Motor City's music is the soundtrack for America's bumpy road

The accomplishments of Motown Records seem boundless. In this anniversary year, just a glance for a Motown mention yields a staggering amount of material. Information in books, film and on the World Wide Web tell of the label's numerous stars, including Michael Jackson, Diana Ross, Marvin Gaye, Stevie Wonder, Lionel Ritchie and others.

Motown has encompassed many American musical styles and has even come to define some of them. Sixties soul music, for instance, is often referred to as Motown. But the label's overall style can best be described as American music. The groups it signed over the years included gospel, doo-wop, blues, rock 'n' roll, protest rock, disco, funk and even rap. And Motown represents more than a sound. While Motown broke down barriers in music, it did the same in race. The label made superstars out of m

Courtesy of Motown Records The Miracles gave Motown its first big hit.

any African Americans who, before the '60s, often were overlooked in favor of white artists. In music and beyond, Motown's effects on America are worth noting.

In the Beginning

The early history of Motown Records is not too different from that of many other independent labels. It began with a vision, in this case that of Berry Gordy in the late '50s. After penning some songs for Jackie Wilson, Gordy found there was little opportunity for songwriters to have creative input in the songs' production. So Gordy, after borrowing a few hundred dollars from his sister, decided to start a record label of his own.

After establishing company offices in Detroit, Gordy signed local act Smokey Robinson and The Miracles. Their first track, "Get a Job/My Mama Done Told Me," was released on Tamala Records, an independent label in New York City. Shortly after this, Gordy established the Jobete Music Publishing Company. In a pivotal moment in the early history of the company, Berry Gordy met Barret Strong. Together, they co-wrote their first hit, "Money (That's What I Want)," which, although reaching only No. 23 on the charts, helped the company gain a foothold in the music business.

But it was The Miracles that first established Motown as a major player in the music business. In 1961, The Miracles' "Shop Around" sold more than one million copies, and The Miracles became the first Motown band to appear on "American Bandstand." The other group to equal the early success of The Miracles was The Marvelettes, which provided the label's first No. 1 song in 1961, "Please Mr. Postman."

In this pre-Beatles age, teen idols such as Ricky Nelson and Frankie Valli, as well as female groups like The Shirelles, dominated the mainstream American musical scene. Motown's early music catered to this image. The company even set up a charm school to try to make its artists more "acceptable" to the middle-class white audiences who were these teen idols' fan base. Motown gradually expanded its operations and signed numerous acts, including Mary Wells, Marvin Gaye, The Primes (who later became The Temptations), The Four Tops and The Supremes.

Hitsville

"When the Love Light Shines," released in 1964, was The Supremes' first single, and "Baby Love" scored a No. 1 the same year. Led by singer Diana Ross, The Supremes became Motown's first supergroup; between 1963 and 1969, when Ross left to pursue a solo career, the band had 12 No. 1 hits. These three girls, who grew up in Detroit's Brewster Housing Project, became some of Motown's biggest artists, as well as true rock 'n' roll legends.

Motown's bands began to dominate the music scene in America prior to the British invasion, but Motown prospered even after the Beatles hit.

The Temptations hit it big in 1965 with "My Girl." The Four Tops prospered with songs like "Reach Out, I'll Be There," "Baby I Need Your Loving" and "I Can't Help Myself (Sugar Pie Honey Bunch)." Marvin Gaye, too, became a Motown star with pop songs like "How Sweet It Is (To Be Loved by You)."

Penning It All

There was an intriguing aspect of the company in these early years; the artists wrote their own songs only on rare occasions. This led to problems later, when groups craved artistic freedom. Early on, however, it contributed to the label's success.

Motown's early songwriting team was composed of Brian Holland, Lamont Dozier and Edward Holland Jr., who became three of the most successful songwriters in rock 'n' roll history. Between 1962 and 1968, when they left the label, they wrote more than 50 songs that ended up on the charts, including six straight No. 1 hits for The Supremes.

Following the threesome's departure, Berry Gordy assembled a group of songwriters and producers which he simply named "The Corporation." Another songwriter, who co-wrote most of The Temptations' hits, was Norman Whitfield.

Country In Turmoil

The '60s brought countless, uprooting cultural changes. Civil rights, the birth of feminism and the Vietnam War forever altered American history - and music reflected this. Singers like Bob Dylan and Janis Joplin, and bands such as The Grateful Dead and Crosby, Stills, and Nash replaced teen idols' rock 'n' roll with music that reflected the attitudes of a nation in turmoil.

These attitudes also affected Motown, where the first successful group reflecting the trend was Martha Reeves and the Vandellas with the song "Dancing in the Streets." In the more than 30 years since its release, the song, as well as its many covers, has become one of the definitive songs of '60s culture.

No Motown act traces the evolution of American women's status better then The Supremes. In the early '60s, songs like "Baby Love" and "Stop (In the Name of Love)" showcased the prevalent attitudes toward women's roles. The Supremes sang about female passivity in a climate of male sexual dominance. But the band's music prior to Ross' departure in '67 reflected a harder feminist stance. "Love Child" and "You Keep Me Hangin' On" gave listeners an even stronger sense of female sexual identity.

The Temptations' music also evolved; the group went from teenybopper pop songs to music that bore deeper cultural criticism. "Ball of Confusion (That's What the World is Today)" perhaps best embodies this change. The song is a politically charged number condemning problems plaguing American society.

Marvin Gaye, too, radically changed his musical style. After the death of Tammy Terrell, with whom he had collaborated on many tracks, his music took root in the current political turmoil. "What's Going On" was not only a huge hit for Marvin Gaye and a revitalization for his career, but it became an anthem for the period.

Beyond Politics

In a backlash to musical politics came the Jackson 5. This group of brothers, spotlighting 11-year-old Michael, signed with Motown in 1970 and met with instant success. Within a year, the group was playing to 20,000-seat stadiums.

The five-member Commodores helped bring Motown into the age of disco and funk. Led by Lionel Ritchie, this group became Motown's best-selling act of the '70s. The band's diverse hits included the upbeat funk classic "Brick House," as well as the ballad "Three Times a Lady."

During the '70s, bands began to voice grievances with the label. Wanting more artistic control, the Jackson 5 left Motown Records in 1975. Motown tried to block the band's departure, but ended up suing its new record label. Eventually, the group was forced to drop its original name and became simply The Jacksons.

But they weren't the only artists who had problems with the label's control. Although Stevie Wonder didn't leave Motown, he held out on re-signing his contract in 1976 until he was given complete artistic control. In the early '80s, Marvin Gaye's last album was released by the company against his wishes.

End of the Era

As disco died a slow death, baby boomers began joining the establishment they spent so many years protesting. The label's music continued to evolve with the times. The biggest hits for Motown in the '80s came from Lionel Ritchie, now a solo artist. And the glory wasn't gone; his soft-rock album "Can't Slow Down" became the best-selling album in Motown history. Meanwhile, Rick James was becoming a superstar. His songs, which glorified illicit sex and drug use, stood in strong protest to the conservatism of the early '80s.

Motown Records still exists today, but in 1988 Berry Gordy sold the label to Polygram Records for $61 million. Even though the label still has big-name acts such as Boyz II Men, it is nowhere near the musical and cultural force it once was

Motown isn't just a record company - it is an American cultural phenomenon. In the 40 years of its existence, it helped to produce the soundtrack to a vital part in America's history.

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