SAE Institute London
“Key Player Analysis”
student name:
Christopher Wieduwilt
student no.:
15388
course code:
MF1010
Date of submission: 15th December 2010
word count:
2195
I hereby declare that I wrote this written assignment on my own and
without the use of any other than the cited sources and tools and all
explanations that I copied directly or in their sense are marked as
such, as well as that the dissertation has not yet been handed in
neither in this nor in equal form at any other official commission.
……………………………………………….
15.12.10, London
Table of Contents
List of Figures………………………………………………………………! !
I
1. Introduction…………………………………………………………….!
1
2. Berry Gordy and The History of Motown…………………….!
2
3. How Motown became a key player in the music
industry…………………………………………………………………..!
7
4. Resume………………………………………………………………….!
9
Bibliography……………………………………………………………….. !
II
List of figures
1. Berry Gordy……………………………………………………………….. ! 2
2. Hitsville USA………………………………………………………………. !3
3. The Funk Brothers………………………………………………………. ! 3
4. Mary Wells…………………………………………………………………. ! 4
5. Jackson 5………………………………………………………………….. ! 6
6. Holland-Dozier-Holland……………………………………………….
7
7. Berry Gordy……………………………………………………………….. ! 9
Motown watermark:
blog_images/motown_logo-thumb-473×462.jpg ( all pages)
I
1 Introduction
Motown records is without a doubt one of the most influential record labels in
the history of the music industry. The Rolling Stones, The Beatles and more
recent artists such as R. Kelly, Maxwell or D’Angelo were influenced by the
sounds of the Motown artists.
These mesmerising melodies and catchy vocal structures of artists such as
Marvin Gaye and Stevie Wonder left their mark on many young performers.
(Where did our love go, 2003, Page IX).
The magical production team consisted of writers such as Smokey Robinson,
Norman Whitfield, The Funk Brothers and Holland-Dozier-Holland were the
core of the Motown sound. They defined what would be the soundtrack for
young americans for over a decade.
The Jackson 5, The Temptations, The Miracles, Diana Ross and The Supremes,
Martha Reeves and Mary Wells are just a few of the successful artists Motown
The Term Paper on Berry Gordy Father Of The Motown Sound
... American society paved the way for someone like Berry Gordy to form a company like Motown. Changes in society continued to take place ... Smokey Robinson and Berry Gordy there was the famous team of Holland and Dozier. They consisted of Brian Holland, Lamont Dozier, and ... sounds. He was able to see the performances of famous artists like pianist Thelonious Monk and saxophonist Charlie "Bird' Parker. ...
had on their roster. The company was a hit making machine.
First of all I will give an overview about the life of Berry Gordy and the history of
the company as well as successful artists. At the end I will talk about what
made Motown successful and point out what the reasons were. The main
aspect of this analysis is to reflect and prove how Motown became one of the
key players in the music industry.
1
2 Berry Gordy and the History of Motown
1. , 2000-2010 [online])
Berry Gordy Jr. was born on 28th November 1929 and raised in Detroit. Both
his parents were business people. His dad was a plastering contractor and his
mother an insurance agent. In high school Berry pursued a career as a boxer
and served in the US Army during the Korean War (1950 – 1953).
(notablebiographies.com, 2009 [online])
In the summer of 1953 his love for jazz music led him to open up the 3D
Record Mart. The store did not do well and ran out of business only two years
later.
After that he started working as an assembly line worker at Ford Motor
Company in Detroit. Apart from his day job Berry began writing songs. Two of
his songs “That is why” and “I’ll be satisfied” made it into the hands of Jackie
Wilson. Berry Gordy became a well respected songwriter in town.
Despite the success of Jackie Wilson and Marv Johnson, Berry only had an
income of $27.70 a week in 1959. His need for money was pushing Gordy to
be more than just a writer and producer. The real profit making companies
were record labels which released music. It was Smokey Robinson that
suggested Gordy to take a different direction and stop selling records to other
labels.
Berry then formed the Motown Record Corporation that issued records under a
variety of labels including Tamla in 1959. He was very strict about who could
take a look at the business books. That was also the reason why Motown’s hits
of the sixties were never certified gold. (George 1985, p. 18 – 33)
2
The Headquarter of Motown Records was in a house on West Grand Boulevard
in Detroit. (notablebiographies.com, 2009 [online])
The Term Paper on Australian Company Report
Group Oral Presentation: the drivers and conditions for the survival and success of an Australian business enterpriseQantas Airways Limited ABN 16 009 661 901 October 2005Fact FileQANTAS AT A GLANCEHISTORY Qantas is the world's second oldest airline. It was founded in the Queensland outback in 1920 andis Australia's largest domestic and international airline. Qantas is also recognised as one of ...
It became known as “Hitsville” USA and the birthplace of Motown.
Nowadays it is a museum.
2. , 2000-2010 [online])
In 1959 he hired the best musicians the Detroit jazz and blues scene offered to
make songs for his record company.
3. , 2010 [online])
These musicians called “The Funk Brothers” were the biggest hit machine in
the history of pop music.
Bob Babbit, James Jameson, Earl Van Dyke and co. contributed a lot to the
success of Motown. (Standing in the shadows of the Motown Sound, 2002,
motion picture)
3
The song “shop around” performed by The Miracles was the first big hit for
Motown and went to number one on the R&B Chart in 1961.
A lot of new faces were added to the Motown family including the first white
employee Barney Ales, the mighty production team Holland-Dozier-Holland in
1962 and new artists such as Mary Wells.
4. (http://blackpaprreport.files.wordpress.com/2009/02/marywells1.jpg, 2009 [online])
Wells became the first female star on Motown with songs written by Smokey
Robinson (“The One Who Really Loves You” and “You beat me to the punch” ).
Another big step for Motown was happening in the winter of 1962. Inspired by
the Rock ’n’ Roll era musicians and deejays that organised shows with up to
ten acts on a bill, they put together the Motor Town Revue where Motown
artists went on tour together.
Over the next few years Motown had big success, the whole company was
owned and operated by almost only blacks, no other black record label could
accomplish the success Motown had.
Only being 34 years old Gordy was already a veteran at songwriting and
production (1963).
(George 1985, p. 35 – 61)
“Though he never spoke about the issue overtly, Berry’s rise in the early Sixties
The Term Paper on Black Label Taylem Witch Figmo
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linked him with the civil rights movement.” (George 1985, p. 62)
For some Motown was part of this movement.
1963 was clearly Motown’s year. The careers of Smokey Robinson, Stevie
Wonder and Martha Reeves took center stage. Soon after that the British
Invasion swamped over to America. The Beatles had six number one hits and
five more that made the Top 10. Motown could still compete with successful
4
singles from Mary Wells “My guy” and The Supremes “Where did our love go”.
Especially Wells received major exposure by the label, her record went to
number one in England as well.
Gordy’s goal was to develop a long career for the acts on his roster. The only
way to do so was for him to reach out to a crossover audience by putting on
stylish live shows. He would hire experts such as Maxine Powell, Cholly Atkins
and Maurice King that worked with the artists known as Artist Development.
In 1964 the Motown sound was born and the label had a musical identity.
Apart from the Beach Boys Motown was the only major competition to the
Beatles at that time.
Between 1964 and 1967 Motown had 14 number-one pop singles, 20 numberone soul singles, 46 more top 15 pop singles and more.
In 1965 Tamla Motown Revue went to England to celebrate it’s first major
breakthrough in the international market. The Supremes marked the labels rise
in England.
In the same year soul also quickly became very successful. The first soul hit by
Motown came from Junior Walker and the All Stars.
In 1965 the company had a total gross of $8 million and were also the label
with the most sold seven-inch-singles (42 made the billboard pop charts).
The Supremes began to become major stars and were at their peak in 1965
and 1966.
In 1968 the company consisted of 200 employees of which 10 were white. It
The blacks felt that Berry sold out to white interests as the financial site of the
label was almost only operated by white employees.
Things were changing at Motown, the mighty production team Holland-DozierHolland left and certain artists did not get the exposure and attention they were
The Essay on Rap History Music Black Herc
Rap music originated as a cross-cultural product. Most of its important early practitioners-including Kool Herc, D. J. Hollywood, and Afrika Bambaataa-were either first- or second-generation Americans of Caribbean ancestry. Herc and Hollywood are both credited with introducing the Jamaican style of cutting and mixing into the musical culture of the South Bronx. By most accounts Herc was the first ...
wishing for including Martha Reeves and Glady’s Knight. Norman Whitfield was
the new face of Motown. He created a new sound and produced the legendary
album “Cloud Nine” by The Temptations.
At the end of the 60’s Diana Ross discovered the Jackson 5 at a talent show.
Motown instantly signed them after seeing them perform. Their first four
singles including “ABC” and “I’ll be there” went straight to number one .
5
5. ( http://www.rocksbackpages.com/furniture/artists/jackson5.jpg , 2010
[online])
In 1972 Motown finally moved the label to Los Angeles but not the Artist
Development department.
The Black Enterprise Magazine listed Motown as the biggest black-owned
company in 1973 grossing $40 million.
In the same year Motown would pursue other goals and became involved in
other projects (Broadway musical, various movies and television specials).
After the Jackson 5 had their breakthrough and their place in the music
industry Gordy turned to filmmaking. Motown’s television specials with the
Supremes, The Temptations, Diana Ross and The Jackson 5 were very
successful.
In May 1983 Motown produced the broadcast “Motown 25: Yesterday, Today
and Forever” which aired on NBC. The show featured past stars such as
Michael Jackson and Diana Ross. (George 1985, p. 74 – 220)
Today Motown belongs to Universal but is still running a classic Motown label.
The Universal Motown Records label’s roster include artists such as Nelly, Kid
Cudi and Drake. (http://www.universalmotown.com, 2010 [online])
6
3 How Motown became a key player in the
music industry
During 1957 – 1963 black music was mainly performed by whites, black
performers were almost left out and did not get major exposure.
The leading major labels at that time were Decca, Columbia and RCA. All these
labels only had a few black singers. Black music did not have a good image.
Majors would not promote black music properly and were not concerned about
The Essay on Motown Music
Motown acts were enjoying a widespread popularity among black/white audiences alike where William “Smokey” Robinson stated “Into the '60s, I was still not of a frame of mind that we were not only making music, we were making history. But I did recognize the impact because acts were going all over the world at that time. I recognized the bridges that we crossed, the racial problems and the barriers ...
taking over the white marketplace.
Despite all these facts younger americans started listening to more black
music. There was an expanding market for blues, gospel and r&b music.
In 1963 Motown changed black music’s position in the record industry and in
American Culture. Motown took the change were all the other labels were
missing out on. (George 1985, p. 57 – 59)
One of the strengths during the 1960s was Motown’s accessibility to the black
community. Blacks could identify with the music.
The men behind the Motown sound were writers such as Smokey Robinson,
Norman Whitfield, The Funk Brothers, Nick Ashford & Valerie Simpson and
Holland-Dozier-Holland.
6. (http://media-2.web.britannica.com/eb-media/32/126932-050-10A9BE91.jpg,
2010 [online])
7
The Funk Brothers were a group of musicians that Gordy hired as session
musicians. They were the soul behind the music. “Over fourteen years they
were the Heartbeat on every hit from the Motown Detroit era” (“Standing in the
shadows of the Motown Sound 2002, motion picture).
The Holland-Dozier-Holland production team wrote unforgettable anthems of a
whole generation including many songs for The Supremes such as “Where did
our love go” (1984), Marvin Gayʼs “Little Darling” (1966) and Martha & The
Vandellasʼs “Iʼm ready for love” (1966).
Smokey Robinson and Norman Whitfield were just as successful as the H-D-H.
It was as of that the Motown had a musical identity.
These production teamʼs had great influence on the success of Motown.
Artist Development played a big role in the successful stories of the Motown
Artists as well. Maxine Powell, Cholly Atkins and Maurice King were being hired
by Gordy to work on the artists image, show choreography and way of
dressing. (George 1985, p. 101 – 109)
With the Motor Town Revue coming up and Motown sending all their artists on
tour they began to support the tours with investments. This form of support did
not become the norm until the late sixties. Motown was the first label making
investments into tours of their acts knowing that they would make a loss. This
strategy was simply implemented to increase the artistʼs popularity and fanbase.
It was an investment that would later on pay off. (George 1985, p. 52)
To keep the company solvent in the early days the accounting system was an
integral part, which would cause a conflict later. When new artists would sign to
Motown they were also made part of Jobete Music. Not only did Motown receive
money from the live shows but also from any kind of signees the recording artist
could be profitable. (George 1985, p. 98 – 99)
Berry Gordy knew how to run the business and make it successful. Companies
such as Chicagoʼs Vee Jay Records were bigger than Motown in 1963 but it
went bankrupt in 1965 due to the high costs for their head office and larger
roster of talent. (George 1985, p. 60 – 61)
“What was the Motownʼs edge, the difference that made it work where so many
failed?” (George 1985, p. 61)
8
7. large_090626berry-gordy-mourns.jpg, 2009 [online])
George delivers a simple answer, it was Berry Gordy. The way he organised
and motivated his personnel was special.
Motown was a big family, everyone was living and breathing the music. Berry
was also seen as a father figure to the staff of the company.
It is from this atmosphere that Motown was working so well and achieved a lot
of things in little time. (George 1985, p. 61)
What made Motown a key player was also the fact that not only black people
but also white people were listening to the music. It was Gordyʼs goal to reach
out to a wider audience. He knew that this would mean tremendous success for
the label.
4 Resume
Berry Gordy built up Motown with just $700 and made it one of the most
successful label’s in music history. It went on to become the biggest blackowned label and has brought us artists such as The Supremes, Marvin Gaye,
The Jackson 5 and Michael Jackson as well as many other artists. It was the
way Motown was operated and built up by Gordy that made the label stand
out. The family-like atmosphere, the team of writers Berry hired and his
character and business decisions. The successful Detroit days will be
unforgettable and always be a part of music history.
I would like to close this essay with a quote. “Once you reach the California
shore, the end of our country, it is easy to be impressed by just how far you’ve
come but before long it becomes clear you’ve got to either keep moving on or
9
else slowly – peacefully – bake in that golden sun. Since it’s move to Los
Angeles, Motown has had moments of glory, but the magic of the production
line has been lost, discarded or buried.” (George 1985, p. 230)
10
Bibliography
Advameg Inc 2009, Encyclopedia of World Biography [online]
Available at [Accessed 08.11.2010]
George, N. 1985 Where did our love go?, 2003 Omnibus Press,
London
Motown.com, Official Website [online] Available at
http://www.universalmotown.com/home/ [Accessed 28.11.2010]
Standing in the shadows of the Motown Sound, 2002, motion
picture
II
