Today is the 50th anniversary of the founding of the legendary Motown Records in Detroit.
Today we have the early Motown story, told by those who lived it.
“The Motown Story” came into the house when Janet and I merged our record collections. She bought it in the early ’80s, when the soundtrack to “The Big Chill” revived interest in classic Motown tunes.
What Janet bought so long ago is a five-LP box set that was released in 1970. It’s hanging on for dear life, having survived a memorable party in the early ’80s. The box is battered. The booklet that came with it is long gone. When I opened it last week, three of the LPs had one kind of sleeve, one had another kind of sleeve and one had no sleeve.
“The Motown Story” is essentially an audio documentary, complete with a narrator, sound bites from the performers and near-complete versions of 58 of Motown’s biggest hits from its first decade.
What makes this set so special almost 40 years on is that we get to hear Motown performers tell their stories in their own words. The cuts that follow have spoken intros or outros and, at times, end a little abruptly.
“Motor Town! Motown!
“This is the Motown sound!”
— Charlie Van Dyke, the narrator
“We, uh, really dug the type of things that reflected, uh, the society.”
— Motown Record Corp. founder Berry Gordy, 1970.
“We were just kind of a, like a small company then, you know, most of the employees were musically inclined.”
— “Money,” Barrett Strong, 1960.
“I was trying to find myself and I didn’t quite know where, where I was, or where I wanted to go, and, uh, Smokey Robinson, who is probably, uh, the greatest living poet, kind of pulled me up out of, uh, out of my depression at that time.”
— “I’ll Be Doggone,” Marvin Gaye, 1965.
“The ideas come from experience, so maybe my surrounding has a lot to do with the, the way I would write a song.”
— “Uptight (Everything’s Alright),” Stevie Wonder, 1965.
“I don’t, I don’t consider myself as being a heck of a singer, man. I’m more of a stylist, if you will. … I like to live what I, what I do, and, you know, with the performances, you know, I like to live ’em.” (Levi Stubbs)
— “Reach Out I’ll Be There,” the Four Tops, 1966.
“‘Standing In the Shadows Of Love,’ is, uh, it’s hard for me to describe that tune. At first I couldn’t, I couldn’t get a, get a feeling for it.” (Levi Stubbs)
“‘Bernadette’ is a tune that I didn’t think I could do at all. You know, it really didn’t have a message for me until there was, there was an Italian fella came over, to teach us some Italian lyrics to this particular tune. And through his explaining, uh, you know, about what some of the various words meant, you know, and the significance of them in Italian, it gave me a better outlook on, on the thing. And, uh, through that, I was able to get a little message across.” (Levi Stubbs)
— “Standing In the Shadows Of Love” and “Bernadette,” the Four Tops, 1966 and 1967.
“That, um, that was a good beginning because I had no idea that, uh, Tammi was as good a singer, as, uh, she of course turned out to be.”
— “Ain’t No Mountain High Enough,” Marvin Gaye and Tammi Terrell, 1967.
“This is when Holland-Dozier-Holland decided to go more mechanical and do weird sounds and things like that, and I believe it came about because of, uh, the Beatles era, which, um, everyone — writers, producers, singers — were influenced by the Beatles, quite a bit, I must say. … ‘Reflections’ is a very weird, weird song.” (Mary Wilson)
— “Reflections,” Diana Ross and the Supremes, 1967.
“The first date we sang, uh, professionally, uh, was at the Y, the YWCA, for a tea. And it, um, came off all right. And from there it seemed like things, we just got, um, um, nice breaks and so forth. And, uh, we didn’t have a name at the time. Everybody’s assignment was to go home and try to come up with a name that would kind of suit the group.” (A delightfully bubbly Gladys Knight)
— “I Heard It Through the Grapevine,” Gladys Knight and the Pips, 1967.
“A lot of people thought we were talking about getting high, which we weren’t. We were talking about just a state of being.” (Otis Williams)
— “Cloud Nine,” the Temptations, 1968.
“It’s so much fun working with, uhhh, the boy groups. Because, um, you kind of put them uptight and they put you uptight. In other words, it was like a challenge and everybody was trying to outdo everybody, so you came up with some great material. Especially like on ad libs and endings and stuff like that.” (Diana Ross)
— “I’m Gonna Make You Love Me,” Diana Ross and the Supremes and the Temptations, 1968.
“I never thought a great deal about ‘I Heard It Through the Grapevine,’ uh, after recording it. I had, I had no idea that it was going to sell as many records as it did. In fact, I wasn’t too optimistic about it.”
— “I Heard It Through the Grapevine,” Marvin Gaye, 1968.
“We started to recording, and I told him, I said, ‘Man, this ain’t my bag, man,’ … He said, ‘Will you just record the record, Junior?’ and I said, ‘All right, man.'” (Jr. Walker, on a persistent songwriter, likely Johnny Bristol or Harvey Fuqua)
— “What Does It Take (To Win Your Love),” Jr. Walker and the All-Stars, 1969.
“I don’t know what that is on the beginning of, uh, ‘Psychedelic Shack’ because it has that funny yow sound and then it goes into the beat, you know, but, uh, I’ve learned by being in the business and being around that, that, uh, record-buying people, they like things that’s, uh, different and sounds unusual.” (Otis Williams)
— “Psychedelic Shack,” the Temptations, 1970.
All from “The Motown Story,” 1970.
It’s out of print, but is available in somewhat different form as “The Motown Story, Volume 1: The 1960s.” This 2003 CD release has only 42 cuts, not 58, and doesn’t include the Berry Gordy sound bite, “I’ll Be Doggone,” “Standing In the Shadows Of Love,” “Bernadette” or “Psychedelic Shack.” It also has some cuts not on the 1970 set.