22 - MOTOWN

MotownMotown mastermind Berry Gordy Jr. saw his dreams become reality when his company featuring black performers, musicians and writers became the biggest black owned corporation in North America.

Using Tin Pan Alley, The Brill Building and the MGM star grooming system as his inspirations, Gordy raised the concept of assembly line songwriting, arranging, recording and packaging to a high art form. He controlled his empire with an iron fist, creating images, choosing songs, matching performers with material, directing promotion and overseeing the grooming of his artists for stardom.

BERRY GORDY JR.

THE MOTOWN SOUND

Exactly what were the ingredients of the so-called Motown sound? The distinctive combination of a non-stop percussive assault featuring pounding drums, tambourines and hissing cymbals, persistent baritone sax leads played over melodic vibes, all layered over heavy thumping bass patterns, gave the recordings a unified style. The production was streamlined and the overall sound was like some gigantic machine bent on ravaging the listener's eardrums. Add to this the glorious songs of the Motown songwriting staff performed by a talented artist roster and you have the recipe for an incredibly successful product.

Vocally, the Motown sound consisted of the fusion of emotional gospel tinged lead vocals and repetitive choral hook lines and choruses - once again based on the call and response technique.

Motown records were so much more acceptable to the white masses than any other modern black music style. Its roots were gospel and blues yet its image was upscale white presented with an entirely wholesome look and attitude. Lyrics were never as racy as hardcore R&B or soul and rarely were they political. Many other black owned outfits tended to view Motown as creampuff R&B served up to "whitey," although much of that could be chalked up to jealousy and disguised admiration. Yes, Motown was pop music in its direction but it was wholly black and it certainly possessed a powerful sound and an impressive track record. Motown caused a revolution in mainstream music, garnering an across the board audience. It was no wonder that it was dubbed "Hitsville U.S.A."

THE MOTOWN HOUSE BAND

The relatively unheralded session band for Motown was actually Earl Van Dyke's Soul Brothers. Unlike the Stax house band, they were generally kept in the background and told exactly what to play with little or no experimentation. The most scandalous fact was that the band played in local lounges for peanuts and worked all day in the studio for scale.

BAND LINEUP

Other session musicians included Thomas "Beans" Bowles (sax & flute), Joe Hunter and Johnny Griffith (piano), Eddie Willis and David Hamilton (guitar), Uriel Jones and Richard "Pistol" Allen (drums), Eddie "Bongo" Brown, Jack Ashford and Jack Brokensha (percussion).

MOTOWN BACKGROUND VOCAL GROUP

THE ANDANTES - Jackie Hicks, Marlene Barrow and Louvain Demps.

I.T.M.I.

In the Gordy empire, everyone did exactly as they were told. He certainly nurtured and promoted his acts yet his autocracy also included keeping tabs on everything and everybody - sometimes even their private lives. In order to prepare his acts for stardom, he formed his International Talent Management Inc. (I.T.M.I.), a sort of finishing school for entertainers. Motown acts were taught manners, poise, makeup, dance choreography and basic good grooming. Gordy demanded respectability. It was his contention that good performers should offend no one. If black acts were to compete in the white world, they must be within reach of perfection. He called it quality control - others labelled it dictatorship.

THE MOTOWN SUCCESS STORY

By the time his roster of quality performers had grown to include The Temptations, Stevie Wonder, The Four Tops and Martha And The Vandellas, Berry Gordy Jr. had finally developed a unified recognizable style. However, the epitome of the Motown sound and the ultimate in pop packaging came about with the inspired pairing of writers Holland, Dozier & Holland and a female vocal trio called The Supremes.

By 1966, 75% of all Motown product was charted - an awesome achievement by any standards. As soon as his acts attained chart success, Gordy hustled them into major showcase venues such as The Copa, The Latin Casino and several classy Las Vegas nightclubs. He was obsessed with elevating his top artists to superstar status, especially in the case of Diana Ross. When she emerged as his most successful protégé, he began lavishing most of his attention on her to the dismay of not only the other two Supremes but to his other artists. Although Ross had defiantly eclipsed all of her other Motown contemporaries, a great majority of Gordy's other acts suffered, causing dissention and confusion. As a result, several of his prominent acts left the company.

In 1967, unhappy with royalty accounting and a resulting lawsuit, Holland, Dozier & Holland left the fold. Several other writing units such as Nick Ashford and wife Valerie Simpson (see Funk And The New R&B) were recruited as replacements. By 1968, internal dissention erupted on a grand scale when Gordy proceeded to put all of his energies into furthering the solo career of Diana Ross and grooming her for films. Also, many artists had become disenchanted with his excessive control policies. That factor alone led to both Stevie Wonder and Marvin Gaye's re-negotiation of their contracts in 1971, allowing them complete artistic control. That particular event seemed to encapsulate the basic underlying problem with Motown policies and heralded its subsequent deterioration in power. When the company moved its headquarters from Detroit to Los Angeles in 1971, a great many of its original stars exited.

By the mid 1970's, Motown was being surpassed by the Gamble & Huff sound of Philadelphia, which had taken the Motown idea of assembly line pop music and streamlined it with a sleek seventies disco approach.

Although Motown continued to churn out a respectable number of charted hits annually, the company had lost the overwhelming power of its 1961-69 heyday. Motown's contributions to the music industry were immeasurable. It had basically taken black performers out of the so-called "chitlin circuit." Thanks to Motown, black music was no longer a minority taste. On Tuesday, June 29, 1988, Gordy sold Motown Records to MCA for $61 million.

SMOKEY ROBINSON & THE MIRACLES

MARY WELLS

THE MARVELETTES

THE VELVELETTES

MARTHA & THE VANDELLAS

MARVIN GAYE

STEVIE WONDER

THE TEMPTATIONS

THE SUPREMES

DIANA ROSS

THE FOUR TOPS

JUNIOR WALKER & THE ALL-STARS

GLADYS KNIGHT & THE PIPS

THE JACKSONS

MICHAEL JACKSON

COMMODORES

LIONEL RICHIE

DeBARGE

RICK JAMES

A SELECTED LISTING OF OTHER CLASSIC MOTOWN HITS

ODDITIES

ALSO SEE

BIBLIOGRAPHY