People usually think of the 1960s when they hear the word Motown. They picture the matching suits, the synchronized finger snaps, and that clean-cut "Sound of Young America" that Berry Gordy spent years perfecting in Detroit. But honestly? If you want to hear when the label actually grew up, you have to look at motown songs from the 70s. It was a decade of total chaos and massive transitions. The label literally packed up its bags and moved from the gritty streets of Detroit to the glitz of Los Angeles in 1972, and the music changed just as drastically as the scenery.
It wasn’t just a change of zip code.
The artists started demanding control. Stevie Wonder was basically a child prodigy who grew into a musical titan, and Marvin Gaye decided he was tired of singing about "How Sweet It Is" while the world was falling apart. This era gave us everything from gritty social commentary to the birth of the disco era. It was messy. It was experimental. It was arguably the most important ten-year stretch in the history of soul music.
The Year Everything Shifted: 1971
Before 1971, Motown was a hit factory. Producers like Brian Holland, Lamont Dozier, and Eddie Holland (HDH) wrote the songs, and the artists sang them. Period. But Marvin Gaye broke that mold. He had to fight Berry Gordy just to get "What’s Going On" released. Gordy famously called it "the worst thing I ever heard in my life" because it was too political. He was wrong.
The song became a massive success and proved that motown songs from the 70s could be about more than just teenage heartbreak. It tackled the Vietnam War, environmental destruction, and poverty. When you listen to it today, it still feels hauntingly relevant. Gaye’s multi-tracked vocals—where he’s basically singing with himself in different layers—changed the way soul records were produced forever.
Then came Stevie.
Stevie Wonder turned 21 in 1971 and basically told the label he wasn't signing a new contract unless he got total creative freedom. He got it. What followed was arguably the greatest run of albums in music history: Music of My Mind, Talking Book, Innervisions, and Fulfillingness' First Finale. He started using the TONTO synthesizer, a massive wall of electronics that gave him sounds nobody had ever heard before. Tracks like "Superstition" and "Living for the City" aren't just great songs; they are masterclasses in engineering and arrangement.
The Jackson 5 and the Bubblegum Bridge
While Marvin and Stevie were getting deep and philosophical, a group of brothers from Gary, Indiana, were keeping the lights on at the Hitsville offices. The Jackson 5 were the bridge between the old-school Motown "charm school" vibe and the new era.
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Think about "I'll Be There" or "ABC." These weren't just hits; they were cultural phenomena.
Michael Jackson was a literal child during the early part of the decade, yet he had the vocal control of a veteran. But as the 70s progressed, even the Jacksons felt the itch for more control, eventually leaving for CBS Records because Motown wouldn't let them write their own material. It was a recurring theme during this decade—the tension between Gordy’s desire for control and the artists’ need to create.
When Funk Met the Dance Floor
By the mid-70s, the sound was getting heavier. The basslines were thicker.
The Commodores, led by Lionel Richie, are a perfect example of the Motown duality in the 70s. On one hand, you had "Brick House," which is just pure, unadulterated funk. On the other, you had "Easy" and "Three Times a Lady," which signaled the label’s move toward the massive pop-ballad success they’d see in the 80s.
Rick James is another name you can't ignore. He brought a "punk-funk" energy that saved the label toward the end of the decade. When "You and I" dropped in 1978, it brought a raw, aggressive edge back to the label. James was a wild card—unpredictable, loud, and incredibly talented. He helped Motown transition out of the disco era and into the synth-heavy R&B of the early 80s.
The Ladies of the 70s: Beyond the Supremes
Diana Ross went solo, and while some purists missed the trio, she became a global superstar. "Ain't No Mountain High Enough" (the 1970 version) is a six-minute epic that starts as a spoken-word piece and builds into a gospel-fueled explosion. It was cinematic. It was huge.
Then you had Thelma Houston. "Don't Leave Me This Way" became a definitive anthem of the disco era. It’s a song that captures the desperation and euphoria of the 70s club scene perfectly.
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The Los Angeles Move and the "Detroit Sound" Myth
A lot of people say Motown lost its soul when it moved to LA in '72. They miss the Funk Brothers—the legendary house band that played on more number-one hits than the Beatles, Elvis, and the Stones combined. In Detroit, they recorded in a basement called "Studio A." In LA, the sessions were more polished, more expensive, and featured session legends like the Wrecking Crew.
Is the music different? Absolutely.
Is it worse? I don't think so. It just evolved. You can't get a song like "Love Hangover" in a basement in Detroit. That song needs the high-fidelity, wide-screen production of a 70s West Coast studio. The "Detroit Sound" was about grit and urgency; the "LA Sound" was about sophistication and space.
Why We Are Still Obsessed With These Tracks
It's the songwriting.
Even when the technology changed—moving from 8-track to 24-track recording—the core of a Motown song remained the melody. You can strip "Just My Imagination (Running Away with Me)" down to an acoustic guitar and it’s still a masterpiece. The Temptations, led by the soaring vocals of Eddie Kendricks, proved that even the "vocal groups" could adapt to the changing times. They went from "My Girl" to the psychedelic soul of "Papa Was a Rollin' Stone," a track that clocks in at nearly seven minutes and uses a haunting three-note bassline to create more tension than a horror movie.
Realities of the Era: The Charts Don't Lie
If you look at the Billboard charts from 1970 to 1979, the presence of motown songs from the 70s is staggering.
- 1970: "The Love You Save" (The Jackson 5) hits #1.
- 1972: "Ben" (Michael Jackson) shows the world a solo star is born.
- 1973: "Keep on Truckin'" (Eddie Kendricks) proves solo departures can work.
- 1976: "Love Hangover" (Diana Ross) dominates the disco charts.
- 1977: "Sir Duke" (Stevie Wonder) pays tribute to the jazz legends that came before.
It wasn't just a lucky streak. It was a concentrated effort to stay relevant while the musical landscape shifted toward rock, disco, and eventually hip-hop.
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Misconceptions About 70s Motown
One big mistake people make is thinking Motown "failed" at disco. That's just not true. While some of the older acts struggled to find their footing, the label produced some of the most enduring dance tracks of the decade. They didn't just chase trends; they often set them.
Another myth is that the label stopped being "Black music" when it moved to LA. While Berry Gordy definitely wanted crossover pop success (and achieved it), the 70s output was deeply rooted in the Black experience. Look at the lyrics of "Living for the City" or the entirety of the What's Going On album. These were not sanitized songs made for white audiences; they were honest reflections of what it was like to be Black in America during the post-Civil Rights era.
How to Build a 70s Motown Playlist That Actually Matters
If you're tired of the same three songs on "Oldies" radio, you have to dig deeper into the B-sides and the album cuts. The 70s was the era of the "Album," not just the "Single."
Start with Stevie Wonder’s Innervisions. Listen to it from start to finish. Don't skip. You’ll hear how the songs flow into each other. Then move to Marvin Gaye’s Let’s Get It On. It’s a masterpiece of mood and atmosphere.
For the funkier side, check out The Undisputed Truth. They are often overlooked but their track "Smiling Faces Sometimes" is an absolute masterclass in 70s paranoia and groove. It’s dark, it’s heavy, and it’s quintessential Motown.
Actionable Steps for the Modern Listener
To truly appreciate the depth of motown songs from the 70s, you should go beyond the digital streaming "Best Of" lists. Those lists usually prioritize the shortest, most radio-friendly edits.
- Seek out the 12-inch versions: Many 70s tracks, especially the disco-leaning ones by Diana Ross or Thelma Houston, had extended 12-inch mixes that are vastly superior to the radio edits. They allow the groove to breathe.
- Read the liner notes: Look for names like Smokey Robinson (who was still writing hits!), Ashford & Simpson, and Norman Whitfield. Whitfield, in particular, was the architect of the "Psychedelic Soul" sound that defined the early 70s for the Temptations.
- Listen for the bass: This was the decade where the bass guitar became the lead instrument in R&B. Whether it’s James Jamerson’s final Motown sessions or the newer LA players, the low end is where the magic happens.
- Watch the documentaries: "Standing in the Shadows of Motown" is essential viewing. While it focuses a lot on the Detroit era, it gives you the context needed to understand why the move to LA was such a massive cultural shock for the musicians involved.
The 70s wasn't a decline for Motown. It was a transformation. It was the decade where the artists finally grew larger than the label itself, creating a legacy of independence and raw creativity that still influences every R&B and pop artist you hear on the radio today. Next time you put on a record, skip the 60s hits for a second and dive into the 1974-1977 era. You’ll find a much richer, much more complex story waiting for you.