Early Motown

The city of Detroit began its own history-making musical revolution in the 1960s.

The enduring legacy of Motown started with the vision of ex-boxer, assembly line worker, and jazz store owner Berry Gordy. Born in Detroit in 1929, he was a jack of all trades, even working as a plasterer in his father's business.

But music was always his passion; Gordy started out as a producer and songwriter, penning "Reet Petite" and "Lonely Teardrops" for Jackie Wilson and setting up the Jobete Music Publishing Company.

One of Gordy's first producing efforts was the Miracles' "Got A Job." (This was an answer or response song to the Silhouettes' no.1 1958 hit "Get A Job.")

In 1959, the Motown Record Corporation was launched. (1959 seems to have been a very pivotal year in rock-and-roll history.)

On an $800 family loan, Gordy rented an eight-room, two-story house at 2648 West Grand Boulevard. For several years, this location, the first headquarters and studio, would become world-renowned as "Hitsville USA".

Several family members and friends helped out by taking on various administrative roles within the fledgling organization. And here credit must also be given to Raynoma Gordy Singleton, the first Gordy wife. She was very involved in putting together Motown Records as well.

Among many things, she was a member of, and helped organize, the Rayber Voices, who did much of the background singing on early recordings.

Berry Gordy initially began recording R + B artists such as Mable John and Marv Johnson, who cut the new company's first release, "Come To Me" in 1959, on the equally new Tamla label.

Later successful releases included "Money" by Barrett Strong, a no. 2 R + B smash and "Bad Girl" by The Miracles.

But Gordy wanted something more distinctive, a fuller sound with some overtures of gospel, but more of a "cleaned-up"pop flavor, that would appeal to both black and white record buyers. And he kept striving for that.

One of Gordy's passions while putting together Motown was to groom and cultivate street kids not just for the music, but to make them acceptable to mainstream America and eventually, the world. He firmly believed that just because you're from the ghetto, it doesn't mean that you have to look and act "ghetto."

To achieve this end, he hired experts such as Maxine Powell, a former modeling/finishing school operator, to transform ther Motown artists into polished professionals.

Speaking, table manners, makeup, clothes, how to move, posture, and even attitude management were taught. Many of the singers resented it, BUT, if you've ever watched any Motown star being interviewed or at a public function, it seems that her lessons paid off.

Gordy then hired choreographer Cholly Atkins. Atkins was a well-known dancer in the 1930s and '40s, having performed at The Cotton Club and the Savoy Ballroom. His job was to teach the groups and singers to not only dance, but to move gracefully.

Maurice King was the executive musical director. He had been a show arranger for years at Detroit's Flame Show Bar (where a couple of Gordy's sisters worked!), and had also worked with Billie Holiday and DinahWashington, among others. His job was teaching the performers about stage patter, performing, of course, and refining their stage acts and presence.

Gordy now had a top-notch training team in place.

He also wanted a paternal, production-line approach to making records that was modeled on Henry Ford"s method of producing cars,(Later, there were critics who complained that many Motown hits tended to sound the same, or were rearrangements of a previous hit.) and a family atomsphere at the company, but this was an INTENSE one. There was a stardardized songwriting dept., quality control (which was known to be brutal), and selective promotion. There was even a company pep song and picnics!

Meanwhile, William"Smokey "Robinson, the Miracles' lead singer and Gordy's close friend, convinced him that he should do his own record distribution.

So he did.

In late 1960-early 1961, "Shop Around", which Gordy co-wrote AND distributed, became a monster smash and established Motown as an up-and-coming INDEPENDENT company.

Even if he hadn't become the head of Motown, it was a given that Berry Gordy would have been a success in another venture. He and the rest of his siblings had a very strong work ethic instilled in them from their parents, particularly their father, Berry Gordy, Sr. And Gordy, Jr. carried this work ethic with him to Motown.

He then sought out local talent. And what a find!

In 1959, a teenage Mary Wells, who had written a song for Jackie Wilson, approached him one day and sang the potential Wilson number to Gordy. (Wells was unable to write music.) Gordy was captivated and signed her immediately.

"Bye Bye Baby" became a Top 10 R + B hit in 1960 and I believe, no. 45, pop. While "BBB" was hitting the charts, Gordy had a plan: he had a contest among his writers and producers to create a portfolio of songs for Wells. The winner was Smokey Robinson. And the rest is rock-and-roll history.

The Marvelettes were discovered at a talent show in Inkster, Michigan. They didn't win, but a teacher arranged an audition with Motown.

The group was signed and "Please Mr. Postman", written by group member Georgeanna Dobbins (accounts vary.), became a no.1 smash in Dec. 1961, and Motown's first no.1 hit.

Martha Reeves started out as a secretary for the company in 1961, but kept pestering Gordy to listen to her group, formerly known as the Del-Phis. The trio WERE used as backup vocals on "Hitch Hike", "Stubborn Kind OfFellow," and "Pride And Joy" for another up-and-comer, Marvin Gaye, but the ladies (now known as Martha and The Vandellas) wanted to do their own songs.

By 1963, the pestering paid off.

In late 1960, The Primettes were signed.(Also after persistent pestering!) The group had previously sang at various local sock hops and won first prize at the Detroit/Windsor Freedom Festival that same year.

The group consisted of Florence Ballard, Mary Wilson, Betty McGlown(later replaced by Barbara Martin), and Diana Ross (real first name is just Diane).
On Gordy's advice, the group name was changed; staff songwriter Janie Bradford came up with three choices, wrote them on paper, and put them in a hat. Group member Florence Ballard picked the name "Supremes."

And so it was.

The new group was not immediately successful, though they recorded more than forty songs, of which only twelve were released, over the next three years. Group member Barbara Martin became discouraged and quit.

Some of these early clunkers include: "I Want A Guy", "Buttered Popcorn" (You've got to hear this one to believe it. I've never heard popcorn sung about in such a weird way! I think the popcorn's a metaphor.) and "Your Heart Belongs To Me", which I think is the best of the clunkers. Diana Ross is the lead voice here, and she's trying to imitate Mary Wells. It's actually not bad at all (though Wells would have sung this to perfection!).
Discovered by Bobby Moore of The Miracles,amidst great excitement from Gordy and the staff, 11-year-old Steveland Judkins (or Hardaway; accounts vary here) came on board in 1961. Able to sing, write songs, and play several instruments, he was aptly renamed Little Stevie Wonder.

Motown's most successful male group started out as street-corner doo-wop.

In 1957, a teenage Otis Williams began singing with a few friends, including Elbridge Bryant. Two years later(1959), Melvin Franklin was invited to join. The group then went through several name changes, first as the Elegants, then the Questions,(?) and then the Distants. Later in 1959, on the advice of local Detroit promoter Milton Jenkins, the group added Eddie Kendricks and Paul Williams and renamed themselves The Primes.

In 1960, while performing at a local club, Williams met Gordy between sets. Gordy liked the group and signed them to Motown by Dec. 1960.

Now renamed The Temptations, the group began recording from 1960 to 1964, but had no breakout or major hits (just like their former "sister" group, the Primettes, now Supremes!) I think the best of their early clunkers was "I Want A Love I Can Feel".

Later, David Ruffin replaced Elbridge Bryant and Gordy reshaped the group's image and sound.

The classic lineup was now in place; the classic Temptation sound was set to "get ready".

The Four Tops also started as a doo-wop group. Levi Stubbs Jr., Renaldo Benson, Lawrence Payton, and Abdul Fakir grew up together in Detroit.

In 1954, they also banded together as The Four Aims, recording on various labels with no success.

Gordy signed the group in 1963, paired them with Holland-Dozier-Holland (the legendary songwriting team who joined forces, and Motown, in 1962), and the results were sheer magic.

And of course, there was the in-house band, particularly the rhythm section, known as The Funk Brothers, which consisted of pianist Earl Van Dyke, drummer Benny Benjamin, and bassist James Jamerson.

Marvin Gaye was signed to Motown in 1961. The former Moonglows member (remember or ever heard the original version of "Sincerely"? Harvey Fuqua was the lead singer, but if you listen carefully, you can hear Gaye's voice in the background. Fuqua later joined Motown's administrative staff. I believe he also co-wrote a few songs and married a Gordy sister.) became known as the "Prince Of Motown" for his great voice and good looks.

But Gaye was so much more. He was musically gifted, playing several instruments, including piano and drums, and co-wrote "Stubborn Kind Of Fellow", "Hitch Hike", and "Pride And Joy."

Unfortunately, he also had a troubled, abusive childhood which would always affect his life. (He added the "e" to his last name to avoid any homosexual association. I came across another reason for the "e". Sam Cooke was an idol, and he did this as a tribute. Right now, I'll say it's a combination of these two factors, but as you know, accounts vary!) His father, besides being verbally and physically violent, also had gender issues, He wasn't straight out gay, but.....)

Gaye always wanted to be the next Nat King Cole or Frank Sinatra. His first Motown album (1961)"The Soulful Moods Of Marvin Gaye", featured standards like "My Funny Valentine". It wasn't a hit at all.

But that was about to change.