The Hitsville U.S.A. Motown building, at 2648 West Grand Boulevard in Detroit, Motown's headquarters from 1959 to 1968, which became the Motown Historical Museum in 1985 In 1957, Gordy met Smokey Robinson , who at the time was a local seventeen-year-old singer fronting a vocal harmony group called the Matadors.
Fulwell 73 is a television, film and music production company based in London. It was founded in 2005 by brothers Gabe and Ben Turner, Leo Pearlman, and Ben Winston .  Fulwell 73 operates across a wide range of genres and across all media platforms; theatrical, broadcast and digital.
- Motown Sound
- Artist Development
- Motown Subsidiary Labels
- British (Pre-Tamla Motown) Labels
- See Also
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Beginnings of Motown
Berry Gordy’s interest in the record business began when he opened a record store called the 3D Record Mart, a shop where he hoped to "educate customers about the beauty of jazz," in Detroit, Michigan. (The Gordys were an entrepreneurial family.) Although the shop did not last very long, Gordy’s interest in the music business did not fade. He frequented Detroit’s downtown nightclubs, and in the Flame Show Bar he met bar manager Al Green (not the famed singer), who owned...
West Grand Boulevard
Also in 1959, Gordy purchased the property that would become Motown's Hitsville U.S.A.studio. The photography studio located in the back of the property was modified into a small recording studio, and the Gordys moved into the second-floor living quarters. Within seven years, Motown would occupy seven additional neighboring houses: 1. Hitsville U.S.A., 1959 – (ground floor) administrative office, tape library, control room, Studio A; (upper floor) Gordy living quarters...
Early Tamla/Motown artists included Mable John, Eddie Holland and Mary Wells. "Shop Around", the Miracles' first number 1 R&B hit, peaked at number two on the Billboard Hot 100 in 1960. It was Tamla's first million-selling record. On April 14, 1960, Motown and Tamla Records merged into a new company called Motown Record Corporation. A year later, the Marvelettes scored Tamla's first US number-one pop hit, "Please Mr. Postman". By the mid-1960s, the company, with the help o...
Motown specialized in a type of soul music it referred to with the trademark "The Motown Sound". Crafted with an ear towards pop appeal, the Motown Sound typically used tambourines to accent the back beat, prominent and often melodic electric bass-guitar lines, distinctive melodic and chord structures, and a call-and-response singing style that originated in gospel music. In 1971, Jon Landau wrote in Rolling Stone that the sound consisted of songs with simple structures but sophisticated melodies, along with a four-beat drum pattern, regular use of horns and strings and "a trebly style of mixing that relied heavily on electronic limiting and equalizing (boosting the high range frequencies) to give the overall product a distinctive sound, particularly effective for broadcast over AM radio". Pop production techniques such as the use of orchestral string sections, charted horn sections, and carefully arranged background vo...
Artist development was a major part of Motown's operations instituted by Berry Gordy. The acts on the Motown label were fastidiously groomed, dressed and choreographed for live performances. 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 of black musicians by white Americans in that era. Given that many of the talented young artists had been raised in housing projects and lacked the necessary social and dress experience, 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 per...
In order to avoid accusations of payolashould DJs play too many records from the original Tamla label, Gordy formed Motown Records as a second label in 1960. The two labels featured the same writers, producers and artists. Many more subsidiary labels were established later under the umbrella of the Motown parent company, including Gordy Records, Soul Records and VIP Records; in reality the Motown Record Corporation controlled all of these labels. Most of the distinctions between Motown labels were largely arbitrary, with the same writers, producers and musicians working on all the major subsidiaries, and artists were often shuffled between labels for internal marketing reasons. All of these records are usually considered to be "Motown" records, regardless of whether they actually appeared on the Motown Records label itself.
1. Flory, Andrew (2017). I Hear a Symphony: Motown and Crossover R&B. University of Michigan Press. ISBN 978-0-472-12287-5.
Aug 23, 2019 · Watch Hitsville: The Making of Motown all the way to the end. Not because there’s a nifty tag scene, Marvel-style. You’ll just want to stare in awe at the song credits. We’d be here all day ...
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Aug 14, 2019 · Berry Gordy III (known professionally as Berry Gordy Jr., born November 28, 1929) is an American record executive, record producer, songwriter, film producer and television producer. He is best known as the founder of the Motown record label and its subsidiaries, which was the highest-earning African-American business for decades.
Apr 10, 2017 · **Some version of this revue called The Tamla Motown show made its way to the UK in 1965. But as this article makes clear, “the Motortown tour was a mixed critical success – and a complete commercial disaster.” A little too ambitious and too expensive. Sources: The Story of Motown by Peter Benjaminson; Wikipedia.