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Above the front windows of Motown Records’ Detroit headquarters was a sign that read “Hitsville U.S.A.” Placed there by Motown founder Berry Gordy soon after his company moved into the modest home at 2648 W. Grand Blvd, the sign demonstrated Gordy’s blazing — and at the time, unearned — arrogance. Then the slogan came true.Founded on Jan. 12, 1959, Motown quickly became another Detroit factory; where the Big Three produced automobiles, Motown assembled the soul and pop classics that changed America. There’s no hyperbole in that statement. Arriving at the height of the civil rights movement, Motown was a black-owned, black-centered business that gave white America something they just could not get enough of — joyous, sad, romantic, mad, groovin’, movin’ music. (See an audio slideshow of five of Motown’s best tunes.)A former boxer and automobile worker, Berry Gordy was a nascent songwriter when, at the urging of Smokey Robinson, a songwriter ten years younger than Gordy, he decided to establish Motown Records. The two had become friends years earlier and Robinson, who was the lead singer of a band called The Miracles, produced, wrote, and sang several of Motown’s most memorable hits — including the labels’ first smash song, “Shop Around” in 1960. A year later, “Please Mr. Postman,” by The Marvelettes, was the label’s first No. 1 song. It would not be the last.Over the next decade, the sheer number of chart-topping artists, musicians, and groups produced by Motown defied comprehension: Martha and the Vandellas, Smokey Robinson and the Miracles, The Temptations, The Four Tops, Diana Ross and the Supremes, Gladys Knight and the Pips, The Jackson 5, Stevie Wonder, Marvin Gaye. All became part of what would come to be known as the Motown Sound. It is rumored that Gordy modeled his hit factory after the Detroit car assembly line that he knew so well: Make a good product, then make something similar, and make it quick. Over here were the songwriters — Robinson and the team of Eddie Holland, Lamont Dozier, and Brian Holland (Holland-Dozier, Holland, or H-D-H). Over there was the talent — Stevie Wonder, whom the label discovered when he was 11; Marvin Gaye, who wanted so much to be a jazz crooner before he came into his own in the late 60’s; and, above all, Diana Ross, whom the label put its stake in early on, and who was told so many times

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That she was a star that she drove off one of the Supremes before quitting to launch a solo career. In a neglected corner were the session musicians the Funk Brothers, who played on God knows how many hit songs. Let’s just say a lot.So what was the Motown Sound? Great melodies, lots of tambourines and hand clapping, blaring horns, interplay between the lead singer and his or her backup vocalists, driving bass lines and foot-slapping drum parts. In his still essential Motown history Where Did Our Love Go? Nelson George writes, “Motown chief engineer Mike McClain built a miniscule, tinny-sounding radio designed to approximate the sound of a car radio. The high-end bias of Motown’s recordings can be partially traced to the company’s reliance on this piece of equipment.” They knew people would be listening on their car stereos and on their transistor sets and they were going to do what it took to make their songs sound good and memorable. Even if you couldn’t put your finger on it, when a Motown song came on, you knew it.Throughout the Sixties, Motown produced a catalog of songs that cannot be rivaled. “You’ve Really Got a Hold On Me,” “Heat Wave,” “Dancing in the Street,” “Tracks of My Tears,” “Where Did Our Love Go,” “My Guy,” “My Girl,” “Baby Love,” “Reach Out, I’ll Be There,” “I Can’t Help Myself,” “Get Ready,” “Stop! In the Name of Love,” “The Way You Do the Things You Do,” and so on. They were simple love songs that told simple stories, often in joyously happy or heartbreakingly sad ways. And all the while Motown was the pride of Detroit and the pride of black America (though Gordy tried, with his usual bluster, to make it the “Sound of Young America,” a label he began to stamp on all of the company’s vinyl).Around the time of the ’67 Detroit riots, however, things changed, as they eventually had to. Gordy looked west, towards Los Angeles (how could such a large entertainment company as his not be involved in movies and television?). Dissatisfied with the increasing disconnect between the success of their work and the level of their pay, Holland-Dozier-Holland broke off from Motown. And while the Jackson 5 was on the rise, most of the rock-steady Motown acts of the early ’60s were on the wane. In 1971, though, the label released what is arguably its

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Label Stax, Motown productions were far more involved with complex melodic arrangements which often employed orchestral elements such as strings. In fact, from songwriting to attire, Gordy brought a keen musical and visual aesthetic to everything he touched, much of it carefully calculated to help make black soul music more accessible to white audiences, without ever compromising on its underlying groove or soul. Learn to DJ the right way with Digital DJ Tips: The Complete DJ Course Selling black records to white audiences obviously made good commercial sense, though by helping to cross the musical divide, Motown artists also crossed racial divides – something which proved particularly important in the America of the late 1960s. Legacy: Gordy not only popularised black music in the US and abroad, he inspired scenes such as Northern Soul in the UK and influenced pop music in general the world over. He launched the careers of some of the greatest black artists who ever lived, like Diana Ross and Marvin Gaye, and introduced the world to then-young protégés like Stevie Wonder and Michael Jackson. Though effectively retired today, he is the subject of the long-running Motown musical and is often cited as a massive influence by contemporary black producers like Dr Dre. Quincy Jones 4. Quincy Jones A true renaissance man, Quincy Jones is a composer, producer, a multi-instrumentalist performer, and raconteur par excellence – a living legend through and through. Name any famous person and it’s fair to say Quincy Jones has invariably met them, quite possibly has worked with them and undoubtedly has an interesting story to tell about them. He started his career back in the early 50s, when he was in his early teens, rubbing shoulders with famous musicians such as Ray Charles, with whom he worked and became close friends. Quincy Jones’ musical career spanned jazz, rock and roll and pop music. He composed music for Count Basie and Duke Ellington. He also played alongside everyone from Elvis to Frank Sinatra, worked in the movie business but his biggest success was surely his work with Michael Jackson. Having literally grown up in studios first with Berry Gordy and various Motown performers, as well as other top producers like Gamble and Huff, Michael Jackson was already a superstar and had plenty of his own ideas in terms of both production and songwriting – he just needed somebody who shared his vision. Motown Taxi LLC 2025. Skip to content . Motown Taxi. Motown Taxi; NEMT North Central WV; Jobs; Contact; Book NOW! Motown Taxi. Navigation Menu. Navigation Menu .

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Grandest artistic statement, something not at all of a piece with its previous, poppy output. Marvin Gaye put out What’s Going On, a thoughtful, socially conscious album whose title track Gordy famously called the worst song he had ever heard. A year later, Motown deserted Detroit for L.A. and Stevie Wonder turned 21, thereby taking creative control of his music. Within four years he had released Talking Book, Innervisions, and Songs in the Key of Life.It was arguably the last great burst of Motown creativity. Gordy, distracted by Hollywood, released two films starring Diana Ross — Mahogany and the Billie Holiday biopic Lady Sings the Blues. The 80s brought Rick James and Lionel Richie and The Big Chill — a white, yuppie film with an amazing Motown soundtrack (“Aint Too Proud To Beg” was reduced to dishwashing music). By 1988, Gordy had had enough; he sold the company to MCA, which in turn sold it to Polygram, which in turn was bought by Universal. Really, though, who cares who owns it now? Just pop on one of those numerous greatest hits albums in your collection (or, ok, fine, The Big Chill soundtrack) and recall the glory of Motown. The music doesn’t sound fifty years old at all.

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In the late ’50s, a little-known songwriter named Berry Gordy took $800 he scrounged together from family and a few paltry royalty payments to found Tamla Records—better known at Motown Records. Today, the name Motown has transcended the company itself and instead has come to represent an entire era where Black recording artists were pumping out hit after hit. Gordy first set up shop at a house in Detroit, which soon became dubbed “Hitsville U.S.A.” Names like Marvin Gaye, Diana Ross, Smokey Robinson, Michael Jackson, and Stevie Wonder among others were giving the mainstream a shot of soul from inside the seemingly innocuous venue. Let’s take a trip to Hitsville and go through just a few, among a long list, of enduring tracks from Motown. From Marvin Gaye to The Supremes here are 10 must-know songs from that golden era.1. “My Girl” (The Temptations)I’ve got sunshine on a cloudy day / When it’s cold outside / I’ve got the month of May, David Ruffin sings in “My Girl.” Much like the opening line, the song itself is a mood booster of little parallel. A rolling beat accompanied by a serene five-part harmony. The song was written by Smokey Robinson and was originally going to be performed by him and the rest of The Miracles. But after some persuasion from Ruffin’s bandmates, Robinson gave the song over to The Temptations, securing their first No. 1 single. 2. “The Tracks of My Tears” (Smokey Robinson & The Miracles)Like many Motown songs, “The Tracks of My Tears” quickly became a standard within the scene in Motor City. Penned by Smokey Robinson, Pete Moore, and Marv Tarplin (and originally recorded by their group The Miracles), the song has been inducted into the Grammy Hall of Fame and was featured by the Recording Industry Association

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In the spaces with no extras to interfere (like the tiny calendars at the bottom that I've never used) in a vertical format. I'm super happy with this year's design that features a fruit that is seasonal to the month, like lemons for January, strawberries in May, and grapes for October. It's time for the 2023 version of our annual free printable monthly calendar to download and use to start planning and organizing when you want!Some links in this article are affiliate links and if you click on them and purchase I will receive a small commission at no cost to you. Ironically, their last Motown single, "Neither One of Us Wants to be the First to Say Goodbye," became the Pips' first No. Knight and the Pips left Motown in 1973 for Buddah Records, a subsidiary of Arista (the group later took Motown to court for unpaid royalties). Their popularity increased with the success of singles like "Nitty Gritty," "Friendship Train" and "If I Were Your Woman," combined with touring performances with the Motown Revue and numerous TV appearances. In 1967, the Pips' version of Whitfield's "I Heard it Through the Grapevine"-later a huge hit for Marvin Gaye-crossed over from the rhythm and blues charts to the pop charts. While their first single, "Whistle My Love," was released by Brunswick in 1957, the Pips didn't score a bona fide hit until 1961 when they released "Every Beat of My Heart.” But it was when the group began recording with. Motown Taxi LLC 2025. Skip to content . Motown Taxi. Motown Taxi; NEMT North Central WV; Jobs; Contact; Book NOW! Motown Taxi. Navigation Menu. Navigation Menu .

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It was our hit record. Now, if anybody did anything after that, that was fine! I mean, all they did was keep our name going stronger. It didn’t bother us whatsoever. As long as we had our time and our radio slots that we could get our stuff played on. You know, that didn’t bother us about people covering, or other artists covering or – I don’t think it affected us nearly as much as maybe some others. Because Holland, Dozier, & Holland would sit and tailor make stuff for us, and when they thought they’d done enough of that, then they started picking nice tunes for us to cover for other people, like, “I Was A Carpenter”.An amazing family came out of Motown. You hear different things from a lot of different people. Some people say, “Well Barry was behind his artists and righteous, and all that and then you hear stories that maybe the artist didn’t get paid what they should’ve gotten paid and maybe Barry was a little more of an egomaniac?Duke: Let me put it like this. Before we went to Motown, we were just a group scuffling trying to find our dinner table. After we had left Motown, we were world famous, and we had brought home to our families and we’re still working and we’re still doing those things, and we’re still selling the Motown sound. We still love Barry, and Barry loves us. We did not get a raw deal, we got a wonderful deal. The best deal that I ever had in my life! And I think he’s a wonderful guy. He had a family philosophy. He made – the artists, and the engineers, and the musicians – everybody, like, were at their peak when they were at Motown. It was very warm and wonderfully competitive. Everybody was competitive, but it was still a family.©2016 Pilato EntertainmentBruce Pilato is a 40 year music industry veteran, who has covered entertainment for Variety, USA TODAY, Gannett News Service, US Weekly, Mix and others. He is president of Pilato Entertainment Marketing & Media LLC and also teaches music industry courses for The University Of Rochester’s American Institute of Popular Music and Nazareth College.www.Pilato.com

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Tube Warmth for Your MixVintage Vibe, Drive and the Magic Tone of the 1567A Tube Mixer. A Beast on Bass and Drums.Introducing Radiator, a dual drive tube input channel and EQ, based on the classic Altec 1567A tube mixer from the 1960s.The original Altec 1567A hardware was a rack-mounted five-input tube mixer with removable transformers, a simple two-knob EQ, an unmistakable green faceplate, and a whopping 97 dB of gain. The sound, by today’s standards, is coloured and gritty, with a heaping helping of good old-fashioned hardware noise. In its day, it was used on many early Motown hits and found its way into the PA racks of countless churches and school auditoriums across the USA.A Bit of HistoryThe unmistakable green-faced Altec gear, and in particular the 1566A and 1567A, played a big part in shaping the early “sound” of Motown between 1961 to 1964. Songs by greats like The Four Tops, The Marvelettes and The Supremes went through a 1567A mixer to the massive three-track recorder. Ahhh, when life was simple.These mic preamps and mixers have a very coloured warm sound and are very loud. The EQ is as simple as it gets, with one knob for bass, and another for treble. After Motown, and after much gear came and went, analog diehards began seeking out the 1566A and 1567A as inexpensive sources for real tube sound.Motown Records Chief Engineer, Russ Terrana, used the 1567A extensively and it became part of the distinctive Motown sound. Producer Matt Wallace was a very big fan. Butch Vig and Billy Bush are also fans.Radiator brings the classic Altec tube sound to desktop recording rigs, capturing the distinctive warmth and punch of the original hardware. Featuring the modelled bass and treble tone controls from the original unit, a mix control for easy parallel processing, and the saturation and harmonic effects of the original hardware’s input and output amplifiers.All of these different circuit elements interact, allowing a wide range of tones to be created with just a few simple knobs. Plus Soundtoys lets you decide if the original noise is on or off.Over the past few years, the Altec mixers have been picked up by recording studios as an inexpensive way to bring analog colour and character to computer-based digital recording. With producers like Matt Wallace of early Maroon 5 fame utilizing the 1567A on their early hits, and now bands like the Black Keys (who had a custom console made from Altec 1567A) the demand, and price, for these funky little colour boxes have soared.Computer recordists everywhere can now get the Altec tube sound – on every input channel, without the hassles of interfacing to esoteric analog gear, and at a much lower cost. Radiator also includes Little Radiator, a simpler single-stage tube pre-amp model based on the Altec 1566A hardware, the little brother of the Altec 1567A.Features Analog-modelled tube mixer with EQ Independent input and output amplification stages each add their own character Bring the sound of a Motown-era classic to your. Motown Taxi LLC 2025. Skip to content . Motown Taxi. Motown Taxi; NEMT North Central WV; Jobs; Contact; Book NOW! Motown Taxi. Navigation Menu. Navigation Menu . Motown Taxi – Morgantown, WV Taxi Service Home Motown Taxi opened our doors in January 2025, bringing quality taxi cab transportation to all of Monongalia County. Motown Taxi’s bright yellow taxi cabs are hard to miss.

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BRUCE PILATO’S SOUND & VISIONEdition #3 – March 25, 2016The Four Tops are coming through the area on tour once again- this time with The Temptations. This legendary Motown group remains one of the greatest soul acts of all time. Here is a rare interview with Duke Fakir, the only original member of the group.Conducted a few years ago, he talks about the origins of the group and the legacy they created at Motown.Few groups have had the continual success and creative consistency as The 4 Tops. Formed in Detroit in 1954 as a jazz vocal quartet, Renaldo “Obie” Benson, Abdul “Duke” Fakir, Lawrence Payton and Levi Stubbs eventually signed with Motwon and became the world’s premier R&B male vocal quartet. From 1964 through the mid 1980s, they had over a dozen Top 40 hits, including 5 in Billboards Top 5.The Four Tops remained intact for a remarkable 43 years, without a single personnel change, until 1997, when Payton died after a short illness with liver cancer. In succeeding years Benson and Stubbs also passed away- leaving Duke Fakir, the sole original member and current leader.Universal Music now controls and maintains the legendary 4 Tops catalog, and have kept the musical legacy alive with a number of carefully planned re-issues.Touring with their old friends, The Temptations, the Four Tops still tour and do over a 100 dates a year. The group’s last studio album was produced by legendary Motown producer Norman Whitfield.We sat down with Duke Fakir from the Four Tops to discuss, the group’s amazing 62 year career, and the quartet’s brave new future…….** FILE ** In this Jan. 12, 2009 file photo, Abdul “Duke” Fakir of The Four Tops is shown in the recording studio at the Motown Museum in Detroit. (AP Photo/Tony Ding, file)Universal had issued its Lost Sessions releases on Motown, and put in the 2000s had put out Breaking Through – The Four Tops Lost Masterpiece. This is basically an album of jazz vocal songs that the 4 Tops recorded for Motown that was never released. What is the story behind the release? You were a jazz vocal quartet and not an R&B group when you first started?Duke: Well, when we first started, we just – basically we learned all kind of songs, but when we started tending to learn more jazz tunes, simply because jazz was very popular around Detroit at that particular time, and we wanted to be slightly different. I’ll put it like that. We wanted to be – you could say, “outstanding”! We realized we had good singing voices, we had the kind of voices that rally blended well together and we had one guy in the group who had one of those kind of ears that was like the ears of an arranger. He could just hear any chord and how to put them together and so we just started singing these things. And it got to be very exciting! And what we found out, because we used to work