Category Archives: Music of the 60s

Motown Records Begins

Motown Records Begins

January 12, 1959

Motown Records Begins

On January 12, 1959 Billboard’s #1 Pop single was David Seville’s “The Chipmunk Song.” “Lonely Teardrops” by Jackie Wilson was the Billboard #1 R & B single.

Berry Gordy Jr., Gwendolyn Gordy (Berry’s sister) and Roquel “Billy” Davis wrote “Lonely Teardrops” which the Brunswick label released in 1958.

Motown Records Begins

Berry Gordy, Jr

Motown Records Begins

Berry Gordy, Jr was born in Detroit on November 28, 1929. He always loved music and writing songs, but his early life had many stops before he founded Motown Records.

Dropping out of high school, briefly becoming a successful boxer, a stint in the Army where he received his GED, opening a record store that eventually closed, and working on a Lincoln-Mercury plant assembly line whose monotony at least gave him time to mentally compose songs.

At 27, Barry Gordy followed his dream. In 1957 he helped write “Reet Petite” Jackie Wilson’s first hit.

In 1958, after helping to write a few other singles, he received a royalty check of $3.19. He borrowed $800 loan from his family’s saving’s to open his own record company.

Motown Records Begins

Motown Records Begins

Gordy began Tamla Records in Detroit on January 12, 1959. Berry had wanted to call the label Tammy, after the 1958 hit record of that name by Debbie Reynolds, but  changed it to Tamla after learning that another record company had already taken it.

On April 14, 1960, he incorporated as Motown Record Corporation. Motown became one of the most famous recording companies in music history. In its first decade alone, it would have 79 Billboard top ten singles.

Motown Records Begins

Tamla’s first single was Marv Johnson’s “Come To Me,” co-written by Gordy.

Motown Records Begins

Motown label’s first release was the Miracle’s “Bad Girl.” It would be the Miracles, with it star singer Smoky Robinson, that put Gordy and Motown on the map. Robinson also became the vice president of the company.

Motown Records Begins

Hitsville U.S.A.

Motown Records Begins

Part of Motown’s lore is it’s recording studio. Also in 1959, Gordy bought 2648 West Grand Boulevard in Detroit. The building had been a photo studio. Gordy renamed it “Hitsville U.S.A.” A clever name, to be sure, but one that lived up to its name.

Tamla’s first #1 hit was “Please Mr. Postman,” by the Marvelettes. It topped the Hot 100 on Dec. 11, 1961.

On May 16, 1964 the Motown Records label celebrated its first No. 1 single on the Billboard Hot 100 with Mary Wells’ “My Guy.” Smokey Robinson wrote and produced it.

Motown Records Begins

The Funk Brothers

The Funk Brothers is another part of that lore, the back up band behind most of those hits. Early members included bandleader Joe Hunter and Earl Van Dyke (piano and organ); Clarence Isabell (double bass); James Jamerson (bass guitar and double bass); Benny “Papa Zita” Benjamin and Richard “Pistol” Allen (drums); Paul Riser (trombone); Robert White, Eddie Willis, and Joe Messina (guitar); Jack Ashford (tambourine, percussion, vibraphone, marimba); Jack Brokensha (vibraphone, marimba); and Eddie “Bongo” Brown (percussion).  When Motown moved to Los Angeles in 1972, the members of the Funk Brothers did not move with it.

The surviving core members of the Funk Brothers reunited for Paul Justman’s documentary Standing in the Shadows of Motown, which he released in 2002

Motown Records Begins

No Mo’ Motown

Motown and Gordy’s story of success sadly parallels many success stories whose internal Sturm und Drang led to artists leaving the label for greater freedom despite Gordy’s original guidance to their successes.

In 1988 Gordy sold Motown to MCA for $61 million,

The list of names associated with Motown’s first decade alone is astounding. In 1992, Hitsville USA, The Motown Singles Collection, 1959 – 1971 was released. It consists of four discs, each covering a few of those thirteen years.

There are over 100  songs on those discs without a filler among them.

History of Motown from Motown Museum dot org

Motown Records Begins

Howlin Wolf Howlin Wolf

Howlin Wolf Howlin Wolf

Howlin Wolf Howlin Wolf

Howlin Wolf Howlin Wolf

January 11, 1962

The Tokens’ unusual single, “The Lion Sleeps Tonight” remained at #1 on Billboards Top 100 list. In two days Chubby Checkers’ “The Twist” would come back to be Billboard’s #1 single nearly a year and a half after hitting that same spot in August 1960.

Elvis Presley’s Blue Moon album was Billboard’s #1 mono album and Stereo 35/MM by Enock Light & the Light Brigade was the #1 stereo album.

Pete Best was The Beatles drummer, though by that August Richard Starkey replaced Best.

There was no band called the Rolling Stones, but there was an amazing guitarist singer: Howlin’ Wolf.

Howlin Wolf Howlin Wolf

Chester Arthur Burnett

Chester Arthur Burnett was born on June 10, 1910 in White Station, Mississippi. The adults in his childhood years caused constant disruption in Chester’s life. His parents separated and his mother left him with an abusive uncle. When he was 13, Chester ran away to live with his father where they worked on a Delta farm.

It was there that Chester’s love of music found the Delta blues. His father bought a guitar for him when he was 17 and Chester began to get lessons from Charley Patton–the first of many Delta blues stars.

When he wasn’t working on the farm, he traveled with other musicians performing with them. He stood at 6′ 6″ and had a booming voice. Not surprisingly the he got the nickname Howlin’ Wolf.

Howlin Wolf Howlin Wolf

Howlin’ Wolf

Howlin Wolf Howlin Wolf
Chester Burnett on left, serving in the US Army.

He served in the Army during World War II, was discharged after a “nervous breakdown,” moved in with a girlfriend, and eventually returned to his father’s farm after she, too, suffered the same ailment.

Burnett also returned to music and when not farming, Howlin’ Wolf toured throughout the South.

Howlin Wolf Howlin Wolf

Sam Phillips

Howlin Wolf Howlin Wolf

Sam Phillips with his Memphis Recording Service was on a mission: find musicians who had IT.  In 1951 Fortune crossed the paths of Phillips and Wolf. Phillips recorded Wolf and as was typical at the time, sold the singles to another company. In this case, Chess Records in Chicago run by brothers Leonard and Phil Chess.

Howlin Wolf Howlin Wolf

Chess Records

Much to Phillips’ dismay, he lost Wolf to the Chess brothers, Wolf moved to Chicago, and became part of that city’s immeasurable electric blues legacy.

On January 11, 1962 Chess released the Wolf’s so-called “rocking chair” album. Its actual name was simply the eponymous Howlin’ Wolf. The album consisted of the A and B sides of six previously released singles, but what a collection of songs this album had. Looking at the dozen songs (nine of which Willie Dixon wrote), one realizes (again) the influence American blues, particularly Chicago’s electric blues, had on those young British musicians.

Side one
  1. “Shake for Me” – 2:12
  2. “The Red Rooster” – 2:22
  3. “You’ll Be Mine” – 2:25
  4. “Who’s Been Talkin'” – 2:18
  5. “Wang Dang Doodle” – 2:18
  6. “Little Baby” – 2:45
Side two
  1. “Spoonful” – 2:42
  2. “Going Down Slow”  – 3:18
  3. “Down in the Bottom” – 2:05
  4. “Back Door Man” – 2:45
  5. “Howlin’ for My Baby” – 2:28
  6. “Tell Me” – 2:52

Note how nearly every song is under three minutes–typical of course for singles of the time but still great examples of how much power Wolf packed into such a small space.

Legacy

Howlin Wolf Howlin Wolf

While the album was not an instant classic, Time has crowned it such. So many great covers brought deserved attention to Wolf’s first powerful recordings combined to make it so.

Rolling Stone magazine ranks it at #238 of the “500 Greatest Albums of All Time” and describes it as “Chicago blues at its raunchy best, “The Rocking Chair Album” features an outrageous set of sex songs written by Willie Dixon, including “Shake for Me,” “The Red Rooster” and “Back Door Man.” In 1971, on The London Howlin’ Wolf Sessions, Wolf finally taught an enraptured Eric Clapton how to play “The Red Rooster.”

If you have time today (or tomorrow?) give a listen (or two) to this amazing album.

Wolf died on January 10, 1976. Numerous music halls of fame have inducted him and even the US government issued a commemorative stamp on  September 17, 1994. (Mississippi Writers & Musicians site obit)

Howlin Wolf Howlin Wolf

Note that the second song on the Rolling Stones recently released album, Blue & Lonesome,  is a cover of Howlin’s “Commit a Crime.” Here is Mick and Jeff doing the song at the White House. I don’t think we’ll be hearing anything like it anytime soon.

January 8 Music et al

January 8 Music et al

Teenage Culture

January 8 Music et al

January 8, 1965: in response to ABC-TV’s Shindig!, Hullabaloo premiered on NBC. The first show included performances by The New Christy Minstrels, comedian Woody Allen, actress Joey Heatherton and a segment from London in which Brian Epstein introduced The Zombies and Gerry & the Pacemakers. (see Hullabaloo for more)

January 8 Music et al

Shindig! ends

January 8 Music et al

January 8, 1966: exactly a year later was ABC’s Shindig!’s last show.

January 8 Music et al

Acid Test

January 8 Music et al

January 8, 1966: Ken Kesey acid test at the Fillmore Auditorium in San Francisco. Michael Rossman (S.F. Chronicle, 1/66): Up at the Fillmore Auditorium, Ken Kesey’s Acid test event was in action when I got there around the middle of the evening. The people were like the backstage crowd at the California Hall dance (that the Airplane played the same night). The costumes were, wow! a strobe light was flickering at a very high frequency in one corner of the hall and a group of people were bouncing a golden balloon up and down in it. It was a most perturbing frequency. in one corner there was a piece of metal, tubular sculpture by Ron Boise, a thumping machine. If you hit it, you got different sounds if you hit it in different places. There was a lot of electronic equipment which sent out a low reverberation that resonated throughout the hall. and the whole place was filled with streamers and balloons. There were tV cameras and a tV screen, and you could see yourself in it. Onstage there was a rock group; anybody could play with them. It was a kind of social Jam session. a guy in a white mechanic’s suit with a black cross on the front, and on the back a sign saying ‘Please Don’t Believe in Magic’, ran up and down all night. Oh wow! Periodically the lights went out and everybody cheered. Giant Frisbees, balloons like basketballs, acrobats, girls in felt eyelashes four inches long, people with eyes painted on their foreheads, glasses low on the nose with eyes painted on them, men with foxes on their shoulders! Wow!

For more, link to…poster trip dot com site

This may, or may not, be a recording of the Grateful Dead that night (or a combination of several nights)…Internet Archive

And here’s a Live For Live Music article about the Dead with some video interview links.

January 8 Music et al

Rubber Soul

January 8 – February 18, 1966: Rubber Soul became the Billboard #1 album. (see Rubber Soul for more)

…and at the exact same time…

January 8 Music et al

We Can Work It Out

January 8 – 21, 1966: “We Can Work It Out” hit #1 on the Billboard Hot 100.

As always, Alan W Pollack’s site has an amazing description of the song…Alan W Pollack site

He points out, for example, that “The form is one of the small number of standard pop song models. Let’s call it the “double bridge with single verse intervening.” Over the long run it’s one that the Beatles would use often, though I suspect the lack of an intro and inclusion of a complete ending are somewhat unusual variations on the model; at least in terms of pop music in general, if not the Beatles themselves”

January 8 Music et al