Motown
Le Motown
En lançant Motown, Berry Gordy avait pour objectif de séduire à la fois le public noir et le grand public blanc avec des chansons de soul et de rhythm'n'blues plus accessibles que la production de labels concurrents tels que Stax. Il organisa sa société en une véritable usine à tubes dans laquelle rien n'était laissé au hasard : il s'entoura des meilleurs compositeurs, des interprètes les plus prometteurs et apporta un soin particulier à la production. Detroit sera d'ailleurs surnommé Hitsville USA (« la ville des hits ») en référence au succès de Motown. Berry Gordy a pu creér sa maison de disques grâce à l'argent qu'il avait gagné en écrivant et en produisant des chansons. Elle s'appelait d'abord Gordy, puis Tamla, avant de devenir Motown. En 1959, le premier tube, sorti sous le label Tamla, est ''Money (That's What I Want)'' de Barrett Strong.
Parmi les artistes qui ont marqué Motown, on peut citer, parmi les interprètes, Diana Ross And The Supremes, The Four Tops, Martha And The Vandellas, Smokey Robinson, Gladys Knight, Marvin Gaye, Stevie Wonder, The Pointer Sisters, Edwin Starr, The Temptations, ...
Dans la catégorie des auteurs-compositeurs, on notera, entre autres, Berry Gordy lui-même, Smokey Robinson, Brian Holland, Lamont Dozier et Eddie Holland, Norman Whitfield et Barrett Strong, Nicholas Ashford et Valerie Simpson.
The Supremes ''Stop! In the Name of Love'' 1965
De 1959 à 1971, le groupe de musiciens de studio The Funk Brothers enregistra la majeure partie des disques de la firme et participa à façonner le son Motown : une musique soul matinée de pop, un chant et des claquements de mains inspirés du gospel... En 2003, le documentaire Standing In The Shadows Of Motown (devenu en français La Véritable Histoire de Motown) rend hommage à ces artisans de l'ombre.
En 1971, Motown déménage à Los Angeles et des artistes importants tels que Stevie Wonder ou Marvin Gaye deviennent indépendants artistiquement bien que toujours distribués par Motown. A cette époque d'autres valeurs montantes arrivent comme The Jackson 5 et Michael Jackson pour la première partie de sa carrière solo, ou Lionel Richie avec ou sans The Commodores.
Le son Motown a fortement influencé de nombreux groupes, dont les Beatles qui reprendront plusieurs chansons produites par la firme.
Les artistes les plus représentatifs de Motown (par ordre alphabétique)
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Les 120 meilleures chansons (à partir de la meilleure avec l'année qu'elles ont été publiées)
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1968 |
GAYE, MARVIN |
I HEARD IT THROUGH THE GRAPEVINE |
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1972 |
WONDER, STEVIE |
SUPERSTITION |
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1971 |
GAYE, MARVIN |
WHAT'S GOING ON |
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1982 |
JACKSON, MICHAEL |
BILLIE JEAN |
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1966 |
FOUR TOPS, THE |
REACH OUT (I'LL BE THERE) |
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1965 |
TEMPTATIONS, THE |
MY GIRL |
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1965 |
MIRACLES, THE |
THE TRACKS OF MY TEARS |
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1964 |
MARTHA & THE VANDELLAS |
DANCING IN THE STREET |
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1969 |
JACKSON 5, THE |
I WANT YOU BACK |
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1964 |
SUPREMES, THE |
WHERE DID OUR LOVE GO |
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1972 |
TEMPTATIONS, THE |
PAPA WAS A ROLLIN' STONE |
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1973 |
WONDER, STEVIE |
LIVING FOR THE CITY |
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1973 |
GAYE, MARVIN |
LET'S GET IT ON |
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1982 |
GAYE, MARVIN |
SEXUAL HEALING |
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1982 |
JACKSON, MICHAEL |
BEAT IT |
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1963 |
MARTHA & THE VANDELLAS |
HEAT WAVE |
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1973 |
WONDER, STEVIE |
HIGHER GROUND |
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1973 |
WONDER, STEVIE |
YOU ARE THE SUNSHINE OF MY LIFE |
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1964 |
SUPREMES, THE |
BABY LOVE |
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1973 |
KNIGHT, GLADYS & THE PIPS |
MIDNIGHT TRAIN TO GEORGIA |
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1971 |
TEMPTATIONS, THE |
JUST MY IMAGINATION |
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1965 |
SUPREMES, THE |
STOP! IN THE NAME OF LOVE |
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1965 |
WONDER, STEVIE |
UPTIGHT |
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1970 |
STARR, EDWIN |
WAR |
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1960 |
STRONG, BARRETT |
MONEY (THAT'S WHAT I WANT) |
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1966 |
SUPREMES, THE |
YOU KEEP ME HANGIN' ON |
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1970 |
MIRACLES, THE |
THE TEARS OF A CLOWN |
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1964 |
WELLS, MARY |
MY GUY |
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1979 |
JACKSON, MICHAEL |
DON'T STOP 'TIL YOU GET ENOUGH |
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1981 |
JAMES, RICK |
SUPER FREAK |
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1965 |
MIRACLES, THE |
OOO BABY BABY |
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1961 |
MARVELETTES, THE |
PLEASE MR. POSTMAN |
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1966 |
SUPREMES, THE |
YOU CAN'T HURRY LOVE |
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1964 |
FOUR TOPS, THE |
BABY I NEED YOUR LOVING |
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1966 |
TEMPTATIONS, THE |
AIN'T TOO PROUD TO BEG |
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1965 |
MARTHA & THE VANDELLAS |
NOWHERE TO RUN |
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1962 |
MIRACLES, THE |
YOU'VE REALLY GOT A HOLD ON ME |
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1967 |
GAYE, MARVIN & TERRELL, TAMMI |
AIN'T NO MOUNTAIN HIGH ENOUGH |
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1979 |
JACKSON, MICHAEL |
ROCK WITH YOU |
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1965 |
FOUR TOPS, THE |
I CAN'T HELP MYSELF |
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1971 |
GAYE, MARVIN |
MERCY MERCY ME (THE ECOLOGY) |
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1970 |
TEMPTATIONS, THE |
BALL OF CONFUSION |
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1960 |
MIRACLES, THE |
SHOP AROUND |
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1971 |
GAYE, MARVIN |
INNER CITY BLUES |
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1962 |
CONTOURS, THE |
DO YOU LOVE ME |
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1966 |
RUFFIN, JIMMY |
WHAT BECOMES OF THE BROKENHEARTED |
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1968 |
TEMPTATIONS, THE |
CLOUD NINE |
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1980 |
WONDER, STEVIE |
MASTER BLASTER ( JAMMIN' ) |
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1966 |
FOUR TOPS, THE |
STANDING IN THE SHADOWS OF LOVE |
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1965 |
WALKER, JR. & THE ALL-STARS |
SHOTGUN |
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1967 |
TEMPTATIONS, THE |
I WISH IT WOULD RAIN |
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1982 |
JACKSON, MICHAEL |
THRILLER |
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1974 |
WONDER, STEVIE |
YOU HAVEN'T DONE NOTHIN |
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1983 |
RICHIE, LIONEL |
ALL NIGHT LONG |
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1963 |
WONDER, STEVIE |
FINGERTIPS - PART 2 |
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1965 |
FOUR TOPS, THE |
IT'S THE SAME OLD SONG |
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1967 |
MIRACLES, THE |
I SECOND THAT EMOTION |
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1970 |
JACKSON 5, THE |
THE LOVE YOU SAVE |
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1970 |
JACKSON 5, THE |
I'LL BE THERE |
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1977 |
COMMODORES, THE |
BRICK HOUSE |
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1983 |
JACKSON, MICHAEL |
WANNA BE STARTIN' SOMETHIN' |
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1977 |
GAYE, MARVIN |
GOT TO GIVE IT UP |
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1974 |
WONDER, STEVIE |
BOOGIE ON REGGAE WOMAN |
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1967 |
FOUR TOPS, THE |
BERNADETTE |
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1969 |
TEMPTATIONS, THE |
I CAN'T GET NEXT TO YOU |
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1964 |
SUPREMES, THE |
COME SEE ABOUT ME |
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1970 |
WONDER, STEVIE |
SIGNED SEALED DELIVERED |
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1971 |
RARE EARTH |
I JUST WANT TO CELEBRATE |
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1981 |
RICHIE, LIONEL / ROSS, DIANA |
ENDLESS LOVE |
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1970 |
RARE EARTH |
GET READY |
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1966 |
WALKER, JR. & THE ALL-STARS |
I'M A ROADRUNNER |
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1970 |
JACKSON 5, THE |
ABC |
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1991 |
JACKSON, MICHAEL |
BLACK OR WHITE |
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1978 |
COMMODORES, THE |
THREE TIMES A LADY |
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1984 |
RICHIE, LIONEL |
HELLO |
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1968 |
SUPREMES, THE |
LOVE CHILD |
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1984 |
RICHIE, LIONEL |
STUCK ON YOU |
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1970 |
ROSS, DIANA |
AIN'T NO MOUNTAIN HIGH ENOUGH |
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1976 |
WONDER, STEVIE |
I WISH |
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1982 |
RICHIE, LIONEL |
TRULY |
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1967 |
KNIGHT, GLADYS & THE PIPS |
I HEARD IT THROUGH THE GRAPEVINE |
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1979 |
WONDER, STEVIE |
SEND ONE YOUR LOVE |
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1974 |
JACKSON 5, THE |
DANCING MACHINE |
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1977 |
WONDER, STEVIE |
SIR DUKE |
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1970 |
SUPREMES, THE |
STONED LOVE |
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1982 |
WONDER, STEVIE |
THAT GIRL |
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1966 |
MARTHA & THE VANDELLAS |
JIMMY MACK |
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1968 |
WONDER, STEVIE |
FOR ONCE IN MY LIFE |
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1971 |
JACKSON 5, THE |
NEVER CAN SAY GOODBYE |
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1970 |
RARE EARTH |
I KNOW, I'M LOSING YOU |
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1986 |
RICHIE, LIONEL |
DANCING ON THE CEILING |
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1977 |
COMMODORES, THE |
EASY |
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1969 |
WALKER, JR. & THE ALL-STARS |
WHAT DOES IT TAKE |
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1968 |
GAYE, MARVIN & TERRELL, TAMMI |
AIN'T NOTHING LIKE THE REAL THING |
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1966 |
GAYE, MARVIN & WESTON, KIM |
IT TAKES TWO |
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1987 |
JACKSON, MICHAEL |
BAD |
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1969 |
ORIGINALS, THE |
BABY I'M FOR REAL |
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1976 |
WONDER, STEVIE |
ISN'T SHE LOVELY |
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1968 |
MIRACLES, THE |
BABY, BABY DON'T CRY |
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1970 |
KNIGHT, GLADYS & THE PIPS |
IF I WERE YOUR WOMAN |
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1969 |
STARR, EDWIN |
TWENTY-FIVE MILES |
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1971 |
RARE EARTH |
BORN TO WANDER |
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1970 |
SUPREMES, THE |
UP THE LADDER TO THE ROOF |
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1970 |
FOUR TOPS, THE |
STILL WATER (LOVE) |
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1982 |
WONDER, STEVIE |
DO I DO |
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1966 |
TEMPTATIONS, THE |
BEAUTY IS ONLY SKIN DEEP |
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1962 |
WELLS, MARY |
TWO LOVERS |
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1962 |
WELLS, MARY |
THE ONE WHO REALLY LOVES YOU |
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1964 |
GAYE, MARVIN |
HOW SWEET IT IS |
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1965 |
CONTOURS, THE |
FIRST I LOOK AT THE PURSE |
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1969 |
RUFFIN, DAVID |
MY WHOLE WORLD ENDED |
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1965 |
MARVELETTES, THE |
DON'T MESS WITH BILL |
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1964 |
VELVELETTES, THE |
NEEDLE IN A HAYSTACK |
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1964 |
TEMPTATIONS, THE |
THE WAY YOU DO THE THINGS YOU DO |
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1963 |
GAYE, MARVIN |
PRIDE AND JOY |
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1962 |
WELLS, MARY |
YOU BEAT ME TO THE PUNCH |
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1970 |
ORIGINALS, THE |
THE BELLS |
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1971 |
KNIGHT, GLADYS & THE PIPS |
I DON'T WANT TO DO WRONG |
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1971 |
SUPREMES, THE |
NATHAN JONES |
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1966 |
TEMPTATIONS, THE |
I KNOW, I'M LOSING YOU |
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