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For the city nicknamed Motown, see. Motown Parent company Founded January 12, 1959; 59 years ago ( 1959-01-12) in, Founder Distributor(s) (in the US) (in the UK) (worldwide) Genre Various Country of origin United States Location Official website Motown is an American record company. The record company was founded by as Tamla Records on January 12, 1959, and was incorporated as Motown Record Corporation on April 14, 1960, in,. The name, a of motor and town, has also become a nickname for Detroit. Motown played an important role in the of as an -owned record label that achieved significant success. In the 1960s, Motown and its subsidiary labels (including Tamla Motown, the brand used outside the US) were the most successful proponents of what came to be known as the Motown Sound, a style of with a distinct pop influence.

During the 1960s, Motown achieved spectacular success for a small record company: 79 records in the Top Ten of the record chart between 1960 and 1969. Following the events of the, and the loss of key songwriting/production team the same year over pay disputes, Gordy began relocating Motown to. The move was completed in 1972 and Motown expanded into television and film production, remaining an independent company until June 28, 1994. The company was then sold to Motown was later sold to in 1994, before being sold again to MCA Records' successor, when it acquired PolyGram in 1999.

Motown spent much of the 2000s headquartered in as a part of the Universal Music subsidiaries and. From 2011 to 2014, Motown was a part of division of Universal Music. On April 1, 2014, Universal Music Group announced the dissolution of Island Def Jam; subsequently Motown relocated back to Los Angeles to operate under the. It now operates out of the landmark.

For many decades, Motown was the highest-earning in the United States. Motown Records was inducted into Rhythm & Blues Hall of Fame class of 2018 on June 3, 2018 at the Charles H. Wright Museum. Motown legend Martha Reeves received the award for Motown Records. The Motown building, at 2648 West Grand Boulevard in Detroit, Motown's headquarters from 1959 to 1968, which became the Motown Historical Museum in 1985 In 1959, Billy Davis and Berry Gordy's sisters and started. Davis and Gwen Gordy wanted Berry to be the company president, but Berry wanted to strike out on his own.

On January 12, 1959, he started Tamla Records, with an $800 loan from his family and royalties earned writing for Jackie Wilson. Gordy originally wanted to name the label Tammy Records, after the hit popularized by from the 1957 film, in which Reynolds also starred. When he found the name was already in use, Berry decided on Tamla instead. Tamla's first release, in the Detroit area, was 's ' in 1959 (released nationally on ).

Its first hit was 's ' (1959), which made it to number 2 on the R&B charts (released nationally on Anna Records). Gordy's first signed act was the Matadors, who immediately changed their name to.

(They were not the Matadors who recorded for.) Their first release, 'Got a Job', was an to the Silhouettes' ' (issued on 's ). The Miracles' first, minor hit was their fourth single, 1959's ', released in Detroit as the debut record on the Motown imprint, and nationally on the label. (Most early Motown singles were released through other labels, such as End, Fury, Gone and Chess.) Miracles lead singer became the vice president of the company (and later named his daughter 'Tamla' and his son 'Berry'). Several of, 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. West Grand Boulevard Also in 1959, Gordy purchased the property that would become Motown's 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 quarter (1959–62), artists and repertoire (1962–72).

Jobete Publishing office, 1961 – sales, billing, collections, shipping, and public relations. Berry Gordy Jr. Enterprise, 1962 – offices for Berry Gordy Jr. Berry Gordy House, known as Motown Mansion in 's In 1967 Berry Gordy purchased what is now known as Motown Mansion in Detroit's as his home, leaving his previous home to his sister Anna and then husband Marvin Gaye (where photos for the cover of his album were taken). In 1968, Gordy purchased the Donovan building on the corner of and, and moved Motown's Detroit offices there (the Donovan building was demolished in January 2006 to provide parking spaces for ). In the same year Gordy purchased, 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 (only the Miracles' 'Shop Around'/' and 'Ain't It Baby'), then ('Please Mr.

Postman' by the Marvelettes was one of four) and then (' by Little Stevie Wonder was one of many). In 1963, Motown signed with EMI's label (' by the Supremes and ' by Mary Wells were Motown's first British top-20 hits).

Eventually EMI created the Tamla Motown label (' by the Supremes was the first Tamla Motown release in March 1965). Los Angeles: 1972–1998 After the songwriting trio 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, with Diana Ross & the Supremes and the Temptations, with Diana Ross, and with. 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 's (1971) and (1973), and 's (1972), (1972), and (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, the Four Tops, Gladys Knight & the Pips, and Motown's 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: the biographical film (1972), and (1975). Other Motown films would include (1977), (1978), (1978) and (1985)., who had been associated with Motown since the 1960s, became its president in 1973. By the 1970s, the Motown 'hit factory' had become a target of a backlash from some fans of rock music. Record producer recalls of this period: 'I was a DJ for years and I worked for Motown – the press at the time, papers like, used to call it Toytown. When I DJ'd on the circuit, the students wanted me to play and.

Things don't change. Nowadays, of course, Motown is hip.'

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 and the, the, and. By the mid-1980s Motown had started losing money, and Berry Gordy sold his ownership in Motown to (which began a US 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, who renamed the company and continues to run it as of 2018.

During the 1990s, Motown was home to successful recording artists such as and, although the company itself remained in a state of turmoil. MCA appointed a revolving door of executives to run the company, beginning with Berry Gordy's immediate successor,. 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 purchased Motown from Boston Ventures three years later. In 1994, Busby was replaced by, the entrepreneur behind. 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 group, assumed control of Motown, and served as president. Final years of the Motown label: 1999–2005 By 1998, Motown had added stars such as, and to its roster.

In December 1998, was acquired by, and Motown was absorbed into the. 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., a producer for Erykah Badu, became the head of the label, and oversaw successful recordings from Badu, McKnight, and new Motown artist. 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 from 1981 to 1988, but returned in 1989 and stayed until 2002. Robinson left the label in the early 1990s, and the Temptations left a second time in 2004 (the first time being in 1977). As of 2018, Wonder is the only artist from Motown's early period still on the label.

Universal Motown: 2005–2011. Further information: In 2005, Massenburg was replaced by, former CEO of.

Motown was merged with to create the and placed under the newly created umbrella division of. Notable artists on Universal Motown included, and. In late 2008, Motown began celebrating its fiftieth anniversary (January 12, 2009), including the release of a The Complete No. 1's box set containing Motown number-one hits from Billboard′s pop, R&B, and disco charts, reissues of classic-era Motown albums on CD, and other planned events, which were released in collaboration with 's catalog division. Relaunch: 2011–present As of summer of 2011, Universal Motown has been separated from Universal Motown Republic Group, has reverted to the original Motown brand, has hired as its Senior Vice President, and is now operated under. Artists from Universal Motown have been transferred to the newly revitalized Motown label.

On January 25, 2012, it was announced that would join the Motown label both as an artist as well as the new Senior Vice President of A&R. On April 1, 2014, it was announced that Island Def Jam will no longer be running following the resignation of CEO Barry Weiss. In a press release sent out by Universal Music Group, the label will now be reorganizing Def Jam Recordings, Island Records and Motown Records all as separate entities. Motown would then begin serving as a subsidiary of. Motown Sound Motown specialized in a type of soul music it referred to with the 'The Motown Sound'.

Crafted with an ear towards pop appeal, the Motown Sound typically used to accent the, prominent and often melodic electric bass-guitar lines, distinctive and structures, and a singing style that originated in. In 1971, 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'.

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, vocal riffs were avoided. Motown producers believed steadfastly in the ' (keep it simple, stupid). Despite the growth of popular music being written and performed by black artists, the songs would not become popular or recognized unless the music was being performed by white performers. – However, the Motown Sound became distinctly unique. The 'real' Motown Sound became more favorable than the altered renditions.

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 ' and '. In several cases, producers would re-work tracks in hopes of eventually getting them approved at a later Friday morning meeting, as producer did with 'I Heard It Through the Grapevine' and The Temptations' '. Many of Motown's best-known songs, including all the early hits for, were written by the songwriting trio of ( and brothers and ). Other important Motown producers and songwriters included, &, James Dean &, 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 and.

In the United Kingdom, the Motown Sound became the basis of the 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.' 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, New York, L.A.—almost every big city. And we still got the sound. The Funk Brothers. Main article: In addition to the songwriting process of the writers and producers, one of the major factors in the widespread appeal of Motown's music was Gordy's practice of using a highly-select and tight-knit group of studio musicians, collectively known as, to record the instrumental or 'band' tracks of a majority of Motown recordings. Among the studio musicians responsible for the 'Motown Sound' were keyboardists, and; guitarists, and; percussionists and; drummers, and; and bassists and. The band's career and work is chronicled in the 2002, 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.'

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. Bassist often played his instrument with only the of his right hand, and created many of the basslines apparent on Motown songs such as ' by The Supremes. Artist development Artist development was a major part of Motown's operations instituted by Berry Gordy. The acts on the Motown label were fastidiously groomed, dressed and choreographed for live performances. Motown artists were advised that their breakthrough into the white popular music market made them ambassadors for other African-American artists seeking broad market acceptance, and that they should think, act, walk and talk like royalty, so as to alter the less-than-dignified image commonly held of black musicians by white Americans in that era.

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. The artist development department specialized primarily in working with younger, less-experienced acts; experienced performers such as and were exempt from artist-development classes.

Many of the young artists participated in an annual package tour called the ', which was popular, first, on the ', and, later, around the world. The tours gave the younger artists a chance to hone their performance and social skills and learn from the more experienced artists. Motown subsidiary labels In order to avoid accusations of 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 divisions.: Established 1959, Tamla was a primary subsidiary for mainstream R&B/soul music. Tamla is actually 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, and. Tamla was briefly re-activated in 1996 as a reggae label, but only released a 12' single by 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). Tamla Records slogan: 'The Sound that Makes the World Go 'Round'.: Established 1960, Motown was and remains the company's main label for mainstream R&B/soul music (and, today, 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 in 1988. Notable Motown artists have included, and. Motown Records slogan: 'The Sound of Young America'.: 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, and.

Gordy Records slogan: 'It's What's in the Grooves that Counts'.: Motown's non- label, established in March 1965 and folded into the regular Motown label in 1976. Distributed by, 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 ' and ' by Diana Ross & the Supremes with the Temptations, as well as the successful series of albums). Secondary R&B labels. Check-Mate Records: Short-lived (1961–1962) R&B/soul subsidiary, purchased from. Notable artists included and The Del-Phis (later ).: 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 and.: 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, (their first two singles in 1972 and 1973), and Los Angeles DJ. 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.

One Motown Yesteryear single made Billboard′s Top 40 – ' 'Do You Love Me', in 1988, when its inclusion in the film revived interest.: Established in 1964, Soul was a R&B/soul subsidiary for releases with less of a feel and/or more of a feel. Notable Soul artists included, and.

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.: Established in 1964, V.I.P. Was an R&B/soul subsidiary.

Notable artists included, and. The label was dissolved in 1974.: A very short-lived subsidiary. Only one release, '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, but the hand in this case is holding up a peace sign. The name 'Weed Records' is now owned by the Tokyo/New York-based Weed Records. Additional genre labels Country. Mel-o-dy Records.: Established in 1962 as a secondary R&B/soul music subsidiary, Mel-o-dy later focused on white artists. Notable Mel-o-dy artists include. The label was dissolved in 1965. Triple Tigers Records.: Established in 2017 artists.

Huawei E560 / E560 + Router Wifi Huawei E560 / E560 + Router Wifi (Free Telkomsel Flash 6 Bulan) Huawei. 12V With Macro + Turbo Maxfire Blaze 2 Vibration Agama. Sony vaio pci modem driver; direct justin bieber believe. Modem Telkomsel Flash. 8400F Driver Mac Lion Download - Delta 40-540 Scroll Saw Users Manual - Deduper Outlook Serial - Business Research Methods Rapidshare Library - Final Fantasy Xiii 2 Cgi Cutscene Download Itunes - Driver Modem Huawei E303 Telkomsel Flash. Modem telkomsel 4g.

Hitsville Records.: Founded as Melodyland Records in 1974. After the threatened legal action, the name was changed to Hitsville in 1976.

Like Mel-o-dy before it, Hitsville focused on country music. Run by and Ray Ruff, Hitsville's notable artists included, and. The label was dissolved in 1977. In the UK, Melodyland/Hitsville material was released on MoWest. Records: Operated 1977 to 1978 as a continuation of the Hitsville label.

A joint venture between Gordy and. The Mel-o-dy, Hitsville, and M.C.

Catalogs are now managed. Hip hop/rap. Wondirection Records.: A record label owned by, it had one 12-inch dance release, the 10' 35' rap track 'The Crown'.: Short-lived hip-hop/rap subsidiary label, released five albums in the mid-1990s- including by, Trendz by Trendz of Culture and. Jazz.: Motown's subsidiary, active from 1962 to 1964. Notable Workshop Jazz artists included the George Bohannon Trio, All Stars, and (whose recordings for the label went unissued for 30 years). The Workshop Jazz catalog is currently managed.: A short-lived label featuring a instrumental released in September 1969, 'Do The Choo-Choo' with b-side 'Do The Choo-Choo Pt II' written by L.

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, and J.

It also reissued instrumental albums like 's 1968 album and 's CTI/Kudu albums under the Classic Mo Jazz subsidiary. This label (including its roster and catalog) was folded into Verve Records after the PolyGram/Universal merger. Rock.: Established in 1969 after the signing of (after whom the label was named), Rare Earth Records was a subsidiary focusing on rock music by white artists. Notable acts included Rare Earth, and (both solo and her with ).

The label also was the subsidiary to house the first white band signed to Motown,. Prodigal Records.: Purchased by Motown in 1976, Motown used Prodigal Records as a second rock music subsidiary; a successor label to Rare Earth Records. The Rare Earth band moved over to the label following the Rare Earth label's demise. Pop singer 's #3 pop single for Motown 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, and the trio (via their lead singer, ) eventually moved to the parent label. Other.

Divinity Records.: Short-lived (1962–1963) gospel subsidiary. With five releases by artists- Wright Specials, Gospel Stars, Bernadettes, and. Label sequence starts at 99004 to 99008, the final recording being ' (for label number 99008) that was recorded in the, was withdrawn and transferred to GORDY 7023B as ' speech by Rev.

Black Forum Records.: A subsidiary that focused mainly on albums featuring progressive political and pro-civil rights speeches/poetry. Black Forum issued recordings by the Rev., and others from 1970 until 1973.

Natural Resources: This label was active from 1972 to 1973 and in 1976 as a minor subsidiary for white artists and instrumental bands. It 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. Its only artist was. Ocean Front Records.: Catalog division, founded in company's heyday. Closed in 1983.

Gaiee Records.: Only one single was released on this label in 1975; Valentino's 'Gay/Lesbian' anthem ', which was later covered by fellow Motown artist in 1977. Independent labels distributed by Motown.: A hip-hop/R&B label that was founded by / member. The label operated throughout most of the 1990s.

Its roster included, and. Chisa Records: Motown released output for Chisa, a label owned by, from 1969 to 1972 (prior to that, the label was distributed by Vault Records).: Motown distributed output for CTI Records, a jazz label owned by, from 1974 to 1975. CTI subsidiaries distributed by Motown included Kudu Records, Three Brothers Records and Salvation Records. Three Brothers Records: A short-lived sublabel of CTI Records that had two single releases.

One was by a influenced group called The Clams. With a few exceptions, the bulk of CTI's recordings is now owned. Ecology Records: A very short-lived label owned by 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 on its roster in 1975, but their LP, intended for release by Motown in the US, was issued after the Motown/Gull Deal had fallen through.: A record label created by the members of the rock group. Manticore released albums by ELP and various other artists. Manticore was originally distributed in the U.S. By from 1973 to 1975 but switched to Motown distribution until the label folded in 1977.

Miscellaneous labels associated with Motown. Rayber Records. IPG Records. Rich Records. Summer Camp Records. Inferno Records.

Groovesville Records British (pre-Tamla Motown) labels. issued the releases for Motown from 1960 to 1961. issued the releases for Motown from 1961 to 1962. issued the releases for Motown from 1962 to 1963. issued the releases for Motown from 1963 to 1964, when the Tamla Motown label was created.

See also. References. ^ Cruz, Gilbert (12 January 2009). TIME Magazine. Retrieved 15 October 2016. Motown Records. Motown Records.

Retrieved 15 October 2016. Woodford, Arthur M. This is Detroit, 1701 - 2001 (1 ed.). Detroit, Mich.: Wayne State Univ. The Sound of the City, Sphere Books, 1971, p.247.

^. August 10, 2011. Retrieved December 12, 2011. ^ January 17, 2016, at the.

Universal Music. August 15, 2011. Retrieved December 12, 2011. Retrieved 2015-10-30. Motown Museum. August 24, 2011.

Retrieved December 12, 2011. Ron Thibodeaux, 'My Smokey Valentine', The Times-Picayune (New Orleans, La.), February 14, 2009. Retrieved December 12, 2011. Williams, Brennan (January 25, 2012). Huffington Post.

Retrieved October 8, 2014. Retrieved October 8, 2014. Archived from on May 8, 2015. Retrieved October 8, 2014. Rolling Stone. Retrieved 2016-12-11.

Chin, Brian & David Nathan, 'Reflections Of.' The Supremes CD boxed-set liner notes (New York: Motown Record Co./Universal Music, 2000). Williams, Otis & Patricia Romanowski, Temptations (Lanham, MD: Cooper Square, 1988; updated 2002)., p. Pitts, Leonard. “The Motown Factor.” Jazziz Magazine. December 2013, Vol. 20, No.12, pp.60-62.

Yourse, Robyn-Denise (May 19, 2006). Retrieved September 16, 2012 – via. (Subscription required ( help)). Hirshey, Gerri (1994 1984). Nowhere to Run: The Story of Soul Music. New York: Da Capo Press.

^ Justman, Paul (2002). Pitts, Leonard, Jr. “The Motown Factor”.

Laurie, Timothy (2012). Feminist Media Studies. 14 (1): 90–105. Retrieved 2015-10-30. Mike Callahan, Patrice Eyries, David Edwards. Retrieved 2014-03-16.

Retrieved 2014-03-16. Retrieved December 12, 2011. Mike Callahan, David Edwards. Retrieved 2014-03-16.

Leigh, Spencer (October 4, 2005). Retrieved January 25, 2010. Mike Callahan, David Edwards. Retrieved 2014-03-16. Retrieved December 12, 2011. Mike Callahan, David Edwards. Retrieved 2014-03-16.

April 19, 2013, at the., Los Angeles Review of Books, October 17, 2012. Retrieved December 12, 2011. External links.

interviewed on the (1969).

Commodores – The Best Of The Commodores (1995) EAC Rip 2xCD FLAC Image + Cue + Log Full Scans Included Total Size: 936 MB 3% RAR Recovery Label: Motown USA Cat#: -2 Genre: R&B Additional Info:. Released Date: February 7, 1995 Disc 1 01.

Let’s Get Started – 03:58 02. Machine Gun – 02:42 03.

The Zoo (The Human Zoo) – 03:08 04. Are You Happy – 03:09 05. Don’t You Be Worried – 02:41 06. Slippery When Wet – 03:22 07. I Feel Sanctified – 02:40 08. Young Girls Are My Weakness – 03:04 09.

The Bump – 02:55 10. This Is Your Life – 03:19 11. Sweet Love – 03:29 12. Just To Be Close To You – 03:23 13. Easy – 04:23 14. High On Sunshine – 04:26 15.

Fancy Dancer – 04:26 16. Cebu – 04:52 17. Zoom – 04:24 18. Brick House – 03:38 19. Too Hot Ta Trot – 03:33 20.

Three Times A Lady – 03:39 21. I Like What You Do – 04:51 Disc 2 01. Flying High – 03:57 02. Still – 03:48 03. Sail On – 04:00 04. Wonderland – 03:51 05. Old-Fashion Love – 03:25 06.

Heroes – 04:04 07. Jesus Is Love – 04:59 08. Lady (You Bring Me Up) – 04:05 09. Oh No – 03:05 10.

Why You Wanna Try Me – 04:01 11. Painted Picture – 04:07 12. Only You – 04:35 13.

Reach High – 03:44 14. Turn Off The Lights – 04:07 15. Nightshift – 05:05 16.

Animal Instinct – 04:06 17. Janet – 03:44 18. Goin’ To The Bank – 04:20.