Detroit/Motown Soul 4
Lamont Dozier
Brothers Brian Holland and Eddie Holland joined Lamont Dozier in 1962 to form a songwriting/producing partnership and by 1963 the Holland-Dozier-Holland team was achieving significant success. They were the main instigators of Motown's gospel-pop crossover sound, structuring their songs over gospel-style vamps and further emphasizing rhythmic elements while maintaining Motown's lyric focus on simple human dramas. In Lamont Dozier's words, "The feel is all important … people get comfortable with a groove and respond to that … then the groove is interrupted with another direction" (interview with author, 1992). Holland-Dozier-Holland became the primary songwriting team for groups such as The Supremes, Four Tops, and Martha and the Vandellas. During the period of 1963 to 1966, they wrote thirty-five U.S. Top 40 hits, including classics such as "Baby Love" (Supremes 1964), "Baby I Need Your Loving'" (Four Tops 1964), "Stop in the Name of Love" (Supremes 1965), "I Can't Help Myself" (Four Tops 1965), and "Reach Out I'll Be There" (Four Tops 1966).
Studio musicians and sound engineers also made important contributions to the Motown sound. Some Motown session musicians came from the Detroit jazz scene. These performers included saxophonist Thomas "Beans" Bowles, drummer Benny Benjamin, bassist James Jamerson, guitarist Joe Mesina, and keyboardists Joe Hunter and Earl Van Dyke (many of whom were involved with Motown from the early days). They provided writers and performers with sophisticated musicianship and an extremely tight musical backing forged over many studio sessions. Session musicians were often required to make significant contributions towards the creation of songs during recording sessions. Lamont Dozier recalls that at many studio sessions they "would have parts of songs, like hooks or may be parts of a verse" (George 1985, 117). Audio engineers such as Mike McClain, Lawrence Horn, and Robert Dennis helped create the bright, treble-oriented sound that became a hallmark of the Motown production style. Early recordings were made on a three-track tape machine, but by 1964 Motown had installed its first eight-track machine. It was common for twenty mixes to be produced before selecting a final song mix.
Many of Berry Gordy's "business" innovations also helped Motown's young artists. Motown touring revues gave performers live exposure, and Motown's Artist Development section provided intensive training in grooming, interview technique, and stage movement. With this wealth of artistic talent and business acumen, Motown was able to flourish during the mid-1960s, a time when the U.S. pop music industry as a whole struggled in the wake of the Beatles' 1964 "invasion" of the U.S. charts. Evidence of Motown's continuing success is the fact that Holland-Dozier-Holland wrote more U.S. Top 40 singles than Lennon-McCartney in 1965 and outperformed them again in 1966. In addition, by the mid-1960s, Motown had a worldwide network of licensees handling international distribution.
A Change is Gonna Come
I was born by the river
In a little tent
Oh, and just like the river, I've been runnin'
Ever since
It's been a long
A long time comin', but I know
A change gon' come
Oh, yes it will
Long Walk to D.C.
It's a long walk to DC but I've got my walking shoes on
I can't take a plane, passer train, because my money ain't that long
America we believe, oh that you love us still
So people I'm gonna be under to wipe away my tears