Berry Gordy, Jr. was born to the middle-class family of Berry Gordy II (also known as Berry Gordy, Sr.), who had relocated to Detroit from Oconee in Washington County, Georgia, in 1922.[2] The first Berry Gordy was the son of a white plantation owner in Georgia and his female slave. Berry Gordy, Sr. was lured to Detroit by the job opportunities for black people offered by the booming automotive businesses.[2] He developed his interest in music by writing songs and opening the 3-D Record Mart, a record store featuring jazz music.[3] The store was unsuccessful, and Gordy sought work at the Lincoln-Mercury plant, but his family connections put him in touch with Al Green (no relation to the singer Al Green), owner of the Flame Show Bar Talent Club, where he met the singer Jackie Wilson.
In 1957 Wilson recorded "Reet Petite", a song Gordy had co-written with his sister Gwen and writer-producer Billy Davis. It became a modest hit, but had more success internationally, especially in the UK, where it reached the Top 10 and even later topped the chart on re-issue in 1986. Wilson recorded six more songs co-written by Gordy over the next two years, including "Lonely Teardrops", which topped the R&B charts and got to number 7 in the pop chart. Berry and Gwen Gordy also wrote "All I Could Do Was Cry" for Etta James at Chess Records.
Motown Record Corporation
Gordy reinvested the profits from his songwriting success into producing. In 1957, he discovered the Miracles (originally known as the Matadors) and began building a portfolio of successful artists. In 1959, with the encouragement of Miracles leader Smokey Robinson, Gordy borrowed $800 from his family to create an R&B record company. Originally, Gordy wanted to name the new label Tammy Records, after the song recorded by Debbie Reynolds. However, that name was taken, and he chose the name Tamla Records. The company began operating on January 21, 1959. "Come to Me" by Marv Johnson was issued as Tamla 101. United Artists Records picked up "Come to Me" for national distribution, as well as Johnson's more successful follow-up records such as "You Got What It Takes", co-produced and co-written by Gordy. His next release was the only 45 ever issued on his Rayber label, featuring Wade Jones with an unnamed female backup group. The record did not sell well and is now one of the rarest issues from the Motown stable. Berry's third release was "Bad Girl" by the Miracles, the first release on the Motown record label. "Bad Girl" was a solid hit in 1959 after Chess Records picked it up. Barrett Strong's "Money (That's What I Want)" initially appeared on Tamla and then charted on Gordy's sister's label, Anna Records, in February 1960.
The Tamla and Motown labels were then merged into a new company, Motown Record Corporation, incorporated on April 14, 1960. In 1960, Gordy signed an unknown singer, Mary Wells, who became the fledgling label's first star, with Smokey Robinson penning her hits "You Beat Me to the Punch", "Two Lovers", and "My Guy". The Miracles' hit "Shop Around" peaked at No. 1 on the national R&B charts in late 1960 and at No. 2 on the Billboard pop charts on January 16, 1961 (No. 1 pop, Cash Box), which established Motown as an independent company worthy of notice. Later in 1961, the Marvelettes' "Please Mr. Postman" made it to the top of both charts.
Gordy's gift for identifying and bringing together musical talent, along with the careful management of his artists' public image, made Motown initially a major national and then international success. Over the next decade, he signed such artists as the Supremes, Marvin Gaye, the Temptations, Jimmy Ruffin, the Contours, the Four Tops, Gladys Knight & the Pips, the Commodores, the Velvelettes, Martha and the Vandellas, Stevie Wonder and the Jackson 5. Though he also signed various white acts on the label, he largely promoted African-American artists but carefully controlled their public image, dress, manners and choreography for across-the-board appeal.
Motown Message Songs
Valadiers
https://m.youtube.com/watch?v=SYDWLGGHFDg
“Greetings” appeared nearly a decade before Motown allowed Marvin Gaye’s protest anthem “What’s Going On” to hit the airwaves on January 20, 1971.
Gaye’s masterpiece followed on the heels of such politically charged hit singles as the Temptations’ “Ball of Confusion” (May 7, 1970) and Edwin Starr’s “War” (June 9, 1970), which paved the way for Gaye’s effort.
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