View source for Motown

{{Short description|American record label}}
{{about|the record label|the city known by that name|Detroit|other uses}}
{{redirect-multi|2|Tamla|V.I.P. Records|people named Tamla|Tamla (given name)|other uses|VIP Records (disambiguation)}}
<noinclude>
{{Use mdy dates|date=September 2012}}
{{Use American English|date=January 2023}}
{{Infobox record label <!-- See Wikipedia:WikiProject_Music -->
| bgcolor = #000000
| name        = {{color|white|Motown}}
| image       = [[File:Motown logo with wordmark.svg|100px|class=skin-invert]]
| parent      = [[Universal Music Group]] (UMG)
| founded     = {{Start date and age|1959|1|12}}
| founder     = [[Berry Gordy]]
| status      = <!--Leave blank unless "Inactive" or "Defunct"-->
| distributor = {{ubl|[[Republic Records|Republic]] (US)|[[EMI Records|Motown UK/EMI]] (UK)|[[Universal Music Enterprises|UMe]] (reissues)}}
| genre       = Various
| country     = United States
| location    = [[Los Angeles]], [[California]], U.S.<ref name="Capital"/>
| url         = {{URL|motownrecords.com}}
}}{{African American topics sidebar}}
'''Motown''' is an American [[record label]] owned by the [[Universal Music Group]]. Founded by [[Berry Gordy|Berry Gordy Jr.]]  as Tamla Records on January 12, 1959,<ref name="A Brief History of Motown">{{cite magazine|last1=Cruz|first1=Gilbert|title=A Brief History of Motown|url=http://content.time.com/time/arts/article/0,8599,1870975,00.html|magazine=Time|access-date=15 October 2016|date=12 January 2009|archive-date=February 5, 2021|archive-url=https://web.archive.org/web/20210205035858/http://content.time.com/time/arts/article/0,8599,1870975,00.html|url-status=live}}</ref><ref>{{cite web|title=History – Classic Motown|url=http://classic.motown.com/history/|publisher=Motown Records |access-date=15 October 2016|archive-url=https://web.archive.org/web/20170111215256/http://classic.motown.com/history/|archive-date=January 11, 2017|url-status=dead}}</ref> it was incorporated as Motown Record Corporation on April 14, 1960.<ref>{{cite book|last1=Woodford|first1=Arthur M.|title=This is Detroit, 1701 – 2001|date=2001|publisher=Wayne State University Press|location=Detroit, Mich.|isbn=0-8143-2914-4|page=198|edition=1st}}</ref> Its name, a [[portmanteau]] of ''motor'' and ''town'', has become a nickname for [[Detroit]], which is considered the center of the [[automotive industry in the United States]]<ref>{{cite web|last=Palmer |first=Brian |url=http://www.slate.com/articles/news_and_politics/explainer/2012/02/why_are_all_the_big_american_car_companies_based_in_michigan_.html |title=How Did Detroit Become Motor City? |publisher=Slate.com |date=2012-02-29 |access-date=2025-09-27}}</ref> and where the record label was originally headquartered.

Motown played a vital role in the [[racial integration]] of [[popular music]] as an [[African American]]-owned label that achieved [[crossover (music)|crossover]] success with white audiences. In the 1960s, Motown and its main subsidiary labels (including Gordy, Soul) were the most prominent exponents of what became known as the [[#Motown sound|Motown sound]], a style of [[soul music]] with a mainstream [[pop music|pop]]-influenced sound and appeal. Motown was the most successful soul music label, with a net worth of $61 million in 1988. Between 1960 and 1969, Motown had 79 songs reach the top-ten of the [[Billboard Hot 100|''Billboard'' Hot 100]].

In March 1965, [[Berry Gordy]] and [[Dave Godin]] agreed to license the '''Tamla Motown''' label name for future UK releases through [[EMI Records]] Limited. Shortly after, as [[Berry Gordy]] owned the brand name, Tamla Motown also became the primary name used outside the US for non-EMI licensees.

Following the events of the [[1967 Detroit riot|Detroit Riots of 1967]], and the loss of key songwriting/production team [[Holland–Dozier–Holland]] that year over royalty disputes, Gordy moved Motown to Los Angeles, California, and it expanded into film and television production. It was an independent company until [[MCA Records]] bought it in 1988. [[PolyGram]] purchased the label from MCA in 1993, followed by MCA successor Universal Music Group, which acquired PolyGram in 1999.<ref name="A Brief History of Motown" />

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]]. From 2011 to 2014, it was a part of [[The Island Def Jam Music Group]] division of Universal Music.<ref name="billboard1">{{cite web |url=http://www.billboard.biz/bbbiz/industry/record-labels/ethiopia-habtemariam-named-senior-vice-president-1005312132.story |title=Ethiopia Habtemariam Named Senior Vice President of Motown Records |publisher=Billboard.biz |date=August 10, 2011 |access-date=December 12, 2011 |archive-date=January 4, 2013 |archive-url=https://web.archive.org/web/20130104232036/http://www.billboard.biz/bbbiz/industry/record-labels/ethiopia-habtemariam-named-senior-vice-president-1005312132.story |url-status=dead }}</ref><ref name="sisario1">{{Cite web|url=https://mediadecoder.blogs.nytimes.com/2011/08/10/a-young-music-executive-takes-over-at-motown/|archive-url=https://web.archive.org/web/20160117182932/http://mediadecoder.blogs.nytimes.com/2011/08/10/a-young-music-executive-takes-over-at-motown/|url-status=dead|title=A Young Music Executive Takes Over at Motown|first=Ben|last=Sisario|date=August 10, 2011|archive-date=January 17, 2016}}</ref><ref name="universalmusic1">{{cite web |url=http://www.universalmusic.com/corporate/universal-republic-and-island-def-jam-motown-expand-creative-teams-with-appointment-of-art |title=Brandon Creed Joins Universal Republic And Island Def Jam Motown |publisher=Universal Music |date=August 15, 2011 |access-date=December 12, 2011 |archive-date=November 13, 2011 |archive-url=https://web.archive.org/web/20111113160524/http://www.universalmusic.com/corporate/universal-republic-and-island-def-jam-motown-expand-creative-teams-with-appointment-of-art |url-status=live }}</ref> In 2014, however, UMG announced the dissolution of Island Def Jam, and Motown relocated back to Los Angeles to operate under the [[Capitol Music Group]], now operating out of the [[Capitol Tower]].<ref name="Capital">{{cite news |url=http://www.latimes.com/business/la-et-ct-capitol-records-steve-barnett-sam-smith-5-seconds-summer-20150203-story.html#page=1 |title=A revitalized Capitol Records forges a new path forward |newspaper=Los Angeles Times |date=2015-02-03 |access-date=2015-10-30 |archive-date=February 3, 2015 |archive-url=https://web.archive.org/web/20150203145403/http://www.latimes.com/business/la-et-ct-capitol-records-steve-barnett-sam-smith-5-seconds-summer-20150203-story.html#page=1 |url-status=live }}</ref> In 2018, Motown was inducted into [[Rhythm and Blues Music Hall of Fame]] in a ceremony held at the [[Charles H. Wright Museum of African American History|Charles H. Wright Museum]].<ref>{{Cite magazine |title=Motown Records Leads the 2018 Rhythm & Blues Hall of Fame Class of Inductees |url=https://www.soultracks.com/story-rb-hall-2018-class |magazine=[[SoulTracks]] |access-date=15 May 2020 |archive-date=August 4, 2020 |archive-url=https://web.archive.org/web/20200804080346/https://www.soultracks.com/story-rb-hall-2018-class |url-status=live }}</ref>

In 2021, Motown separated from the [[Capitol Music Group]] to become a standalone label once again.<ref>{{cite magazine|url= https://www.rollingstone.com/pro/features/ethiopia-habtemariam-motown-ceo-interview-1137831/|title=Ethiopia Habtemariam, Motown Records' New CEO, on Recentering Black Music in Culture|magazine=[[Rolling Stone]]|first=Ethan|last=Millman|date=March 8, 2021}}</ref> On November 29, 2022, [[Ethiopia Habtemariam]] announced that she would be stepping down as chairwoman/CEO of Motown.<ref>{{cite web|url=https://variety.com/2022/music/news/ethiopia-habtemariam-step-down-motown-records-1235444815/|title=Ethiopia Habtemariam to Step Down From Motown Records|first=Jem|last=Aswad|website=[[Variety (Magazine)|Variety]]|date=November 29, 2022}}</ref> As of 2023, acts signed to Motown include [[City Girls]], [[Migos]], [[Lil Baby]], [[Lil Yachty]], [[Smino]], [[Vince Staples]], [[YoungBoy Never Broke Again]], and several other artists in the [[Hip hop music|hip hop]] and [[Rhythm and blues|R&B]] genres.

==History==
===Beginnings of Motown===
[[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]]. Although the shop did not last very long, Gordy's interest in the music business did not fade. He frequented Detroit's downtown nightclubs, and in the Flame Show Bar he met bar manager Al Green (not the [[Al Green|soul singer of the same name]]), who owned a music publishing company called Pearl Music and represented Detroit-based musician [[Jackie Wilson]]. Gordy soon became part of a group of songwriters—with his sister [[Gwen Gordy Fuqua|Gwen Gordy]] and [[Billy Davis (songwriter)|Billy Davis]]—who wrote songs for Wilson. In November 1957, "[[Reet Petite]]" was released and became their first major hit.<ref>Flory, p. 24.</ref> During the next eighteen months, Gordy helped to write six more Wilson A-sides, including "[[Lonely Teardrops]]", a peak-popular hit of 1958. Between 1957 and 1958, Gordy wrote or produced over a hundred sides for various artists, with his siblings Anna, Gwen and Robert, and other collaborators in varying combinations.<ref>Flory, p. 25.</ref>

[[File:Hitsville USA.jpg|thumb|250px|right|The [[Hitsville U.S.A.]] Motown building, at 2648 West Grand Boulevard in Detroit, Motown's headquarters from 1959 to 1968, which became the Motown Historical Museum in 1985<ref>{{cite web |url=http://www.motownmuseum.com |title=Motown Museum |publisher=Motown Museum |date=August 24, 2011 |access-date=December 12, 2011 |archive-date=October 18, 2012 |archive-url=https://web.archive.org/web/20121018222835/http://www.motownmuseum.com/ |url-status=live }}</ref>]]

In 1957, Gordy met [[Smokey Robinson]], 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 recorded the group's song "Got a Job" (an answer song to "[[Get a Job (song)|Get a Job]]" by [[the Silhouettes]]), and released it as a single by leasing the record to a larger company outside Detroit called [[End Records]], based in New York. The practice was common at the time for a small-time producer. "Got a Job" was the first single by Robinson's group, now called [[the Miracles]]. Gordy recorded a number of other records by forging a similar arrangement, most significantly with [[United Artists Records|United Artists]].<ref name="Flory 26">Flory, p. 26.</ref>

In 1958, Gordy wrote and produced "[[Come to Me (Marv Johnson song)|Come to Me]]" for [[Marv Johnson]], recording the song at Detroit's [[United Sound Systems]]. 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.<ref name="Flory 26" /> Needing $800 to cover his end of the deal, Gordy asked his family to borrow money from a cooperative family savings account.<ref name="Larkin">{{cite book|title=[[Encyclopedia of Popular Music|The Virgin Encyclopedia of Popular Music]]|editor=Colin Larkin|editor-link=Colin Larkin (writer)|publisher=[[Virgin Books]]|date=1997|edition=Concise|isbn=1-85227-745-9|page=879–880}}</ref> After some debate, his family agreed, and in January 1959 "Come to Me" was released regionally on Gordy's new Tamla label.<ref name="Flory 27">Flory, p. 27.</ref> Gordy originally wanted to name the label Tammy Records, after the hit [[Tammy (song)|song]] popularized by [[Debbie Reynolds]] from the 1957 film ''[[Tammy and the Bachelor]]'', in which Reynolds also starred. When he found the name was already in use, Berry decided on Tamla instead.{{citation needed|date=July 2019}} In April 1959, Gordy and his sister Gwen founded Anna Records which released about two dozen singles between 1959 and 1960. The most popular was Barrett Strong's "[[Money (That's What I Want)]]", written by Gordy and a secretary named [[Janie Bradford]], and produced by Gordy.<ref name="Flory 27" /> Many of the songs distributed locally by Anna and Tamla Records were nationally distributed by [[Chess Records]] (sometimes with Anna and Tamla imprints). Gordy's relationship with Chess fostered closer dealings with [[Harvey Fuqua]], nephew of Charlie Fuqua of [[the Ink Spots]]. Harvey Fuqua later married Gwen Gordy in 1961.<ref>Flory, p. 28.</ref>

Gordy looked toward creative self-sufficiency and established the publishing firm [[Jobete Music|Jobete]] in June 1959 (incorporated in Michigan). 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]]. The ''[[Michigan Chronicle]]'' of Detroit called Gordy an "independent producer of records", as his contributions to the city were beginning to attract notice. By that time, he was the president of Jobete, Tamla, and the music writing company Rayber.<ref name="Flory 29">Flory, p. 29.</ref>

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.<ref name="Flory 29" /> In mid-1959, he purchased a photography studio at 2648 West Grand Boulevard and converted the main floor into a recording studio and office space. Now, rather than shopping his songs to other artists or leasing his recordings to outside companies, Gordy began using the Tamla and Motown imprints to release songs that he wrote and produced. He incorporated Motown Records in April 1960.<ref>Flory, p. 31.</ref>

Smokey Robinson became the vice president of the company (and later named his daughter "Tamla" and his son "Berry"). Several of [[Gordy family|Gordy's family members]], including his father Berry Sr., brothers 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. Gordy's partner at the time (and wife from 1960 to 1964), [[Ray Singleton|Raynoma Liles]], also played a key role in the early days of Motown, leading the company's first session group, The Rayber Voices, and overseeing Jobete.<ref>{{Cite news |last=Sisario |first=Ben |date=2016-12-04 |title=Raynoma Gordy Singleton, an Early Motown Force, Dies at 79 |url=https://www.nytimes.com/2016/12/04/arts/music/raynoma-gordy-singleton-motown.html |access-date=2025-06-22 |work=The New York Times |language=en-US |issn=0362-4331}}</ref>

===West Grand Boulevard===
The studio that Gordy purchased in 1959 would become Motown'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 seven years, Motown would occupy seven additional neighboring houses:

*Hitsville U.S.A., 1959 – (ground floor) administrative office, tape library, control room, Studio A; (upper floor) Gordy living quarters (1959–62), artists and repertoire (1962–72)
*[[Jobete Music Company, Inc.]], 1961 – sales, billing, collections, shipping, and public relations
*Berry Gordy Jr. Enterprise, 1962 – offices for Berry Gordy Jr. and [[Esther Gordy Edwards]]
*Finance department, 1965 – royalties and payroll
*Artist personal development, 1966 – [[Harvey Fuqua]] (head of artist development and producer of stage performances), [[Maxine Powell]] (instructor in grooming, poise, and social graces for Motown artists), Maurice King (vocal coach, musical director and arranger), [[Cholly Atkins]] (house choreography), and rehearsal studios
*Two houses for administrative offices, 1966 – sales and marketing, traveling and traffic, and mixing and mastering
*ITMI (International Talent Management Inc.) office, 1966 – management

Motown had hired over 450 employees and had a gross income of $20 million by the end of 1966.

===Detroit: 1959–1972===
<!-- Deleted image removed: [[File:Motown record label.png|left|200px|thumb|The 1962 Motown label]] -->
<!-- Deleted image removed: [[File:Tamla record label.png|right|200px|thumb|The 1966 Tamla label]] -->Early Tamla/Motown artists included [[Mable John]], [[Eddie Holland]] and [[Mary Wells]]. "[[Shop Around]]", the Miracles' first number 1 R&B hit, peaked at number two on the [[Billboard (magazine)|''Billboard'' Hot 100]] in 1960. It was Tamla's first million-selling record. On April 14, 1960, Motown and Tamla Records merged into a new company called Motown Record Corporation. A year later, [[the Marvelettes]] scored Tamla's first US number-one hit, "[[Please Mr. Postman]]".<ref name="Larkin"/> By the mid-1960s, the company, with the help of songwriters and producers such as Robinson, [[A&R]] chief [[William "Mickey" Stevenson]], [[Brian Holland]], [[Lamont Dozier]], and [[Norman Whitfield]], had become a major force in the music industry.

From 1961 to 1971, Motown had 110 [[Record chart|top 10]] hits. Top artists on the Motown label during that period included [[the Supremes]] (initially including [[Diana Ross]]), [[Four Tops|the Four Tops]], and [[the Jackson 5]], while [[Stevie Wonder]], [[Marvin Gaye]], [[the Marvelettes]], and [[the Miracles]] had hits on the Tamla label. The company operated several labels in addition to the Tamla and Motown imprints. A third label, which '''Gordy''' named after himself (though it was originally called "Miracle") featured [[the Temptations]], [[the Contours]], [[Edwin Starr]], and [[Martha and the Vandellas]]. A fourth, '''V.I.P.''', released recordings by [[the Velvelettes]], [[The Spinners (American group)|the Spinners]], [[The Monitors (American band)|the Monitors]], and [[Chris Clark (singer)|Chris Clark]].

A fifth label, '''Soul''', featured [[Jr. Walker & the All Stars]], [[Jimmy Ruffin]], [[Shorty Long]], [[The Originals (band)|the Originals]], and [[Gladys Knight & the Pips]] (who had found success before joining Motown, as "The Pips" on [[Vee-Jay Records|Vee-Jay]]). Many more Motown-owned labels released recordings in other genres, including '''Workshop Jazz''' (jazz) [[Earl Washington (musician)|Earl Washington]] Reflections and Earl Washington's All Stars, '''Mel-o-dy''' (country, although it was originally an R&B label), and '''Rare Earth''', whose acts, including [[Rare Earth (band)|the eponymous band]], explored blues-oriented and [[progressive rock]] styles.<ref name=Flory>{{cite book |url= https://books.google.com/books?id=LEc_DwAAQBAJ&pg=PA155 |title=I Hear a Symphony: Motown and Crossover R&B |last=Flory |first=Andrew|date=May 30, 2017|publisher=University of Michigan Press |access-date= 2023-07-28|quote=Many of Rare Earth's groups, including a popular band called Rare Earth, explored heavy blues-oriented and progressive rock styles. |isbn=9780472036868}}</ref> Under the slogan "The Sound of Young America", Motown's acts were enjoying widespread popularity among black and white audiences alike.

Smokey Robinson said of Motown's cultural impact:

<blockquote>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. Then they started to get the Motown music and we would go back and the audiences were integrated and the kids were dancing together and holding hands.<ref>Ron Thibodeaux, "My Smokey Valentine", ''The Times-Picayune'' (New Orleans, La.), February 14, 2009.</ref></blockquote>

[[File:Berry Gordy House Boston Edison Detroit.JPG|thumb|left|Berry Gordy's House, known as ''Motown Mansion'' in [[Detroit]]'s [[Boston-Edison Historic District]]<ref name=MotownMansion/>]]

In 1967, Berry Gordy purchased what is now known as ''Motown Mansion'' in Detroit's [[Boston-Edison Historic District]] as his home, leaving his previous home to his sister Anna and her then-husband Marvin Gaye (where photos for the cover of his album ''[[What's Going On (Marvin Gaye album)|What's Going On]]'' were taken).<ref name=MotownMansion>{{cite web |url=http://motownmansion.com/ |title=The Motown Mansion! |publisher=Motownmansion.com |access-date=December 12, 2011 |archive-date=August 22, 2011 |archive-url=https://web.archive.org/web/20110822124830/http://motownmansion.com/ |url-status=live }}</ref> In 1968, Gordy purchased the Donovan building on the corner of [[List of buildings located along Woodward Avenue, Detroit|Woodward Avenue]] and [[Interstate 75 in Michigan|Interstate 75]], and moved Motown's Detroit offices there (the Donovan building was demolished in January 2006 to provide parking spaces for [[Super Bowl XL]]). In the same year, Gordy purchased [[Golden World Records]], and its recording studio became "Studio B" to Hitsville's "Studio A".

In the United Kingdom, Motown's records were released on various labels: at first [[London Records|London]] (only the Miracles' "Shop Around"/"[[Who's Lovin' You]]" and "Ain't It Baby"), then [[Fontana Records|Fontana]] ("Please Mr. Postman" by the Marvelettes was one of four) and then [[Oriole Records (UK)|Oriole American]] ("[[Fingertips (song)|Fingertips]]" by Little Stevie Wonder was one of many).  In 1963, Motown signed with EMI's [[Stateside Records|Stateside]] label ("[[Where Did Our Love Go]]" by the Supremes and "[[My Guy]]" by Mary Wells were Motown's first British top-20 hits). Eventually, EMI created the Tamla Motown label ("[[Stop! In the Name of Love]]" by the Supremes was the first Tamla Motown release in March 1965).

The label's distinctive 'M' logo was designed by Bernie Yeszin, who after being hired by Gordy as Motown's art director in 1962, developed its visual style and created many of its "sophisticated" album covers. He left the company in 1968.<ref>{{cite news |last=Perskey |first=Mort |date=January 30, 1966 |title=Success in Eight Easy Lessons: The Supremes One Year Later |url=https://www.newspapers.com/image/97672439/ |url-access=subscription |department=Detroit [magazine] |newspaper=[[Detroit Free Press]] |pages=8–11 |via=[[Newspapers.com]]}}</ref><ref>{{cite news |last=McCollum |first=Brian |date=July 10, 2014 |title=Bernie Yeszin: Detroiter designed the Motown logo |url=https://www.newspapers.com/image/105065803/ |url-access=subscription |newspaper=Detroit Free Press |page=9A |via=Newspapers.com}}</ref>

===Los Angeles: 1972–1998===
After the songwriting trio [[Holland–Dozier–Holland]] left the label in 1967 over royalty-payment disputes, Norman Whitfield became the company's top producer, turning out hits for the Temptations, Marvin Gaye, Gladys Knight & the Pips and Rare Earth. In the meantime Berry Gordy established Motown Productions, a television subsidiary which produced TV specials for the Motown artists, including ''[[TCB (TV program)|TCB]]'', with Diana Ross & the Supremes and the Temptations, ''[[Diana!]]'' with Diana Ross, and ''[[Goin' Back to Indiana]]'' with [[the Jackson 5]]. The company loosened its production rules, allowing some of its longtime artists the opportunity to write and produce more of their own material. This resulted in the recordings of successful and critically acclaimed albums such as [[Marvin Gaye]]'s ''[[What's Going On (Marvin Gaye album)|What's Going On]]'' (1971) and ''[[Let's Get it On]]'' (1973), and [[Stevie Wonder]]'s ''[[Music of My Mind]]'' (1972), ''[[Talking Book]]'' (1972), and ''[[Innervisions]]'' (1973).

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. On June{{nbsp}}14, 1972, the company announced it was moving all of its operations to Los Angeles.<ref>{{cite news |last1=Thurston |first1=Chuck |title=Motown Moving to California |url=https://www.newspapers.com/article/detroit-free-press/47272468/ |work=[[Detroit Free Press]] |date=June 15, 1972 |page=A3 |via=[[Newspapers.com]]}}</ref> A number of artists moved with the label, among them [[Martha Reeves]], the Four Tops, Gladys Knight & the Pips and many of the [[Funk Brothers]] studio band, while others stayed behind in Detroit or left the company for other reasons. By re-locating, Motown aimed chiefly 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 Holiday]] biographical film ''[[Lady Sings the Blues (film)|Lady Sings the Blues]]'' (1972), and ''[[Mahogany (film)|Mahogany]]'' (1975). Other Motown films would include ''[[Scott Joplin (film)|Scott Joplin]]'' (1977), ''[[Thank God It's Friday (film)|Thank God It's Friday]]'' (1978), ''[[The Wiz (film)|The Wiz]]'' (1978) and ''[[The Last Dragon]]'' (1985). [[Ewart Abner]], who had been associated with Motown since the 1960s, became its president in 1973.

John McClain, an [[A&M Records]] executive, opined that Motown leaving its birth city marked a decline in the label's quality. "Something happened when [Motown] left Detroit and came to [Los Angeles]," he said. "They quit being innovators and started following trends. Before, Berry had a much more hands-on approach. And maybe you lose some of your desire after you get to a certain level financially."<ref>{{cite news |last=Grein |first=Paul |date=1988-06-11 |title=The End of an Era: Expected Sale of the Legendary Motown Label Stirs Some Bittersweet Emotions  |url=https://www.latimes.com/archives/la-xpm-1988-06-11-ca-4214-story.html |work=[[Los Angeles Times]] |access-date=2023-01-29}}</ref>

By the 1970s, the Motown "hit factory" had become a target of a backlash from some fans of rock music. Record producer [[Pete Waterman]] recalls of this period: "I was a DJ for years and I worked for Motown – the press at the time, papers like ''[[NME]]'', used to call it Toytown. When I DJ'd on the [[Polytechnic (United Kingdom)|Poly]] circuit, the students wanted me to play [[Spooky Tooth]] and [[Velvet Underground]]. Things don't change. Nowadays, of course, Motown is hip."<ref>{{cite book|url=https://books.google.com/books?id=s49QgtwybqUC&q=motown+toytown&pg=PT138|title=The Nineties: What the F**ck Was That All About?|first=John|last=Robb|date=October 31, 2010|publisher=Random House|isbn=9781409034421|access-date=March 9, 2019|via=Google Books|archive-date=December 14, 2021|archive-url=https://web.archive.org/web/20211214225942/https://books.google.com/books?id=s49QgtwybqUC&q=motown+toytown&pg=PT138|url-status=live}}</ref>

Despite losing Holland–Dozier–Holland, Norman Whitfield, and some of its other hitmakers by 1975, Motown still had a number of successful artists during the 1970s and 1980s, including [[Lionel Richie]] and the [[Commodores]], [[Rick James]], [[Teena Marie]], the [[Dazz Band]], [[Jose Feliciano]] and [[DeBarge]]. By the mid-1980s, Motown had started losing money, and Berry Gordy sold his ownership in Motown to [[MCA Records]] (which began a North American distribution deal with the label in 1983) 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 continues to run it {{As of|2018|lc=y}}.<ref>{{cite web|url=https://www.depassejones.com/company|title=Company – De Passe Jones Entertainment|website=Home – De Passe Jones Entertainment|access-date=March 9, 2019|archive-date=May 8, 2019|archive-url=https://web.archive.org/web/20190508193537/https://www.depassejones.com/company|url-status=live}}</ref> Gordy continued to retain the Jobete music publishing catalog, selling it separately to [[EMI Music Publishing]] in parts between 1997 and 2004.<ref>{{Cite magazine| title = EMI Completes Acquisition of Jobete Catalog| magazine = Billboard| access-date = 2020-12-30| url = https://www.billboard.com/articles/business/1440901/emi-completes-acquisition-of-jobete-catalog|first=Lars |last=Brandle|date=March 31, 2004 |archive-date = January 28, 2021| archive-url = https://web.archive.org/web/20210128085829/https://www.billboard.com/articles/business/1440901/emi-completes-acquisition-of-jobete-catalog| url-status = live}}</ref> It is currently owned by [[Sony Music Publishing]] (Sony/ATV until 2021) through the acquisition of EMI Music Publishing in 2012 (as a leader of the consortium and eventually assigned full ownership in 2018).

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]]. 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 (producer)|George Jackson]] served as president.

===Final years of the Motown label: 1999–2005===
By 1998, Motown had added stars such as [[702 (band)|702]], [[Brian McKnight]], and [[Erykah Badu]] to its roster. In December 1998, [[PolyGram]] was acquired by [[Seagram]], and Motown was absorbed into the [[Universal Music Group]]. Seagram had purchased Motown's former parent MCA in 1995, and Motown was in effect reunited with many of its MCA corporate siblings (Seagram had hoped to build a media empire around Universal, and started by purchasing PolyGram). Universal briefly considered shuttering the 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 (singer)|Michael McDonald]], and new Motown artist [[India.Arie]].

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. Ross left Motown for [[RCA Records]] from 1981 to 1988, but returned in 1989 and stayed until 2002, while Robinson left Motown in 1991 (although he did return to release [[Intimate (Smokey Robinson album)|one more album for the label]] in 1999). The Temptations left for [[Atlantic Records]] in 1977, but returned in 1980 and eventually left again in 2004. Wonder finally left the label in 2020.<ref>{{cite web |url=https://news.sky.com/story/stevie-wonder-leaves-motown-records-after-almost-six-decades-and-releases-two-new-songs-12103627 |title=Stevie Wonder leaves Motown Records after almost six decades and releases two new songs |work=Sky News |last=Choudhry |first=Sabah |date=13 October 2020 |access-date=10 February 2025}}</ref>

===Universal Motown: 2005–2011===
{{Further|Universal Motown Records}}
In 2005, Massenburg was replaced by [[Sylvia Rhone]], former CEO of [[Elektra Records]]. Motown was merged with [[Universal Records (defunct record label)|Universal Records]] to create the [[Universal Motown Records]] and placed under the newly created umbrella division of [[Universal Motown Republic Group]]. Notable artists on Universal Motown included [[Drake Bell]], [[Ryan Leslie]], [[Melanie Fiona]], [[Kelly Rowland]], [[Forever the Sickest Kids]], [[The Veer Union]] and [[Four Year Strong]]. Motown celebrated its 50th anniversary on January 12, 2009, and celebrated it in Detroit on November 20, 2009, in a black-tie Gala titled "Live It Again!" The event was hosted by [[Sinbad (comedian)|Sinbad]] and included [[Stevie Wonder]], [[Smokey Robinson]], [[the Temptations]], [[Aretha Franklin]] and [[Kid Rock]].<ref>{{cite web|url=https://michiganchronicle.com/2009/11/18/motown-celebrates-50th-anniversary-in-grand-style/|title=Motown Celebrates 50th Anniversary in Grand Style|date=November 18, 2009|website=michiganchronicle.com|access-date=August 11, 2021|archive-date=August 11, 2021|archive-url=https://web.archive.org/web/20210811122633/https://michiganchronicle.com/2009/11/18/motown-celebrates-50th-anniversary-in-grand-style/|url-status=live}}</ref><ref>{{cite web|url=https://www.independent.co.uk/arts-entertainment/music/news/motown-celebrates-its-50th-anniversary-with-stevie-wonder-temptations-performance-1819618.html|title=Motown celebrates its 50th anniversary with Stevie Wonder, Temptations performance|date=November 12, 2009|website=The Independent|access-date=August 11, 2021|archive-date=August 11, 2021|archive-url=https://web.archive.org/web/20210811122627/https://www.independent.co.uk/arts-entertainment/music/news/motown-celebrates-its-50th-anniversary-with-stevie-wonder-temptations-performance-1819618.html|url-status=live}}</ref>

===Relaunch: 2011–present===
In mid-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]].<ref name="billboard1"/><ref name="universalmusic1"/> Artists from Universal Motown were transferred to the newly revitalized Motown label.<ref name="sisario1"/> On January 25, 2012, it was announced that [[Ne-Yo]] would join the Motown label both as an artist as well as the new Senior Vice President of A&R.<ref>{{cite news | url=http://www.huffingtonpost.com/2012/01/25/ne-yo-leaves-def-jam-motown-records_n_1231889.html | work=Huffington Post | first=Brennan | last=Williams | title=Ne-Yo Leaves Def Jam For Motown Records | date=January 25, 2012 | access-date=March 2, 2012 | archive-date=February 7, 2012 | archive-url=https://web.archive.org/web/20120207075428/http://www.huffingtonpost.com/2012/01/25/ne-yo-leaves-def-jam-motown-records_n_1231889.html | url-status=live }}</ref><ref>{{cite web|url=http://www.mtv.com/news/articles/1677870/ne-yo-motown-def-jam.jhtml|title=Rob Markham, "Ne-Yo Leaves Def Jam To Become Motown Exec", MTV News, January 25, 2012.|work=MTV News|access-date=October 8, 2014|archive-date=April 20, 2012|archive-url=https://web.archive.org/web/20120420022245/http://www.mtv.com/news/articles/1677870/ne-yo-motown-def-jam.jhtml|url-status=dead}}</ref> On April 1, 2014, it was announced that Island Def Jam would no longer be running following the resignation of CEO Barry Weiss. A press release sent out by Universal Music Group announced that the label would now be reorganizing Def Jam Recordings, Island Records and Motown Records all as separate entities.<ref>{{cite web|url=http://www.xxlmag.com/news/2014/04/island-def-jam-will-longer-exist/|title=Island Def Jam Is Over|work=XXL|date=April 2014 |access-date=October 8, 2014|archive-date=April 6, 2014|archive-url=https://web.archive.org/web/20140406081128/http://www.xxlmag.com/news/2014/04/island-def-jam-will-longer-exist/|url-status=live}}</ref> Motown would then begin serving as a subsidiary of [[Capitol Records]].<ref>{{cite web|url=http://www.frequencynews.com/flippagefreq/flip-freq-may-2014/index.html#p=27|title=Frequency Magazine|date=May 2014|publisher=Frequencynews.com|access-date=October 8, 2014|url-status=dead|archive-url=https://web.archive.org/web/20150508193014/http://www.frequencynews.com/flippagefreq/flip-freq-may-2014/index.html#p=27|archive-date=May 8, 2015|df=mdy-all}}</ref> In late 2018, Motown began celebrating its 60th anniversary by reissuing numerous albums from their catalog.

Motown UK launched in September 2020 under Universal UK's [[EMI Records]] (formerly [[Virgin EMI Records]]) division.<ref>{{cite web |last1=Angermiller |first1=Michele |title=Motown Records Launches UK Outpost |url=https://variety.com/2020/music/news/motown-records-uk-launch-1234768723/ |website=Variety |date=September 14, 2020 |publisher=Variety Music, LLC |access-date=2020-09-14 |archive-date=September 14, 2020 |archive-url=https://web.archive.org/web/20200914170251/https://variety.com/2020/music/news/motown-records-uk-launch-1234768723/ |url-status=live }}</ref>

Motown Records became part of UMG's Republic Corps in 2024.

==Roster==
{{See also|List of Motown artists}}

===Current===
{|class="wikitable sortable"
!Artists
! Year signed
! Releases (under the label)
! Notes
|-
! [[Erykah Badu]]
| style="text-align:center;" | 2000
| style="text-align:center;" | 6
|
|-
! [[Kem (singer)|Kem]]
| rowspan="1" style="text-align:center;" | 2003
| style="text-align:center;" | 6
|
|-
! [[Ne-Yo]]
| rowspan="1" style="text-align:center;" | 2012
| style="text-align:center;" | 5
| rowspan="1" | Jointly with Compound
|-
! [[Sam Hunt]]
| rowspan="1" style="text-align:center;" | 2008
| style="text-align:center;" | 5
| rowspan="1" | Jointly with Compound
|-
! [[Lil Yachty]]
| rowspan="1" style="text-align:center;" | 2016
| style="text-align:center;" | 8
| rowspan="1" | Jointly with [[Quality Control Music]] and [[Capitol Records]]
|-
! [[Offset (rapper)|Offset]]
| rowspan="4" style="text-align:center;" | 2017
| style="text-align:center;" | 2
| rowspan="1" | Jointly with YRN The Label (formerly with Quality Control Music and Capitol Records)
|-
! [[Quavo]]
| style="text-align:center;" | 3
| rowspan="3" | Jointly with YRN The Label, Quality Control Music (formerly with Capitol Records)
|-
! [[Takeoff (rapper)|Takeoff]]
| style="text-align:center;" | 2
|-
! [[Migos]]
| style="text-align:center;" | 2
|-
! [[City Girls]]
| rowspan="1" style="text-align:center;" | 2018
| style="text-align:center;" | 2
| rowspan="1" | Jointly with Quality Control Music and Capitol Records
|-
! [[Chuck Wicks]]
| rowspan="1" style="text-align:center;" | 2008
| style="text-align:center;" | 5
| rowspan="1" | Jointly with Compound
|-
! [[Lil Baby]]<ref>{{Cite web|url=https://music.apple.com/us/album/drip-harder/1437955279|title=Drip Harder|via=[[Apple Music]]}}</ref>
| style="text-align:center;" | 2023
| style="text-align:center;" | 4
|-
! [[Bree Runway]]
| rowspan="2" style="text-align:center;" | 2019
| style="text-align:center;" | 1
| Jointly with Motown UK and [[EMI]]
|-
! [[Layton Greene]]
| style="text-align:center;" | 1
| Jointly with Quality Control
|-
! Emanuel<ref>{{Cite web|url=https://music.apple.com/us/album/need-you-single/1506099908|title=Need You|via=Apple Music}}</ref>
| rowspan="6" style="text-align:center;" | 2020
| style="text-align:center;" | 1
| Jointly with Universal Music Canada
|-
! [[Joy Denalane]]
| style="text-align:center;" | 1
|
|-
! TheHxliday<ref>{{Cite web|url=https://music.apple.com/us/album/broken-halls/1531943567|title=Broken Halls|via=Apple Music}}</ref>
| style="text-align:center;" | 2
|
|-
! Ted When<ref>{{Cite web|url=https://music.apple.com/us/album/edge-off-single/1509589948|title=Edge Off|via=Apple Music}}</ref>
| style="text-align:center;" | 2
| Jointly with Blacksmith Entertainment
|-
! [[Tiana Major9]]
| style="text-align:center;" | 3
| Jointly with Zero Point Nine
|-
! [[Tiwa Savage]]
| style="text-align:center;" | 1
| Jointly with Universal Music South Africa
|-
! Partybenjiz
| rowspan="1" style="text-align:center;" | 2025
| style="text-align:center;" | 1
| rowspan="1" | Jointly with [[Never Broke Again]] and [[Universal Music Group|UMG]]
|-
! [[Bankroll Freddie]]
| rowspan="6" style="text-align:center;" | 2021
| style="text-align:center;" | 2
| rowspan="2" | Jointly with Quality Control
|-
! [[Duke Deuce]]<ref>{{Cite web|url=https://music.apple.com/us/album/soldiers-steppin/1548794069|title=SOLDIERS STEPPIN|via=Apple Music}}</ref>
| style="text-align:center;" | 3
|-
! [[Vince Staples]]
| style="text-align:center;" | 2
| Jointly with Blacksmith
|-
! Hd4president<ref>{{Cite web|url=https://music.apple.com/us/album/to-da-max/1589003166|title=To Da Max|via=Apple Music}}</ref>
| style="text-align:center;" | 2s
| Jointly with The Affiliate Nation
|-
! Malachiii<ref>{{Cite web|url=https://music.apple.com/us/album/love-me-single/1576810354|title=Love Me|via=Apple Music}}</ref>
| style="text-align:center;" | 1
| Jointly with You'll Find Out
|-
! Meechy Baby<ref>{{Cite web|url=https://music.apple.com/gb/album/cutlass-single/1584568318|title=Cutlass|via=Apple Music}}</ref>
| style="text-align:center;" | 2
| Jointly with [[Never Broke Again]]
|-
! [[Brandy Norwood|Brandy]]<ref>{{Cite web|url=https://music.apple.com/us/album/rather-be-a-colors-show-single/1631445914|title=Rather Be – A COLORS SHOW|via=Apple Music}}</ref>
| rowspan="6" style="text-align:center;" | 2022
| style="text-align:center;" | 1 (singles)
| Jointly with Brand Nu
|-
! [[Sean Combs|Diddy]]<ref>{{Cite web|url=https://music.apple.com/us/album/gotta-move-on-single/1649886042|title=Gotta Move On|via=Apple Music}}</ref>
| style="text-align:center;" | 2 (singles)
| Jointly with Love Records
|-
! [[Lakeyah]]<ref>{{Cite web|url=https://music.apple.com/us/album/no-pressure-pt-1-ep/1629539092|title=No Pressure (Pt. 1) – EP|via=Apple Music}}</ref>
| style="text-align:center;" | 2 
| Jointly with Quality Control
|-
! [[Leon Thomas III]]<ref>{{Cite web|url=https://music.apple.com/us/album/x-rated-single/1622750285|title=X-Rated|via=Apple Music}}</ref>
| style="text-align:center;" | 3 (singles)
| Jointly with EZMNY Records
|-
! P Yungin<ref>{{Cite web|url=https://music.apple.com/us/album/kam/1607012888|title=KAM|via=Apple Music}}</ref>
| style="text-align:center;" | 2
| Jointly with Never Broke Again
|-
! [[Smino]]<ref>{{Cite web|url=https://music.apple.com/us/album/luv-4-rent/1650481396|title=Luv 4 Rent|via=Apple Music}}</ref>
| style="text-align:center;" | 2
| Jointly with [[Zero Fatigue]]
|-
! [[YoungBoy Never Broke Again]]<ref>{{Cite magazine|date=2022-10-24|title=YoungBoy Never Broke Again Signs With Motown|url=https://www.billboard.com/pro/youngboy-never-broke-again-motown-label-signing/|access-date=2022-10-24|magazine=[[Billboard (magazine)|Billboard]]}}</ref>
| rowspan="2" style="text-align:center;" | 2023
| style="text-align:center;" | 3
| Jointly with Never Broke Again
|-
! NOBY<ref>{{Cite magazine|date=2023-03-17|title=Noby Drops Paranoid R&B Hymn 'It's Never That Deep'|url=https://www.clashmusic.com/news/noby-drops-paranoid-rb-hymn-its-never-that-deep/|access-date=2023-03-20|magazine=[[Clash (magazine)|Clash]]}}</ref>
| style="text-align:center;" | 1 (singles)
|-
|}

==Motown sound==
{{Infobox music genre
| name              = Motown sound
| stylistic_origins = {{hlist|[[Pop music|Pop]]|[[Soul music|soul]]}}
| cultural_origins  = 1960s, [[Detroit, Michigan]]
| derivatives       = 
| fusiongenres      = 
| other_topics      = {{hlist|[[Northern soul]]|[[rare groove]]}}
}}

Motown specialized in a type of soul music it referred to with the [[trademark]] "The Motown sound". Crafted with an ear towards pop appeal, the Motown sound typically featured [[tambourine]]s to accent the [[back beat]], prominent and often melodic electric bass guitar lines, distinctive [[Melody|melodic]] and [[Chord (music)|chord]] structures, and a [[Call and response (music)|call-and-response]] singing style that originated in [[gospel music]]. In 1971, [[Jon Landau]] wrote in ''[[Rolling Stone]]'' that the sound consisted of songs with simple structures but sophisticated melodies, along with a four-beat drum pattern, regular use of horns and strings, and "a trebly style of mixing that relied heavily on electronic limiting and equalizing (boosting the high range frequencies) to give the overall product a distinctive sound, particularly effective for broadcast over AM radio".<ref>{{Cite news|url=https://www.rollingstone.com/music/features/the-motown-story-19710513|title=The Motown Story|newspaper=Rolling Stone|access-date=2016-12-11|archive-date=December 14, 2021|archive-url=https://web.archive.org/web/20211214230027/https://www.rollingstone.com/music/music-features/the-motown-story-how-berry-gordy-jr-created-the-legendary-label-178066/|url-status=live}}</ref> 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, [[melisma]]tic vocal riffs were avoided.<ref>Chin, Brian & David Nathan, "Reflections Of..." ''The Supremes'' [CD boxed-set liner notes] (New York: Motown Record Co./Universal Music, 2000).</ref> Motown producers believed steadfastly in the "[[KISS principle]]" (keep it simple, stupid).<ref>Williams, Otis & Patricia Romanowski, ''Temptations'' (Lanham, MD: Cooper Square, 1988; updated 2002). {{ISBN|0-8154-1218-5}}, p. 157.</ref>

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 test was that every new release needed to fit into a sequence of the top five selling pop singles of the week. Several tracks that later became critical and commercial favorites were initially rejected by Gordy, the two most notable being the Marvin Gaye songs "[[I Heard It Through the Grapevine]]" and "[[What's Going On (song)|What's Going On]]". In several cases, producers would rework 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, including all the early hits for [[the Supremes]], were written by the songwriting trio of [[Holland–Dozier–Holland]] ([[Lamont Dozier]] and brothers [[Brian Holland|Brian]] and [[Eddie Holland]]). Other important Motown producers and songwriters included [[Norman Whitfield]], [[William "Mickey" Stevenson]], [[Smokey Robinson]], [[Barrett Strong]], [[Ashford & Simpson|Nickolas Ashford & Valerie Simpson]], [[Frank Wilson (musician)|Frank Wilson]], [[Pam Sawyer|Pamela Sawyer]] & [[Gloria Jones]], James Dean & [[William Weatherspoon]], [[Johnny Bristol]], [[Harvey Fuqua]], [[Gil Askey]],<ref name="Washington Times May 2006">{{cite news|title=Diana Ross: old wine in 'Blue' bottles |url=https://www.questia.com/read/1G1-146501906  |newspaper=[[The Washington Times]] |last=Yourse |first=Robyn-Denise |date=May 19, 2006 |access-date= |via= |url-access= }}{{dead link|date=July 2021}}</ref> [[Stevie Wonder]], and Gordy himself.

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:
{{blockquote|People would listen to it, and they'd say, 'Aha, they use more bass. Or they use more drums.' Bullshit. 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, Tennessee|Nashville]], New York, L.A.—almost every big city. And we still got the sound.<ref>Hirshey, Gerri (1994 [1984]). ''Nowhere to Run: The Story of Soul Music''. New York: Da Capo Press. p. 187. {{ISBN|0-306-80581-2}}.</ref>}}

===The Funk Brothers===
{{main|The Funk Brothers}}
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. Among the studio musicians responsible for the "Motown sound" were keyboardists [[Earl Van Dyke]], [[Johnny Griffith (musician)|Johnny Griffith]], and [[Joe Hunter (musician)|Joe Hunter]]; guitarists [[Ray Monette]], [[Joe Messina]], [[Robert White (guitarist)|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 (film)|Standing in the Shadows of Motown]]'', which publicised the fact that these musicians "played on more number-one records than The Beatles, Elvis, The Rolling Stones, and The Beach Boys combined".<ref name="standing" /> Ashford later played on [[Raphael Saadiq]]'s 2008 album ''[[The Way I See It]]'', whose recording and production were modelled after the Motown sound.<ref name="Lewis">{{cite journal|last=Lewis |first=Pete |url=http://www.bluesandsoul.com/feature/409/raphael_saadiq_this_years_vintage/ |title=Raphael Saadiq: This Years Vintage |journal=[[Blues & Soul]] |location=London |issue=1020 |date=May 22, 2009 |access-date=March 27, 2012 |archive-url=https://web.archive.org/web/20120903081409/http://www.bluesandsoul.com/feature/409/raphael_saadiq_this_years_vintage/ |archive-date=September 3, 2012 |url-status=live }}</ref>

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.<ref name="standing">
{{cite video | people = Justman, Paul | title = [[Standing in the Shadows of Motown (film)|Standing in the Shadows of Motown]]  | medium = DVD | publisher = [[Artisan Entertainment]] | location = [[Santa Monica, California]] |year=2002 }}</ref>
Bassist [[James Jamerson]] often played his instrument with only the [[index finger]] of his right hand, and created many of the basslines apparent on Motown songs such as "[[Up the Ladder to the Roof]]" by the Supremes.<ref name="standing" />

==Artist development==
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. 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 of black musicians by white Americans in that era.<ref>Pitts, Leonard, Jr. “The Motown Factor”. Jazziz. Issue 20.12. Dec. 2003. 60–62. Print.</ref> Given that many of the talented young artists had been raised in housing projects and lacked the necessary social and dress experience, this Motown department was not only necessary, it created an elegant style of presentation long associated with the label.<ref>{{cite journal|author=Laurie, Timothy|date=2012|title=Crossover Fatigue: The Persistence of Gender at Motown Records|journal=Feminist Media Studies|volume=14|issue=1|pages=90–105|doi=10.1080/14680777.2012.737344|s2cid=144019819|url=https://www.academia.edu/2137542|access-date=2015-10-30|archive-date=December 14, 2021|archive-url=https://web.archive.org/web/20211214230007/https://www.academia.edu/2137542|url-status=live}}</ref> The artist development department specialized primarily in working with younger, less-experienced acts; experienced performers such as [[Jr. Walker]] and [[Marvin Gaye]] were exempt 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 artists a chance to hone their performance and social skills and learn from the more experienced artists.

==Motown subsidiary labels==
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.

Many more subsidiary labels were established later under the umbrella of the Motown parent company, including Gordy Records, Soul Records and VIP Records; in reality the 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. All of these records are usually considered to be "Motown" records, regardless of whether they actually appeared on the Motown Records label itself or a subsidiary label.

===Major divisions===
* Tamla Records: Established 1959, Tamla was a primary subsidiary for mainstream R&B/soul music. 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. Notable Tamla artists included [[The Miracles|Smokey Robinson & the Miracles]], [[Marvin Gaye]], [[Stevie Wonder]], [[the Marvelettes]], and [[Eddie Kendricks]]. Tamla was briefly re-activated in 1996 as a reggae label, but only released a 12" single by [[Cocoa Tea]] called "New Immigration Law". Tamla also had a sub-label called Penny Records in 1959; artists on that label included Bryan Brent And The Cut Outs, who recorded a single for the label entitled "Vacation Time" b/w "For Eternity" (2201). In 2023, it was announced that Tamla would be re-activated again for the first time  in nearly 30 years. This time around, it will be relaunched under [[Capitol Christian Music Group]] as an imprint devoted solely to positive R&B and hip hop.<ref>{{cite web |last1=Sexton |first1=Paul |title=Historic Label Tamla Records Relaunched As 'Positive' Hip-Hop, R&B Imprint |url=https://www.udiscovermusic.com/news/historic-label-tamla-records-relaunched/ |website=udiscovermusic.com |date=June 21, 2023 |publisher=uDiscoverMusic |access-date=2024-07-04}}</ref><ref>{{cite magazine |last1=Mitchell |first1=Gail |title=Capitol Brings Back Storied Label Tamla Records: Exclusive |url=https://www.billboard.com/business/record-labels/tamla-records-relaunched-capitol-music-ej-gaines-interview-1235357601/ |magazine=Billboard  |access-date=2024-07-04}}</ref> Tamla Records slogan: ''"The Sound that Makes the World Go 'Round"''.
* Motown Records: Established 1960, Motown was and remains the company's main label for mainstream R&B/soul music (and, today, [[hip-hop music]] as well). The label's numbering system was combined with those of Tamla and Gordy in 1982, and the label (and company) was purchased by [[Music Corporation of America|MCA]] in 1988. Notable Motown artists have included [[Mary Wells]], [[the Supremes]], [[Four Tops]], [[the Jackson 5]], [[Michael Jackson]], [[Jermaine Jackson]], [[Boyz II Men]], [[Commodores]], [[Lionel Richie]], [[Dazz Band]], [[Brian McKnight]], [[98 Degrees]], and [[Erykah Badu]]. Motown Records slogan: ''"The Sound of Young America"''.
* Gordy Records: Established 1962, Gordy was also a primary subsidiary for mainstream R&B/soul music. Originally known as ''Miracle Records'' (slogan: ''"If It's a Hit, It's a Miracle"''), the name was changed in 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. Notable Gordy artists included [[the Temptations]], [[Martha and the Vandellas]], [[the Contours]], [[Edwin Starr]], [[Rick James]], [[The Mary Jane Girls]], [[Teena Marie]], [[Switch (band)|Switch]], and [[DeBarge]]. Gordy Records slogan: ''"It's What's in the Grooves that Counts"''.<ref>{{cite web|last=Mike Callahan, Patrice Eyries|first=David Edwards|title=Gordy Album Discography, Part 1 (1962–1981)|url=http://www.bsnpubs.com/motown/gordy/gordy.html|publisher=bsnpubs.com|access-date=2014-03-16|archive-date=October 12, 2014|archive-url=https://web.archive.org/web/20141012205727/http://www.bsnpubs.com/motown/gordy/gordy.html|url-status=live}}</ref>
[[File:Tamla Motown logo variant A.webp|thumb|One of Tamla Motown logos]]
* 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. In some cases, Tamla Motown would issue singles and albums not released in the United States (for example, the singles "[[I Second That Emotion]]" and "[[Why (Must We Fall in Love)]]" by Diana Ross & the Supremes with the Temptations, as well as the successful ''[[Motown Chartbusters]]'' series of albums).
* Motown Gospel (formerly EMI Gospel)

===Secondary R&B labels===
* Check-Mate Records: Short-lived (1961–1962) R&B/soul subsidiary, purchased from [[Chess Records]]. Notable artists included [[David Ruffin]] and The Del-Phis (later [[Martha and the Vandellas]]).
* Miracle Records: Short-lived (1961) R&B/soul subsidiary that lasted less than a year. Some pressings featured the infamous tagline, "If it's a hit, it's a Miracle." Renamed '''Gordy Records''' in 1962. Notable releases included early recordings by [[Jimmy Ruffin]] and [[the Temptations]].<ref>{{cite web|title=Miracle {{!}} Motown Junkies|url=http://motownjunkies.co.uk/labels/miracle/|work=article|date=October 2, 2009|publisher=motownjunkies.co.uk|access-date=2014-03-16|archive-date=April 18, 2014|archive-url=https://web.archive.org/web/20140418044129/http://motownjunkies.co.uk/labels/miracle/|url-status=live}}</ref>
* MoWest Records: MoWest was a short-lived (1971–1973; 1976 in UK) subsidiary for R&B/soul artists based on the West Coast. Shut down when the main Motown office moved to Los Angeles. Notable artists included [[Lesley Gore]], [[G. C. Cameron]], [[the Sisters Love]], [[Syreeta Wright]], [[The Four Seasons (band)|the Four Seasons]], [[Commodores]] (their first two singles in 1972 and 1973), [[Live at Caesars Palace#The Devastating Affair|The Devastating Affair]], and Los Angeles DJ [[Tom Clay]]. Unlike other Motown releases in the UK that were released by Tamla Motown, MoWest retained its US label design and logo for its UK releases as well.  In fact, MoWest lasted longer in the UK up until 1976.
* 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.<ref>{{cite web |url=http://www.diana-web.com/discography/diana/re-yesteryear.jpg |title=Diana-web.com |access-date=December 12, 2011 |archive-url=https://web.archive.org/web/20120426045944/http://www.diana-web.com/discography/diana/re-yesteryear.jpg |archive-date=April 26, 2012 |url-status=dead |df=mdy-all }}</ref> One Motown Yesteryear single made ''Billboard'''s Top 40 – [[the Contours]]' "Do You Love Me", in 1988, when its inclusion in the film ''[[Dirty Dancing]]'' revived interest.
* Soul Records: Established in 1964, Soul was a R&B/soul subsidiary for releases with less of a [[jazz]] feel and/or more of a [[blues]] feel. Notable Soul artists included [[Jr. Walker & the All-Stars]], [[Shorty Long]], [[Gladys Knight & the Pips]], [[The Originals (band)|the Originals]], [[The Fantastic Four (R&B group)|the Fantastic Four]], and [[Jimmy Ruffin]]. The label was dissolved in 1978. This label has no affiliation with the short-lived S.O.U.L. Records, an early 1990s imprint that was founded by the production team [[the Bomb Squad]].
* V.I.P. Records: Established in 1964, V.I.P. was an R&B/soul subsidiary. Notable artists included [[the Velvelettes]], [[The Spinners (American group)|the Spinners]], [[The Monitors (American band)|the Monitors]], [[the Elgins]] and [[Chris Clark (singer)|Chris Clark]]. V.I.P. also was the outlet for pop records that were leased to Motown by EMI (the distributor of Tamla-Motown in Europe). The label was dissolved in 1974.
* Weed Records: A very short-lived subsidiary. Only one release, [[Chris Clark (singer)|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.<ref>{{cite web|last=Mike Callahan|first=David Edwards|title=Weed Album Discography|url=http://www.bsnpubs.com/motown/weed/weed.html|work=article|publisher=bsnpubs.com|access-date=2014-03-16|archive-date=March 25, 2015|archive-url=https://web.archive.org/web/20150325182904/http://www.bsnpubs.com/motown/weed/weed.html|url-status=live}}</ref>  The name "Weed Records" is now owned by the Tokyo/New York-based ''Weed Records''.{{cn |date=April 2025 |reason=Also poorly phrased, with obvious redundancy.}}

===Additional genre labels===
====Country====
* Mel-o-dy Records.: Established in 1962 as a secondary R&B/soul music subsidiary, Mel-o-dy later focused on white [[country music]] artists. Notable Mel-o-dy artists include [[Dorsey Burnette]]. The label was dissolved in 1965.
* Hitsville Records.: 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. Run by [[Mike Curb]] and Ray Ruff, Hitsville's notable artists included [[Ronnie Dove]], [[Pat Boone]], [[T. G. Sheppard]] and [[Jud Strunk]]. The label was dissolved in 1977.<ref>{{cite news |title= Obituaries – Ray Ruff|first= Spencer|last= Leigh|newspaper= [[The Independent]]|date= October 4, 2005|url= https://www.independent.co.uk/news/obituaries/ray-ruff-509467.html |access-date=January 25, 2010 |location=London}}</ref>  In the UK, Melodyland/Hitsville material was released on MoWest.
* M.C. Records: Operated 1977 to 1978 as a continuation of the Hitsville label.  A joint venture between Gordy and [[Mike Curb]].<ref>{{cite web|last=Mike Callahan|first=David Edwards|title=M.C. Album Discography|url=http://www.bsnpubs.com/motown/mc/mc.html|work=article|publisher=bsnpubs.com|access-date=2014-03-16|archive-date=October 12, 2014|archive-url=https://web.archive.org/web/20141012205740/http://www.bsnpubs.com/motown/mc/mc.html|url-status=live}}</ref> The Mel-o-dy, Hitsville, and M.C. catalogs are now managed by [[Universal Music Group Nashville|Mercury Nashville Records]].

====Hip hop/rap====
* Wondirection Records.: A record label owned by [[Stevie Wonder]], it had one 12-inch dance release in 1983, the ten-minute rap track "The Crown" by [[Gary Byrd and the GB Experience]].
* Mad Sounds Recordings.: Short-lived hip-hop/rap subsidiary label, released five albums in the mid-1990s- including ''[[Zig Zag (Tha Mexakinz album)|Zig Zag]]'' by [[Tha Mexakinz]],''Trendz'' by Trendz of Culture and ''[[Rottin ta da Core]]'' by [[Rottin Razkals]].

====Jazz====
* Workshop Jazz Records.: Motown's [[jazz]] subsidiary, active from 1962 to 1964. Notable Workshop Jazz artists included the George Bohannon Trio, [[Earl Washington (musician)|Earl Washington]] All Stars, and [[Four Tops]] (whose recordings for the label went unissued for 30 years). The Workshop Jazz catalog is currently managed by [[Verve Records]].
* [[Blaze Records]].: 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. Chandler, E. Willis, J. Ashford, with label number 1107.
* Mo Jazz Records.: Another jazz label created in the 1990s, this was Motown's most successful jazz imprint. Notable artists included [[Norman Brown (guitarist)|Norman Brown]], [[Foley (musician)|Foley]], [[Norman Connors]], and J. Spencer. It also reissued instrumental albums like [[Stevie Wonder]]'s 1968 album ''[[Eivets Rednow]]'' and [[Grover Washington Jr.]]'s CTI/Kudu albums under the Classic Mo Jazz subsidiary.  This label (including its roster and catalog) was folded into Verve Records after the PolyGram/Universal merger.

====Rock====
* Rare Earth Records.: Established in 1969 after the signing of [[Rare Earth (band)|Rare Earth]] (after whom the label was named), Rare Earth Records was a subsidiary focusing on blues-oriented and progressive rock styles.<ref name=Flory/> Notable acts included Rare Earth, [[R. Dean Taylor]], [[Pretty Things]], [[Toe Fat]], [[XIT (band)|XIT]], and [[Stoney & Meatloaf (band)|Stoney & Meatloaf]]. The label also was the subsidiary to house the first white band signed to Motown, [[the Rustix]].
* Prodigal Records.: Purchased by Motown in 1976, Motown used Prodigal Records as a second rock music subsidiary; a successor label to Rare Earth Records.<ref>{{cite web|last=Mike Callahan|first=David Edwards|title=Prodigal Album Discography|url=http://www.bsnpubs.com/motown/prodigal/prodigal.html|work=article|publisher=bsnpubs.com|access-date=2014-03-16|archive-date=October 12, 2014|archive-url=https://web.archive.org/web/20141012205812/http://www.bsnpubs.com/motown/prodigal/prodigal.html|url-status=live}}</ref>  The Rare Earth band moved over to the label following the Rare Earth label's demise. Pop singer [[Charlene (singer)|Charlene]]'s number 3 pop single for Motown ''[[I've Never Been To Me]]'' was originally released and charted on this label in 1977 (number 97).  Prodigal was dissolved in 1978.
* Morocco Records.: Acronym for "'''MO'''town '''ROC'''k '''CO'''mpany". 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. Its two most promising acts, [[Duke Jupiter]] and the [[African American|black]] [[New wave music|new wave]] trio [[Fizzy Qwick|Tiggi Clay]] (via their lead singer, [[Fizzy Qwick]]) eventually moved to the parent label.

====Other====
* Divinity Records.: Short-lived (1962–1963) gospel subsidiary. With five releases by artists- Wright Specials, Gospel Stars, Bernadettes, and [[Liz Lands]]. Label sequence starts at 99004 to 99008, the final recording being "[[We Shall Overcome]]" (for label number 99008) that was recorded in the [[Graystone Ballroom]], was withdrawn and transferred to GORDY 7023B as the "[[I Have A Dream]]" speech by Rev. Dr. [[Martin Luther King Jr.]]
* Black Forum Records.: Short-lived (1970–1973) [[spoken-word]] subsidiary that focused mainly on albums featuring progressive political and pro-civil rights speeches/poetry. Black Forum issued recordings by the Rev. Dr. [[Martin Luther King Jr.]], [[Stokely Carmichael]], [[Elaine Brown]], [[Langston Hughes]], [[Margaret Danner]], and others.<ref>[https://lareviewofbooks.org/article/louder-than-a-bomb-on-the-sounds-of-black-power/ Rickey Vincent, "Louder Than a Bomb: On The Sounds of Black Power" (review of Pat Thomas, ''Listen, Whitey!: the Sights and Sounds of Black Power 1965–1975'')] {{webarchive |url=https://web.archive.org/web/20130419034943/http://lareviewofbooks.org/article.php?type=&id=999&fulltext=1&media= |date=April 19, 2013 }}, ''Los Angeles Review of Books'', October 17, 2012.</ref>
* 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.
* Motown Latino Records.: Short-lived (1982) subsidiary for [[Spanish language|Spanish-language]] [[Latin American music]].  Its only artist was [[Jose Feliciano]].
* Gaiee Records.: Only one single was released on this label, in 1975; Valentino's gay/lesbian anthem "[[I Was Born This Way]]", which was later covered by fellow Motown artist [[Carl Bean]] in 1977.

===Independent labels distributed by Motown===
* [[Biv 10 Records]]: A hip-hop/R&B label that was founded by [[Bell Biv Devoe]]/[[New Edition]] member [[Michael Bivins]]. The label operated throughout most of the 1990s. Its roster included [[Another Bad Creation]], [[Boyz II Men]], and [[702 (band)|702]].
* Chisa Records: Motown released output for Chisa, a label owned by [[Hugh Masekela]], from 1969 to 1972 (prior to that, the label was distributed by Vault Records).
* [[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. With a few exceptions, the bulk of CTI's recordings is now owned by [[Sony Music Entertainment]].
* Ecology Records: A very short-lived label owned by [[Sammy Davis Jr.]] and distributed by Motown. Only release: single "In My Own Lifetime"/"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. Gull had [[Judas Priest]] on its roster in 1975, but their LP ''[[Sad Wings of Destiny]]'', intended for release by Motown in the US, was issued after the Motown/Gull Deal had fallen through.
* [[Manticore Records]]: A record label created by the members of the rock group [[Emerson, Lake & Palmer]]. Manticore released albums by ELP and various other [[Progressive rock]] artists. Manticore was originally distributed in the U.S. by [[Atlantic Records]] from 1973 to 1975 but switched to Motown distribution until the label folded in 1977.
* [[Never Broke Again]]: A record label founded by [[YoungBoy Never Broke Again]]. The label releases compilation albums and has its own artists signed to the Motown/NBA imprint.
* EZMNY Records, [[Ty Dolla Sign]]'s record label that signed [[Leon Thomas III]].

===Miscellaneous labels associated with Motown===
* Workshop
* Groovesville Records
* Inferno Records
* IPG Records
* Rayber Records
* [[Ric-Tic Records]]
* Rich Records
* Summer Camp Records
* [[Tabu Records]]

==British (pre-Tamla Motown) labels==
* [[London Records|London American Records]] issued the releases for Motown from 1960 to 1961.
* [[Fontana Records]] issued the releases for Motown from 1961 to 1962.
* [[Oriole Records (UK)|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.

== See also ==
* [[Album era]]
* [[Hitsville USA]]
* [[Motown discography (disambiguation)|Motown discography]]
* [[Music of Detroit]]

==References==
===Citations===
{{Reflist}}

===Print sources===
*{{cite book
|author= Flory, Andrew
|isbn= 978-0-472-12287-5
|publisher= University of Michigan Press
|title= I Hear a Symphony: Motown and Crossover R&B
|year= 2017
}}

==Further reading==
*{{cite journal|author=Jon Fitzgerald|date=January 1995|title=Motown Crossover Hits 1963–1966 and the Creative Process|journal=Popular Music|publisher=Cambridge University Press|volume=14|issue=1|pages=1–11|doi=10.1017/s0261143000007601|jstor=853340|s2cid=161468204 }}
*{{cite book|url=https://books.google.com/books?id=6jzaAAAAMAAJ|title=Where Did Our Love Go?: The Rise & Fall of the Motown Sound|author=Nelson George|author-link=Nelson George|publisher=University of Illinois Press|year=2007|orig-year=first published 1985|isbn=9780252074981}}
*{{cite book|url=https://books.google.com/books?id=LEc_DwAAQBAJ|title=I Hear a Symphony: Motown and Crossover R&B|author=Andrew Flory|publisher=University of Michigan Press|year=2017|isbn=9780472036868}}<!--  -->
*{{cite thesis|author=[[Richard Niles]]|date=2007|title=The Invisible Artist: Arrangers in Popular Music (1950 - 2000): Their Contribution and Techniques|degree=PhD|publisher=[[Brunel University]]|url=https://bura.brunel.ac.uk/handle/2438/7914|chapter=The Motown Sound|pages=102–114}}

==External links==
{{Wikiquote}}
* [http://www.motownrecords.com/ Official Motown Records website] {{Webarchive|url=https://web.archive.org/web/20210305070933/https://www.motownrecords.com/ |date=March 5, 2021 }}
* [http://classic.motown.com/ Official Classic Motown website]
* [http://www.motownmuseum.org/ The Motown Museum]
* [https://archives.motownmuseum.org/ The Motown Museum Archives]
* [http://www.seabear.se/detroit1.htm Complete discography of pre-1986 Motown singles]
* [http://www.bsnpubs.com/motown/motownstory.html Complete discography of pre-1986 Motown albums]
* {{discogs label|Motown}}
* {{Pop Chronicles|25|name=Motown artists}}
* [https://reverb.com/news/video-what-makes-motown-sound-like-motown What Makes Motown Sound Like Motown?] at Reverb.com, <small>[https://web.archive.org/web/20191003212555/https://reverb.com/news/video-what-makes-motown-sound-like-motown Archive]</small>
* [https://www.youtube.com/watch?v=W_8bHh93yUc The Motown Invasion], 2009 BBC Documentary, at YouTube
*[https://www.soulmusicarchive.com/p/uk-tamla-motown-singles-guide.html UK Tamla Motown singles guide]
{{Motown|state=expanded}}
{{Universal Music Group}}
{{BlackMusicHistory}}
{{Authority control}}

[[Category:Motown| ]]
[[Category:1959 establishments in Michigan]]
[[Category:African-American music]]
[[Category:African-American cultural history]]
[[Category:Soul music record labels]]
[[Category:Rhythm and blues record labels]]
[[Category:Disco record labels]]
[[Category:Soul music genres]]
[[Category:Companies based in New York City]]
[[Category:Companies based in Los Angeles]]
[[Category:History of Detroit]]
[[Category:Universal Music Group]]
[[Category:Labels distributed by Universal Music Group]]
[[Category:Culture of Detroit]]
[[Category:Music of Detroit]]
[[Category:Music scenes]]
[[Category:Pop record labels]]
[[Category:Record labels based in California]]
[[Category:Record labels based in Michigan]]
[[Category:Record labels established in 1959]]
[[Category:African-American history in Detroit]]
[[Category:American corporate subsidiaries]]
[[Category:Black-owned companies of the United States]]