would you buy it? I like Motown music, so yes, I would definitely buy it. What about you?

Definitely

yup
I'm sure he'd put his own twist on them, and it'd be nice to listen to.

Absolutely YES!

It would depend on the song list. If, "The Boss," was remade and Prince went on and on about the line..."Stood right up in my face and....givin' me orders, runnin' the show." However...If Prince tries to Ashford and Simpson "Solid," on the record...I will tell him that his duets with Camille sound more like Donny and Marie, insead of Motown...and I won't buy it.

This is a great concept...I am wondering what Motown songs you would like to see Prince...ask permission for?

If Prince was going to do a Ashford and Simpson song...I wonder about..."High Rise."

And then I contemplate what the definition of Motown really is...Is it the years that Berry(sp?) Gordy...was signing people. Does it include all of those Artist's future work as well...what about, "Ease on down the road?"

What about, "Ive got the next dance with you."

What about, "The Love You Save?"

Help me out here...What is Motown...is it just the label? Or could you just rub elbows with Quincy Jones in the 90's? Come on out of Detroit and explain this to a white bimbo..

psychodelicide said:

Which era of Motown? 60s, 70s, 80s, or 90s (I think Berry Gordy sold the company sometime in the 90s when he retired)? Would there be any Rick James songs on it?

colorblu said:

Me too.

RUHip2TheJive said:

Are you listening Prince?

sexxydancer said:

Tame said:

Tame said:

When I think of Motown, I think of when Berry Gordy was signing folks onto the label. But other people may have different interpretations of it.

Tame said:

You're not a white bimbo. Here is the history of Motown, from Wikipedia.org:


Motown Records, also known as Tamla Motown outside of North America, is a record label originally based in Detroit, Michigan. Founded by Berry Gordy as Tamla Records on January 12, 1959, the company was incorporated as Motown Record Corporation in 1960 .

Motown played an important role in the racial integration of popular music, as it was the first record label owned by an African American to primarily feature African-American artists who achieved crossover success. In the 1960s, Motown and its soul-based subsidiaries were the most successful proponents of what came to be known as "The Motown Sound", a style of soul music with a distinct pop influence.

Motown has owned or distributed releases from more than 45 subsidiaries in varying genres, although it is most famous for its releases in the music genres of rhythm and blues, soul, hip hop and pop. Motown Records left Detroit for Los Angeles in 1972, and remained an independent company until 1988, when Gordy sold the company to MCA. Now headquartered in New York City, Motown Records is a subsidiary of The Universal Motown/Universal Republic Group, itself a subsidiary of Universal Music Group.

History

"Hitsville USA": 1959 - 1972

The Hitsville U.S.A. building in Detroit, Michigan, which served as Motown's headquarters from 1959 until 1968.Berry Gordy got his start as a songwriter for local Detroit acts such as Jackie Wilson and The Matadors. Wilson's single "Lonely Teardrops," written by Gordy, became a huge success; however, Gordy did not feel he made as much money as he deserved from this and other singles he wrote for Wilson. He realized that the more lucrative end of the business was in producing records and owning the royalties.

In 1959, Billy Davis and Berry Gordy's sisters Gwen and Anna started Anna Records. Davis and Gwen Gordy wanted Berry to be the company president, but Berry wanted to strike out on his own. Therefore, in 1959, he started Tamla Records, with an $800 loan from his family. Gordy originally wanted to name the label "Tammy" Records, after the popular song by debbie Reynolds Tammy's in Love. When he found the name was already in use, he decided on Tamla instead.

Gordy's first signed act was The Matadors, a group he had written and produced songs for, who changed their name to The Miracles when Tamla signed them. Miracles lead singer Smokey Robinson became the vice president of the company (and later named his daughter "Tamla" and his son "Berry" out of gratitude to Gordy and the label). Many of Gordy's family members, including his father Berry, Sr., brothers Robert and George, and sister Esther, had instrumental 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 Tamla's Hitsville U.S.A. studio. 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. Within a few years, Motown would occupy several neighbouring houses with administrative offices, mixing, mastering and rehearsal studios.

Among Tamla's early artists were Mable John, Barrett Strong and (on the Motown label) Mary Wells. Tamla's first release was Marv Johnson's "Come to Me" in 1959. Its first hit was Barrett Strong's "Money (That's What I Want)" (1959), which made it to #2 on the Billboard R&B charts; its first #1 R&B hit was "Shop Around" by the Miracles in 1960. "Shop Around" peaked at number two on the Billboard Hot 100, and was Motown's first million-selling record. Also in 1960, Gordy launched Motown Records as a sister label. Because of the "Motown" name's association with "Motor City" Detroit, the blanket record company under which both Motown Records and Tamla Records operated was incorporated as "Motown Record Corporation". A year later, The Marvelettes scored Tamla's first US #1 pop hit, "Please Mr. Postman." By the mid-1960s, the label, with the help of songwriters and producers such as Robinson, William "Mickey" Stevenson, Brian Holland, Lamont Dozier, and Norman Whitfield, was a major force in the music industry.

From 1961 to 1971, Motown had 110 Top Ten hits, and artists such as Stevie Wonder, Marvin Gaye, Diana Ross & The Supremes, The Four Tops, and The Jackson 5, were all signed to Motown labels. The company operated several labels in addition to the Tamla and Motown imprints. A third label, which Gordy named after himself, featured The Temptations and Martha and the Vandellas. A fourth, V.I.P., released recordings by The Velvelettes and The Spinners, and a fifth, Soul, featured Jr. Walker & the All Stars and Gladys Knight & the Pips (who were the first act to have been successful before joining Motown, as 'The Pips' on Vee-Jay). Many more Motown-owned labels released recordings in other genres, including Workshop Jazz (jazz), Mel-o-dy (country), and Rare Earth (rock). Under the slogan "The Sound of Young America", Motown's acts were enjoying widespread popularity among black and white audiences alike.

In Britain, Motown's records were released on various labels: at first London (only the Miracles' "Shop Around"/"Who's Lovin' You" and "Ain't It Baby"), then Fontana ("Please Mr. Postman" by the Marvelettes was one of four), Oriole American ("Fingertips - Pt. 2" by Little Stevie Wonder was one of many), EMI's Stateside ("Where Did Our Love Go" by the Supremes and "My Guy" by Mary Wells were Motown's first British top-twenty hits), and finally EMI's Tamla-Motown ("Ain't That Peculiar" by Marvin Gaye among many others). [1]

Developing the "Motown Sound"

Production process
Motown's music was crafted with the same ear towards pop appeal. The company specialized in a type of soul music it referred to with the trademark "The Motown Sound". The Motown Sound was typified by a number of characteristics: the use of tambourines to accent the back beat, prominent and often melodic electric bass guitar lines, distinctive melodic and chord structures, and a call and response singing style that originated in gospel music. In addition, pop production techniques such as the use of orchestral string sections, charted horn sections, and carefully arranged background vocals were also used. Complex arrangements and elaborate, melismatic vocal riffs were avoided; [2] Motown producers believed steadfastly in the "KISS principle" ("keep it simple, stupid") [3]

Berry Gordy used weekly quality control meetings, held every Friday morning, and veto power to ensure that only the very best material and performances the company came up with would be released. The test was that every new release needed to "fit" into a sequence of the top 5 selling pop singles of the week. As a result, several tracks which later became critical and commercial favorites were initially rejected by Gordy; the two most notable examples being a pair of Marvin Gaye songs, "I Heard It Through the Grapevine" and "What's Going On". In several cases, producers would re-work and re-re-work tracks in hopes of eventually getting them approved at a later Friday morning meeting, as producer Norman Whitfield did with "I Heard It Through the Grapevine" and The Temptations' "Ain't Too Proud to Beg".

Many of Motown's best-known songs, such as all of the early hits for The Supremes, were written by the songwriting trio of Holland-Dozier-Holland (brothers Brian & Eddie Holland and colleague Lamont Dozier). Other important producers and songwriters at Motown's Hitsville U.S.A. recording studio and headquarters included Norman Whitfield & Barrett Strong, Nickolas Ashford & Valerie Simpson, Frank Wilson, Motown artists Smokey Robinson, Marvin Gaye and Stevie Wonder, and Gordy himself.

The many artists and producers of Motown Records collaborated to produce numerous hit songs, although the process has been described as factory-like (such as the Brill Building). The Hitsville studios remained open and active 22 hours a day, and artists would often be on tour for weeks, come back to Detroit to record as many songs as possible, and then promptly set back out on tour again.

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. Smokey Robinson said the Motown Sound had little to do with Detroit:

People would listen to it, and they'd say, 'Aha, they use more bass. Or they use more drums.' no way. When we were first successful with it, people were coming from Germany, France, Italy, Mobile, Alabama. From New York, Chicago, California. From everywhere. Just to record in Detroit. They figured it was in the air, that if they came to Detroit and recorded on the freeway, they'd get the Motown sound. Listen, the Motown sound to me is not an audible sound. It's spiritual, and it comes from the people that make it happen. What other people didn't realize is that we just had one studio there, but we recorded in Chicago, Nashville, New York, L.A.--almost every big city. And we still got the sound.[4]

The Funk Brothers
For more details on this topic, see The Funk Brothers.
In addition to the songwriting prowess 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 the Motown songs. Among the studio musicians responsible for the "Motown Sound" were keyboardists Earl Van Dyke, Johnny Griffith, and Joe Hunter; guitarists Joe Messina, Robert White, and Eddie Willis; percussionists Eddie "Bongo" Brown and Jack Ashford; drummers Benny Benjamin, Uriel Jones, and Richard "Pistol" Allen; and bassists James Jamerson and Bob Babbitt. The band's career and work is chronicled in the 2002 documentary film Standing in the Shadows of Motown.

Much of the Motown Sound came from the use of overdubbed and duplicated instrumentation. Motown songs regularly featured two drummers instead of one (either overdubbed or in unison), as well as three or four guitar lines. [5] Bassist James Jamerson often played his instrument with only his index finger, and created many of the basslines apparent on Motown songs such as "You Can't Hurry Love" by The Supremes. [5]

Artist development
Artist development was a major part of Motown's operations. The acts on the Motown label were fastidiously groomed, dressed and choreographed for live performances. Motown artists were advised that their breakthrough into the white popular music market made them ambassadors for other African American artists seeking broad market acceptance, and that they should think, act, walk and talk like royalty, so as to alter the less-than-dignified image commonly held by white Americans in that era of black musicians. Given that many of the talented young artists had been raised in housing projects and were short on social and dress skills, this Motown department was not only necessary, it created an elegant style of presentation long associated with the label. The artist development department specialized primarily in working with younger, less experienced acts; experienced performers such as Jr. Walker and Marvin Gaye were exempted from artist development classes.

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 singers a chance to hone their performance and social skills and also to learn from more experienced artists.

"Hitsville West" 1972 - 1998
After Holland-Dozier-Holland left the label in 1967 over royalty payment disputes, the quality of the Motown output began to decline, as well as the frequency with which its artists scored #1 hits. Norman Whitfield became the company's top producer, turning out hits for The Temptations, Marvin Gaye, and Gladys Knight & the Pips. In the meantime, Berry Gordy established Motown Productions, a television subsidiary which produced TV specials for the Motown artists, including TCB with Diana Ross & the Supremes and The Temptations, Diana! with Diana Ross, and Goin' Back to Indiana with The Jackson 5 (Which included other Motown recording artist Bobby Darin.)

Motown had established branch offices in both New York City and Los Angeles during the mid-1960s, and by 1969 had begun gradually moving some of its operations to Los Angeles. The company moved all of its operations to Los Angeles after 1972, with a number of artists, among them Martha Reeves, The Four Tops, Gladys Knight & the Pips, and Motown's Funk Brothers studio band, either staying behind in Detroit or leaving the company for other reasons. The main objective of Motown's relocation was to branch out into the motion picture industry, and Motown Productions got its start in film by turning out two hit vehicles for Diana Ross: the Billie Holliday biographical film Lady Sings the Blues (1972), and Mahogany (1975). Other Motown films would include Thank God It's Friday (1978), The Wiz (1978) and Berry Gordy's The Last Dragon (1985).

Despite losing Holland-Dozier-Holland, Norman Whitfield, and a number of its other hitmakers by 1975, Motown still had a number of successful artists during the late 1970s and 1980s, including Lionel Richie and The Commodores, Rick James, Teena Marie and DeBarge. By the mid-1980s, Motown was losing money, and Berry Gordy sold his ownership in Motown to Music Corporation of America (MCA) and Boston Ventures in June 1988 for $61 million. In 1989, Gordy sold the Motown Productions TV/film operations to Motown executive Suzanne de Passe, who renamed the company de Passe Entertainment and runs it to this day.

During the 1990s, Motown was home to successful recording artists such as Boyz II Men and New Edition member Johnny Gill, although the company itself remained in a state of turmoil. A revolving door of executives were appointed by MCA to run the company, beginning with Berry Gordy's immediate successor, Jheryl Busby. Busby quarreled with MCA, alleging that the company did not give Motown's product adequate attention or promotion. In 1991, Motown sued MCA to have its distribution deal with the company terminated, and began releasing its product through PolyGram. Polygram purchased Motown from Boston Ventures three years later. 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. Danny Goldberg, who ran PolyGram's Mercury Records group, assumed control of Motown, and George Jackson served as president.

Universal/Motown: 1999 - present

Redesigned Motown logo.By 1998, Motown had added stars such as 702, Brian McKnight, and Erykah Badu to its roster. In December of 1998, PolyGram was acquired by Seagram, and Motown was folded into the Universal Music Group. Ironically, Seagram had purchased Motown's former parent MCA in 1995, as such Motown was in effect reunited with many of its MCA corporate siblings (Seagram had in fact, hoped to build a media empire around Universal, and started by purchasing PolyGram). Universal briefly considered shuttering the floundering label, but instead decided to restructure it. Kedar Massenburg, a producer for Erykah Badu, became the head of the label, and oversaw successful recordings from Badu, McKnight, Michael McDonald, and new Motown artist India.Arie.

In 2005, Massenburg was replaced by Sylvia Rhone, former CEO of Elektra Records. Motown was merged with Universal Records to create the Universal Motown Records Group, an umbrella division of Universal Music which oversees the releases and catalogs for Motown, Universal, Blackground, Republic, Cash Money, Casablanca, and other labels. Motown's current roster includes R&B singers India.Arie, Erykah Badu, Mýa, Kem, and Yummy Bingham, pop singer Lindsay Lohan in 2008 signed with Motown, reggae singers Damian and Stephen Marley, and rappers Trick Trick and Nick Cannon.

Diana Ross, Smokey Robinson, Stevie Wonder, and The Temptations had remained with the label since its early days (although both Ross and the Temptations each briefly recorded for other labels for several years). Ross left Motown from 1981 to 1988, but returned in 1989 and stayed until 2002. Robinson left the label briefly in 1999, and the Temptations in 2004. Wonder is today the only artist from Motown's "classic" period still on the label. Modern Motown releases feature a new stylized "M" logo for the label; reissues of classic Motown material continue to use the mod "M" logo first introduced in 1965.

DerekH said:

I was thinking the 60s/70/80s era. I'm an old school kinda gal.

Why would Prince want to sound like anyone else? Or emulate a sound from 35 to 50 years ago?

Genesia said:

Not saying that he would, it was just a thought that popped into my head.