By Christina Pomoni
Motown has changed the course of music by being the first African-American label to capture a huge audience and the critics thanks to a brilliant group of extremely talented African-American artists, who produced unforgettable smash hits. Featuring a distinctive soul sound, full of energy and emotion, chord and percussion sections, melodic bass guitar slides and horn grooves, all orchestrated in groundbreaking pop production techniques, Motown gave birth to what became known as the Motown Sound.
The Supremes (Diana Ross, Mary Wilson and Florence Ballard) is, admittedly, Motown's best-selling female group. Featuring an innovative, refreshing sound, a flawless look, and a compelling vibe that reached any household in the 1960s, The Supremes developed practically a love affair with their audience around the globe. The group was actually the female response to the avalanche of male-dominated scene and it featured a completely feminine image.
Diana Ross's calm, high-pitched voice, the vocal harmony among the group's members, the simple, yet appealing choreography, the detailed, yet plain make-up onstage, their high-fashion gowns and wigs, and graceful movements created an image of absolute feminism that had a huge impact on the audience along with their excellent performance. 'Where Did Our Love Go' (1964), 'Baby Love' (1964), 'Stop! In the Name of Love' (1965), 'You Can't Hurry Love' (1966), 'You Keep Me Hangin' On' (1966), and 'Love Is Here and Now You're Gone' (1967) are some of the smash hits of The Supremes under the Motown label.
Diana Ross left The Supremes in 1970 to pursue a solo career in Motown. Her first huge success was 'Ain't No Mountain High Enough' (1970) that topped #1 in the US Billboard Hot 100. Since then, she released a barrage of great songs that reached a huge audience worldwide such as 'Remember Me' (1970), 'Touch Me In The Morning' (1973), 'You Are Everything' (with Marvin Gaye) (1974), 'Theme From Mahogany (Do You Know Where You're Going To)' (1975), 'Love Hangover' (1975), 'Upside Down' (1980), 'Endless Love' (with Lionel Richie) (1981), 'Chain Reaction' (1986), 'When You Tell Me That You Love Me' (1991), 'One Shining Moment (1992), and 'Not Over You Yet' (1999).
Smokey Robinson is broadly recognized as the 'King of Motown' and one of the greatest contributors to the label. Being the founding member of the Miracles (Smokey Robinson, Claudette Rogers Robinson, Ronald White, Pete Moore, and Bobby Rogers) and one of the leading figures in Motown since 1960, Robinson was a songwriter and producer and he was involved in every aspect of Motown's operations. He was also auditioning many of the scores of young talent artists who were fascinated by Motown's growing reputation and he was promoting the label effectively.
Some of Robinson's smash hits with the Miracles are 'Shop Around' (1960), 'You've Really Got a Hold on Me' (1962), 'Tracks Of My Tears' (1965), 'Baby, Baby Don't Cry' (1968) and 'The Tears of a Clown' (1970). Besides his success with The Miracles, Robinson was the writer and producer of numerous successful singles of other Motown artists. He served as the major songwriter of The Temptations producing 'The Way You Do The Things You Do' (1964), 'My Girl' (1965), 'Since I Lost My Baby' (1965), and 'Get Ready' (1966).
Other famous songs written and produced by Robinson are, among others, Brenda Holloway's 'When I'm Gone' (1965), Marvin Gaye's 'Ain't That Peculiar' (1965), 'First I Look at the Purse' (1965) by The Contours, 'My Baby Must Be a Magician' (1967) by The Marvelettes and 'Still Water (Love)' (1970) by The Four Tops.
After having originally performed as a session drummer for Smokey Robinson and the Miracles, The Marvelettes, The Contours and Martha and the Vandellas, Marvin Gaye signed to Motown in 1960 to become one of the most successful Motown artists. Changing his musical style in a variety of ways during his career, Gaye featured jazz covers, doo-wop and blues sections and an innovative blend of R&B, pop and rock-based grooves in his songs.
In 1971, Gaye released 'What's Going On', the album that is considered the highlight of his career. With 'What's Going On' Gaye changed the setting of R&B scene in the 1970s, but mostly he featured a social view about racism, war, drug addiction, police brutality, environmentalism and urban disintegration in the United States. Some of Gaye's smash hits are 'I Heard It Through The Grapevine' (1967), 'Mercy Mercy Me (The Ecology)' (1971), 'What's Going On' (1971), 'Trouble Man' (1972), and 'Sexual Healing' (1982).
Stevie Wonder signed to Motown in 1961, at the age of eleven. His extraordinary musical talent and tremendous musical potential made him one of Motown's hot shot selling artists, in spite of his retinopathy of prematurity (ROP) condition. Having produced excellent music with a deeply developed sense of harmony and having featured the sound of the clavinet keyboard in his best-selling hit 'Superstition' (1972), Stevie Wonder has influenced popular artists and culture to a great extent.
Some of his best-selling hits are 'Fingertips - Part 2' (1963), 'Uptight (Everything's Alright)' (1965), 'For Once In My Life' (1967), 'I Was Made To Love Her' (1967), 'Signed, Sealed, Delivered I'm Yours' (1970), 'Higher Ground' (1973), 'You Are the Sunshine of My Life' (1973), 'Boogie On Reggae Woman' (1974), 'Sir Duke' (1977), 'Ebony and Ivory' (1982) and 'Part Time Lover' (1985), among others.
The Temptations (Eddie Kendricks, Paul Williams, Melvin Franklin, Eldridge Bryant and Otis Williams) are considered the most successful male group in the history of African-American music. Originally formed in 1961 as The Elgins, the quintet was renamed to The Temptations by Berry Gordy Jr. and signed to Motown the same year. Their influential funk, soul, R&B, disco and doo-wop sounds, distinct harmonies and recognizable choreographies are believed to have had a huge impact on soul music.
Being the Motown's best-selling male group of the '60s, The Temptations released numerous smash hits such as 'The Way You Do The Things You Do' (1964), 'My Girl' (1965), 'Get Ready' (1966), 'Ain't Too Proud to Beg" (1966), 'All I Need' (1967), 'I Could Never Love Another (After Loving You)' (1968), 'I Can't Get Next To You' (1969), 'Just My Imagination (Running Away With Me)' (1971), and 'Papa Was A Rolling Stone' (1972).
The Four Tops (Levi Stubbs, Renaldo 'Obie' Benson, Lawrence Peyton and Abdul 'Duke' Fakir) signed to Workshop, Motown's jazz subsidiary, in 1963. Their consistency in producing great hits and their homogeneity as a team made The Four Tops inseparable without a single change of personnel for more than 40 years (1953-1997). By featuring a variety of sounds that mixed elements of soul, disco, R&B, jazz, and inspirational doo-wop and jazz vocals, The Four Tops had a huge appeal with 'Baby I Need Your Loving' (1964) - their first million-selling hit - 'I Can't Help Myself (Sugar Pie, Honey Bunch)' (1965), '(Reach Out) I'll Be There' (1966), 'Standing In The Shadows Of Love' (1966) and 'Bernadette' (1967) among others.
The Jackson Five (Jackie, Tito, Jermaine, Marlon and Michael) signed to Motown in 1969. Being originally talented and musically comprehensive, The Jackson Five had immediately a universal appeal with their superb vocal harmony, teenage lyrics, energetic sound, and Michael's charismatic persona. By 1970, they had become a pan-American sensation, while Motown, capitalizing on their huge success, licensed Jackson Five album stickers, posters, and patches. Besides, the 'Jacksonmania' was supported with teen magazines focusing on the Jackson Five, TV cartoons and own TV specials. The Jackson Five's smash hits are 'I Want You Back' (1969), 'ABC' (1970), 'The Love You Save' (1970), and 'I'll Be There' (1970).
Formed in 1967 as the Mystics and performing as the opening act of The Jackson Five on their European tour, The Commodores (Lionel Richie, William King, Thomas McClary, Milan Williams, Ronald LaPread, and Walter "Clyde" Orange) signed with Motown in 1972. Their funky dance floor sounds, with horn sections and pop orchestration such as 'Fancy Dancer' (1976), 'Brick House' (1977), 'Say Yeah' (1978), and 'Too Hot Ta Trot' (1979) made The Commodores one of Motown's best-selling male group of the '70s with over 75 million copies around the globe.
However, the group had a huge success with the ballads 'Easy' (1977), which topped #1 on Billboard R&B chart and #4 on Billboard Hot 100 and 'Three Times A Lady' (1978) which was the first hit to become #1 on Billboard Hot 100, topping the chart for two weeks. Besides, 'Machine Gun', the instrumental title track from the debut album of The Commodores in 1974, is widely used at American sporting events having practically become a staple.
Article Source: http://EzineArticles.com/?expert=Christina_Pomoni
http://EzineArticles.com/?Motowns-Greatest-Artists&id=2988708
Saturday, October 10, 2009
How Did Motown Discover Some of Their Amazing Artists?
By Christina Pomoni
Berry Gordy was not only exceptional in his insightful leadership that brought great music to the world, but also in his way of approaching and discovering his artists. From a broad range of talented and remarkable musicians, who remained, for the most part unnoticed and ignored, living in poor areas and having no means of promoting themselves, Gordy and his Motown associates discovered little treasures hidden in the black hoods of Detroit.
With the exception of Stevie Wonder, who was discovered by Ronnie White of The Miracles while performing outside a street corner for his friends and The Jackson Five, who caught Gladys Knight's attention and were brought to Motown by Bobby Taylor of The Vancouvers and Motown's executive Suzanne de Passe, most of the Motown's hit-makers were discovered in the high schools.
Indeed, the high schools were a primary part of Motown's supply system because this is where all those young artists met. This is where they practiced their music, sang their songs and performed their dances. This is where their social lives were built around. Unlike what people normally think that black music came out of gospels and spirituals, although in a large part it did, Motown's young artists did not meet in churches. Besides, they didn't all belong to the same choirs.
Furthermore, Motown could not have produced its remarkable sound without a comprehensive public school music education program. Detroit's black high schools had well-designed music programs that balanced theory and practice and were taught by prominent teachers. In effect, all Motown artists have taken music courses at school and had been both influenced and motivated by their teachers to pursue a career in music.
The fact that schools played such a key role in Motown's birth and success was also an important social aspect because it demonstrated the prosperity of a part of black communities that had been affluent enough to send and keep their children in school. Nearly all Motown artists had graduated from high school. When Diana Ross and The Supremes first auditioned with Motown, Gordy thought they were too young and encouraged them to sign a contract upon graduating from high school. The fact that Gordy didn't want his artists to quit school is a significant sociological remark that should be given credence.
In addition to the schools, artists learned to perform at small black businesses, such as record shops, nightclubs and charm schools. In reality, there was a whole system supporting Motown's success, a system that was not visible, but was contributing immensely through a well-established infrastructure in the black community during the 1950s. In a way, black urban life in northern cities like Detroit had arrived at a certain point of integration to be able to support Motown. When Motown was founded, black kids in Detroit were interested in music and had a background to understand music and be involved with it.
Gordy had always a team of skilful people around him, who could be of great assistance in his endeavours to discover his amazing artists. An important member of Tamla Records was Raynoma Liles, the founder of The Rayber Voices and a back vocal singer on many of Motown's early hits. Raynoma discovered the property at 2648 West Grand Boulevard hat became Motown's famous Hitsville U.S.A. studio. Gordy and Raynoma Liles would marry in 1960 and later divorce, but she remained a significant member of the Motown team.
Another important Motown member was Mickey Stevenson, the label's A&R director. Being responsible for discovering new, talented artists that would match Motown's repertoire, Stevenson discovered Martha Reeves and The Vandellas. Besides, by being a prominent songwriter and producer, he also contributed in 'Dancing In The Street', (1964) by Martha Reeves and The Vandellas and in 'Pride And Joy' (1963) by Marvin Gaye.
Gordy had also the valuable help of Barney Ales, who, unlike the majority of Motown's team, was not an African-American. Ales was a knowledgeable and antagonistic individual, responsible for putting together a team that would place Motown's records with distributors, get airplay and coordinate marketing and advertising. When Motown became of the most successful record labels, Ales became one of the highest paid Motown members.
After all these years that Motown has shaped the music industry, there is little doubt that it was a record label that made music by young artists and marketed it to young people. Before Motown's birth, most of the black artists who recorded R&B music such as Sam Cooke, The Dominoes, The Platters, Little Richard and many others, were older. But with the emergence of Motown, young black people felt that they had their music, their label, and their artists. Besides, all Motown singers were very young. Stevie Wonder signed to Motown at the age of eleven. The Temptations, The Supremes and Smokey Robinson had just finished high school when they began recording for Motown. Motown was the 'Sound of young America.'
Article Source: http://EzineArticles.com/?expert=Christina_Pomoni
http://EzineArticles.com/?How-Did-Motown-Discover-Some-of-Their-Amazing-Artists?&id=2988685
Berry Gordy was not only exceptional in his insightful leadership that brought great music to the world, but also in his way of approaching and discovering his artists. From a broad range of talented and remarkable musicians, who remained, for the most part unnoticed and ignored, living in poor areas and having no means of promoting themselves, Gordy and his Motown associates discovered little treasures hidden in the black hoods of Detroit.
With the exception of Stevie Wonder, who was discovered by Ronnie White of The Miracles while performing outside a street corner for his friends and The Jackson Five, who caught Gladys Knight's attention and were brought to Motown by Bobby Taylor of The Vancouvers and Motown's executive Suzanne de Passe, most of the Motown's hit-makers were discovered in the high schools.
Indeed, the high schools were a primary part of Motown's supply system because this is where all those young artists met. This is where they practiced their music, sang their songs and performed their dances. This is where their social lives were built around. Unlike what people normally think that black music came out of gospels and spirituals, although in a large part it did, Motown's young artists did not meet in churches. Besides, they didn't all belong to the same choirs.
Furthermore, Motown could not have produced its remarkable sound without a comprehensive public school music education program. Detroit's black high schools had well-designed music programs that balanced theory and practice and were taught by prominent teachers. In effect, all Motown artists have taken music courses at school and had been both influenced and motivated by their teachers to pursue a career in music.
The fact that schools played such a key role in Motown's birth and success was also an important social aspect because it demonstrated the prosperity of a part of black communities that had been affluent enough to send and keep their children in school. Nearly all Motown artists had graduated from high school. When Diana Ross and The Supremes first auditioned with Motown, Gordy thought they were too young and encouraged them to sign a contract upon graduating from high school. The fact that Gordy didn't want his artists to quit school is a significant sociological remark that should be given credence.
In addition to the schools, artists learned to perform at small black businesses, such as record shops, nightclubs and charm schools. In reality, there was a whole system supporting Motown's success, a system that was not visible, but was contributing immensely through a well-established infrastructure in the black community during the 1950s. In a way, black urban life in northern cities like Detroit had arrived at a certain point of integration to be able to support Motown. When Motown was founded, black kids in Detroit were interested in music and had a background to understand music and be involved with it.
Gordy had always a team of skilful people around him, who could be of great assistance in his endeavours to discover his amazing artists. An important member of Tamla Records was Raynoma Liles, the founder of The Rayber Voices and a back vocal singer on many of Motown's early hits. Raynoma discovered the property at 2648 West Grand Boulevard hat became Motown's famous Hitsville U.S.A. studio. Gordy and Raynoma Liles would marry in 1960 and later divorce, but she remained a significant member of the Motown team.
Another important Motown member was Mickey Stevenson, the label's A&R director. Being responsible for discovering new, talented artists that would match Motown's repertoire, Stevenson discovered Martha Reeves and The Vandellas. Besides, by being a prominent songwriter and producer, he also contributed in 'Dancing In The Street', (1964) by Martha Reeves and The Vandellas and in 'Pride And Joy' (1963) by Marvin Gaye.
Gordy had also the valuable help of Barney Ales, who, unlike the majority of Motown's team, was not an African-American. Ales was a knowledgeable and antagonistic individual, responsible for putting together a team that would place Motown's records with distributors, get airplay and coordinate marketing and advertising. When Motown became of the most successful record labels, Ales became one of the highest paid Motown members.
After all these years that Motown has shaped the music industry, there is little doubt that it was a record label that made music by young artists and marketed it to young people. Before Motown's birth, most of the black artists who recorded R&B music such as Sam Cooke, The Dominoes, The Platters, Little Richard and many others, were older. But with the emergence of Motown, young black people felt that they had their music, their label, and their artists. Besides, all Motown singers were very young. Stevie Wonder signed to Motown at the age of eleven. The Temptations, The Supremes and Smokey Robinson had just finished high school when they began recording for Motown. Motown was the 'Sound of young America.'
Article Source: http://EzineArticles.com/?expert=Christina_Pomoni
http://EzineArticles.com/?How-Did-Motown-Discover-Some-of-Their-Amazing-Artists?&id=2988685
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