Berry Gordy's strategy of producing songs that were universal in their appeal meant that Motown artists avoided social commentary for most of the 1960s. This should not bring into question the commitment of Gordy or Motown to the civil rights movement—the label issued recordings of the speeches of Martin Luther King Jr. and donated money to CORE (Congress of Racial Equality) and the United Negro College Fund—but one couldn't ascertain this stance from the songs in the label's catalogue. In this, Motown was not alone. Very few black pop stars directly addressed the civil rights movement; most of the social and political commentary that was heard on popular records originated with folk-rock artists and San Francisco bands. Toward the end of the decade certain popular songs by black artists, like Martha and the Vandellas' "Dancing in the Streets" and Aretha Franklin's "Respect" (1967), were interpreted as having political overtones. Their reception in this context demonstrated that black record buyers were interested in music that more closely reflected the struggle for racial equality. When James Brown, one of the most successful artists in the black community, released "Say It Loud I'm Black and I'm Proud" in 1968 not only to positive reviews but also to chart success, it signaled an ideological shift among young record buyers. Motown was quick to respond; a handful of songs from the late 1960s addressed social problems of the black community, like the Supremes' "Love Child" (1968), and the Temptations' anti-drug song "Cloud Nine."
The Temptations, one of Motown's flagship acts, reflect the changes brought about by the emerging black power era. The band abandoned their matching outfits in favor of a more relaxed and Afrocentric image. Their new sound was brought about partly by a personnel change—Dennis Edwards was brought in to replace David Ruffin, who left to pursue a solo career—and also by their collaboration with producer Norman Whitfield. Beginning in 1968, Whitfield encouraged the band to adopt a more rhythmically aggressive, groove-oriented sound and to explore social themes. Whitfield collaborated with songwriter Barrett Strong to produce hits for a number of other Motown artists, such as "War" for Edwin Starr, but their early efforts for the Temptations, like "Message from a Black Man," and "Slave" (1969) were less than successful. They eventually learned how to write songs of social import that played into the group's strengths, beginning with the 1970 hit "Ball of Confusion." The track signaled that Motown could profit from topical subjects, and the newly relevant Temptations were embraced by a new generation of record buyers.
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Sly and the Family Stone, Otis Redding, Marvin Gaye
Must Haves:
 "Ball of Confusion"
"Cloud Nine"
"Uptight (Everything's All Right)"
"Funky Music Sho' Nuff Turns Me On"
The O'Jays, Rare Earth, the Commodores
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