Hi Dave,
You've certainly bought into the mainstream media's version of Motown's potted history eh?
You seem to have ignored the fact that every 45 ever produced was manufactured for one reason and one reason only...to make money. 'Uncle Tom mush?' I'm sure the late greats including Popcorn Wylie, Uriel Jones, Joe Hunter, James Jamerson, Benny Benjamin, Robert White, Norma Whitfield and the master of the B3, Mr Van Dyke himslelf would appreciate their legacy being dismissed in such derogatory fashion. The FACT is that many of the soul oriented Detroit labels of the early sixties were in fact NOT doing so well which is why Gordy's empire gobbled them up. I would hardly hold the Fortune imprint up as an example of a rival to Motown either. Different eras, different music.
The Isley Bros track you refer to was in fact a version of the The Miracles track from their LP. I first heard both versions back in the late 70s. It's been around turntables since then.
You mention the 'boy Wilson' as being the most successful producer Motown had? I think you'll find that Lamont Dozier is not just Motown's most successful producer but is streets ahead in terms of commercial success than anyone from any label/genre. That includes Elvis, The Beatles..blah blah blah.
Motown directionless around 1963? With licencing developing all over the world, with a number of smash hits in place, the Talent Development Division in full flow, with the corporations Tamla, Gordy and Motown imprints vying for release at the quality control Fridays, the Snakepit running 24 hours a day and the company owning it's own Studios, PR department and publishing company thus ensuring the cash flow yep....all sounds pretty directionless to me. LOL!
The bottom line is...if you speak to 99% of the label owners of the era, (including ones from other cities around the States), they will tell you categorically...they all wanted the success that Gordy had generated. Many of them used his format to try and gain a foothold. Many were successful and many fell by the wayside but the INFLUENCE on other black music makers of the day is absolutely unquestionable. From the Philly DynoDynamics team, the LA Mirwood set up, Carl Davis' output in Chicago, Gamble and Huff's development of TSOP, not forgetting of course the Pied Piper contributions, Revilot, Carnival, Groovesville, Arctic, Shrine, etc etc all heldd up Motown as the beacon to emulate.
The thought of Motown 'poaching' back room staff as the company grew is ridiculous. Many of the later contributors actually went banging on 2648 WGB's door!
So....it's obviously all about opinions but I'd say it was anything but insulting to suggest that Gordy's musical contribution was an example that many thought to repeat but would venture that the more astute amongst them would use his success to further their own aspirations, a great example being LeBaron Taylor who rose to be Vice President of CBS.
To PaulB.... Soak it all up Mate. It's fantastic. All of it. Rare, not rare, uptempo, downtempo, oldies, newies, overplayed, underplayed, 45s,33s, EPs LPS, who cares....just soak it all up. I've been doing this for 35 years and STILL hear stuff for the first time and think WOW whilst the next 45 I hear may be an oldie that did the same 35 years ago. I defy anyone to listen to The Elgins 'Heaven Must Have Sent You' and not recognise the brilliance of it. Forget the baggage...LISTEN TO THE BLEEDIN' MUSIC and the people who created it.!