Black Power" (review of Pat Thomas, Listen, Whitey!: the Sights and Sounds of Black Power 1965-1975), Los Angeles Review of Books, October 17, 2012.
  30. ↑ "The Clams". Petelevin.com. Retrieved December 12, 2011.

External links

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