Over the next few years, they recorded several songs, but most withered at the bottom of the charts. Then HDH merged plaintive singsong lyrics with a chorus of “baby, baby” and a driving beat, and called it “Where Did Our Love Go.” The record catapulted the Supremes to No. 1 on the pop charts and set off a chain reaction of five No. 1 hits in 1964 and ’65, all HDH compositions.
The young women continued to live in the projects for nearly a year, but otherwise their whole world changed. A summer tour with Dick Clark and an appearance on The Ed Sullivan Show were followed by other TV spots, nightclub performances, international tours, magazine and newspaper articles, even product endorsements. They soon traded their homemade stage dresses for glamorous sequined gowns, the dusty tour bus for a stretch limousine.
With the Supremes’ slicked-up sound leading the way, Motown proceeded to blaze a trail to the top of the pop charts, keeping pace with the Beatles, the Rolling Stones and the Beach Boys. Never mind that some fans complained that the Supremes’ music was too commercial and lacked soul. Motown sold more 45 rpm records in the mid-’60s than any other company in the nation.
Capitalizing on that momentum, Gordy pushed to broaden his market, getting Motown acts into upscale supper clubs, such as New York’s Copacabana, and glitzy Las Vegas hotels. The artists learned to sing “Put on A Happy Face” and “Somewhere,” and to strut and sashay with straw hats and canes. At first they were not entirely comfortable doing the material. Ross was crushed when a Manchester, England, audience started fidgeting while the Supremes sang “You’re Nobody ‘til Somebody Loves You.” Smokey Robinson called the middle-of-the-road standards “cornball.” Others were on unfamiliar territory, as well. Ed Sullivan once introduced Smokey and the Miracles thusly: “Let’s have a warm welcome for… Smokey and the Little Smokeys!”
By 1968 Motown had exceeded all expectations and was still growing. That was the year the company set up headquarters in a ten-story building on the edge of downtown Detroit. Four years later Motown’s first movie, Lady Sings the Blues, debuted. The story of Billie Holiday, played by Diana Ross, the film received five Academy Award nominations. Intent on further expansion into the film industry, Gordy moved the company to Los Angeles. Robinson had tried to dissuade him with a stack of books about the San Andreas Fault, to no avail. Gordy hungered to work his magic in Hollywood.
But the move to Los Angeles was the beginning of the end of Motown music’s golden era. “It became just another big company instead of the little company that thought it could,” Janie Bradford said recently. She started as a Motown receptionist, stayed with the company 22 years and even helped Gordy write one of his early hits, “Money (That’s What I Want).” After relocating, Gordy found little time for creating music or screening records. So much was changing. Lead singers left their groups for solo careers. Some wanted more creative and financial control. Gone were the house band and the cadre of young producers. Many of the performers, now famous, were being wooed away by other recording companies; some were disgruntled about old contracts and earnings, and complained that Motown had cheated them. Lawsuits ensued. Gossip and rumor would pursue Gordy for decades as the once most successful black-owned company in the country began a downward spiral.
In 1988 Gordy sold Motown’s record division to MCA records for $61 million. A few years later it was sold again to Polygram Records. Eventually Motown merged with Universal Records and today is known as Universal Motown. Among the company’s recording artists are Busta Rhymes, Erykah Badu and Stevie Wonder.
The old Hitsville USA house in Detroit is now a museum and popular tourist destination.