Motown Pop and Southern Soul

UNIT 7 (P. 222-235) CHAPTER 6: MOTOWN POP AND SOUTHERN SOUL Intro Until early 60’s, many African-Americans blocks from mainstream success by white covers o Majority of African-American recording artists signed to independent labels, and recordings’ popularity could be easily eclipsed by major label versions British invasion bands took much of early inspiration from African-American popular music By 1965, situation in youth-music market had significantly improved for black artists wanting mainstream hits Among most important developments was music that came from Motown Records (independent company; most important era of success parallels that of the Beatles) and the emergence of southern soul from Memphis American rock press that emerged in mid-60’s often cast Motown as black pop music that made too many concessions to white sensibilities – selling out its “blackness” to make money in white market; while southern soul portrayed as music that makes no excuses for its blackness, staying closer to origins in black culture o Perception of racial authenticity after music accepted into white mainstream o Crossover so prevalent; December ’63 – January ’65, Billboard stopped tracking R&B charts separately Berry Gordy, Jr. and Black Music for White Audiences Go Where the Money Is: White Kids and Disposable Income Berry Gordy, Jr.: professional boxer in Detroit area, worked for father’s construction company, owned a record store, and worked on Ford assembly line; spent a lot of time in Detroit’s jazz clubs – jazz = not key to success in music business! o Began writing songs for Detroiter/former boxer, singer Jackie Wilson o Worked with sister Gwen Gordy and Roquel “Billy” Davis (Tyran Carlo), writing several hits for Wilson o Also wrote and produced songs for other Detroit singers/musicians, leasing recordings to labels in NY and Chicago o In 1959 formed Motown Records; first hit record: Barrett Strong’s “Money (That’s What I Want)” During his first few years in business, modeled his releases on already successful records (girl- group hits of Brill Building and Isley Brothers’ style of the early 60’s) o Enormous potential in producing records that could cross over from R&B to pop charts o Adopted Chuck Berry’s strategy, preventing covers of his songs by white artists, by making Motown singles acceptable to white listeners in their original versions (i.e. appeal to white teens) . Interest in accommodating white tastes aligned closely with Gordy’s roots in black middle class and emerging Civil Rights movement’ . Not “selling out” because of culture he grew up in o Early label success in R&B market o Through 60’s Motown releases charted higher in R&B charts than pop charts o First target audience: white teens; later, older middle-class audiences who frequented upscale supper clubs Adapting the Brill Building Production Model Gordy gave songwriting and production duties to a collection of specialized individuals and teams, using a model that had been established by Leiber and Stoller a few years earlier From ’60-’64, Gordy, William “Mickey” Stevenson and William “Smokey” Robinson handled many of songwriting and production duties First consistently successful Motown group: the Miracles, fronted by Robinson o Robinson among Motown’s most successful producers Years between ’64 and ’67 at Motown dominated by the success of the Brian Holland, Lamont Dozier, and Eddie Holland team – “H-D-H” o Responsible for a string of hits by the Supremes, the Four Tops, and Martha and the Vandellas o Left Motown and stopped producing music in late ’67 over a royalty dispute o Dissatisfaction of H-D-H team with Gordy’s controlling interest in Motown echoed a common complaint about the company through the years; but Gordy able to facilitate creation of enormously popular music Following H-D-H, Norman Whitfield emerged as label’s most successful producer with a series of singles by the Temptations through early 70’s Late 60’s: Valerie Ashford and Nick Simpson (series of Marvin Gaye and Tammi Terrell duets), Frank Wilson (collab. With Supremes and the Four Tops) The Studio, the Band, and Quality Control Through most of the 60’s, Motown recordings at 2648 West Grand Boulevard in Detroit: “Hitsville, USA” Like Phil Spector in LA, Motown producers had a gifted and experienced group of studio musicians… from Detroit’s lively jazz scene; created parts on the spot, often without benefit of scored-out parts or completed formal design (only general idea of chords and rhythms producers wanted) o Key players: pianist Earl Van Dyke, drummer Benny Benjamin, electric bassist James Jamerson – the Funk Brothers (key to the “Motown Sound”) Once per week, Gordy gathered staff together for “quality control” meetings, testing each song, arrangement and recorded sound; potential releases presented for Motown employees and sometimes members of the community, to vote on which songs would be released that week o Good barometer for song’s potential success, though vote went against a now-classic “I Heard It through the Grapevine” – released after a cover of the same song rose up in the charts (and thus Marvin Gaye’s version was extremely successful once released) Artist Development and Professional Choreography According to Gordy’s philosophy, Motown artists had to project an image of class and sophistication – refined and graceful dance movements for live performances by Broadway choreographer Cholly Atkins o “The charm school” – Maxine Powell, taught men and women how to move and speak with grace; aim for performances at elegant supper clubs The Motown Artists The Supremes Mid-late 60’s; formed in Detroit 1959 when Diana Ross, Mary Wilson, Florence Ballard and Betty McGlown started a quartet called the Primettes (sister group to the Primes, later the Temptations), but McGlown left and the three tried to convince Gordy to sign them o Were signed, but initially unsuccessful o H-D-H took over production and song-writing duties, and they hit in ’64 with, “Where Did Our Love Go?” and cont’d to produce hits o Ross made leader for her evocative voice o Ballard left in ’67 from personal issues and replaced by Cindy Birdsong Group later became Diana Ross and the Supremes with growing leader stature Ross left the group in late ’69 to focus on solo career, which was successful; Jean Terrell replaced her and the group scored more pop hits in the 70’s The Supremes and Holland-Dozier-Holland From ’64-’67, the teaming of H-D-H with the Supremes produced a series of hits that made H-D- H one of the most successful writing and production teams in popular music and placed the Supremes among the top recording artists of the decade The Supremes, “Baby Love” (p. 229) Begins with intro that features a series of pulsating piano chords accompanied by drums; accompanied by “marching” sound produced by slapping wooden two-by-fours together, making song’s beat unmistakable Sound of vibraphone (like xylophone, but with sustained vibrato) Simple verse form; little change in accompaniment over verses (includes electric guitar and bass after intro) In third verse, saxophone takes over for lead vocal for eight measures, making vocal return for verse 4 sound fresher Verse 5 has change of key (up a half-step from D-flat to D) that propels song forward Pronounced rhythmic stomping is a continuation from previous single, “Where Did Our Love Go?”, as is the repetition of the word “baby” – trying to repeat a winning formula with this 2nd single http://wwnorton.com/college/music/whats-that-sound3/ch/06/playlist.aspx for additional information Also See Listening Guide Martha and the Vandellas Formed in Detroit in ’62 by former members of the Del-Phis Martha Reeves was performing in a Detroit Club when she was spotted by Motown producer Mickey Stevenson, who hired her as his secretary Backup singers hired for Marvin Gaye recording session failed to show up one day, when Reeves and her friends provided backup vocals on “Stubborn Kind of Fellow”, impressing Gordy so much that he had them record “I’ll Have to Let Him Go” (did not chart) as Martha and the Vandellas By early ’63, Reeves on lead vocals backed by Rosalyn Ashford and Annette Beard (replaced by Betty Kelly in ’64); first hit in ’63 (H-D-H produced) and followed up with two more hits o Mickey Stevenson then took over production for what would become known as the group’s most successful and best known single, “Dancing in the Street” o Continued success through ’67 with singles produced by H-D-H Despite popularity, suffered because of Supremes’ success and attention Motown gave to cultivating Diana Ross Roots in gospel and R&B more apparent in their recordings compared to Supremes, who sounded controlled by comparison; due to Martha’s full-throated, soulful vocal style, which paralleled southern soul and set the stage for Aretha Franklin later in the decade o Dress and image still polished and controlled, regardless of musical style; image of sophistication and elegance The Temptations Typical Motown guy group known for athletic choreographed dance moves, among label’s top acts between ’64 and ‘72 o One of Motown’s most consistently successful groups; known for smooth singing style (drawing strongly on doo-wop tradition) and tightly choreographed dance steps Formed in 1961 in Detroit when Otis Williams, Melvin Franklin, and Al Bryant of the Distants joined forces with Eddie Kendricks and Paul Williams (no relation to Otis) of the Primes In ’63, after some unsuccessful releases for Motown, Bryant left and David Ruffin joined, completing

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