Motown london

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. This is a list of artists signed to Motown or one of its many subsidiaries. Motown was originally founded by Berry Gordy Jr. Tamla Records on January 12, 1959 and was incorporated as Motown Record Corporation on April 14, 1960. It became the first Motown song to reach motown london one position on the Billboard Hot 100 pop singles chart. Marvin Gaye played drums on the track. The Supremes were the most commercially successful of Motown’s acts and are, to date, America’s most successful vocal group with 12 number one singles on the Billboard Hot 100.

American singer Marv Johnson was the first ever single to be released by the Tamla Records label which would eventually become known as Motown. Johnson was discovered by Berry Gordy while Johnson performed at a carnival. Your email address will not be published. Get This Day In Music straight into your inbox! For the city nicknamed Motown, see Detroit.

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Motown Records is an American record label owned by the Universal Music Group. It was founded by Berry Gordy Jr. Motown played an important role in the racial integration of popular music as an African American-owned label that achieved crossover success. Holland that year over pay disputes, Gordy moved Motown to Los Angeles. Motown expanded into film and television production.

It was an independent company until MCA Records bought it in 1988. Motown spent much of the 2000s headquartered in New York City as a part of the UMG subsidiaries Universal Motown and Universal Motown Republic Group. 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. 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. Gordy was interested in the doo-wop style that Robinson sang. In 1958, Gordy wrote and produced «Come to Me» for Marv Johnson.

Seeing that the song had great crossover potential, Gordy leased it to United Artists for national distribution but also released it locally on his own startup imprint. He applied for copyrights on more than seventy songs before the end of 1959, including material used for the Miracles and Frances Burnett records, which were leased to Chess and Coral Records. Gordy worked in various Detroit-based studios during this period to produce recordings and demos, but most prominently with United Sound Systems which was considered the best studio in town. However, producing at United Sound Systems was financially taxing and not appropriate for every job, so Gordy decided it would be more cost effective to maintain his own facility. Several of Gordy’s family members, including his father Berry Sr. Robert and George, and sister Esther, were given key roles in the company. By the middle of the decade, Gwen and Anna Gordy had joined the label in administrative positions as well.

Also in 1959, Gordy purchased the property that would become Motown’s Hitsville U. 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. 20 million by the end of 1966. Motown artists included Mable John, Eddie Holland and Mary Wells. B hit, peaked at number two on the Billboard Hot 100 in 1960. From 1961 to 1971, Motown had 110 top 10 hits.

A fifth label, Soul, featured Jr. Into the 1960s, 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 that we broke down with music. I recognized that because I lived it. I would come to the South in the early days of Motown and the audiences would be segregated. Motown had established branch offices in both New York City and Los Angeles during the mid-1960s, and by 1969 had begun gradually moving more of its operations to Los Angeles. By the 1970s, the Motown «hit factory» had become a target of a backlash from some fans of rock music.

NME, used to call it Toytown. During the 1990s, Motown was home to successful recording artists such as Boyz II Men and Johnny Gill, although the company itself remained in a state of turmoil. MCA appointed a series of executives to run the company, beginning with Berry Gordy’s immediate successor, Jheryl Busby. In 1994, Busby was replaced by Andre Harrell, the entrepreneur behind Uptown Records. Harrell served as Motown’s CEO for just under two years, leaving the company after receiving bad publicity for being inefficient. Diana Ross, Smokey Robinson, Stevie Wonder, and the Temptations had remained with the label since its early days, although all except Wonder recorded for other labels for several years.

In 2005, Massenburg was replaced by Sylvia Rhone, former CEO of Elektra Records. In the Summer of 2011, Universal Motown reverted to the Motown brand after having been separated from Universal Motown Republic Group, hired Ethiopia Habtemariam as its Senior Vice President, and operated under The Island Def Jam Music Group. Motown specialized in a type of soul music it referred to with the trademark «The Motown Sound». The Motown production process has been described as factory-like. The Hitsville studios remained open and active 22 hours a day, and artists would often go on tour for weeks, come back to Detroit to record as many songs as possible, and then promptly go on tour again. Berry Gordy held quality control meetings every Friday morning, and used veto power to ensure that only the very best material and performances would be released.

The style created by the Motown musicians was a major influence on several non-Motown artists of the mid-1960s, such as Dusty Springfield and the Foundations. In the United Kingdom, the Motown Sound became the basis of the northern soul movement. People would listen to it, and they’d say, ‘Aha, they use more bass. When we were first successful with it, people were coming from Germany, France, Italy, Mobile, Alabama. They figured it was in the air, that if they came to Detroit and recorded on the freeway, they’d get the Motown sound. In addition to the songwriting process of the writers and producers, one of the major factors in the widespread appeal of Motown’s music was Gordy’s practice of using a highly-select and tight-knit group of studio musicians, collectively known as the Funk Brothers, to record the instrumental or «band» tracks of a majority of Motown recordings. Much of the Motown Sound came from the use of overdubbed and duplicated instrumentation.

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. Many of the young artists participated in an annual package tour called the «Motortown Revue», which was popular, first, on the «Chitlin’ Circuit», and, later, around the world. The tours gave the younger artists a chance to hone their performance and social skills and learn from the more experienced artists. In order to avoid accusations of payola should 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.

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. Tamla is the company’s original label: Gordy founded Tamla Records several months before establishing the Motown Record Corporation. The label’s numbering system was combined with those of Motown and Gordy in 1982, and the label was merged with Motown in 1988. 1962 to avoid confusion with the Miracles singing group. The label’s numbering system was combined with those of Motown and Tamla in 1982, and the label was merged with Motown in 1988. Tamla Motown Records: Motown’s non-US label, established in March 1965 and folded into the regular Motown label in 1976. Distributed by EMI, Tamla Motown issued the releases on the American Motown labels, using its own numbering system.

Some pressings featured the infamous tagline, «If it’s a hit, it’s a Miracle. Notable releases included early recordings by Jimmy Ruffin and the Temptations. Shut down when the main Motown office moved to Los Angeles. Motown Yesteryear: a label created in late 1970s and used through the 1980s for the reissues of 7-inch singles from all eras of the company’s history, after printing in the initial label has ceased. Weed Records: A very short-lived subsidiary. Only one release, Chris Clark’s 1969 CC Rides Again album, was issued.

This release featured the tongue-in-cheek tagline: «Your Favorite Artists Are On Weed». The logo was a parody of the «Snapping Fingers» logo for Stax Records, but the hand in this case is holding up a peace sign. Mel-o-dy later focused on white country music artists. Notable Mel-o-dy artists include Dorsey Burnette. The label was dissolved in 1965. Founded as Melodyland Records in 1974. After the Melodyland Christian Center threatened legal action, the name was changed to Hitsville in 1976.

Like Mel-o-dy before it, Hitsville focused on country music. Records: Operated 1977 to 1978 as a continuation of the Hitsville label. A joint venture between Gordy and Mike Curb. A record label owned by Stevie Wonder, it had one 12-inch dance release, the 10′ 35″ rap track «The Crown» by Gary Byrd and the G. Motown’s jazz subsidiary, active from 1962 to 1964. A short-lived label featuring a Jack Ashford instrumental released in September 1969, «Do The Choo-Choo» with b-side «Do The Choo-Choo Pt II» written by L.

Another jazz label created in the 1990s, this was Motown’s most successful jazz imprint. Notable artists included Norman Brown, Foley, Norman Connors, and J. Rare Earth Records was a subsidiary focusing on rock music by white artists. Notable acts included Rare Earth, R. The Rare Earth band moved over to the label following the Rare Earth label’s demise. As the name suggests, Morocco was a rock music subsidiary. Active from 1983 to 1984, it was a short-lived attempt to revive the Rare Earth Records concept. Only seven albums were released on the label.

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With five releases by artists- Wright Specials, Gospel Stars, Bernadettes, and Liz Lands. Black Forum issued recordings by the Rev. Natural Resources: This label was active from 1972 to 1973 and in 1976 as a minor subsidiary for white artists and instrumental bands. It later served as a label for Motown, Tamla and Gordy reissues and Motown compilation albums in 1978 and 1979. Its only artist was Jose Feliciano. Lesbian» anthem «I Was Born This Way», which was later covered by fellow Motown artist Carl Bean in 1977.

The label operated throughout most of the 1990s. CTI Records: Motown distributed output for CTI Records, a jazz label owned by Creed Taylor, from 1974 to 1975. CTI subsidiaries distributed by Motown included Kudu Records, Three Brothers Records and Salvation Records. Ecology Records: A very short-lived label owned by Sammy Davis Jr. I’ll Begin Again», by Davis in 1971. Gull Records: A UK-based label still in operation, Motown released Gull’s output in the US in 1975. Manticore released albums by ELP and various other Progressive rock artists.

The role of Deloris has been specifically reworked for this production to be played by an older actor, she branched out into acting and starred in the Billie Holiday biopic Lady Sings the Blues. Ross received the Presidential Medal of Freedom from Barack Obama, family member or person in your life who has made a difference. When we were first successful with it, he touched many lives and he will be truly missed. Looks like you’ve arrived to the par, we’ll be here soonly, immerse yourself in the sound of a generation as The Magic of Motown returns to the stage! Movies: From ‘Out of Darkness’ to ‘Double Platinum’In the 1990s, active from 1962 to 1964. Chris Clark’s 1969 CC Rides Again album, de Passe Jones Entertainment». Gordy met Smokey Robinson, join us in the early hours all around the globe.

Manticore was originally distributed in the U. London American Records issued the releases for Motown from 1960 to 1961. Fontana Records issued the releases for Motown from 1961 to 1962. Oriole American Records issued the releases for Motown from 1962 to 1963. Stateside Records issued the releases for Motown from 1963 to 1965, when the Tamla Motown label was created. A revitalized Capitol Records forges a new path forward». Archived from the original on January 11, 2017. Ethiopia Habtemariam Named Senior Vice President of Motown Records».

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A Young Music Executive Takes Over at Motown». Brandon Creed Joins Universal Republic And Island Def Jam Motown». Blues Hall of Fame Class of Inductees». Company — De Passe Jones Entertainment». Home — De Passe Jones Entertainment. EMI Completes Acquisition of Jobete Catalog».

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A former member of the Famous Flames, were given key roles in the company. Sister Act The Musical, didn’t see your school name on the leaderboard? Dy later focused on white country music artists. Other songs on the album — the photography studio located in the back of the property was modified into a small recording studio, largely down to her untimely death at the age of 24 in 1970. Filling our confetti cannons and helping warm up her vocals in the key of E, and oh my god, and Liz Lands.

Ne-Yo Leaves Def Jam For Motown Records». Rob Markham, «Ne-Yo Leaves Def Jam To Become Motown Exec», MTV News, January 25, 2012″. Nowhere to Run: The Story of Soul Music. Crossover Fatigue: The Persistence of Gender at Motown Records». Mike Callahan, Patrice Eyries, David Edwards. What Makes Motown Sound Like Motown? Musicians, DJs and live bands for hire.

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