Description: This 3x5 index card is a rare gem for any music enthusiast. It features the signature of Smokey Robinson, a renowned artist in the R&B and Soul genre. The autograph is original and adds value to any entertainment memorabilia collection. The card is a perfect addition for fans of The Miracles and Grammy Award winners. It is an authentic piece of music history that can be owned by anyone who appreciates the art of music. This item is a must-have for any collector or fan of Smokey Robinson and The Miracles. William "Smokey" Robinson Jr. is an American R&B and soul singer, songwriter, record producer, and former record executive. He was the founder and frontman of the pioneering Motown vocal group the Miracles, for which he was also chief songwriter and producer. ___________________________________ William "Smokey" Robinson Jr. (born February 19, 1940) is an American R&B and soul singer, songwriter, record producer, and former record executive. He was the founder and frontman of the pioneering Motown vocal group the Miracles, for which he was also chief songwriter and producer.[1] He led the group from its 1955 origins, when they were called The Five Chimes, until 1972, when he retired from the group to focus on his role as Motown Records vice president. Robinson returned to the music industry as a solo artist the following year. He left Motown in 1999. Robinson was inducted into the Rock and Roll Hall of Fame in 1987 and awarded the 2016 Library of Congress Gershwin Prize for his lifetime contributions to popular music.[2][3] He is a double Hollywood Walk of Fame Inductee, as a solo artist (1983) and as a member of The Miracles (2009). In 2022, he was inducted into the Black Music & Entertainment Walk of Fame. Early life and early careerWilliam Robinson Jr. was born to an African-American father and a mother of African-American and French descent in a poor family in the North End area of Detroit, Michigan.[1] Robinson's ancestry is also part Nigerian, Scandinavian, Portuguese, and Cherokee.[4] His uncle Claude gave him the nickname "Smokey Joe" when he was a child.[5] In 2012, Robinson explained: My Uncle Claude was my favorite uncle. He was also my godfather. He and I were really, really close. He used to take me to see cowboy movies all the time when I was a little boy because I loved cowboy movies. He got a cowboy name for me, which was Smokey Joe. So from the time I was three years old if people asked me what my name was I didn't tell them my name was William, I told them my name was Smokey Joe. That's what everyone called me until I was about 12 and then I dropped the Joe part. I've heard that story about him giving it to me because I'm a light skinned black man but that's not true.[6] He attended Northern High School, where he was above average academically and a determined athlete. However, his main interest was music, and he formed a doo-wop group named the Five Chimes. He and Aretha Franklin lived several houses from each other on Belmont; he said he'd known Franklin since she was about five, overhearing her play the piano when he had come to play with her older brother Cecil after her family first moved to Detroit.[7][8] Robinson's interest in music started during childhood after he heard the groups Nolan Strong & the Diablos and Billy Ward and his Dominoes on the radio. He has cited Barrett Strong, a Detroit native, as a strong vocal influence.[citation needed] In 1955, he formed the first lineup of The Five Chimes with childhood friend Ronald White and classmate Pete Moore. Two years later, they were renamed the Matadors and included Bobby Rogers. Another member, Emerson (Sonny) Rogers, Bobby Rogers' cousin, was replaced by his sister, Claudette Rogers (who would marry Smokey Robinson in 1959). The group's guitarist, Marv Tarplin, joined them sometime in 1958. The Matadors began touring Detroit venues around this time. Eventually they changed their name to The Miracles. CareerThe Miracles and MotownMain article: The Miracles Robinson (front row, left) with The Miracles, circa 1962In August 1957, Robinson and the Miracles met songwriter Berry Gordy after a failed audition for Brunswick Records. At that time during the audition, Robinson had brought along with him a "Big 10" notebook with 100 songs he wrote while in high school. Gordy was impressed with Robinson's vocals and even more impressed with Robinson's ambitious songwriting.[1] With his help, the Miracles released their first single, "Got a Job", an answer song to the Silhouettes' hit single "Get a Job"[9] on End Records. It was the beginning of a long and successful collaboration. During this time, Robinson attended college and started classes in January 1959, studying electrical engineering. He dropped out after only two months, following the Miracles' release of their first record.[10] Gordy formed Tamla Records, which was later reincorporated as Motown. The Miracles became one of the first acts signed to the label,[1] although they had actually been with Gordy since before the formation of Motown Records.[11] In late 1960, the group recorded their first hit single, "Shop Around", which became Motown's first million-selling hit record.[9] Between 1960 and 1970, Robinson would produce 26 top forty hits with the Miracles as lead singer, chief songwriter and producer, including several top ten hits such as "You've Really Got a Hold on Me",[9] "Mickey's Monkey", "I Second That Emotion", "Baby Baby Don't Cry" and the group's only number-one hit during their Robinson years, "The Tears of a Clown". Other notable hits such as "Ooo Baby Baby", "Going to a Go-Go", the multi-award-winning "The Tracks of My Tears", "(Come Round Here) I'm The One You Need", "The Love I Saw in You Was Just a Mirage" and "More Love" peaked in the top twenty. In 1965, the Miracles were the first Motown group to change their name when they released their 1965 album Going to a Go-Go as Smokey Robinson & the Miracles. Between 1962 and 1966, Robinson was also one of the major songwriters and producers for Motown, penning many hit singles such as "Two Lovers",[9] "The One Who Really Loves You", "You Beat Me to the Punch" and "My Guy" for Mary Wells; "The Way You Do The Things You Do", "My Girl",[9] "Since I Lost My Baby" , "It's Growing" , and "Get Ready" for the Temptations; "Still Water (Love)" for the Four Tops; "When I'm Gone" and "Operator" for Brenda Holloway; "Don't Mess With Bill", "The Hunter Gets Captured by the Game" and "My Baby Must Be a Magician" for the Marvelettes; and "I'll Be Doggone" and "Ain't That Peculiar" for Marvin Gaye.[1] After the arrival of Holland–Dozier–Holland and the team of Norman Whitfield and Barrett Strong, Robinson was eclipsed as a top writer and producer for the label, and other Motown artists such as Gaye and Stevie Wonder began to compose more original material. Later in his career, Robinson wrote lyrics and music for the Contours such as "First I Look at the Purse", as well as the Four Tops' "Still Water" and The Supremes' "Floy Joy". The other Miracles—Bobby Rogers, Pete Moore, Ronnie White, and Marv Tarplin—collaborated with him as writers on many of these hits, and Pete Moore also doubled as co-producer with Robinson on several of them. By 1969, Robinson wanted to retire from touring to focus on raising his two children with his wife Claudette, and on his duties as Motown's vice president, a job he had taken on by the mid-1960s after Esther Gordy Edwards had left the position. However, the success of the group's "Tears of a Clown" made Robinson stay with the group until 1972.[1] His last performance with the group was in July 1972 in Washington, D.C. Solo career Robinson in concert at the Chumash Casino Resort in Santa Ynez, California, 2006After a year of retirement, Robinson announced his comeback with the release of the eponymous Smokey album, in 1973.[1] The album included the Miracles tribute song, "Sweet Harmony", and the hit ballad "Baby Come Close". In 1974, Robinson's second album, Pure Smokey, was released but failed to produce hits. Robinson struggled to compete with his former collaborators Marvin Gaye, Stevie Wonder and former Temptations member Eddie Kendricks, as all three had multiple hit singles during this period. Former Beatle George Harrison featured the track "Pure Smokey" on his 1976 album Thirty Three & 1/3 as a tribute to Robinson.[citation needed] (Harrison's fellow Beatles John Lennon and Paul McCartney were also fans of Robinson's songwriting and the group covered "You Really Gotta Hold on Me" on their second UK album With the Beatles and US album The Beatles' Second Album, respectively.) Robinson answered his critics the following year with A Quiet Storm, released in 1975.[1] The album launched three singles – the number-one R&B hit "Baby That's Backatcha", "The Agony & The Ecstasy" and "Quiet Storm" (the radio format quiet storm, originated by DJ Melvin Lindsey, is named after the album). However, Robinson's solo career suffered from his work as Motown's vice president, and his own music took the backseat. As a result, several albums including Smokey's Family Robinson, Deep in My Soul, Love Breeze and Smokin, saw poor promotion and received bad reviews. At this point Robinson relied on other writers and producers to help him with his albums. Following these albums, Robinson got out of a writer's block after his close collaborator (and fellow Miracle), Marv Tarplin, who joined him on the road in 1973 after Robinson left the Miracles, presented him a tune he had composed on his guitar. Robinson later wrote the lyrics that became his first solo top ten Pop single, "Cruisin'".[1] The song hit number one in Cash Box and peaked at number four on the Billboard Hot 100. It also became his first solo number one in New Zealand. Robinson would follow a similar approach with his next album, Warm Thoughts, which produced another top 40 hit, "Let Me Be the Clock", though it did not repeat the success of "Cruisin'". In 1981, Robinson topped the charts again with another sensual ballad, "Being with You", which was another number one hit in Cash Box and peaked at number two on the Billboard Hot 100.[1] It also hit number one in the UK Singles Chart, becoming his most successful single to date.[1] The Gold-plus parent album sparked a partnership with George Tobin and with Tobin, Robinson released his next several Motown albums, Yes It's You Lady, which produced the hit "Tell Me Tomorrow", Touch the Sky and Essar. In 1983, Robinson teamed up with fellow Motown label mate Rick James recording the R&B ballad, "Ebony Eyes". In 1987, following a period of personal and professional issues, Robinson made a comeback with the album, One Heartbeat and the singles, "Just to See Her" and "One Heartbeat",[1] which were Top 10 hits on Billboard's Pop, Soul, and Adult Contemporary charts. They were aided by popular music videos. "Just to See Her" won Robinson his first Grammy Award in 1988.[12] The album became one of his most successful ever, selling over 900,000 copies in the United States alone. In the same year, Robinson released One Heartbeat, the UK group ABC released a tribute song, "When Smokey Sings". He was inducted as a solo artist to the Rock and Roll Hall of Fame in 1988,[1] later igniting controversy as the committee had inducted only Robinson and not members of his group, the Miracles, which Robinson saw as an affront.[13][14] In 2012, however, the committee rectified the mistake announcing that the group would be inducted on their own merit. Though Robinson was not listed as an inductee, he was due to induct his former group at the ceremony in April 2012. After MCA purchased Motown in 1988, Robinson relinquished his position as vice president. Following the release of the album, Love Smokey, in 1990, Robinson left Motown for a deal with SBK Records in 1991. However, the album, Double Good Everything failed to chart. Robinson remained virtually quiet during the nineties (though he would make a notable cameo appearance in The Temptations 1998 miniseries), making a brief comeback in 1999 when he re-signed with Motown and issued the album, Intimate, which included the song "Easy to Love". In 2003, he once again split ties with Motown, releasing the gospel album, Food for the Spirit on Liquid 8 Records in 2004. In 2004, Robinson sang the main title theme song "Colorful World" to the American children's animated series ToddWorld for Discovery Kids, TLC and Mike Young Productions. Two years later, Robinson released the standards album, Timeless Love, in 2006 on Universal Records. In 2009, he issued the album, Time Flies When You're Having Fun on his own label, Robso Records. It reached number 59 on the Billboard album chart, his highest showing since One Heartbeat. He subsequently released "Now And Then" in 2010, which peaked at number 131. Robinson with Senator Doug Jones while testifying at the United States Congress to support the CLASSICS Act in 2018Smokey & Friends was released in mid-August 2014. It was an album of duets, including songs with Elton John, Linda Ronstadt and James Taylor. It reached number 12 on the Billboard album chart. Christmas Everyday was Robinson's first post-Miracles Christmas album, and was released on November 10, 2017. In 2018, he appeared on an episode of CMT Crossroads alongside country singer Cam.[citation needed] In April 2017, Robinson visited Fremont-Lopez Elementary School in Stockton, California, where he served as a designated arts mentor under Turnaround Arts.[15][16] On July 31, 2018, Robinson appeared on the Fox network's show Beat Shazam as a special guest.[17] Robinson appeared on the song "Make It Better" from Anderson Paak's 2019 album Ventura. In 2023, Robinson announced that he would release his first album in almost a decade in April 2023. The nine-track album will be called Gasms, and will feature entirely new music. The first single from the album, called "If We Don't Have Each Other", was already available on streaming services by January 2023.[18] Personal lifeRobinson married a fellow Miracles member, Claudette Rogers, in 1959. The couple had two children: a son, Berry Robinson (born 1968), named after Motown's first label founder Berry Gordy, and a daughter, Tamla Robinson (born 1971), named after the original "Tamla" label set up by Gordy that would eventually become Motown. According to Robinson, he had affairs with multiple women while married to Claudette, among them an approximately year-long affair with Diana Ross. According to Robinson, Ross ended it because she felt uncomfortable as she was friends with Claudette, whom Robinson admitted he still loved. (A representative for Ross had no comment on Robinson's claim.) Robinson says that loving multiple people in that way simultaneously is natural.[19][20] Robinson also had a son named Trey (born 1984) with another woman during his marriage to Claudette. After Robinson admitted to having fathered a child with a woman other than his wife, he filed for legal separation and later filed for divorce that was finalized in 1986. The Robinsons had also separated in 1974 and during that separation, Robinson engaged in an extramarital affair that inspired the song "The Agony & The Ecstasy" (later featured on A Quiet Storm).[21] Robinson married Frances Gladney in May 2002. They own a home in Pittsburgh and use it as a winery.[22] Robinson has not eaten red meat since 1972.[23] He practices Transcendental Meditation.[23][24] Robinson has golden green eyes, which he believes were passed down from his French great-grandmother.[25] Beginning in November 2023, Robinson is the current owner and host of the SiriusXM channel Soul Town, a station that plays R&B and soul hits from the 1950s to the early 1980s. Released under the banner Smokey's Soul Town, Robinson occasionally appears on the channel, recalling his best moments with Motown and meeting other artists as well as pick his favorite songs during that time period.[26][27] Awards and accolades Conductor Zubin Mehta with singers Dolly Parton and Robinson during a reception for the Kennedy Center honorees in the East Room of the White House, December 3, 2006On February 22, 1983, Smokey was awarded an individual star on The Hollywood Walk of Fame.[28] Four years later, in 1987, Robinson was inducted to the Rock & Roll Hall of Fame. Robinson's single "Just to See Her" from the One Heartbeat album was awarded the 1988 Grammy Award for Grammy Award for Best Male R&B Vocal Performance. This was Robinson's first Grammy Award.[12] One year later, in 1989, he was inducted to the Songwriter's Hall of Fame In 1993, Robinson was awarded a medal at the National Medal of Arts. Two years before, he won the Heritage Award at the Soul Train Music Awards. In 2005, Robinson was voted into the Michigan Rock and Roll Legends Hall of Fame.[29] At its 138th Commencement Convocation in May 2006, Howard University conferred on Robinson the degree of Doctor of Music, honoris causa. In December 2006 Robinson was one of five Kennedy Center honorees, along with Dolly Parton, Zubin Mehta, Steven Spielberg and Andrew Lloyd Webber. On March 20, 2009, the Miracles were finally honored as a group with a star on the Hollywood Walk of Fame. Smokey was present with original Miracles members Bobby Rogers, Pete Moore, (Bobby's cousin) Claudette Rogers, and Gloria White, accepting for her husband, the late Ronnie White, whose daughter Pamela and granddaughter Maya were there representing him as well. Smokey's replacement, 1970s Miracles lead singer Billy Griffin, was also honored.[30] Controversially, original Miracle Marv Tarplin was not honored, against the wishes of his fellow Miracles and the group's fans, who felt that he should have also been there to share the honor. Later, Tarplin did receive his star. He was also inducted with the rest of the original Miracles, Bobby Rogers, Pete Moore, Ronnie White, and Claudette Robinson, into the Rock and Roll Hall of Fame in 2012, 25 years after Robinson's controversial solo induction in 1987. He was also awarded Society of Singers Lifetime Achievement Award in 2011.[30] In 2009, Robinson received an honorary doctorate degree—along with Linda Ronstadt—and gave a commencement speech at Berklee College of Music's commencement ceremony. In 2015, he was given a BET Lifetime Achievement Award. In 2016, Robinson received the Library of Congress' Gershwin Prize for Popular Song; and, on August 21, 2016, he was inducted into the Rhythm & Blues Hall of Fame in his hometown of Detroit. In 2019, he received the Golden Plate Award of the American Academy of Achievement presented by Awards Council members Jimmy Page and Peter Gabriel.[31][32] In 2023, Rolling Stone ranked Robinson at No. 23 on their list of the 200 Greatest Singers of All Time.[33] DiscographyMain articles: The Miracles discography and Smokey Robinson discography (solo career)Studio albums Smokey (1973)Pure Smokey (1974)A Quiet Storm (1975)Smokey's Family Robinson (1976)Deep in My Soul (1977)Love Breeze (1978)Where There's Smoke... (1979)Warm Thoughts (1980)Being with You (1981)Yes It's You Lady (1982)Touch the Sky (1983)Essar (1984)Smoke Signals (1986)One Heartbeat (1987)Love, Smokey (1990)Double Good Everything (1991)Intimate (1999)Food for the Spirit (2004)Timeless Love (2006)Time Flies When You're Having Fun (2009)Smokey & Friends (2014)Gasms (2023) Smokey Robinson has been named the Library of Congress’ 2016 recipient for the Gershwin Prize for Popular Song. “His rich melodies are works of art — enduring, meaningful and powerful,” acting Librarian of Congress David S. Mao said in a statement. “And he is a master at crafting lyrics that speak to the heart and soul, expressing ordinary themes in an extraordinary way. It is that quality in his music that makes him one of the greatest poetic songwriters of our time.” Robinson will be feted at a ceremony in Washington, D.C., in November. He joins the roster of previous Gershwin Prize recipients that includes Paul Simon, Stevie Wonder, Paul McCartney, songwriting duo Burt Bacharach and the late Hal David, Carole King, Billy Joel and Willie Nelson. In addition to his contributions as singer and songwriter with the Miracles and as a solo act, Robinson helped Motown Records under Berry Gordy establish the label as a musical powerhouse. He gave the company its first million-selling hit with “Shop Around” in 1960, and later also served as as a producer and talent scout, contributing hit songs for Motown acts including the Temptations, Marvin Gaye, Mary Wells, the Marvelettes and others. The Library of Congress established the Gershwin Prize in 2007 to recognize “living musical artists whose lifetime contributions in the field of popular song exemplify the standard of excellence associated with George and Ira Gershwin, by promoting the genre of song as a vehicle of cultural understanding; entertaining and informing audiences; and inspiring new generations.” Once pronounced by Bob Dylan as America’s greatest living poet, acclaimed singer-songwriter Smokey Robinson’s career spans over four decades of hits. He has received numerous awards including the Grammy Living Legend Award, NARAS Lifetime Achievement Award, an honorary doctorate from Howard University, and the National Medal of Arts Award from President George W. Bush. He has also been inducted into the Rock ‘n’ Roll Hall of Fame and the Songwriters’ Hall of Fame. Born and raised in Detroit, Michigan, Robinson founded The Miracles while still in high school. The group was Berry Gordy’s first vocal group, and it was at Robinson’s suggestion that Gordy started the Motown Record dynasty. Their single of Robinson’s “Shop Around” became Motown’s first #1 hit on the R&B singles chart. In the years following, Robinson continued to pen hits for the group including “You’ve Really Got a Hold on Me,” “Ooo Baby Baby,” “The Tracks of My Tears,” “Going to a Go-Go,” “More Love,” “Tears of a Clown” (co-written with Stevie Wonder), and “I Second That Emotion.” Robinson then turned to a solo career where he continued his tradition of hit making with “Just to See Her,” “Quiet Storm,” “Cruisin’,” and “Being with You,” among others. Robinson continues to thrill sold out audiences around the world with his high tenor voice, impeccable timing, and profound sense of lyric. Never resting on his laurels, he remains a beloved icon in our musical heritage. Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated within African-American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to African Americans, at a time when "rocking, jazz based music ... [with a] heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of a piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American history and experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of societal racism, oppression, relationships, economics, and aspirations. The term "rhythm and blues" has undergone a number of shifts in meaning. In the early 1950s, it was frequently applied to blues records. Starting in the mid-1950s, after this style of music had contributed to the development of rock and roll, the term "R&B" became used in a wider context. It referred to music styles that developed from and incorporated electric blues, as well as gospel and soul music. From 1960s to 70s, some British groups were referred to and promoted as being R&B bands. By the 1970s, the term "rhythm and blues" had changed once again and was used as a blanket term for soul and funk. In the late 1980s, a newer style of R&B developed, becoming known as "contemporary R&B". This contemporary form combines rhythm and blues with various elements of pop, soul, funk, disco, hip hop, and electronic music. Etymology, definitions and descriptionAlthough Jerry Wexler of Billboard magazine is credited with coining the term "rhythm and blues" as a musical term in the United States in 1948,[3] the term had been used in Billboard as early as 1943.[4][5] However, the company's first list of songs popular among African Americans was named Harlem Hit Parade; created in 1942, it listed the "most popular records in Harlem," and is the predecessor to the Billboard RnB chart.[6] “Rhythm and Blues” replaced the common term "race music", a term coined by Okeh producer Ralph Peer based on the common self description by the African American press as “people of race.”[7][8] The term "rhythm and blues" was then used by Billboard in its chart listings from June 1949 until August 1969, when its "Hot Rhythm & Blues Singles" chart was renamed as "Best Selling Soul Singles".[9] Before the "Rhythm and Blues" name was instated, various record companies had already begun replacing the term "race music" with the term "sepia series".[10] "Rhythm and blues" is often abbreviated as "R&B" or "R'n'B".[11] In the early 1950s, the term "rhythm & blues" was frequently applied to blues records.[12] Writer and producer Robert Palmer defined rhythm & blues as "a catchall term referring to any music that was made by and for black Americans".[13] He has also used the term "R&B" as a synonym for jump blues.[14] However, AllMusic separates it from jump blues because of R&B's stronger gospel influences.[15] Lawrence Cohn, author of Nothing but the Blues, writes that "rhythm and blues" was an umbrella term invented for industry convenience. According to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts.[7] Well into the 21st century, the term R&B continues in use (in some contexts) to categorize music made by black musicians, as distinct from styles of music made by other musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of piano, one or two guitars, bass, drums, and saxophone. Arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow, lilting, and often hypnotic textures while calling attention to no individual sound. While singers are emotionally engaged with the lyrics, often intensely so, they remain cool, relaxed, and in control. The bands dressed in suits, and even uniforms, a practice associated with the modern popular music that rhythm and blues performers aspired to dominate. Lyrics often seemed fatalistic, and the music typically followed predictable patterns of chords and structure.[16] R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy,[17][page needed] as well as triumphs and failures in terms of relationships, economics, and aspirations.[citation needed] One publication of the Smithsonian Institution provided this summary of the origins of the genre in 2016. "A distinctly African American music drawing from the deep tributaries of African American expressive culture, it is an amalgam of jump blues, big band swing, gospel, boogie, and blues that was initially developed during a thirty-year period that bridges the era of legally sanctioned racial segregation, international conflicts, and the struggle for civil rights".[2] The Rock & Roll Hall of Fame defines some of the originators of R&B, including Joe Turner's big band, Louis Jordan's Tympany Five, James Brown and LaVern Baker. In fact, this source states that "Louis Jordan joined Turner in laying the foundation for R&B in the 1940s, cutting one swinging rhythm & blues masterpiece after another". Other artists who were "cornerstones of R&B and its transformation into rock & roll" include Etta James, Fats Domino, Roy Brown, Little Richard and Ruth Brown. The "doo wop" groups were also noteworthy, including the Orioles, the Ravens and the Dominoes.[18] The term "rock and roll" had a strong sexual connotation in jump blues and R&B, but when DJ Alan Freed referred to rock and roll on mainstream radio in the mid-1950s, "the sexual component had been dialed down enough that it simply became an acceptable term for dancing".[19] HistoryPrecursors Louis Jordan in New York City, c. July 1946The great migration of Black Americans to the urban industrial centers of Chicago, Detroit, New York City, Los Angeles, Washington, D.C. and elsewhere in the 1920s and 1930s created a new market for jazz, blues, and related genres of music. These genres of music were often performed by full-time musicians, either working alone or in small groups. The precursors of rhythm and blues came from jazz and blues, which overlapped in the late-1920s and 30s through the work of musicians such as the Harlem Hamfats, with their 1936 hit "Oh Red", as well as Lonnie Johnson, Leroy Carr, Cab Calloway, Count Basie, and T-Bone Walker. There was also increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone.[20] Late 1940sR&B originated in African-American communities in the 1940s.[21] In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". In that year, Louis Jordan dominated the top five listings of the R&B charts with three songs, and two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s.[22] Jordan's band, the Tympany Five (formed in 1938), consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano, bass and drums.[23][24] Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues".[7]: 173 Robert Palmer described it as "urbane, rocking, jazz-based music ... [with a] heavy, insistent beat".[25] Jordan's music, along with that of Big Joe Turner, Roy Brown, Billy Wright, and Wynonie Harris, is now also referred to as jump blues. Already Paul Gayten, Roy Brown, and others had had hits in the style now referred to as rhythm and blues. In 1948, Wynonie Harris's remake of Brown's 1947 recording "Good Rockin' Tonight" reached number two on the charts, following band leader Sonny Thompson's "Long Gone" at number one.[26][27] In 1949, the term "Rhythm and Blues" (R&B) replaced the Billboard category Harlem Hit Parade.[7] Also in that year, "The Huckle-Buck", recorded by band leader and saxophonist Paul Williams, was the number one R&B tune, remaining on top of the charts for nearly the entire year. Written by musician and arranger Andy Gibson, the song was described as a "dirty boogie" because it was risque and raunchy.[28] Paul Williams and His Hucklebuckers' concerts were sweaty riotous affairs that got shut down on more than one occasion. Their lyrics, by Roy Alfred (who later co-wrote the 1955 hit "(The) Rock and Roll Waltz"), were mildly sexually suggestive, and one teenager from Philadelphia said "That Hucklebuck was a very nasty dance".[29][30] Also in 1949, a new version of a 1920s blues song, "Ain't Nobody's Business" was a number four hit for Jimmy Witherspoon, and Louis Jordan and the Tympany Five once again made the top five with "Saturday Night Fish Fry".[31] Many of these hit records were issued on new independent record labels, such as Savoy (founded 1942), King (founded 1943), Imperial (founded 1945), Specialty (founded 1946), Chess (founded 1947), and Atlantic (founded 1948).[20] Afro-Cuban rhythmic influenceAfrican American music began incorporating Afro-Cuban rhythmic motifs in the 1800s with the popularity of the Cuban contradanza (known outside of Cuba as the habanera).[32] The habanera rhythm can be thought of as a combination of tresillo and the backbeat. The habanera rhythm shown as tresillo (lower notes) with the backbeat (upper note).For the more than a quarter-century in which the cakewalk, ragtime and proto-jazz were forming and developing, the Cuban genre habanera exerted a constant presence in African American popular music.[33] Jazz pioneer Jelly Roll Morton considered the tresillo/habanera rhythm (which he called the Spanish tinge) to be an essential ingredient of jazz.[34] There are examples of tresillo-like rhythms in some African American folk music such as the hand-clapping and foot-stomping patterns in ring shout, post-Civil War drum and fife music, and New Orleans second line music.[35] Wynton Marsalis considers tresillo to be the New Orleans "clave" (although technically, the pattern is only half a clave).[36] Tresillo is the most basic duple-pulse rhythmic cell in Sub-Saharan African music traditions, and its use in African American music is one of the clearest examples of African rhythmic retention in the United States.[37] The use of tresillo was continuously reinforced by the consecutive waves of Cuban music, which were adopted into North American popular culture. In 1940 Bob Zurke released "Rhumboogie", a boogie-woogie with a tresillo bass line, and lyrics proudly declaring the adoption of Cuban rhythm: Harlem's got a new rhythm, man it's burning up the dance floors because it's so hot! They took a little rhumba rhythm and added boogie-woogie and now look what they got! Rhumboogie, it's Harlem's new creation with the Cuban syncopation, it's the killer! Just plant your both feet on each side. Let both your hips and shoulder glide. Then throw your body back and ride. There's nothing like rhumbaoogie, rhumboogie, boogie-woogie. In Harlem or Havana, you can kiss the old Savannah. It's a killer![38] Although originating in the metropolis at the mouth of the Mississippi River, New Orleans blues, with its Afro-Caribbean rhythmic traits, is distinct from the sound of the Mississippi Delta blues.[39] In the late 1940s, New Orleans musicians were especially receptive to Cuban influences precisely at the time when R&B was first forming.[40] The first use of tresillo in R&B occurred in New Orleans. Robert Palmer recalls: Fats Domino in 1956New Orleans producer-bandleader Dave Bartholomew first employed this figure (as a saxophone-section riff) on his own 1949 disc "Country Boy" and subsequently helped make it the most over-used rhythmic pattern in 1950s rock 'n' roll. On numerous recordings by Fats Domino, Little Richard and others, Bartholomew assigned this repeating three-note pattern not just to the string bass, but also to electric guitars and even baritone sax, making for a very heavy bottom. He recalls first hearing the figure – as a bass pattern on a Cuban disc.[41] In a 1988 interview with Palmer, Bartholomew (who had the first R&B studio band),[42] revealed how he initially superimposed tresillo over swing rhythm: I heard the bass playing that part on a 'rumba' record. On 'Country Boy' I had my bass and drums playing a straight swing rhythm and wrote out that 'rumba' bass part for the saxes to play on top of the swing rhythm. Later, especially after rock 'n' roll came along, I made the 'rumba' bass part heavier and heavier. I'd have the string bass, an electric guitar and a baritone all in unison.[43] Bartholomew referred to the Cuban son by the misnomer rumba, a common practice of that time. Fats Domino's "Blue Monday", produced by Bartholomew, is another example of this now classic use of tresillo in R&B. Bartholomew's 1949 tresillo-based "Oh Cubanas" is an attempt to blend African American and Afro-Cuban music. The word mambo, larger than any of the other text, is placed prominently on the record label. In his composition "Misery", New Orleans pianist Professor Longhair plays a habanera-like figure in his left hand.[44] The deft use of triplets is a characteristic of Longhair's style. { \new PianoStaff << \new Staff << \relative c'' { \clef treble \key f \major \time 4/4 \tuplet 3/2 { r8 f f } \tuplet 3/2 { f f f } \tuplet 3/2 { f f f } \tuplet 3/2 { f f f } r4 r8 4 \acciaccatura { c16 d } 8 \tuplet 3/2 { r8 f' f } \tuplet 3/2 { f f f } \tuplet 3/2 { f d bes } \tuplet 3/2 { f g gis } a } >> \new Staff << \relative c, { \clef bass \key f \major \time 4/4 f4 d'8 a c4 d8 a bes4. d8 f4 d8 a bes4. d8 f4 d8 e, f4 } >> >> }Gerhard Kubik notes that with the exception of New Orleans, early blues lacked complex polyrhythms, and there was a "very specific absence of asymmetric time-line patterns (key patterns) in virtually all early-twentieth-century African American music ... only in some New Orleans genres does a hint of simple time line patterns occasionally appear in the form of transient so-called 'stomp' patterns or stop-time chorus. These do not function in the same way as African timelines."[45] In the late 1940s, this changed somewhat when the two-celled timeline structure was brought into the blues. New Orleans musicians such as Bartholomew and Longhair incorporated Cuban instruments, as well as the clave pattern and related two-celled figures in songs such as "Carnival Day", (Bartholomew 1949) and "Mardi Gras In New Orleans" (Longhair 1949). While some of these early experiments were awkward fusions, the Afro-Cuban elements were eventually integrated fully into the New Orleans sound. Robert Palmer reports that, in the 1940s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of Perez Prado's mambo records."[46] He was especially enamored with Afro-Cuban music. Michael Campbell states: "Professor Longhair's influence was ... far-reaching. In several of his early recordings, Professor Longhair blended Afro-Cuban rhythms with rhythm and blues. The most explicit is 'Longhair's Blues Rhumba,' where he overlays a straightforward blues with a clave rhythm."[47] Longhair's particular style was known locally as rumba-boogie.[48] In his "Mardi Gras in New Orleans", the pianist employs the 2–3 clave onbeat/offbeat motif in a rumba boogie "guajeo".[49] Piano excerpt from the rumba boogie "Mardi Gras in New Orleans" (1949) by Professor Longhair. 2–3 claves are written above for rhythmic reference.The syncopated, but straight subdivision feel of Cuban music (as opposed to swung subdivisions) took root in New Orleans R&B during this time. Alexander Stewart states that the popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s," adding: "The singular style of rhythm & blues that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from a triplet or shuffle feel to even or straight eighth notes.[50] Concerning the various funk motifs, Stewart states that this model "... is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle."[51] Johnny Otis released the R&B mambo "Mambo Boogie" in January 1951, featuring congas, maracas, claves, and mambo saxophone guajeos in a blues progression.[52] Ike Turner recorded "Cubano Jump" (1954) an electric guitar instrumental, which is built around several 2–3 clave figures, adopted from the mambo. The Hawketts, in "Mardi Gras Mambo" (1955) (featuring the vocals of a young Art Neville), make a clear reference to Perez Prado in their use of his trademark "Unhh!" in the break after the introduction.[53] Ned Sublette states: "The electric blues cats were very well aware of Latin music, and there was definitely such a thing as rhumba blues; you can hear Muddy Waters and Howlin' Wolf playing it."[54] He also cites Otis Rush, Ike Turner and Ray Charles, as R&B artists who employed this feel.[54] The use of clave in R&B coincided with the growing dominance of the backbeat, and the rising popularity of Cuban music in the U.S. In a sense, clave can be distilled down to tresillo (three-side) answered by the backbeat (two-side).[55] 3–2 clave written in two measures in cut-time Tresillo answered by the backbeat, the essence of clave in African American musicThe "Bo Diddley beat" (1955) is perhaps the first true fusion of 3–2 clave and R&B/rock 'n' roll. Bo Diddley has given different accounts of the riff's origins. Sublette asserts: "In the context of the time, and especially those maracas [heard on the record], 'Bo Diddley' has to be understood as a Latin-tinged record. A rejected cut recorded at the same session was titled only 'Rhumba' on the track sheets."[54] Johnny Otis's "Willie and the Hand Jive" (1958) is another example of this successful blend of 3–2 claves and R&B. Otis used the Cuban instruments claves and maracas on the song. Bo Diddley's "Bo Diddley beat" is a clave-based motif.Afro-Cuban music was the conduit by which African American music was "re-Africanized", through the adoption of two-celled figures like clave and Afro-Cuban instruments like the conga drum, bongos, maracas and claves. According to John Storm Roberts, R&B became the vehicle for the return of Cuban elements into mass popular music.[56] Ahmet Ertegun, producer for Atlantic Records, is reported to have said that "Afro-Cuban rhythms added color and excitement to the basic drive of R&B."[57] As Ned Sublette points out though: "By the 1960s, with Cuba the object of a United States embargo that still remains in effect today, the island nation had been forgotten as a source of music. By the time people began to talk about rock and roll as having a history, Cuban music had vanished from North American consciousness."[58] Early to mid-1950s Little Richard in 1967At first, only African Americans were buying R&B discs. According to Jerry Wexler of Atlantic Records, sales were localized in African-American markets; there were no white sales or white radio play. During the early 1950s, more white teenagers started to become aware of R&B and began purchasing the music. For example, 40% of 1952 sales at Dolphin's of Hollywood record shop, located in an African-American area of Los Angeles, were to whites. Eventually, white teens across the country turned their musical taste toward rhythm and blues.[59] Johnny Otis, who had signed with the Newark, New Jersey-based Savoy Records, produced many R&B hits in 1951, including "Double Crossing Blues", "Mistrustin' Blues" and "Cupid's Boogie", all of which hit number one that year. Otis scored ten top ten hits that year. Other hits include "Gee Baby", "Mambo Boogie" and "All Nite Long".[60] The Clovers, a quintet consisting of a vocal quartet with accompanying guitarist, sang a distinctive-sounding combination of blues and gospel.[61] They had the number five hit of the year with "Don't You Know I Love You" on Atlantic.[60][62][63] Also in July 1951, Cleveland, Ohio DJ Alan Freed started a late-night radio show called "The Moondog Rock Roll House Party" on WJW (850 AM).[64][65] Freed's show was sponsored by Fred Mintz, whose R&B record store had a primarily African-American clientele. Freed began referring to the rhythm and blues music he played as "rock and roll". In 1951 Little Richard Penniman began recording for RCA Records in the jump blues style of late 1940s stars Roy Brown and Billy Wright. However, it was not until he recorded a demo in 1954 that caught the attention of Specialty Records that the world would start to hear his new uptempo funky rhythm and blues that would catapult him to fame in 1955 and help define the sound of rock 'n' roll. A rapid succession of rhythm and blues hits followed, beginning with "Tutti Frutti"[66] and "Long Tall Sally", which would influence performers such as James Brown,[67] Elvis Presley,[68] and Otis Redding.[67] Also in 1951, the song Rocket 88 was recorded by Ike Turner and his Kings of Rhythm at a studio owned by Sam Phillips with the vocal by Jackie Brenston. This song is often cited as a precursor to rock and roll or as one of the first records in that genre.[69] In a later interview, however, Ike Turner offered this comment: "I don't think that 'Rocket 88' is rock 'n' roll. I think that 'Rocket 88' is R&B, but I think 'Rocket 88' is the cause of rock and roll existing".[70] Ruth Brown was known as the "Queen of R&B".[71]Ruth Brown, performing on the Atlantic label, placed hits in the top five every year from 1951 through 1954: "Teardrops from My Eyes", "Five, Ten, Fifteen Hours", "(Mama) He Treats Your Daughter Mean" and "What a Dream".[61] Faye Adams's "Shake a Hand" made it to number two in 1952. In 1953, the R&B record-buying public made Willie Mae Thornton's original recording of Leiber and Stoller's "Hound Dog"[72] the year's number three hit. Ruth Brown was very prominent among female R&B stars; her popularity most likely came from "her deeply rooted vocal delivery in African American tradition".[73][74] That same year The Orioles, a doo-wop group, had the number four hit of the year with "Crying in the Chapel".[75] Fats Domino made the top 30 of the pop charts in 1952 and 1953, then the top 10 with "Ain't That a Shame".[76][77] Ray Charles came to national prominence in 1955 with "I Got a Woman".[78] Big Bill Broonzy said of Charles's music: "He's mixing the blues with the spirituals ... I know that's wrong."[7]: 173 In 1954 the Chords' "Sh-Boom"[79] became the first hit to cross over from the R&B chart to hit the top 10 early in the year. Late in the year, and into 1955, "Hearts of Stone" by the Charms made the top 20.[80] At Chess Records in the spring of 1955, Bo Diddley's debut record "Bo Diddley"/"I'm a Man" climbed to number two on the R&B charts and popularized Bo Diddley's own original rhythm and blues clave-based vamp that would become a mainstay in rock and roll.[81] At the urging of Leonard Chess at Chess Records, Chuck Berry reworked a country fiddle tune with a long history, entitled "Ida Red".[82] The resulting "Maybellene" was not only a number three hit on the R&B charts in 1955, but also reached into the top 30 on the pop charts. Alan Freed, who had moved to the much larger market of New York City in 1954, helped the record become popular with white teenagers. Freed had been given part of the writing credit by Chess in return for his promotional activities, a common practice at the time.[83] R&B was also a strong influence on rock and roll.[84] A 1985 article in The Wall Street Journal, titled, "Rock! It's Still Rhythm and Blues"[full citation needed] reported that the "two terms were used interchangeably" until about 1957. The other sources quoted in the article said that rock and roll combined R&B with pop and country music.[85] Fats Domino was not convinced that there was any new genre. In 1957, he said, "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans".[86] According to Rolling Stone, "this is a valid statement ... all Fifties rockers, black and white, country born and city bred, were fundamentally influenced by R&B, the black popular music of the late Forties and early Fifties".[87] Late 1950s Della ReeseIn 1956, an R&B "Top Stars of '56" tour took place, with headliners Al Hibbler, Frankie Lymon and the Teenagers, and Carl Perkins, whose "Blue Suede Shoes" was very popular with R&B music buyers.[88] Some of the performers completing the bill were Chuck Berry, Cathy Carr, Shirley & Lee, Della Reese, Sam "T-Bird" Jensen, the Cleftones, and the Spaniels with Illinois Jacquet's Big Rockin' Rhythm Band.[89] Cities visited by the tour included Columbia, South Carolina; Annapolis, Maryland; Pittsburgh, Pennsylvania; Syracuse, Rochester and Buffalo, New York; and other cities.[citation needed] In Columbia, the concert ended with a near riot as Perkins began his first song as the closing act. Perkins is quoted as saying, "It was dangerous. Lot of kids got hurt". In Annapolis, 50,000 to 70,000 people tried to attend a sold-out performance with 8,000 seats. Roads were clogged for seven hours.[90] Filmmakers took advantage of the popularity of "rhythm and blues" musicians as "rock n roll" musicians beginning in 1956. Little Richard, Chuck Berry, Fats Domino, Big Joe Turner, the Treniers, the Platters, and the Flamingos all made it onto the big screen.[91] Two Elvis Presley records made the R&B top five in 1957: "Jailhouse Rock"/"Treat Me Nice" at number one, and "All Shook Up" at number five, an unprecedented acceptance of a non-African American artist into a music category known for being created by blacks.[92] Nat King Cole, also a jazz pianist who had two hits on the pop charts in the early 1950s ("Mona Lisa" at number two in 1950 and "Too Young" at number one in 1951), had a record in the top five in the R&B charts in 1958, "Looking Back"/"Do I Like It".[93] In 1959, two black-owned record labels, one of which would become hugely successful, made their debut: Sam Cooke's Sar and Berry Gordy's Motown Records.[94] Brook Benton was at the top of the R&B charts in 1959 and 1960 with one number one and two number two hits.[95] Benton had a certain warmth in his voice that attracted a wide variety of listeners, and his ballads led to comparisons with performers such as Nat King Cole, Frank Sinatra and Tony Bennett.[96] Lloyd Price, who in 1952 had a number one hit with "Lawdy Miss Clawdy", regained predominance with a version of "Stagger Lee" at number one and "Personality" at number five in 1959.[97][98] The white bandleader of the Bill Black Combo, Bill Black, who had helped start Elvis Presley's career and was Elvis's bassist in the 1950s, was popular with black listeners.[citation needed] Ninety percent of his record sales were from black people, and his "Smokie, Part 2" (1959) rose to the number one position on black music charts.[citation needed] He was once told that "a lot of those stations still think you're a black group because the sound feels funky and black."[citation needed] Hi Records did not feature pictures of the Combo on early records.[99] 1960s–1970s Sam CookeSam Cooke's number five hit "Chain Gang" is indicative of R&B in 1960, as is pop rocker Chubby Checker's number five hit "The Twist".[98][100] By the early 1960s, the music industry category previously known as rhythm and blues was being called soul music, and similar music by white artists was labeled blue-eyed soul.[101][94] Motown Records had its first million-selling single in 1960 with the Miracles' "Shop Around",[102] and in 1961, Stax Records had its first hit with Carla Thomas's "Gee Whiz (Look at His Eyes)".[103][104] Stax's next major hit, The Mar-Keys' instrumental "Last Night" (also released in 1961), introduced the rawer Memphis soul sound for which Stax became known.[105] In Jamaica, R&B influenced the development of ska.[106][107] In 1969, black culture and rhythm and blues reached another great achievement when the Grammys added the Rhythm and Blues category, giving academic recognition to the category.[citation needed] By the 1970s, the term "rhythm and blues" was being used as a blanket term for soul, funk, and disco.[108] 1980s to presentMain article: Contemporary R&BIn the late 1980s and early 1990s, hip-hop started to capture the imagination of America's youth. R&B started to become homogenized, with a group of high-profile producers responsible for most R&B hits. It was hard for R&B artists of the era to sell their music or even have their music heard because of the rise of hip-hop, but some adopted a "hip-hop" image, were marketed as such, and often featured rappers on their songs. In 1990, Billboard reintroduced R&B to categorize all of Black popular music other than hip-hop.[109] Newer artists such as Usher, R. Kelly, Janet Jackson, TLC, Aaliyah, Brandy, Destiny's Child, Tevin Campbell and Mary J. Blige enjoyed success. L.A. Reid, the CEO of LaFace Records, was responsible for some of R&B's greatest successes in the 1990s in the form of Usher, TLC and Toni Braxton. Later, Reid successfully marketed Boyz II Men.[110] In 2004, 80% of the songs that topped the R&B charts were also at the top of the Hot 100. That period was the all-time peak for R&B and hip hop on the Billboard Hot 100 and on Top 40 Radio.[111] From about 2005 to 2013, R&B sales declined.[112] However, since 2010, hip-hop has started to take cues from the R&B sound, choosing to adopt a softer, smoother sound that incorporates traditional R&B with rappers such as Drake, who has opened an entire new door for the genre. This sound has gained in popularity and created great controversy for both hip-hop and R&B as to how to identify it.[113] In 2010, the National Rhythm & Blues Hall of Fame was founded by LaMont "ShowBoat" Robinson.[114] Jewish influence in the business end of rhythm and bluesMain article: Jewish influence in rhythm and bluesAccording to the Jewish writer, music publishing executive, and songwriter Arnold Shaw, during the 1940s in the US, there was generally little opportunity for Jews in the WASP-controlled realm of mass communications, but the music business was "wide open for Jews as it was for blacks".[115] Jews played a key role in developing and popularizing African American music, including rhythm and blues, and the independent record business was dominated by young Jewish men who promoted the sounds of black music.[116] British rhythm and bluesMain article: British rhythm and blues Eric Burdon & the Animals (1964)British rhythm and blues and blues rock developed in the early 1960s, largely as a response to the recordings of American artists, often brought over by African American servicemen stationed in Britain or seamen visiting ports such as London, Liverpool, Newcastle and Belfast.[117][118] Many bands, particularly in the developing London club scene, tried to emulate black rhythm and blues performers, resulting in a "rawer" or "grittier" sound than the more popular "beat groups".[119] During the 1960s, Geno Washington, the Foundations, and the Equals gained pop hits.[120] Many British black musicians helped form the British R&B scene. These included Geno Washington, an American singer stationed in England with the Air Force. He was invited to join what became Geno Washington & the Ram Jam Band by guitarist Pete Gage in 1965 and enjoyed top 40 hit singles and two top 10 albums before the band split up in 1969.[121] Another American GI, Jimmy James, born in Jamaica, moved to London after two local number one hits in 1960 with The Vagabonds, who built a strong reputation as a live act. They released a live album and their studio debut, The New Religion, in 1966 and achieved moderate success with a few singles before the original Vagabonds broke up in 1970.[122] White blues rock musician Alexis Korner formed new jazz rock band CCS in 1970.[123] Interest in the blues would influence major British rock musicians, including Eric Clapton, Mick Taylor, Peter Green, and John Mayall, the groups Free and Cream adopted an interest in a wider range of rhythm and blues styles.[119] The Rolling Stones became the second most popular UK band (after the Beatles)[124] and led the "British Invasion" of the US pop charts.[119] The Rolling Stones covered Bobby Womack & the Valentinos'[125] song "It's All Over Now", giving them their first UK number one in 1964.[126] Under the influence of blues and R&B, bands such as the Rolling Stones, the Yardbirds, and the Animals, and more jazz-influenced bands like the Graham Bond Organisation and Zoot Money, had blue-eyed soul albums.[119] White R&B musicians popular in the UK included Steve Winwood, Frankie Miller, Scott Walker & the Walker Brothers, the Animals from Newcastle, [127] the Spencer Davis Group, and Van Morrison & Them from Belfast.[119] None of these bands exclusively played rhythm and blues, but it remained at the core of their early albums.[119] Champion Jack Dupree was a New Orleans blues and boogie woogie pianist who toured Europe and settled there from 1960, living in Switzerland and Denmark, then in Halifax, England in the 1970s and 1980s, before finally settling in Germany.[128] From the 1970s to 1980s, Carl Douglas, Hot Chocolate, Delegation, Junior, Central Line, Princess, Jacki Graham, David Grant, the Loose Ends, the Pasadenas and Soul II Soul gained hits on the pop or R&B charts.[129] The music of the British mod subculture grew out of rhythm and blues and later soul performed by artists who were not available to the small London clubs where the scene originated.[130] In the late 1960s, the Who performed American R&B songs such as the Motown hit "Heat Wave", a song which reflected the young mod lifestyle.[130] Many of these bands enjoyed national success in the UK, but found it difficult to break into the American music market.[130] The British white R&B bands produced music which was very different in tone from that of African-American artists.[119] The Miracles (also known as Smokey Robinson and the Miracles from 1965 to 1972) were an American vocal group that was the first successful recording act for Berry Gordy's Motown Records, and one of the most important and most influential groups in the history of pop, soul, R&B and rock and roll music.[1][2][3] The group's international fame in the 1960s, alongside other Motown acts, led to a greater acceptance of Rhythm & Blues and pop music in the U.S., with the group being considered influential and important in the development of modern popular music.[4] Referred to as Motown's "soul supergroup",[5][6] the Miracles recorded more than 50 chart hits, including 26 Top 40 pop hits, 16 of which reached the Billboard Top 20, seven Top 10 singles, and a number-one single ("The Tears of a Clown") while the Robinsons and Tarplin were members. Following the departure of Tarplin and the Robinsons, the rest of the group continued with singer Billy Griffin and managed by Martin Pichinson, who helped rebuild the Miracles. They scored two final Top 20 singles, "Do It Baby" and "Love Machine", a second No. 1 hit, which topped the charts before the group departed for Columbia Records in 1977. Recording as a quintet at Columbia with Billy's brother Donald Griffin replacing Marv Tarplin, after a few releases, they disbanded in 1978. In all, the group had more than fifty charted hits by the time they disbanded,[7] and have won numerous music industry awards, including four songs inducted into the Grammy Hall of Fame, several BMI and ASCAP Songwriters' Awards, and Induction into The Rock and Roll Hall of Fame. On the R&B charts, the Miracles scored 26 Top 10 Billboard R&B hits, with four R&B No. 1's, and 11 U.S. R&B Top 10 Albums, including two No. 1's. Bobby Rogers and Ronald White revived the group as a touring ensemble sporadically during the 1980s and again in the 1990s. Following White's death in 1995, Rogers continued to tour with different members until he was forced into retirement due to health issues in 2011, dying less than two years later. Smokey Robinson was inducted into the Rock and Roll Hall of Fame as a solo artist in 1987, and much controversy ensued over the Miracles' omission from the Hall. The Miracles were finally inducted into the Hall of Fame by lead singer Robinson in 2012. HistoryInitial career and successThe group that later became the Miracles was formed in 1955 by five teenage friends from Detroit, Michigan, under the name the Five Chimes.[8] Three of the founding members, Smokey Robinson, Warren "Pete" Moore, and Ronnie White, had been singing together since they each were around the age of eleven.[8] The group, influenced by acts such as Billy Ward and His Dominoes and Nolan Strong & the Diablos, featured Clarence Dawson and James Grice in the original lineup.[8] All of the group's original members attended Northern High School in Detroit.[8] After Dawson quit the group and Grice dropped out to get married, they were replaced by Emerson "Sonny" Rogers and his cousin Bobby and changed their name to the Matadors.[9] Coincidentally, both Smokey Robinson and Bobby Rogers were born in the same hospital on the same date (February 19, 1940), despite not actually meeting each other until they were fifteen.[8][10] In 1957, Sonny Rogers left to join the United States Army and Claudette Rogers, his sister, who had been singing with the sister group the Matadorettes, joined them shortly afterwards, and in 1958, the group became the Miracles.[9] Following two years of courtship, Smokey and Claudette married in November 1959. The group's extensive work with Berry Gordy and Tamla Records gave the parent label Motown Record Corporation its first million-selling hit record with the 1960 Grammy Hall of Fame smash, "Shop Around", and further established themselves as one of Motown's top acts with the hit singles "You've Really Got a Hold on Me", "What's So Good About Goodbye", "Way Over There", "I'll Try Something New", "Mickey's Monkey", "Going to a Go-Go", "(Come 'Round Here) I'm the One You Need", "The Love I Saw in You Was Just a Mirage", "If You Can Want", "More Love", "I Don't Blame You at All", "Ooo Baby Baby", the multi-award-winning "The Tracks of My Tears", "My Girl Has Gone", "Special Occasion", "I Second That Emotion", "Baby Baby Don't Cry", the number-one Pop smashes "The Tears of a Clown" and "Love Machine", "Do It Baby", and "That's What Love Is Made Of", among numerous other hits. The group auditioned for Brunswick Records in front of Alonzo Tucker (an original member of the Midnighters who had since left the group to join Jackie Wilson's management team),[11][12] Nat Tarnopol (Jackie Wilson's manager) and one of the label's staff songwriters, Berry Gordy, who remained quiet during the audition.[13] Tucker was unimpressed by the audition, stating that because there was the Platters that "there couldn't be two groups in America like that with a woman in the group."[13] After the Tarnopol and Tucker rejection, Gordy followed them and soon agreed to work with the group after discovering Robinson's notebook full of songs he had written and having been impressed with Robinson's singing voice.[13][14] Gordy recorded their first single, "Got a Job", an answer song to the Silhouettes' "Get a Job" in January 1958.[14][9] Gordy shortly thereafter struck a deal with George Goldner's End Records to distribute the single.[9] Before the song was released, the group changed their name to the Miracles, taking it from the moniker "Miracletones", with the "'Tones" taken out.[9] This first Miracles' single became a Top 10 National R&B Hit, peaking at #5, although it missed the Pop Hot 100. (see Miracles' Discography) .After earning only $3.19 for his production success, Gordy was told by Robinson to form his own label, which Gordy did, forming Tamla Records in 1959.[14][15] One of the Miracles' first Tamla singles, the ballad "Bad Girl", became the Miracles' first song to chart on the Billboard Hot 100 Pop chart that October when it was licensed to and issued nationally by Chess Records.[13] The next Miracles song, "It", was credited to "Ron & Bill", in a duet between White and Robinson, and was released on Tamla and nationally picked by Chess subsidiary Argo Records.[16] Following a dismal reception at the Apollo Theater in 1959, Robinson recruited guitarist Marv Tarplin to join them on a few touring dates after Tarplin played with the Primettes (later the Supremes), with Tarplin officially joining the Miracles shortly afterwards.[16] The addition of Tarplin was the final element in making the Miracles' "classic lineup" complete.[17] In 1960, the Miracles reached the charts with "Way Over There", their second national hit, which Robinson wrote and based on the Isley Brothers' "Shout".[16] Later that year, the Miracles released "Shop Around", backed with "Who's Lovin' You", which became the group's first smash hit, reaching number one on the R&B charts, number two on the Billboard Hot 100, and number one on the Cash Box Magazine "Top 100" Pop Chart, and was the first Motown single to sell a million copies. Both sides of this record became classics, and standards for R&B and rock musicians alike for several decades afterwards. As a result of this success, the Miracles became the first Motown act to appear on Dick Clark's "American Bandstand" on December 27, 1960.[18] The Miracles had modest success with their next few singles, including "Ain't It Baby", "Mighty Good Lovin'", "Brokenhearted" and "Everybody's Gotta Pay Some Dues", as 1961 continued. During this early period, the group suffered some problems as Robinson caught Asian Flu and had to be bedded for a month,[19] leaving wife Claudette Robinson to lead the Miracles on tour until he recovered. Claudette herself had her share of problems, having suffered her first miscarriage that occurred after a car accident and Pete Moore was drafted to serve in the United States Army.[19][20] The group's next charted successes included "What's So Good About Goodbye", and the string-laden "I'll Try Something New".[21] The Miracles have been awarded many top music industry honors over the years. In 1997, the group received the Pioneer Award at the Rhythm and Blues Foundation for their musical achievements.[22] Four years later, in 2001, they were inducted to the Vocal Group Hall of Fame.[23] In 2004, they were ranked No. 32 on the Rolling Stone magazine's list of The 100 Greatest Artists of All Time, retaining that same position seven years later, in 2011.[24] Four of their hit songs were inducted into the Grammy Hall of Fame (The most of any Motown group). In 2009, the group received a star on the Hollywood Walk of Fame. Throughout their careers, the Miracles were also enshrined with honors for their songwriting by both BMI and ASCAP.[25][26] In 2008, Billboard listed them at No. 61 on their 100 most successful Billboard artists ever list.[27] "The Showstoppers"The group reached the Top 10 again with "You've Really Got a Hold on Me" (another Grammy Hall of Fame-inducted hit) in 1962, featuring lead vocals by Smokey Robinson and Bobby Rogers. (This song actually began life as the "B" side to the group's intended "A" side, "Happy Landing", but the nation's Dee Jays flipped the song over, because they liked "Hold on Me" better). The Miracles hit the Top 10 still a third time the following year with the Holland-Dozier-Holland-written-and-produced song "Mickey's Monkey". The group's exciting live performances were so well received, they were often referred to as "The Showstoppers".[28][29] The Miracles' success paved the way for all future Motown stars, and, as Motown's first group, they would serve as the prototype for all other Motown groups to follow. The Miracles had become a national sensation, and their success catapulted them to the position of Motown's top-selling act, making them headliners at the nationwide Motortown Revue package touring shows, which showcased Motown artists, and that started around late 1962. The Miracles were also the first Motown act to receive coaching and instruction from famed choreographer Cholly Atkins, who had previously worked with Little Anthony & the Imperials, the Cadillacs, and future Motown act Gladys Knight & the Pips. (Bobby Rogers, the Miracles' best dancer, did choreography for the group prior to Atkins' arrival).[30][31] Through his association with the Miracles, Atkins came into Motown at their insistence, and soon became the official in-house choreographer for all of the company's acts, including the Temptations, the Marvelettes, the Four Tops, the Contours, Martha & the Vandellas, and the Supremes.[32][33] SongwritingIn addition to penning their own material, Miracles Robinson, White, Rogers, Tarplin, and Moore wrote for many of their labelmates as well. Motown hits written, but not recorded, by members of the Miracles include songs for the Temptations ("The Way You Do The Things You Do", "My Girl", "Don't Look Back", "Since I Lost My Baby", "It's Growing", "Get Ready", "My Baby"), Mary Wells ("My Guy", "The One Who Really Loves You", "What Love Has Joined Together", "Two Lovers"), Marvin Gaye ("I'll Be Doggone", "Ain't That Peculiar", "One More Heartache"), the Marvelettes ("Don't Mess With Bill", "My Baby Must Be a Magician", "The Hunter Gets Captured by the Game"), The Contours ("First I Look at the Purse"), and Brenda Holloway ("When I'm Gone"). Unlike other Motown artists, whose songs were written for them by staff songwriters, the Miracles were one of the few Motown acts that composed their own songs, adding to the group's already impressive reputation.[34] Around 1964, Smokey Robinson became Motown's vice president, while the other members of the Miracles also began to work staff jobs with the company. Smokey and Claudette Robinson made plans to begin a family, but the rough life of touring caused Claudette to have several miscarriages. In early 1964, Claudette decided to retire from the road and remain at home in Detroit after another miscarriage, her sixth. From this point on, Claudette did not tour with the Miracles or appear in any official group photographs or on television, although she remained as a non-touring member of the Miracles, and continued to sing backup with the group in the studio until 1972. [35][36][37] After Claudette Robinson's departure, the remaining Miracles appeared on the T.A.M.I. Show, a landmark 1964 concert film released by American International Pictures[38] that included performances by numerous popular rock and roll and R&B musicians from the United States and England, filmed and recorded live at the Santa Monica Civic Auditorium on October 28 and 29, 1964.[39] This film had theatrical release in theatres across the United States, and also included performances by fellow Motown artists the Supremes and Marvin Gaye, along with Chuck Berry, Lesley Gore, the Beach Boys, the Rolling Stones, and James Brown and the Famous Flames. The Miracles' performance was one of the show's highlights, called "athletically electrifying" by critics.[40][41][42] Miracles chart hit singles that year included "That's What Love Is Made Of" and "I Like It Like That". In early 1965, the group released Motown Records' first double album, The Miracles Greatest Hits from the Beginning, which was a success on Billboard's Pop and R&B Album Charts. Also in 1965, the Miracles released their landmark Top 10 album, Going to a Go-Go, under the new group name of Smokey Robinson and the Miracles. This album launched four Top 20 singles into the Billboard Hot 100, including the landmark million-selling Grammy Hall of Fame single, "The Tracks of My Tears", "Ooo Baby Baby", "Going to a Go-Go" and "My Girl Has Gone", all of which became Top 10 R&B hit singles as well. During this period, their music had also made its way abroad, influencing several British groups along the way.[43][44] The effects of this influence soon became even more pronounced when the Beatles, the Hollies, the Zombies, the Who, and the Rolling Stones all began recording covers of Miracles hits. Members of the Beatles, in particular, publicly stated that the music of the Miracles had greatly influenced their own.[44] Around this time, the group had begun performing in nightclubs and other high-profile venues after years on the Chitlin' Circuit. According to an Ebony article on the group, the group began grossing $150,000 a year due to royalties and personal investments.[45] They also were making between $100,000 and $250,000 for nightly shows.[45] In addition, the Miracles appeared on many of the popular variety television programs of the period, including The Ed Sullivan Show, Shindig!, Hullabaloo, American Bandstand, Where The Action Is, The Mike Douglas Show, The Andy Williams Show,Teen Town,Hollywood A Go-Go, Upbeat, and Britain's Ready Steady Go!. The Miracles' success continued with several hits including "(Come 'Round Here) I'm the One You Need", "More Love", "Special Occasion", "If You Can Want", and the Top 10 hit "I Second That Emotion". Around this time, the group was starting to be billed as Smokey Robinson and the Miracles on several of their albums. The name change did not appear on their singles until the release of "The Love I Saw in You Was Just a Mirage", a Top 20 hit released in 1967. On that song's flipside was the tune "Come Spy with Me". The Miracles sang the original theme to the 1967 20th Century Fox film of the same name.[46][47][48] The year 1968 brought a second "greatest hits" collection, The Miracles Greatest Hits, Vol. 2, which was the group's second Top 10 album, which featured the most popular singles from their successful Going to a Go-Go, Away We A Go-Go and Make It Happen albums of the 1965–67 period. Also in 1968, the group released their hit album Special Occasion which spawned three Top 40 singles, including the smash "If You Can Want", which the group performed on their first appearance on CBS' The Ed Sullivan Show, at the time considered television's top talent and entertainment showcase. The Miracles performing on The Smokey Robinson Show, a 1970 ABC Television special. (L-to-R) Bobby Rogers, Smokey Robinson, Ronnie White.(Pete Moore was sidelined with a leg injury)However, due to constant changes in the music industry and Motown, by 1969, Smokey Robinson sought to leave the Miracles and the stage, to settle for continued work as Motown's vice president as well as become more of a family man to his wife Claudette and their children. The year 1969 had brought a second Ed Sullivan Show appearance for the group, singing their then-current singles "Doggone Right", and their hit cover of Dion's "Abraham, Martin and John".[49] Robinson's departure plans however, were thwarted after the group's 1969 song "Baby Baby Don't Cry" hit the Billboard Pop Top 10, and when the Miracles' 1967 song, "The Tears of a Clown",(their fourth Grammy Hall of Fame-inducted hit) was released as a single in 1970, it became a number-one hit in the UK. It was subsequently released in the U.S., where it duplicated its U.K. success, reaching number 1 on the Billboard Hot 100 Pop Chart and selling over 3 million copies.[50] As a result, the Miracles became hotter than ever, and Robinson decided to stay with the group for another two years. In 1970, the group were given their own ABC television special, The Smokey Robinson Show, which starred the Miracles, with guest stars the Supremes, the Temptations, Stevie Wonder, and Fran Jeffries.[51][52][53] In 1971, they scored one more Top 20 hit with 1971's "I Don't Blame You at All".[54] In 1972, Robinson made good on his promise to leave the Miracles, starting a six-month tour which ended in July 1972 at Washington, D.C., later introducing Billy Griffin as his official replacement. This series of final live Miracles concerts with Robinson was released by Motown on the double album Smokey Robinson & The Miracles: 1957–1972 (Tamla TS320). About that final tour, Miracle Pete Moore stated: "We had 12 farewell engagements playing to sold-out houses. It was amazing."[55] Also released that year was the group's last studio album with Smokey, Flying High Together, with its lead single "We've Come Too Far to End It Now" reaching the Billboard R&B Top 10 (their 23rd visit to the Top 10 of that chart). After Smokey's retirement, Billy Griffin was introduced to national television audiences on NBC's The Midnight Special, on an episode guest-starring the Miracles and hosted by Smokey Robinson, broadcast on July 13, 1973.[56][57] Within a year afterwards, Marv Tarplin also decided to leave the group and continued working with Robinson on his solo material, while Claudette, who had essentially retired from the Miracles' live performances in 1963, permanently left the Miracles when her husband Smokey did, retiring from recording with them as well. Later careerIn 1973, the Miracles, with Griffin, re-emerged with the critically acclaimed album, Renaissance – their first without Smokey Robinson on lead vocals, which included the Marvin Gaye composition, "I Love You Secretly", "What Is a Heart Good For" (the intended first single),[58][59] and the charting single,"Don't Let It End (Til You Let It Begin)". The following year, in 1974, after releasing the much-covered single "Give Me Just Another Day", the group had their first Top 20 hit in three years with the million-selling funk song, "Do It Baby".[60][61] This was followed by the Top 10 R&B hit, "Don't-Cha Love It".[62] Late that following year, the group recorded the disco smash, "Love Machine", which came off their self-written-and-produced hit album, City of Angels. "Love Machine" reached number-one on the Hot 100 in early 1976, the Miracles' first since "Tears of a Clown", and later sold over 4.5 million copies.[63] The Miracles, who had long been written off by the music industry, had proven that they could have big hits without Robinson. Despite this success, however, in 1976, the Miracles' relationship with Motown imploded during contract renewals after their contract with the label had expired.[64] When Motown, then going through a contract issue with Stevie Wonder, advised the group to wait "six months" to discuss a new contract, the group took on an offer to sign with Columbia Records, signing with them in 1977.[64] Following this, Billy's brother Donald joined them on lead guitar, replacing Marv Tarplin. The group immediately had problems after signing with Columbia, starting with the release of their first Columbia single, "Spy For Brotherhood". Expecting controversy from the single as well as possible threats from the FBI, Columbia pulled the song from the airwaves.[65][66] The group failed to have a hit during their short Columbia run and in 1978, Pete Moore decided to retire from the road while Billy Griffin wanted to return to his solo career, leading to the group to disband.[64] In 1980, Ronnie White and Bobby Rogers decided to carry on with the Miracles as a touring unit replacing Pete Moore and Billy Griffin with Dave Finley and Carl Cotton, which carried on for three years as "The New Miracles".[64] This version of the Miracles was short-lived though after White decided to retire from show business following the death of his wife Earlyn, who died from breast cancer in 1983, disbanding the group again. Around this same time, most of the original Miracles including Smokey Robinson and Claudette Robinson as well as Pete Moore, Marv Tarplin, and Bobby Rogers reunited to perform a medley of their songs on the 1983 NBC television special, Motown 25: Yesterday, Today, Forever. Ron White was attending his wife Earlyn's funeral around this time, and did not participate in the reunion. Following his exit from the Miracles, Smokey Robinson enjoyed a successful solo career; in 1979, he and Tarplin co-wrote his signature hit, "Cruisin'". Following his reunion with the original Miracles on Motown 25, Robinson became dependent on cocaine, which affected his life and career. He broke the addiction in the late 1980s and revived his singing career, with the Grammy-winning Top 10 hit single, "Just to See Her".[67][68] In 1986, Smokey's marriage with Claudette Robinson ended in divorce while Bobby's marriage to Marvelettes member Wanda Young ended in 1975. After the release of a 35th anniversary commemorative compilation album in 1993, Ronnie White and Bobby Rogers decided to regroup the Miracles yet again, with Dave Finley returning to the fold and Sidney Justin, a former NFL player and former member of Shalamar, as lead singer. Rogers replaced Justin with Mark Scott, who toured the world as lead singer of the group. Both Justin and Scott[69] lead separate Miracles groups. Two years later, Ronnie White died from a longtime bout with leukemia, leaving the remaining Miracles as a trio until Tee Turner joined the group in 2001. Following White's death in 1995, Rogers continued to tour with different members. In 2009, the group received a star on the Hollywood Walk of Fame with Bobby Rogers, Berry Gordy, Smokey Robinson, Stevie Wonder, Pete Moore, Claudette Robinson, and Billy Griffin in attendance.[70][71] Following another PBS appearance, Rogers was forced into retirement due to health issues, dying less than two years later.[63] Bobby Rogers died in March 2013, two weeks after his 73rd birthday. Pete Moore died on November 19, 2017, his 79th birthday.[72] Former members Carl Cotton, Marv Tarplin and Donald Griffin are also deceased (in 2003, 2011, and 2015 respectively).[73][74][75] Accolades, awards and honorsDuring their tenure, the Miracles were awarded several times for their songwriting work from both the BMI and ASCAP songwriting and licensing organizations.[25][26] In 1997, the Miracles were honored by the Rhythm and Blues Foundation with the Pioneer Award for their contributions to music.[22] In 2001, the group was inducted to the Vocal Group Hall of Fame.[23] Three years later, the Miracles were included in Rolling Stone's list of the 100 Greatest Artists of All Time at No. 32, still holding to that position in a revised 2011 edition, making the Miracles the highest-ranking Motown group on the Rolling Stone listing. In both editions, they were immortalized by rock musician Bob Seger, who grew up a Miracles fan.[24] In 2006, Woodbridge Estates, an exclusive residential development in Detroit, named their community park "Miracles Park" and one of its streets "Miracles Boulevard", in recognition of the legendary Motown group's importance to the city, and as a tribute to their many accomplishments in the music industry.[25][76] In June 2006, the Miracles were voted into the Michigan Rock and Roll Legends Hall of Fame.[77] In 2009, all the known members of the group (including Billy Griffin) were honored with a star on the Hollywood Walk of Fame, attended by Berry Gordy and Stevie Wonder, who thanked the Miracles (in particular Ronnie White, who had brought the then 11-year-old to Motown's studios), for discovering him.[78] Wonder stated: "Were it not for the Miracles, there would not be a Stevie Wonder".[79] Gordy added that without the Miracles, "Motown would not be the Motown that it is today."[80][81] Also in 2009, Motown released a special two-CD compilation: The Miracles – Depend on Me: The Early Albums, a collection consisting of the group's first five albums. In 2011, the Miracles were inducted to the Doo-Wop Hall of Fame.[82] That same year, Goldmine magazine named them as one of the 10 greatest doo-wop groups of all time.[83] In 2015, the Miracles were inducted into The National Rhythm & Blues Hall of Fame in Detroit, Michigan.[84] On their website, it is stated that the Miracles' exclusion from the Rock and Roll Hall of Fame was "outrageous", pointing out Robinson's solo induction went against its own rules. Robinson had only spent 14 years as a solo performer, and his name was not in front of the group's until 1967. It further stated the Miracles were "the heartbeat of Motown in the 1960s, one of the best vocal groups ever formed and owners of some of the greatest records Rock has ever produced."[85] It was also stated that with the Miracles' induction, the Hall of Fame "remedied its most shameful chapter and the biggest miracle is it took this long to do it." In May 2016, The National Academy of Recording Arts and Sciences paid tribute to the Miracles with a special year-long career retrospective of the group at The Grammy Museum in Los Angeles entitled "Legends of Motown: Celebrating the Miracles", highlighting their groundbreaking history and accomplishments as Motown's first recording artists, with appearances by original Miracles Claudette Rogers-Robinson and Pete Moore. The Miracles are four-time Grammy Hall of Fame inductees. At this special showing, as an expression of her gratitude, Ms Robinson stated: "It is my honor to be recognized by the GRAMMY Museum's Legends of Motown series. I am very grateful that the GRAMMY Museum has provided a platform for fans to experience the history of the Miracles and include items from my private collection to be displayed. The Miracles along with Mr. Berry Gordy and Motown have become a part of musical history that changed the landscape of popular music, soul and R&B to foster positive and progressive race relations in America and around the world. Thank you for the amazing opportunity."[86][87][88][89] In a tribute to Motown's first group, Martha Reeves of Martha and the Vandellas stated: "In Liverpool they have a statue of the Beatles. Someplace in Detroit there should be a statue of (Smokey Robinson and) the Miracles."[90] The 1987 Rock Hall controversy and 2012 inductionIn 1987, former Miracles lead singer Smokey Robinson was inducted to the Rock & Roll Hall of Fame as a solo artist, without his fellow Miracles, which Robinson expressed deep regret and disappointment that his group-mates were not inducted with him.[91][92][93][94] This solo induction triggered shockwaves and cries of protest throughout the music industry.[95][96][97][98] In an article in the oldies music magazine Goldmine, editor Phil Marder stated: "How did Smokey Robinson get inducted without (the rest of) the Miracles?" "Robinson certainly deserves solo induction due to his songwriting, producing, solo career and his contributions in many official capacities in Motown’s front office. But if the Supremes got in with Diana Ross and the Vandellas made it in with Martha Reeves and the three other Tops made it in with Levi Stubbs, how could the Miracles, who were much more important, not get in with Smokey?"[95] Miracles bass singer Pete Moore told the Cleveland Plain Dealer: "It was a slap in the face, very disappointing. We are the premier group of Motown. We were there before there even was a Motown. We set the pace for all the other artists to come after us. We were a little older, and the other artists looked up to us. How could we not be in there?" Moore later stated, "When Terry Stewart [Rock Hall president and CEO] called and told me we were to be inducted, he was apologetic," Moore said. "He said it should have been done years ago, everybody knew it. He said they received many, many calls over the years from angry (Miracles) fans."[63] Robinson had told Billboard that he had been lobbying for the Miracles since his own induction, "making calls and signing petitions and everything, because they really deserve it." Though some felt Robinson should have been included as an inductee with the other Miracles, Robinson said: "I don't really even care about that. I'm already in there. I don't understand why it was, like, a task to get the Miracles in there. We were one of the hottest and most prolific groups in the world at that time, so I don't understand the hesitancy."[99] Claudette Robinson stated, "When I spoke to (Rock and Roll Hall of Fame & Museum President and CEO) Terry Stewart, he said he got no less than 900 e-mails per day saying the Miracles should be inducted, and why aren't they? I was surprised by that. I would think five or 10, but he said that amount, so it's a lot of people that were really pulling for us. You have to be thankful and grateful for that."[99] However, before this decision, Miracle Marv Tarplin died in September 2011 at the age of 70, just months before the induction ceremony.[100] The Miracles were inducted into the Rock and Roll Hall of Fame as part of the class of 2012 along with five other groups whose leader had been inducted as a solo artist.[101] Upon their induction, Claudette Robinson told Billboard: "I didn't think it would happen in my lifetime. For the longest time so many people have put in their comments and tried so hard for us to be inducted, and there was always a reason we weren't. So I was a little shocked when they called and said it would happen."[102] Robinson was selected as the induction speaker for the Miracles and the other five groups.[102] The inducted members were original members Claudette Rogers-Robinson, Pete Moore, Bobby Rogers, Ronnie White (posthumously), and Marv Tarplin (posthumously).[103][104] LegacyThe Miracles and their music have had worldwide impact, influencing scores of artists of many different musical genres around the globe. The original lineup of the group has consistently been revered by several critics in major rock and music magazines and have received numerous honors and awards for their contributions to the music industry. One of their most honored songs, "The Tracks of My Tears", was included in the United States Library of Congress' National Recording Registry because of its "culturally, historically and aesthetically significance" in 2008. It was also chosen as one of the Top 10 Best Songs of All Time by a panel of 20 top industry songwriters and producers including Hal David, Paul McCartney, Brian Wilson, Jerry Leiber, and others as reported to Britain's Mojo music magazine,[105] and was also winner of "The Award of Merit" from The American Society of Composers, Authors, and Publishers (ASCAP) for the song's writers, Miracles members Pete Moore, Marv Tarplin and Smokey Robinson.[25] In addition, "The Tracks of My Tears" has been ranked by the Recording Industry Association of America and The National Endowment for the Arts at No. 127 in its list of the Songs of the Century – the 365 Greatest Songs of the 20th Century.[106] And in 2021,Rolling Stone Magazine selected The Miracles'"The Tracks of My Tears"as "The Greatest Motown Song of All Time."[107] Their hit-filled 1965 album, Going to a Go-Go is listed on Rolling Stone Magazine's list of "The 500 Greatest Albums of All Time".[108] Four of the group's songs were inducted into the Grammy Hall of Fame including "You Really Got a Hold on Me", "Tears of a Clown", "Shop Around" and "Tracks of My Tears". In addition, "You Really Got a Hold on Me", "Going to a Go-Go", "Shop Around" and "Tracks of My Tears" were inducted to the Rock & Roll Hall of Fame as part of their list of The 500 Songs That Shaped Rock and Roll.[109] In addition, The Miracles hit — “The Tracks of My Tears,” has been selected by the National Recording Preservation Board for the United States Library of Congress’ National Recording Registry, which honors and preserves culturally, historically and aesthetically significant American recordings.[110] The group was also ranked No. 61 on VH-1's 100 Greatest Rock Stars of All Time in 1998 while also ranking at No. 71 on Billboard's 100 Greatest Artists of All Time in 2008.They have also been inducted into the Hit Parade Hall of Fame as of 2014.[111][112] and the R&B Music Hall of Fame in 2015. Commenting to Rolling Stone Magazine, Bob Seger said: "I used to go to the Motown Revues, and the Miracles always closed the show. They were that good, and everybody knew it."[24] Producer Quincy Jones called the group the "Beethovens of The 20th Century" due to their songwriting talents.[113] In addition, the Miracles have been regarded as the most covered act in Motown's roster and have influenced numerous artists worldwide in the last 50 years.[114][115] The success of the Miracles actually launched the Motown Records label, and, according to Motown Records founder, Berry Gordy, without the Miracles, the Motown Record Corporation would not have been possible.[7][116] Cover versions and influenceMain article: List of cover versions of Miracles songsAwards and achievementsMain article: List of The Miracles awards and achievementsMembersMain article: List of Miracles group membersOriginal members: Claudette Rogers Robinson (1957–1972, 1983, occasional appearances between 1993 and 2011)Ronald "Ronnie" White (1955–1978, 1980–1983, 1993–1995) died 1995Robert "Bobby" Rogers (1955–1978, 1980–1983, 1993–2011) died 2013Warren "Pete" Moore (1955–1978) died 2017William "Smokey" Robinson, Jr. (1955–1972, 1983)Marv Tarplin (1958–1973) died 2011DiscographyMain article: The Miracles discographyThe Miracles Hi... We're the Miracles (1961)Cookin' with the Miracles (1961)I'll Try Something New (1962)The Fabulous Miracles (1963)The Miracles Doin' Mickey's Monkey (1963)I Like It Like That (1964)Smokey Robinson & the Miracles Going to a Go-Go (1965)Away We a Go-Go (1966)Make It Happen (1967) (Reissued in 1970 as The Tears of a Clown)Special Occasion (1968)Time Out for Smokey Robinson & The Miracles (1969)Four in Blue (1969)What Love Has...Joined Together (1970)A Pocket Full of Miracles (1970)The Season for Miracles (1970)One Dozen Roses (1971)Flying High Together (1972)The Miracles Renaissance (1973)Do It Baby (1974)Don't Cha Love It (1975)City of Angels (1975)The Power of Music (1976)Love Crazy (1977)The Miracles (1978) Motown is an American record label owned by the Universal Music Group. It was founded by Berry Gordy Jr. as Tamla Records on January 12, 1959,[2][3] and incorporated as Motown Record Corporation on April 14, 1960.[4] Its name, a portmanteau of motor and town, has become a nickname for Detroit, where the label was originally headquartered. Motown played an important role in the racial integration of popular music as an African American-owned label that achieved crossover success. In the 1960s, Motown and its subsidiary labels (including Tamla Motown, the brand used outside the US) were most of the Motown sound, a style of soul music with a mainstream pop appeal. Motown was the most successful soul music label, with a net worth of $61 million. During the 1960s, Motown achieved 79 records in the top-ten of the Billboard Hot 100 between 1960 and 1969. Following the events of the Detroit Riots of 1967, and the loss of key songwriting/production team Holland–Dozier–Holland that year over pay disputes, Gordy moved Motown to Los Angeles, California. Motown 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.[2] 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.[5][6][7] 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.[1] In 2018, Motown was inducted into Rhythm and Blues Music Hall of Fame in a ceremony held at the Charles H. Wright Museum.[8] In 2021, Motown separated from the Capitol Music Group to become a standalone label once again.[9] On November 29, 2022, Ethiopia Habtemariam announced that she would be stepping down as chairwoman/CEO of Motown.[10] As of 2023, the label has many acts signed such as City Girls, Diddy, Migos, Lil Baby, Lil Yachty, Smino, Vince Staples, YoungBoy Never Broke Again, and several other artists in the hip-hop and R&B genres. HistoryBeginnings of MotownBerry 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. (The Gordys were an entrepreneurial family.) 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 famed singer), 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 and Billy Davis—who wrote songs for Wilson. "Reet Petite" was their first major hit which appeared in November 1957.[11] 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.[12] 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[13]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" 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.[14] In 1958, Gordy wrote and produced "Come to Me" for Marv Johnson. 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.[14] Needing $800 to cover his end of the deal, Gordy asked his family to borrow money from a cooperative family savings account.[15] After some debate, his family agreed, and in January 1959 "Come to Me" was released regionally on Gordy's new Tamla label.[16] Gordy originally wanted to name the label Tammy Records, after the hit 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] 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.[16] 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.[17] Gordy looked toward creative self-sufficiency and established the publishing firm 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.[18] 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.[18] 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.[19] Smokey Robinson became the vice president of the company (and later named his daughter "Tamla" and his son "Berry"). Several of 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), 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.[citation needed] West Grand BoulevardThe 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 Publishing office, 1961 – sales, billing, collections, shipping, and public relationsBerry Gordy Jr. Enterprise, 1962 – offices for Berry Gordy Jr. and Esther Gordy EdwardsFinance department, 1965 – royalties and payrollArtist 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 studiosTwo houses for administrative offices, 1966 – sales and marketing, traveling and traffic, and mixing and masteringITMI (International Talent Management Inc.) office, 1966 – managementMotown had hired over 450 employees and had a gross income of $20 million by the end of 1966. Detroit: 1959–1972Early 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 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 pop hit, "Please Mr. Postman".[15] 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 top 10 hits. Top artists on the Motown label during that period included the Supremes (initially including Diana Ross), 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, the Monitors, and Chris Clark. A fifth label, Soul, featured Jr. Walker & the All Stars, Jimmy Ruffin, Shorty Long, the Originals, and Gladys Knight & the Pips (who had found success before joining Motown, as "The Pips" on Vee-Jay). Many more Motown-owned labels released recordings in other genres, including Workshop Jazz (jazz) 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 the eponymous band, explored blues-oriented and progressive rock styles.[20] 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: 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.[21] Berry Gordy House, known as Motown Mansion in Detroit's Boston-Edison Historic District[22]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 then-husband Marvin Gaye (where photos for the cover of his album What's Going On were taken).[22] In 1968, Gordy purchased the Donovan building on the corner of Woodward Avenue and 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 (only the Miracles' "Shop Around"/"Who's Lovin' You" and "Ain't It Baby"), then Fontana ("Please Mr. Postman" by the Marvelettes was one of four) and then Oriole American ("Fingertips" by Little Stevie Wonder was one of many). In 1963, Motown signed with EMI's 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). Los Angeles: 1972–1998After 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, 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 (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. The company moved all of its operations to Los Angeles in June 1972, with a number of artists, among them Martha Reeves, the Four Tops, Gladys Knight & the Pips, and many of the Funk Brothers studio band, either staying behind in Detroit or leaving 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 (1972), and Mahogany (1975). Other Motown films would include Scott Joplin (1977), Thank God It's Friday (1978), 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."[23] 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 Poly circuit, the students wanted me to play Spooky Tooth and Velvet Underground. Things don't change. Nowadays, of course, Motown is hip."[24] 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.[25] Gordy continued to retain the Jobete music publishing catalog, selling it separately to EMI Music Publishing in parts between 1997 and 2004.[26] 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 served as president. Final years of the Motown label: 1999–2005By 1998, Motown had added stars such as 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, 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 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. Universal Motown: 2005–2011Further information: Universal Motown RecordsIn 2005, Massenburg was replaced by Sylvia Rhone, former CEO of Elektra Records. Motown was merged with 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 and included Stevie Wonder, Smokey Robinson, the Temptations, Aretha Franklin and Kid Rock.[27][28] Relaunch: 2011–presentIn 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.[5][7] Artists from Universal Motown were transferred to the newly revitalized Motown label.[6] 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.[29][30] 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.[31] Motown would then begin serving as a subsidiary of Capitol Records.[32] 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.[33] RosterSee also: List of Motown artistsCurrentArtistsYear signedReleases (under the label)NotesErykah Badu20006Kem20036Ne-Yo20125Jointly with CompoundLil Yachty20168Jointly with Quality Control Music and Capitol RecordsOffset20172Jointly with YRN The Label (formerly with Quality Control Music and Capitol Records)Quavo3Jointly with YRN The Label, Quality Control Music (formerly with Capitol Records)Takeoff2Migos2City Girls20182Jointly with Quality Control Music and Capitol RecordsLil Baby[34]4Bree Runway20191Jointly with Motown UK and EMILayton Greene1Jointly with Quality ControlEmanuel[35]20201Jointly with Universal Music CanadaJoy Denalane1TheHxliday[36]2Ted When[37]2Jointly with Blacksmith EntertainmentTiana Major93Jointly with Zero Point NineTiwa Savage1Jointly with Universal Music South AfricaBankroll Freddie20212Jointly with Quality ControlDuke Deuce[38]3Vince Staples2Jointly with BlacksmithHd4president[39]2Jointly with The Affiliate NationMalachiii[40]1Jointly with You'll Find OutDQ1Jointly with Puzzlepiece and Zoe BoiMeechy Baby[41]2Jointly with Never Broke AgainBrandy[42]20221 (singles)Jointly with Brand NuDiddy[43]2 (singles)Jointly with Love RecordsLakeyah[44]2Jointly with Quality ControlLeon Thomas III[45]3 (singles)Jointly with EZMNY RecordsP Yungin[46]2Jointly with Never Broke AgainSmino[47]2Jointly with Zero FatigueYoungBoy Never Broke Again[48]20233Jointly with Never Broke AgainNOBY[49]1 (singles)Motown soundMotown soundStylistic originsPopsoulCultural origins1960s, Detroit, MichiganSubgenresSoul metal,[50] pop-soulOther topicsNorthern soul, rare grooveMotown 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 used tambourines to accent the back beat, prominent and often melodic electric bass-guitar lines, distinctive melodic and chord structures, and a call-and-response singing style that originated in gospel music. In 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".[51] Pop production techniques such as the use of orchestral string sections, charted horn sections, and carefully arranged background vocals were also used. Complex arrangements and elaborate, melismatic vocal riffs were avoided.[52] Motown producers believed steadfastly in the "KISS principle" (keep it simple, stupid).[53] 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". 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 and Eddie Holland). Other important Motown producers and songwriters included Norman Whitfield, William "Mickey" Stevenson, Smokey Robinson, Barrett Strong, Nickolas Ashford & Valerie Simpson, Frank Wilson, Pamela Sawyer & Gloria Jones, James Dean & William Weatherspoon, Johnny Bristol, Harvey Fuqua, Gil Askey,[54] 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: 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, New York, L.A.—almost every big city. And we still got the sound.[55] The Funk BrothersMain article: The Funk BrothersIn 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, and Joe Hunter; guitarists Ray Monette, Joe Messina, Robert White, and Eddie Willis; percussionists Eddie "Bongo" Brown and Jack Ashford; drummers Benny Benjamin, Uriel Jones, and Richard "Pistol" Allen; and bassists James Jamerson and Bob Babbitt. The band's career and work is chronicled in the 2002 documentary film Standing in the Shadows of Motown, 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".[56] Ashford later played on Raphael Saadiq's 2008 album The Way I See It, whose recording and production were modelled after the Motown sound.[57] 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.[56] 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.[56] Artist developmentArtist 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.[58] 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.[59] 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 labelsIn 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. Major divisionsTamla 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 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.[60][61] 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 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, and DeBarge. Gordy Records slogan: "It's What's in the Grooves that Counts".[62] One of Tamla Motown logosTamla 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).Secondary R&B labelsCheck-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.[63]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, Commodores (their first two singles in 1972 and 1973), 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.[64] 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, 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, the Monitors, the Elgins and 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'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.[65] The name "Weed Records" is now owned by the Tokyo/New York-based Weed Records.Additional genre labelsCountryMel-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.[66] 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.[67] The Mel-o-dy, Hitsville, and M.C. catalogs are now managed by Mercury Nashville Records.Hip hop/rapWondirection 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 by Tha Mexakinz,Trendz by Trendz of Culture and Rottin ta da Core by Rottin Razkals.JazzWorkshop Jazz Records.: Motown's jazz subsidiary, active from 1962 to 1964. Notable Workshop Jazz artists included the George Bohannon Trio, 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, 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.RockRare Earth Records.: Established in 1969 after the signing of Rare Earth (after whom the label was named), Rare Earth Records was a subsidiary focusing on blues-oriented and progressive rock styles.[20] Notable acts included Rare Earth, R. Dean Taylor, Pretty Things, Toe Fat, XIT, and 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.[68] The Rare Earth band moved over to the label following the Rare Earth label's demise. Pop singer Charlene's #3 pop single for Motown I've Never Been To Me was originally released and charted on this label in 1977 (#97). Prodigal was dissolved in 1978.Morocco Records.: Acronym for "MOtown ROCk COmpany". 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 black new wave trio Tiggi Clay (via their lead singer, Fizzy Qwick) eventually moved to the parent label.OtherDivinity 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.[69]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 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 MotownBiv 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.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.Miscellaneous labels associated with MotownGroovesville RecordsInferno RecordsIPG RecordsRayber RecordsRic-Tic RecordsRich RecordsSummer Camp RecordsTabu Records
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