Introduction
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. Artist development was a dominant part of Motown's operations.
Motown Records served an important role in the civil rights struggles of the 1960s. Their “Spoken Word” series held the exclusive right to record the speeches of Martin Luther King Jr. In June 1963, two months before the March on Washington, Motown recorded King’s “I Have a Dream” speech as he delivered it in Detroit.
Motown Records served an important role in the civil rights struggles of the 1960s. Their “Spoken Word” series held the exclusive right to record the speeches of Martin Luther King Jr. In June 1963, two months before the March on Washington, Motown recorded King’s “I Have a Dream” speech as he delivered it in Detroit.
BERRY GORDY JR
Berry Gordy purchased a two family flat at 2648 West Grand Boulevard in Detroit, he moved his wife and young son into the upper unit and began to build his record company on the first floor.
Interview with Berry Gordy and Jackson 5
Racial Breakthrough
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 Junior Walker and Marvin Gaye were exempted from artist development classes.
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 Junior Walker and Marvin Gaye were exempted from artist development classes.
Artists From Motown
B: Barrett Strong, Boys II Men
C: The Commodores
D: Diana Ross
F: The Four Tops, The Funk Brothers
G: Gladys Knight & the Pips
J: The Jackson 5, JR. Walker & the all stars
L: Lionel Richie
M: The Marvelettes, Mary Wells, Michael Jackson, The Miracles
R: Rare Earth, Rick James
S: Smokey Robinson, Stevie Wonder, The Supremes
T: Teena Marie, The Temptations
W: William Goldstein
C: The Commodores
D: Diana Ross
F: The Four Tops, The Funk Brothers
G: Gladys Knight & the Pips
J: The Jackson 5, JR. Walker & the all stars
L: Lionel Richie
M: The Marvelettes, Mary Wells, Michael Jackson, The Miracles
R: Rare Earth, Rick James
S: Smokey Robinson, Stevie Wonder, The Supremes
T: Teena Marie, The Temptations
W: William Goldstein
The Supremes
The Supremes were an American female singing group and the premier act of Motown Records during the 1960s. The Supremes, Diana Ross, Mary Wilson, Florence Ballard, deliberately embraced a more glamorous image than previous black performers. After releasing four moderately successful singles in 1962 and 1963, this girl group saw twelve of their fourteen reach the top ten R&B and pop charts from 1964 through the summer of 1967. As a result, the Supremes became one of the first black musical acts to achieve complete and sustained crossover success.
The Supremes became Diana Ross and The Supremes, with thought that Ross was trying to establish a solo career. The Supremes had a considerable year in 1967, however, left Motown around this time as well. The quality of the Supremes deteriorated, as did Motown records.
In November of 1969, Ross announced her departure to kickoff her solo career. Ross' most famous single records included "Stoned Love" and "Ain't No Mountain High Enough".
The Supremes became Diana Ross and The Supremes, with thought that Ross was trying to establish a solo career. The Supremes had a considerable year in 1967, however, left Motown around this time as well. The quality of the Supremes deteriorated, as did Motown records.
In November of 1969, Ross announced her departure to kickoff her solo career. Ross' most famous single records included "Stoned Love" and "Ain't No Mountain High Enough".
-Click Here- to check out an interview with The Supremes in 1966
Top 3 Greatest Hits
The Jackson 5
The Jackson 5 were a peerless multi-media phenomenon, leading Berry Gordy’s kingdom into its second decade with a stunningly fresh sound and extraordinary stagecraft, paying homage to the past, illuminating the future. The brothers set new standards in global popularity, and helped to redefine contemporary music. More than four decades later, their glow does not fade.
In August 1969, The Jackson 5 opened for Diana Ross at the LA Forum. On October 7, 1969, The Jackson 5 released their first single "I Want You Back". The Jackson 5's "Ill Be There" single was the best-selling single in Motown's history.
The Jackson 5's craze began to cool down. After a pause in their music making, Jackson 5 scored their last major hit for Motown in 1974, "Dancing Machine". The groups annoyance with Motown had been flourishing. Motown refused to allow Jackson 5 to to write/choose their own material and play their own instruments on their records.
Early in 1976, The Jackson 5 left Motown and signed with Epic.
In August 1969, The Jackson 5 opened for Diana Ross at the LA Forum. On October 7, 1969, The Jackson 5 released their first single "I Want You Back". The Jackson 5's "Ill Be There" single was the best-selling single in Motown's history.
The Jackson 5's craze began to cool down. After a pause in their music making, Jackson 5 scored their last major hit for Motown in 1974, "Dancing Machine". The groups annoyance with Motown had been flourishing. Motown refused to allow Jackson 5 to to write/choose their own material and play their own instruments on their records.
Early in 1976, The Jackson 5 left Motown and signed with Epic.