Classic Motown

The Sound Of Young America" had become a red-hot national and international sensation by 1965.

The company's growth coincided with the burgeoning Civil Rights Movement; in fact, one of founder Berry Gordy's goals was the integration of his stars into white America. He wanted his staple of groups and singers to be just at ease and polished performing at the White House as they would be at the Regal Theatre (Chicago) or the Apollo (New York).

And he succeeded in doing just that (thanks to Maxine Powell.)

This may not be such a big deal now, but back then it was a revolutionary concept. (I don't believe that even The Shirelles or The Drifters ever performed for the White House, the Queen, played posh supper clubs, or did TV specials. I personally believe that because of Gordy's vision and Motown, many of today's stars, particularly black and other minorities, are able to branch out and be so much more than just an R + B singer or group.)

And the centerpiece of it all were The Supremes. They're Motown's most successful group, period, and the most famous female group in history, becoming pop culture icons, like The Beatles. They set the gold standard for every female group forever after.

When Mary Wells left Motown, the company began to work on and polish the Supremes (now down to the trio of Florence Ballard, Mary Wilson, and Diana Ross.)

Proper etiquette and attire were taught by Mrs. Powell (actually all the groups and singers went through training), choreography by Cholly Atkins, and singing lessons from music director Maurice King. (The group also benefited from touring and performing on the "Motor Town Revue" shows for at least a couple of years before their '64 breakthrough. They also had their first top 40 hit in 1963 with "When The Lovelight Starts Shining Through His Eyes" (no.23). The stage was set.)

Legend has it that the group was on another "Motor Town Revue" tour, with a bottom or near-bottom billing; as "Where Did Our Love Go" began climbing through the charts, entering the top 10, then becoming their first no. 1 smash, their billing also climbed. The Supremes became the tour headliners!

On Christmas Eve (Dec.24th) or Dec. 27th, 1964, (accounts vary), the group made their first of at least twenty (possibly more) appearances on "The Ed Sullivan Show". There were also appearances on several of the other top variety shows of the day, such as "The Dean Martin Show", "The Tonight Show", "Hollywood Palace", TV specials, and even the Orange Bowl Parade, and a dramatic/singing guest spot on "Tarzan" (1966), playing nuns!

For concerts, the group played such places as the legendary Copacabana and the Flamingo.

"We loved The Supremes (who didn't?) and were always amazed at the things they did; it was very groundbreaking, especially for a black group", Pamela Foster recalled. "One time they were on 'To Tell The Truth'. You had to figure out which of the three guests were Berry Gordy; the group was featured at the beginning and the end, where they came out to show you the real Berry Gordy. And they were on several Bob Hope specials, and of course, all the current music shows.

On one show, they came out in these Victorian-type dresses and hats, I think. Midway through the song, they break off the gowns and finish the number in bodysuits (underneath the dresses) and stockings, revealing legs; every inch of them. My family and I were in shock!

"There was even a product called 'Supremes Bread'. I never got to taste it, though; I think it was only sold in the bigger cities!"

By 1965, Marvin Gaye was one of Motown's most consistent hitmakers and one of its most talented artists.

His breakthrough came in '63, with the top 10 smash "Pride And Joy." Success continued with "Can I Get A Witness" and "You're A Wonderful One" in '64 (written by Holland-Dozier-Holland). Also, Berry Gordy decided to pair him with a female singer. Mary Wells was the first; this yielded the hit, "Once Upon A Time". Then Wells left. But the duets would continue, in addition to the solo hits. '65 was another great year, as Gaye placed three hits in the top 10.

Yet in spite of all this, Gaye still considered himself a pop balladeer (in the tradition of Nat King Cole or Frank Sinatra).

The Temptations became not only Motown's top male group, (Did you know that there was a white group called The Temptations? They were a one-hit wonder with "Barbara", which reached no. 29 in 1960.) but one of the decade's best, and one of the top vocal groups of all time (and they were also renowned for their outstanding choreography.)

The "classic five" lineup by now, consisted of David Ruffin, Eddie Kendricks, Otis Williams (the only surviving original member), Paul Williams, and Melvin Franklin.

Like the Supremes, 1964 was the breakout year, with the Smokey Robinson tune, "The Way You Do The Things You Do".

After a couple of minor hits, the group struck gold with the no. 1 smash and timeless classic, "My Girl" (also written by Robinson, the answer song to Mary Wells' "My Guy"). The Temptin' Temps were on their way.

Robinson's own group, The Miracles, also had one of their best years, further adding to their repertoire with three top 20 hits that also became enduring classics, leading off with "Ooh Baby Baby" (A few years earlier, Robinson was made a vice-president of the company and in 1963, married group member Claudette Rogers, sister of fellow group member Bobby Rogers. She eventually retired from touring, but still continued to sing on the group's records.)

Even Bob Dylan was moved and awed by Robinson, calling him "America's greatest living poet".

A group that made their mark two years earlier, with their first top 40,were Martha and The Vandellas with "Come And Get These Memories"(no. 29), and two top 10s, "Heat Wave" and "Quicksand". And the hits continued, as "Dancing In The Street" became a no. 2 smash in '64. And this year would be no different; the trio were red-hot, providing a gospel-tinged, soulful counterpart to the Supremes and the Marvelettes, Motown's other main girl groups.

The Four Tops hold the distinction of being the most durable group in rock history; Levi Stubbs, (real last name is Stubbles!), Lawrence Payton, Renaldo "Obie" Benson,, and Abdul "Duke" Fakir (the only original member left with the group) were together for at least 41 years!

'65 was also a banner year for the group with four top 40 hits, including their first no. 1.

Other artists who came to the forefront during this time included: Brenda Holloway, who was Motown's first West Coast artist from 1964 to 1968. She was also considered the most beautiful of the company's female singers, but she didn't coast on that factor.

Holloway was not only a talented singer, she was also a gifted songwriter and violinist.

Her breakthrough occurred in '64, with the bluesy ballad, "Every Little Bit Hurts" (no.13). "When I'm Gone" was a top 30 hit in '65 (no. 25). "Operator", a remake of the Mary Wells hit, was also popular. But her greatest claim to fame was yet to come.

Junior Walker (born Autry DeWalt, Jr.)and The All Stars had a real bang-up, no. 4 smash debut with "Shotgun" and also placed two songs in the top 40. This group was half instrumental, half vocals, but they also had some total instrumental hits: "Cleo's Mood",, "Cleo's Back", and "Walk In The Night" (for the most part).

The Velvelettes may not have had a top 40 hit, but "Needle In A Haystack" and "He Was Really Saying Something" were jukebox and "go-go" favorites.

"Function At The Junction" by Shorty Long ( who did have a big top 40 hit three years later) was also not top 40, but was still very popular.

Have you ever wondered who those female voices were accompanying Mary Wells on "My Guy" ("what'd you say?" "tell me more") or that great chorus on The Four Tops' records? (for example, "Bernadette")

Those fabulous voices belong to a trio known as The Andantes, Motown's backup singing group. Legend has it that they're in over 20,000 recordings (I believe that's counting outside session work as well!) This group made a great contribution to the Motown sound as well as other backup singers, like The Blossoms (featuring Darlene Love), and will be featured in their own upcoming segment.

Besides Smokey Robinson, the other red-hot songwriters/producers at this time were the team of Holland-Dozier-Holland (brothers Brian and Eddie Holland and Lamont Dozier).

The Temptations, Martha and The Vandellas, The Isley Brothers, and Marvin Gaye have all recorded their songs, but perhaps the group that put them on the map were The Supremes (with at least a string of 12 number one hits! , including"Where Did Our Love Go", "Baby Love", "Come See About Me", "
Stop! In The Name Of Love", "Back In My Arms Again", etc.)

And there was the backup band known as the Funk Brothers, whose members included pianist and leader Earl Van Dyke, drummer Benny Benjamin and bassist James Jamerson, who, along with the groups and singers, gave the songs that distinctive sound.

Motown also had a spoken-word label called "Black Forum". The album "Great March To Freedom" was the company's first recording under this (Gordy was a huge supporter of Martin Luther King Jr.) The company also recorded King's historic "I Have A Dream" speech.

But Black Forum was never as aggressively promoted as the other labels under Motown's banner (Tamla, Gordy, Soul, and of course, Motown) and this was for business reasons: The bottom line, the bread and butter were the pop and R + B records.

Gordy and company did a reverse invasion of sorts, touring Great Britain and soon, other countries. The English loved them, especially the British Invasion stars (The Beatles adored Mary Wells and Dusty Springfield was a huge Martha and The Vandellas fan.)

Gordy had created one of the most successful black-owned enterprises and the most successful black-owned record company (this included a management service and a publishing business.)

But no less important was the fact that Gordy also wanted the company to be like one big family, not just your typical corporate entity (There were even the famous Motown picnics and song competitions!)

And for a while, he succeeded in this aspect.

But by 1967, Motown became engulfed by inner turmoil.