Wednesday, 28 September 2011

Ultimate Crossover - George Hobson

What a great day!

Stuart and I would like  to thank everyone who attended our wedding anniversary alldayer. Special thanks to all the dj's for playing such wonderful spots and a big thank you to everyone for all the cards and presents. A great dayer from start to finish!

Wednesday, 21 September 2011

Across The Board Soul All Dayer - Sunday, 25th Sept!

STUART AND CATHRYN BOWER invite you to their Wedding Anniversary All Dayer on Sunday 25th September 2011 at The Oxcroft Miners Welfare, Stanfree (Nr Clowne) Chesterfield S44 6AG. A great way to keep on dancing, chillout or whatever after Dave and Donna's always excellent Skegness Weekender! All Welcome! TWO PM WHILE LATE!!

Monday, 12 September 2011

Really Looking Forward To This - All Welcome!

STUART AND CATHRYN BOWER invite you to their Wedding Anniversary All Dayer on Sunday 25th September 2011 at The Oxcroft Miners Welfare, Stanfree (Nr Clowne) Chesterfield S44 6AG



APPROX 2.5 MILES FROM M1 JUNCTION 29A -Off at the junction-3 roundabouts-3rd exit (Bolsover) -3rd exit (Bolsover/Chesterfield) -1st exit (B6418 Shuttlewood). Drive straight through Shuttlewood-we are on the right. Look for the signs for AIMCC.

Friday, 2 September 2011

Wedding Anniversary Alldayer - Sunday Sept 25th

It's not long now until our 3rd wedding anniversary. To celebrate this we are having an across the board soul alldayer at our monthly venue at Stanfree, Chesterfield. Top northern, crossover and modern soul dj's. All welcome, free admission. 

Here are the details: 

Friday, 5 August 2011

Rotherham Transport Club - Friday August 5th

Looking forward to tonight at the Rotherham Transport Club. Sadly though it's the last one as the place is closing down. Had many good nights there, especially the ones on New Years Eve.

Union street 
 S61 1AA

Saturday, 16 July 2011

Oxcroft Miners Welfare tonight July 16th!


APPROX 2.5 MILES FROM M1 JUNCTION 29A -Off at the junction-3 roundabouts-3rd exit (Bolsover) -3rd exit (Bolsover/Chesterfield) -1st exit (B6418 Shuttlewood). Drive straight through Shuttlewood-we are on the right. Look for the signs for AIMCC.

Friday, 1 July 2011

Rotherham Transport Club tonight - Union Street , Masbrough, Rotherham S61 1aa





Thursday, 16 June 2011


Looking forward to this, the second anniversary. Rare and underplayed soul music with resident dj's Stuart Bower and Neil Page, joined by the dj's from the Swan Worksop. If you're in the area don't miss it!

Tuesday, 7 June 2011

Jazz Funk

Jazz-funk is a sub-genre of jazz music characterized by a strong back beat (groove), electrified sounds and often the presence of the first electronic analog synthesizers. The integration of funk, soul, and R&B music and styles into jazz resulted in the creation of a genre whose spectrum is indeed quite wide and ranges from strong jazz improvisation to soul funk or disco with jazz arrangements jazz riffs, and jazz solos and sometimes soul vocals. Jazz-funk is primarily an American  genre where it was popular throughout the 1970s and the early 1980s, but it also achieved noted appeal on the club-circuit in England during the mid 1970s. Other possible names for this genre include soul jazz and jazz fusion, but neither entirely overlap with jazz-funk. Notably Jazz-funk is less vocal more arranged and featured more improv than Soul-Jazz and retains a strong feel of groove and R&B versus some of the Jazz-fusion production.

Friday, 3 June 2011

The Best of Soul Train Seasons 1-9 collection!

"The Best of Soul Train" presents an amazing and rare collection of performances from the Soul Train archives, many of which haven't been seen in over 30 years, including exclusive performances from Soul Train's most acclaimed era (1971 - 1979) by The Jackson Five, Marvin Gaye, The O'Jays, Smokey Robinson, Aretha Franklin, Stevie Wonder, Sly & The Family Stone and more.

There are 50 performances covered in eight hours of classic Soul, from the longest first-run series in syndication history (on air from 1970 - 2006) along with more than three hours of bonus material.
Viewers will re-live the original dance styles and scene-stealing fashions from the heart of the `70′s as well as favorite moments from the Soul Train Dance Line to the beloved Soul Train Scramble Board. Also included are on-air interviews with the artists, classic Soul Train dancers, and some vintage commercials for Ultra Sheen and Afro Sheen products.

This special collection features the best moments from several original Soul Train episodes totaling 50 songs and performances, with more than three hours of bonus material including exclusive interviews with Don Cornelius, Smokey Robinson, Jody Watley and others.

"Time Life is proud to bring back one of the most enduring and culturally relevant shows in television history with "The Best of Soul Train" says Michael Mitchell, Time Life VP, Marketing/Strategic Partnerships. "Soul Train was `must see' television in black households across America in the 70′s and it also had strong crossover appeal. Soul Train fans have been waiting for years to re-live this exciting time!"

Soul Train founder, Don Cornelius says, "We're extremely proud of Soul Train's innovative history and legacy, and we look forward to sharing this with multiple generations to come. "The Best of Soul Train" offers a rare, insiders view of the golden era of Soul, marking a classic time and place which can never be duplicated. As always - Love, Peace and Soul!"

Soul Train Holdings CEO, Kenard Gibbs comments: " We are thrilled to partner with Time Life to make this unparalleled collection of soul music performances available for the first time on DVD. Don Cornelius' vision and devotion to soul music will forever inspire and captivate music lovers for many generations. "We wanted to share this music filled collection of memorable performances and message of LOVE, Peace and Soul with the world."

Many of the set's 50 performances have been heavily bootlegged over the years. But "The Best of Soul Train," released through Time Life, is the first time episodes from the show have been commercially available, the sound and images clearly remastered.

The set offers a nice, if slightly thin, encapsulation of a brilliant period in black pop, a time just after the Civil Rights and Black Arts movements. It was a period of seemingly fearless artistic exploration in which the music, dances and fashions embraced elements of Afrocentricity. "Soul Train" was ingenious and necessary for several reasons. Chief among them: The show helped redefine black entertainment in America. Acts of color with little to no crossover appeal now had a place to be seen and heard.

The 9-DVD set is packed with performances from Marvin Gaye, Whitney Houston, Aretha Franklin, Tina Turner, Stevie Wonder, Jackson 5, Luther Vandross and many others. With a total of 130 performances, there isn't a millisecond that disappointments. There are the stellar live shows and the classic Afro Sheen and Ultra Sheen commercials that are in every episode - the vintage commercials alone are worth the buy!

Unfortunately, these are not full episodes, there is some heavy editing, which was probably due to the music rights, but the performances that are included are amazing. My personal favorite is Marvin Gaye singing "Let's Get It On" in the audience and the women going mad. Plus, it's always fun to see the fashions of the time -- bellbottoms and afros were all the rage.

About the Author
Since 1971, "The Best of Soul Train DVD" has been the "American Bandstand" of the African-American community. Even today, "Soul Train" continues to be the showcase of urban artists and their chart-topping singles. The program also continues to be the place for beautiful dancers and their dance moves, though the dance and the dancers' attire are a bit more risque due to the changing times.

Wednesday, 25 May 2011

All about Memphis Soul Music

Memphis soul music is one of the most interesting forms of music around today, with an interesting and rich history that tells the tales of struggle, accomplishment and life. Memphis soul music has also influenced a wide variety of different genres, including rhythm and blues, modern jazz and rock and roll. Musicians that have been dead for more than a half century are still cited as major influences. For example, W.C. Handy, one of the pioneers of Memphis soul music, has been name checked by Bruce Springsteen in the song Walking in Memphis , where he was called to look out over the singer as he walked along Beale Street.

Beale Street was really where Memphis soul music has its roots. The famous street was (and is still today) the epicenter of entertainment and culture of the city. When Memphis soul music was first starting out, musicians would sit out on the street, playing Memphis soul music for those who walked by.

Memphis soul music has an extremely unique sound, thanks largely in part to the improvisational skills of those who played it. Because many of the people involved with Memphis soul music were poor African Americans, they had to use whatever they had laying around the house to make sounds. Since not many people could afford guitars, banjos and violins, everyday household items like washboards, Jews harps, kazoos and jugs were used to make the necessary sounds to accompany the soulful voices singing the lyrics.

After World War II, Memphis soul music began to take on a new sound. This is largely in part to the mass migration of African Americans to large cities, as they were trying to escape the life of poverty associated with living in rural, depressed areas in the South. The migrants brought electric instruments with them, which instantly took over the Memphis soul music scene.

Soon, record companies were lining up to sign popular Memphis soul music musicians into contracts. Sun Records was particularly interested, and soon had artists like Willie Nix, Ike Turner, Howlin Wolf and B.B. King on their lineup. As a result, Memphis soul music went from a regional style of music that not many people outside of the area knew about to a prevailing force in American music. Soon, artists in other areas of music were taking cues from Memphis soul music, altering their sounds a bit to create new hits.
Author Resource:- To know more about Memphis Soul Music please visit our website.

Bobby Womack - How Could You Break My Heart

Tuesday, 24 May 2011

Frankie & Johnny - I'll Hold You



Had a great night at the Quantum of Soul. The music was absolutely brilliant from all dj's and I had lots of dances. It was mostly rare and under played northern but also some crossover which I love too. Looking forward to next month now as it's our second anniversary there. 

Saturday, 21 May 2011

Matt Brown - Thank You Baby





What people said at our first ever night in June 2009...
`As it`s out in the country this venue is (literally) a breath of fresh air..`
'Enormous potential indeed - great first night and looking good, already looking forward to the next one!'
'Top night! Brilliant music, it was nice to hear some underplayed stuff. Danced all night See you next month`

EASY ACCESS! APPROX 2.5 MILES FROM M1 JUNCTION 29A-Off at the junction-3 roundabouts-3rd exit (Bolsover) -3rd exit (Bolsover/Chesterfield) -1st exit (B6418 Shuttlewood). Drive straight through Shuttlewood-we are on the right.

CONTACT US: STU 07846380918
Quantum Of Soul. Be Part Of It. Like Us On Facebook. Follow Us On Twitter @quantumofsoul

Quantum Of Soul tonight at Oxcroft Miners Welfare - May 21st from 8pm

If you're looking for a night out with some excellent underplayed northern soul the Quantum Of Soul is the place to be! Resident dj's Stuart Bower and Neil Page will be joined by guest dj Al Taylor. Why not give it a try you won't be disappointed. Nice dancefloor and a cheap bar prices. See you there! :)

Oxcroft Miners Welfare
 55 Clowne Road
S44 6AG

Thursday, 19 May 2011

Northern Soul - Crossover - Eldridge Holmes


Neil Page, Stuart & Cathryn Bower present in association with our supporters and friends present another night of underplayed soul on 100% vinyl out in the country. Great friendly welcoming rural club with a laidback atmosphere and no rules. Just perfect now that the summer's almost here. APPROX 2.5 MILES FROM M1 JUNCTION 29A -Off at the junction-3 roundabouts-3rd exit (Bolsover) -3rd exit (Bolsover/Chesterfield) -1st exit (B6418 Shuttlewood). Drive straight through Shuttlewood-we are on the right. Look for the signs for AIMCC.Quite definitely a breath of fresh air-and so is the music! 8PM till late. GUEST: AL (CORNER POCKET) TAYLOR (SHEFFIELD)

Oxcroft Miners Welfare
55 Clowne Road
S44 6AG

Click Here

Quantum Of Soul Facebook Like Page


Wednesday, 18 May 2011

Soul Bros Inc - Pyramid



Neil Page, Stuart & Cathryn Bower present in association with our supporters and friends present another night of underplayed soul on 100% vinyl out in the country. Great friendly welcoming rural club with a laidback atmosphere and no rules. Just perfect now that the summer's almost here. APPROX 2.5 MILES FROM M1 JUNCTION 29A -Off at the junction-3 roundabouts-3rd exit (Bolsover) -3rd exit (Bolsover/Chesterfield) -1st exit (B6418 Shuttlewood). Drive straight through Shuttlewood-we are on the right. Look for the signs for AIMCC.Quite definitely a breath of fresh air-and so is the music! 8PM till late. GUEST: AL (CORNER POCKET) TAYLOR (SHEFFIELD)

Oxcroft Miners Welfare
55 Clowne Road 
S44 6AG 

Click Here 

Quantum Of Soul Facebook Like Page

Thursday, 12 May 2011

Geographical origins

Many[who?] consider the birthplace of soul music to be northern United States inner cities, particularly Chicago. Other cities, such as New York, Detroit, Memphis and Florence, quickly followed, creating their own soul styles based on their regional gospel roots.

Florence, Alabama, was the home of FAME Studios. Jimmy Hughes, Percy Sledge and Arthur Alexander recorded at Fame, and Aretha Franklin recorded in the area later in the 1960s. Fame Studios (often referred to as Muscle Shoals after a nearby town) enjoyed a close relationship with the Memphis label Stax Records, and many of the musicians and producers who worked in Memphis contributed to recordings in Alabama. Another notable Memphis label was Goldwax Records, which signed O.V. Wright and James Carr. Carr's "The Dark End of the Street" (written by Chips Moman and Dan Penn) was recorded in 1967 at two other Memphis studios, Royal Recording and American Sound Studios. American Sound Studios owner Chips Moman produced "The Dark End of the Street", and the musicians were his house band of Reggie Young, Bobby Woods, Tommy Cogbill and Gene Chrisman. Carr also recorded songs at Fame Studio with musicians David Hood, Jimmy Johnson and Roger Hawkins.

The Detroit-based Motown Records also contributed to the soul canon in the 1960s, although at the time, the label described itself as a manufacturer of pop music. Music by Motown artists such as Stevie Wonder, Gladys Knight & the Pips, Marvin Gaye, the Temptations, and the Supremes did much to popularize what became known as the Motown sound.

In Chicago, Curtis Mayfield helped develop the sweet soul sound that later earned him a reputation as the Godfather of northern soul. As a member of The Impressions, Mayfield infused a call and response style of group singing that came out of gospel, and influenced many other groups of the era, notably fellow Chicago artists the Radiants.

The side show - lonely girl

Out Of Sights - For The Rest Of My Life

Tuesday, 10 May 2011

Soul Music Origins

Soul music has its roots in gospel music and rhythm and blues. The hard gospel vocal quartets of the 1940s and 1950s were big influences on major soul singers of the 1960s. The term "soul music" itself, to describe gospel-style music with secular lyrics, is first attested in 1961.

Ray Charles is often cited as inventing the soul genre with his string of hits starting with 1954's "I Got a Woman". Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style. Another view has it that a decade would transpire until Solomon Burke's early recordings for Atlantic Records codified the soul style; his early 1960s songs "Cry to Me", "Just Out of Reach" and "Down in the Valley" are considered classics of the genre. Little Richard (who was the inspiration for Otis Redding), Fats Domino and James Brown originally called themselves rock and roll performers.[citation needed] However, as rock music moved away from its R&B roots in the 1960s, Brown claimed that he had always really been an R&B singer.[citation needed] Little Richard proclaimed himself the "king of rockin' and rollin', rhythm and blues soulin'", because his music embodied elements of all three, and because he inspired artists in all three genres. Jackie Wilson and Sam Cooke are also often acknowledged as soul forefathers.

Aretha Franklin's 1967 recordings, such as "I Never Loved a Man (The Way I Love You)", "Respect" (originally sung by Otis Redding), and "Do Right Woman-Do Right Man" (written by Chips Moman and Dan Penn), are considered the apogee of the soul genre, and were among its most commercially successful productions.[citation needed] In the late 1960s, Stax artists such as Eddie Floyd and Johnnie Taylor made significant contributions to soul music.[citation needed] Howard Tate's recordings in the late 1960s for Verve Records, and later for Atlantic (produced by Jerry Ragovoy) are another notable body of work in the soul genre. By 1968, the soul music movement had begun to splinter, as artists such as James Brown and Sly & the Family Stone began to incorporate new styles into their music.

Jazz Funk - Joe Thomas - Thank You

Sunday, 8 May 2011

Jazz Funk - Surface Noise - The Scratch

Soul Music

Soul music is a music genre originating in the United States combining elements of gospel music and rhythm and blues. According to the Rock and Roll Hall of Fame, soul is "music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying." Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the soloist and the chorus, and an especially tense vocal sound. The genre also occasionally uses improvisational additions, twirls and auxiliary sounds

Jo Armstead - A stone good lover

Friday, 6 May 2011

WOODSEATS WMC - SHEFFIELD - Date: Fri 06 May 2011

Stuart is guest dj at Woodseats tonight so it's another Friday night out. I'm hoping he will play a few of my favourite records so I can have lots of dances. It's mainly northern soul but I think there should be some crossover thrown in as well! Anyway if anyone is interested here are the details.

Doors open 8pm while late,
No Membership Reqd,

TEL - 0114 2812064.

The Carstairs - It Really Hurts Me Girl

Thursday, 5 May 2011

The Vibrations - Cause You're Mine


Chicago soul

Chicago soul is a style of soul music that arose during the 1960s in Chicago. Along with Detroit, the home of Motown, and Memphis, with its hard-edged, gritty performers (see Memphis soul), Chicago and the Chicago soul style helped spur the album-oriented soul revolution of the early 1970s.

The sound of Chicago soul, like southern soul with its rich influence of black gospel music, also exhibited an unmistakable gospel sound, but was somewhat lighter and more delicate in its approach. Chicago vocal groups tended to feature laid-back sweet harmonies, while solo artists exhibited a highly melodic and somewhat pop approach to their songs. Accompaniment usually featured highly orchestrated arrangements, with horns and strings, by such notable arrangers as Johnny Pate (who largely worked with horns) and Riley Hampton (who specialized in strings). This kind of soul music is sometimes called “soft soul”, to distinguish it from the more harsh and gospelly “hard soul” style.

Saturday, 30 April 2011

We The People - Making My Day Dream Real

Back To Basics Soul Club

I enjoyed Back To Basics Soul Club at Rotherham last night. I must admit I prefer across the board to northern all night but my husband Stuart was guest dj and managed to slip a few of my favourites in. We The People my favourite all time record went down very well, with a few people asking about it and wanting to hear it again next time out. I saw a few people who I haven't seen for a while also which is always nice.

Friday, 29 April 2011

Tomangoes - I Really Love You

Spinners - I'll Always Love You

Northern Soul - Classic 70s - Bits'N Pieces

Isaac Hayes: Soul Man

Isaac Hayes was an American actor and musician known for his contributions to soul and funk music and his personal style. Hayes died in August 2008 of apparent stroke.

Hayes grew up poor in Tennessee; he was raised by his grandparents after the deaths of his parents. As a child Hayes began singing in his community church and taught himself to play the piano, organ, flute and saxophone; later he dropped out of high school to earn money picking cotton.

In the early 1960s Hayes landed a job as a session player for various artists on the Memphis-based Stax Records record label. During this time Stax Records became successful with artists like Otis Redding and Dusty Springfield. Hayes, David Porter and the Stax Records studio band Booker T. & the MGs served as the main production team for many of these artists.

Hayes' early success as a musician is due in large part to his work at Stax Records. Along with songwriting partner David Porter, Hayes wrote the now classic R&B hits "You Don't Know Like I Know," "Soul Man," "When Something is Wrong with My Baby" and "Hold On I'm Comin'" for the R&B duo Sam & Dave. Read more about Hayes' music contributions in music magazines.

In 1968 Hayes released his debut album, which was unsuccessfully commercially. A year later, while Stax Records lost its entire catalog to Atlantic Records, he released "Hot Buttered Soul" on the Stax label, which is now recognized as a milestone in soul music. The album broke out of the traditional album standard of 10 three-minute songs and instead contained four songs clocking in at five to 18 minutes long. The album boosted Hayes to Stax No. 1 artist. Next he released "Black Moses," also a successful album. For more on Hayes' musical accomplishments, read music magazines like Entertainment Weekly, Rolling Stone and Spin magazine.

In 1971 Hayes composed music for the soundtrack of "Shaft," a blaxploitation film. He also appeared in a cameo role in the film. The movie's theme-song became a worldwide hit single and spent two weeks on the Billboard Magazine Hot 100 charts at No. 1. Hayes won an Academy Award for "Best Original Song," for the theme song. Hayes was the first African-American to win a non-acting Oscar; he also won two Grammy awards. For more on Hayes' film career read African-American magazines like Vibe, Essence and Jet magazine.

After the success Hayes and Stax Records found themselves in deep debt. In 1975 Hayes released "Chocolate Chip," in which he embraced the disco sound and found success with the single "I Can't Turn Around." Hayes garnered praise from critics but his albums sell took a nose dive in the late 1970s and in 1976 he filed for bankruptcy.

In the 1980s and 1990s Hayes appeared in several movies including "I'm Gonna Git You Sucka" and television shows like "The A-Team" and "Miami Vice." He kept a low profile until 1995 Hayes launched a comeback with the release of "Branded," that sold modestly and garnered positive reviews. At this time Hayes joined the Scientology religion and Hayes participated in many Scientology events.

In 1997 Hayes garnered new fans and attention by providing the voice for the character "Chef" on the popular yet controversial Comedy Central animated series "South Park." Gained a lot of popularity; left the show when show criticized Scientology. Hayes was inducted into the Rock N' Roll Hall of Fame in 2002.

In 2006 Hayes confirmed he suffered a stroke; in 2008 Hayes was found unconscious in his home near Memphis and he died at Baptist Memorial Hospital where authorities listed cause of death as a stroke. Hayes left behind 12 children, 14 grandchildren and his fourth wife.

Magazines like People, Essence, Time and Newsweek all profiled Hayes at the time of his death and ran tributes and appreciations.

Wednesday, 27 April 2011

Garland Green - Ain't that good enough

The Northern Soul Music From England

Northern Soul originated in 1960's from northern England. They are the fanciest music and dance styles during that period. The Northern Soul got its name from the creative mind of a journalist named Dave Godin in one of his column in the magazine called Blues and Soul. The big part of Northern Souls original supporter arises from the mod movement. It is created out of their deep passion and appreciation of soul music. Time made quite a few changes when several mods accept the psychedelic movement. This resulted to numerous mods to love and patronize the original soundtrack of soul and ska. However some were later known and called skinheads and some develop their own hub of the Northern Soul picture.

Fashion statement of the first Northern Soul fashion are known to have button-down Ben Sherman shirts, baggy trousers or shrink to fit Levis, US bowling shirts, Poly-velt shoes, Blazers with centre vents and many buttons. This fashion statement creates fusion and wide acceptance among Northern Soul fanatic. It is also worthy to take note that during this period numerous dancers are seen wearing club badges.
The Northern Soul sound started in the Twisted Wheel Club located in Manchester. Then other clubs like Blackpool Mecca, Golden Torch in Stoke, North Park in Kettering, The Catacombs in Wolverhampton, the Winter Gardens in Cleethorpes, the Casino Club in Wigan, Blackpool Mecca, The Mojo and KGB clubs in Sheffield and Va Va's follow the groove and enjoy the pleasure of the Northern Soul.

The Northern Soul creates the most expensive collection in the world of musical. This resulted to high price of records because of its scarcity, quality of beat, impressive melody and lyrics. Supporter are drown over the lyric of Northern Soul that covers the expression of heartache, pain and joy of the romantic story of love.
The love of the people of Northern Soul sound brings popularity among the artist. The fever of Northern Soul become so imminent that fame of the artist are truly notable and give breaks to great career in the industry. Among them are the Fascinations and the Velvelettes that grace the 70's on top 40 UK 

Marry Jazz is a successful author of

Friday, 22 April 2011

Jazz Funk - Funk Fusion Band - Can You Feel It

Funk, Soul And Rhythm And Blues

In 1970, a new strand of Rhythm and Blues (R&B) was hitting the airwaves, funk music.  Rhythm and Blues artists like Little Richard, James Brown, Parliament Funkadelic, and the Meters helped to pave the way to R&B Funk topping record charts and filling nightclubs with a funky new beat. 

Psychedelic soul hit the music industry in the late 60's giving the R&Bs a blend of rock and soul with that had an upbeat tempo that one could move their feet to on the dance floor.  It was the crack that led to the opening to funk and disco a few years later.

 Funk music could be classified as a mixture of soul music with a dash of jazz, and R&B, with a strong rhythmic groove built from the electric bass, drums, and the electric guitar.  They often have a strong horn section as well where the sax added the soul and the trumpets and trombone accented the rhythmic beats.       
 When taking a trip down funk music memory lane you can't help think back to the 70's artists such as Rufus feat, Chaka Khan, Earth, Wind & Fire, Eric Burdon & War, Tower of Power, Average White Band, The Commodores, and Kool & the Gang.  The thing with funk music back in the 70's and still today is that no one band or artists was bound to just that one style of music.  These same artist and many more also played other genres of music such as disco and rare soul music.  Funk just opened the doors to new venues as well as new genres of music such as disco beats, hip hop, and go-go and punk music.

 By the early 80's funk took on a bit more of a spin and became more sultry and sexual in content with the help of artists such as Prince.  After all, the initial oncoming of funk was based off the idea of getting your groove on or sexual intercourse to be more direct.  A song would start with a slow rhythmic groove working up to a harder, pounding, and more insistent and demanding rhythm. 

The 80's also brought musical instrument changes to the traditional funk sounds with the exchange from live horn sections to synth keyboards, organs and pianos were replaced with electronic machines and synthesizers as well.  Even the drums were replaced by electronics taking a good part of the show out of funk today.  
The late 80's and early 90's brought funk into yet another light as rock bands started incorporating funk sounds to their venue calling it funk rock or funk metal.  However through all the changes of Funk R&B influences that earlier performs such as James Brown, Sly and the Family Stone, George Clinton and Parliament-Funkadelic, Curtis Mayfield, The Meters, The Funk Brothers, and Bootsy Collins still remain. 

Tuesday, 19 April 2011

Northern / Modern Soul _ Alfie Davison - Love Is Serious Business

Secondary R&B labels

  • 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." Shut down and reorganized as Gordy Records in 1962. Notable releases included early recordings by Jimmy Ruffin and The Temptations).
  • MoWest Records: MoWest was a short-lived (1971–1973) 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 G. C. Cameron, Syreeta Wright, The Four Seasons, Commodores (their first two singles in 1972 and 1973), and Los Angeles DJ Tom Clay.
  • 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.[8] 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.
  • Weed Records: A very short-lived subsidiary. Only one release, Chris Clark's 1969 CC Rides AgainWeed." The name "Weed Records" is now owned by the Tokyo-New York based Weed Records. album, was issued. This release featured the tongue-in-cheek tagline, "Your Favorite Artists Are On

Just In Case - Jaheim

Northern Soul - Quality Crossover - Jesse Fisher

Monday, 18 April 2011

Lainie Hill - Time Marches On

Major divisions

  • 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, Boyz II Men, Commodores, and Erykah Badu. Motown Records slogan: "The Sound of Young America."
  • Tamla Records: Established 1959, Tamla was a primary subsidiary for mainstream R&B/soul music. Tamla is actually the company's original label: Gordy incorporated 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, and The Marvelettes. Tamla Records slogan: "The Sound that Makes the World Go 'Round."
  • 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, Teena Marie, The Mary Jane Girls, and DeBarge. Gordy Records slogan: "It's What's in the Grooves that Counts"
Tamla-Motown Records: Motown's United Kingdom label, established in March 1965. 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 by Motown artists not released in the United States (for example, the single "I Second That EMotion" by Diana Ross & the Supremes with The Temptations

Paul Sindab - Do whatcha wanna do

Sunday, 17 April 2011

The Mob - I Dig Everything About You

Inovations - Stay 0n The Case

Quantum Of Soul

Really enjoyed last night at the Quantum Of Soul. The music here is always topnotch but last night Stuart, Neil and guest dj Danny completely excelled. It's really good to hear so many underplayed and rare sounds, looking forward to next month now!

Friday, 15 April 2011

Wednesday, 13 April 2011

Saturday April 16th with guest dj Dany Speddings

Oxcroft Miners Welfare 
S44 6ag

Neil Page, Stuart & Cathryn Bower present in association with our supporters and friends present another night of underplayed soul on 100% vinyl out in the country. Great friendly welcoming rural club with a laidback atmosphere and no rules. Just perfect now that the summer's almost here. 2 miles from M1 J29A. Quite definitely a breath of fresh air-and so is the music! 8PM till late.


Tuesday, 12 April 2011

James Brown - Lost Someone

Northern Soul - Ultimate 70s - Choice of Colour

Artist development

Artist development was a major part of Motown's operations. 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 by white Americans in that era of black musicians. Given that many of the talented young artists had been raised in housing projects and were short on social and dress skills, 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 Jr. Walker and Marvin Gaye were exempted 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.

Northern Soul - Awesome Crossover - Lee Fields

Sunday, 10 April 2011

The Funk Brothers

In addition to the songwriting prowess 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 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."

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 James Jamerson often played his instrument with only his index finger, and created many of the basslines apparent on Motown songs such as "You Can't Hurry Love" by The Supremes.

Saturday, 9 April 2011

Jimmy Conwell - Cigarette Ashes

The Furys - I'm Satisfied With You

The Fi-Dels - Try A Little Harder

Motown Sound

Motown 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. 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. Motown producers believed steadfastly in the "KISS principle" (keep it simple, stupid).

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 which 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 re-work 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 and Valerie Simpson, Frank Wilson, Pamela Swayer & Gloria Jones, James Dean & William Weatherspoon, Johnny Bristol, Harvey Fuqua, 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."

Friday, 8 April 2011

Here I go again - Archie Bell & the Drells


The Metros - Since I Found My Baby Northern Soul

Universal Motown: 2005–present

In 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. Motown began celebrating its fiftieth anniversary (January 12, 2009) in late 2008, including the release of a The Complete No. 1's box set containing Motown #1 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 Universal Music Group's catalog division Universal Music Enterprises.

Further information: Universal Motown Records

Thursday, 7 April 2011

I Cant Get Enough-- Johnny Sales-- Northern Soul



Final years of the Motown label: 1999–2005

By 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. Ironically, Seagram had purchased Motown’s former parent MCA in 1995, as such Motown was in effect reunited with many of its MCA corporate siblings (Seagram had, in fact, hoped to build a media empire around Universal, and started by purchasing PolyGram). Universal briefly considered shuttering the floundering 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 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. Wonder is, today, the only artist from Motown's early period still on the label.

Q-Tip was the final artist on the label, releasing The Renaissance.

Wednesday, 6 April 2011

Vincent Montana Jr - That What Love Does

Wil Collins & Willpower Anything i can do

Los Angeles: 1972–1998

After 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, and Gladys Knight & the Pips. 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 chances 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 Motown's Funk Brothers studio band, either staying behind in Detroit or leaving the company for other reasons. The main objective of Motown's relocation was 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 Thank God It's Friday (1978), The Wiz (1978) and Berry Gordy's The Last Dragon (1985). Ewart Abner, who had been associated with Motown since the 1960s, became its president in 1973.

Despite losing Holland–Dozier–Holland, Norman Whitfield, and a number of its other hitmakers by 1975, Motown still had a number of successful artists during the 1970s and 1980s, including Michael Jackson, Lionel Richie and The Commodores, Rick James, Teena Marie and DeBarge. By the mid-1980s, Motown was losing money, and Berry Gordy sold his ownership in Motown to MCA Records 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 runs it to this day.
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. A revolving door of executives were appointed by MCA 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.

Northern / Xover Soul _ Belita Woods - Magic Corner

Tuesday, 5 April 2011

Northern / Modern Soul _ Carol Anderson - Sad Girl

Detroit: 1959–1972

Gordy founded a second label, Motown Records, in September 1959. Among early Tamla/Motown artists were Mable John, Eddie Holland and Mary Wells. "Shop Around," The Miracles' first #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 #1 pop hit, "Please Mr. Postman". By the mid-1960s, the label, with the help of songwriters and producers such as Robinson, A&R chief William "Mickey" Stevenson, Brian Holland, Lamont Dozier, and Norman Whitfield, was 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 Diana Ross & The Supremes, The Four Tops, and The Jackson 5, while Stevie Wonder, Marvin Gaye, and The Miracles released 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, and Martha and the Vandellas. A fourth, V.I.P., released recordings by The Velvelettes, The Spinners, The Originals, and Chris Clark. A fifth label, Soul, featured Jr. Walker & the All Stars, Jimmy Ruffin, Shorty Long, 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), Mel-o-dy (country, although it was originally an R&B label), and Rare Earth (rock). 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 '60s, 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.[2]

Berry Gordy House, known as Motown Mansion in Detroit's Boston-Edison Historic District.[3]
In 1967, Berry Gordy purchased what is now known as Motown Mansion in Detroit's Boston-Edison Historic District as his home.[3] 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). The same year, Gordy purchased Golden World Records, and its recording studio became "Studio B" to Hitsville's "Studio A".

In Britain, 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), Oriole American ("Fingertips" by Little Stevie Wonder was one of many), EMI's StatesideWhere Did Our Love Go" by the Supremes and "My Guy" by Mary Wells were Motown's first British top-20 hits), and finally EMI's Tamla-Motown ("Stop! In The Name of Love" by The Supremes was the first Tamla-Motown label release in March 1965) ("

Brown Sugar - The Game Is Over

Eloise Laws,Love Factory


Motown History

Berry Gordy got his start as a songwriter for local Detroit acts such as Jackie Wilson and The Matadors. Wilson's single "Lonely Teardrops", written by Gordy, became a huge success; however, Gordy did not feel he made as much money as he deserved from this and other singles he wrote for Wilson. He realized that the more lucrative end of the business was in producing records and owning the publishing.
The Hitsville U.S.A. Motown building at 2648 West Grand Boulevard in Detroit[1] served as Motown's headquarters from 1959 until 1968, and became the Motown Historical Museum in 1985.
In 1959, Billy Davis and Berry Gordy's sisters Gwen and Anna started Anna Records. 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. Gordy originally wanted to name the label "Tammy" Records, after the popular song by Debbie Reynolds. When he found the name was already in use, he decided on Tamla instead. Tamla's first release was Marv Johnson's "Come to Me" in 1959. Its first hit was Barrett Strong's "Money (That's What I Want)" (1959), which made it to #2 on the Billboard R&B charts.

Gordy's first signed act was The Matadors, a group he had written and produced songs for, who changed their name to The Miracles when Tamla signed them; their first release was "Bad Girl". Miracles lead singer Smokey Robinson became the vice president of the company (and later named his daughter "Tamla" and his son "Berry" out of gratitude to Gordy and the label). Many of Gordy's family members, including his father Berry, Sr., brothers Robert and George, and sister Esther, were eventually 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.
Also in 1959, Gordy purchased the property that 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 a few years, Motown would occupy several neighboring houses with administrative offices, mixing, mastering and rehearsal studios.

Terry Callier - Look At Me Now




Motown is a record label that was originally founded by Berry Gordy, Jr. and incorporated as Motown Record Corporation in Detroit, Michigan, USA, on April 14, 1960. The name, a portmanteau of motor and town, is also a nickname for Detroit. Now headquartered in New York City, Motown is a subsidiary of Universal Motown Republic Group, itself a subsidiary of Universal Music Group, and now operates as Universal Motown Records. Motown Records was also the name of Gordy's second record label; the first, Tamla Records, began on January 12, 1959.
Motown played an important role in the racial integration of popular music, as it was the first record label owned by an African American even if it was not the first to feature primarily African-American artists. Motown achieved a crossover success. In the 1960s, Motown and its soul-based subsidiaries were the most successful proponents of what came to be known as The Motown Sound, a style of soul music with a distinct pop influence.
Motown has owned or distributed releases from more than 45 subsidiaries in varying genres, although it is most famous for its releases in the music genres of rhythm and blues, soul, hip hop, and pop. Gordy relocated Motown Records to Los Angeles in 1972 and there it remained an independent company until June 28, 1988, when Gordy sold the company to MCA and Boston Ventures (which took over full ownership of Motown in 1991), then to PolyGram in 1994, before being sold again to MCA Records' successor Universal Music, when it acquired The PolyGram Group

Monday, 4 April 2011

Delegates Of Soul - I'll Come Running Back - Mega Northern Soul / Funk /...



From Motown to Hip Hop

Growing up in the City of Detroit during the early sixties was a memorable era for music. It was a period of time whereby the unique sounding records of Motown were being played and heard throughout the streets, nightclubs, house parties and radio stations everywhere. It was common to have the soulful R and B records playing on the jukeboxes while folks were dancing in the streets or singing in the barber shops and beauty parlors to the love songs that eventually captivated the hearts of millions of people throughout the world. Music cds and rap music were not heard of during that period, it was all about the vinyl records and rhythm and blues soul.
The songs that were written by Motown songwriters during the 60′s & 70′s had so much meaning. They were songs that spoke about true love, current events and the heartache and pains of life experiences. Oh yes, Motown had it going on! Their music became universal music. Many of the soulful tunes crossed over into other markets such as pop, jazz, blues, etc… But just like George Benson said in one of his recordings “Everything Must Change”, and sure enough, he was right about the music.

After giving so many years service and great music to the City of Detroit, Motown moved out and Rap/Hip Hop moved in. Instead of hearing someone singing My Baby Loves Me or My Girl, you began to hear new sounding lyrics of street experience expressed in rhythms with the mouth, chest, hands and feet as such had never been heard before.
This new sound called Rap evolved in the early 80′s and took off as a sky rocket in the late 90′s and New Millennium as Hip Hop/Rap. Even today Rap/Hip Hop music is still a multi billion dollar genre. Millions of cds, videos and dvd’s are sold each year in the Hip Hop genre of music. And there is no sign that Hip Hop will be slowing down or taking a back seat to anyone anytime soon.
So what happened to the Motown sound…. did it die out? No! The Motown sound will never die out. It will always play a significant part in the hearts of millions who embraced it’s sound back in the early 60′s, and continued to pass that sound on to their children throughout the 70′s, 80′s and 90′s.
Sometimes you just have to move over and let the new kids on the block have a turn in expressing their musical talents, songs and ideas. That’s what Motown did…moved over-not out. And now the Hip Hop artists are not the new kids on the block anymore, for they have taken their position to express themselves musically, just like the rhythm and blues artists took their position to express themselves in the Motown era.

That’s how we’ve gone from Motown to Hip Hop!

Written by: Michael Bell
©2006 Michael Bell
Article Source:
Michael Bell – proficient record producer / music composer / songwriter / studio engineer / recording artist / freelance writer, Lansing, Michigan.


Sunday, 3 April 2011



Motown historical museum, Detroit, MI

The Motown Museum is the small shingle-clad building that was occupied from 1957 to 1972 by the studio where records of the "Motown sound" were produced. Visitors can see the actual recording studio where Marvin Gaye and others produced hit songs. Motown Historical Museum is one of Detroit's most popular tourist destinations. Each year, the museum attracts thousands of visitors from across the nation and around the globe. The museum was founded in 1985 by Esther Gordy Edwards. Its mission is to preserve the legacy of Motown Record Corporation... more

Motown Historical Museum is one of Detroit's most popular tourist destinations. Each year, the museum attracts thousands of visitors from across the nation and around the globe. The museum was founded in 1985 by Esther Gordy Edwards. Its mission is to preserve the legacy of Motown Record Corporation and to educate and motivate people, especially youth, through exhibitions and programs that
promote the values of vision, creativity and entrepreneurship.

The museum exhibits trace the roots of Motown's remarkable story and chronicle its impact on 20th century popular culture and musical styles. The story begins with Berry Gordy, Jr. and a small house in Detroit that he christened, Hitsville USA now home to Motown Historical Museum. The story continues as Motown evolves into a major entertainment enterprise that was among the most diverse and influential in the world.

The exhibitions include a fascinating collection of historical photographs, artwork, music, costumes and other memorabilia from this booming musical era. Each item tells a story – from the 800 dollar loan given to Berry Gordy, Jr. by the Gordy family savings club (the Ber-Berry Co-op) to produce his first record – to the explosive popularity of Motown's artists throughout the world. Visitors take a step back in time as they walk through the fully restored apartment that was once home to Berry Gordy, Jr, and stand in the original recording studio, Studio A where Motown's greatest hits were recorded