"Once upon a time in a kingdom known as Detroit, there lived a young warrior named Berry … [who] took on the ways of the minstrel, and he began to write songs for others to sing. And a local celebrity, Sir Jackie of Wilson, heard some of the songs and put them on circular platters called “discs.” And the townspeople liked the sounds that emanated from the pressed discs, and turned them into something called “hits.” … So Berry went out on a great quest, and he found Miracles and Wonders and Marvelettes. And he brought the discoveries to a secret place called Hitsville, and there he taught them wondrous things. There was young Smokey of Robinson, and Mary of Welles, and Martha of the Vandellas. Marvin of the Gaye and Tammi of Terrell. And there were Pips and Knights named Gladys. And Temptations and Tops, Contours and Spinners. And before anyone realized what was happening, it happened: Hitsville became like its name."After a successful stint writing for Jackie Wilson, Detroit-based songwriter Berry Gordy decided that there was more money to be made in the music business as a producer than as a songwriter. Taking out a loan, he founded the Tamla Records label and started signing local talent. Following up early successes with the creation of the Hitsville USA studio, Gordy started a second label to supplement Tamla. Its name was a portmanteau of the Detroit nickname, "Motor City" or "Motown". From there, Tamla Motown (along with such associated labels as Gordy, Soul, and V.I.P.) went out to conquer the world of pop.This American record company had a huge impact on popular music in general and Soul in particular, so much so that it was revived in 2011 after being closed, and it's noted for a number of reasons. First and foremost is the "Motown sound", which was developed primarily by company session group the Funk Brothers; this was characterised by tambourine-accented percussion, melodic basslines, gospel-influenced call and response singing and lush string arrangements. The Motown sound was highly influential on subsequent artists, especially those of The British Invasion.Second, Motown labels were noted for their factory-like production process. Berry Gordy was very keen to see black musicians getting into the upper reaches of the pop charts, so songs were tailored with crossover appeal in mind. Much of the production work was centred around staff songwriters and songwriting teams, the most famous of which was Holland-Dozier-Holland. New tunes were written during the week and then presented at Gordy's quality-control meetings on Fridays, where they were played in a sequence of the top five singles of that week. If Gordy felt that the song lacked promise, he wielded an executive veto.Finally, Motown was famous for the sheer number of hugely successful acts they signed. At one time or another, Marvin Gaye, Stevie Wonder, Michael Jackson, Lionel Richie, Boyz II Men and Rick James were artists signed to one of Gordy's Motown labels, while famous acts from the glory days of the label like the Temptations, the Four Tops, The Supremes or Martha Reeves and the Vandellas quickly became household names.The early years of the label, and the career of The Supremes in particular, were the inspiration for the musical and movie Dreamgirls.
Motown performers with TV Tropes pages:
- Bill Cosby
- Marvin Gaye
- Michael Jackson
- The Jackson Five
- Lionel Richie
- The Supremes
- Stevie Wonder
- Album Filler: Motown was notorious for releasing albums which were essentially hit singles surrounded by cover songs. This policy prompted Marvin Gaye to record the Concept Album What's Going On.
- Boy Band: The Four Tops, the Temptations and the Jackson 5 are among the earliest examples.
- The Chessmaster: Berry Gordy.
- Cover Version: Songs were often covered by different artists within the company. Marvin Gaye's version of "I Heard It Through the Grapevine", for example, wasn't even the first one recorded.
- Executive Meddling: Berry Gordy was obsessed with quality controlnote and tried to veto the release of successful songs like "What's Going On" and "Ain't Too Proud To Beg" because he thought they wouldn't cross over well enough. Marvin Gaye and Stevie Wonder both ended up threatening to stop recording unless their demands were met.
- Girl Group: The Supremes were the most successful, achieving nine number one hits and becoming arguably the second biggest pop group in the world next to The Beatles during the 1960s. Others included the Marvelettes and Martha Reeves and the Vandellas.
- Lead Bassist: James Jamerson, routinely considered one of the best bass players in history.
- Jamerson's essential replacement, Bob Babbitt, also fits this trope, as he was the go-to bassist for Motown producer Norman Whitfield.
- Milestone Celebration: The page quote comes from Motown 25: Yesterday, Today, Forever, an NBC special aired in May 1983 to commemorate the label's anniversary. While it reunited many of their best acts for some heartwarming moments, it's best known nowadays for Michael Jackson's first moonwalk. It even got briefly featured in NBC's 75th anniversary special in 2002 as one of the channel's defining moments.
- Music Is Politics: Taking into account Gordy's iron-handed control of the company, Motown was absolutely awash with it. For example, Diana Ross was never thought of as the best singer in the Supremes, but she was the most marketable as a leader, so she was brought to the front and given the big solo push when the group broke up.
- It was noted by Berry Gordy, while he worked at a local music store, that jazz music sold far less than pop music. Gordy, keen to make an R&B/pop crossover style that appealed to whites and blacks, with both a sophistication and elegance not usually found in R&B, but not too sophisticated or uncommercial that it would alienate pop audiences ("Don't Bore Us, Get To The Chorus" was reputedly a popular motto of his when auditioning new songs) insisted that the Funk Brothers not play anything too jazzy. As the Funk Brothers were jazz musicians determined not to become too bored playing formulaic pop-R&B, and as Berry often kept the musicians interested by promising them they could make jazz music at some point and time, the musicians were limited by what they could play, but often did their best to sneak jazz into their accompaniment without Berry losing his patience with them. One might classify the "Motown Sound" as a compromise between the two worlds, to some degree. This, along with the sociopolitically charged/uncompromised lyrical content might explain Gordy's hesitance to allow concept albums like Music of My Mind and What's Going On to be released.
- Equally, though Gordy identified with a strong, independent black image with the label, he established a grooming system among his artists on how to look, act, walk, talk, dance and conduct themselves properly, partly to not alienate the pre-Civil Rights movement white market or the black market he hoped to entertain. He also tried to incorporate universal themes in the lyrics and images, and was reluctant to allow blatant racial or political statements in Motown music (or overtly, militantly black musical styles or imagery) for many years.
- Production Posse: The Funk Brothers, a rotating ensemble of 10+ exceptionally skilled session musicians, responsible for creating the label's distinct sound by playing on nearly all of Motown's best and most popular singles from its beginning to when Gordy moved it to LA. The documentary, Standing In The Shadows Of Motown, chronicles the group's entire history, intercut with an all-star tribute concert with the (as of 2002) surviving members and a host of R&B superstars.
- The Rival: Stax Records qualified stylistically, because it specialized in tougher, harder-edged soul music in contrast to the more commercial pop sound produced by Motown. Ironically, although Stax specialized in music that sounded more "black" than what Motown offered, the label was actually owned by a white businessman, Jim Stewart, and featured several white musicians, including ace guitarist Steve Cropper and bassist Donald "Duck" Dunn, on its recordings, not to mention distributing Big Star through its subsidiary, Ardent. Atlantic Records, a New York-based jazz and blues label (and erstwhile Stax distributor) that eventually released other genres such as rock and country, is another commonly cited rival.