United Sound Systems Studios: Detroit’s Historic Recording Legacy
By Rod Arroyo
Origins and Early Years
The United Sound Systems Recording Studios holds the distinction of being Detroit’s first major recording studio. Located in a former residence, this facility played a pivotal role in driving some of the music industry’s most significant technical and engineering advancements. From blues and jazz to country and rock, to soul and funk and techno, United Sound Studios operated almost continuously from 1933 until 2018, making it one of the oldest independent studios in the country.
Founded in the early 1930s by James “Jimmy” Siracuse, United Sound Studios’ first location was in Detroit’s Cass Corridor. In its earliest days, the studio operated out of the home of Siracuse and his wife, Shyla (Esther). The studio remained at 5051 Cass Avenue until 1939, when Jim Siracuse relocated it to its more famous address at 5840 Second Avenue.
Innovation in Sound Engineering
Jimmy Siracuse pioneered the adaptation of residential spaces to accommodate the technical and engineering demands of the music industry. Working alongside his brother Tony, a sound engineer, Jimmy utilized his knowledge of building design and acoustic principles to develop and produce a unique sound that incorporated the building itself as a musical instrument. This innovative manipulation of sound became known worldwide as the “Temple of Sound.” The Siracuse brothers’ ability to transform spaces designed for residential use created a distinctive musical signature that became synonymous with United Sound Systems Studios.
Building a Commercial Foundation
For its first couple of decades, United Sound Studios was best known for producing jingles for radio and television. During this period, the studio primarily served local businesses producing commercials that aired on both radio and television. The Michigan-based Kellogg Co. was one of their most prominent clients—United Sound recorded all of its advertising jingles for 10 years.
The Charlie Parker Sessions
In December 1947, Charlie Parker and his Quintet arrived in Detroit to perform at the El Sino Club in Paradise Valley. It was a two-week stretch that began on December 19th, 1947. During his two-week run at the El Sino, Parker was at his peak, performing with his Quintet featuring formidable talent: a 21-year-old Miles Davis on trumpet, Max Roach on drums, Tommy Potter on bass, and Duke Jordan on piano.
As a musicians’ union recording ban loomed in late 1947, Savoy Records producer Teddy Reig seized the opportunity to get Parker into a Detroit studio. On December 21, 1947, Parker, Davis, Roach, Potter, and Jordan recorded “Klaustance,” “Another Hair-Do,” “Bird Gets the Worm,” and “Bluebird” at United Sound Systems Studio.
John Lee Hooker and Sensation Records
The following year, John Lee Hooker cut his landmark “Boogie Chillen” at United Sound for Sensation Records. Sensation Records grew out of Pan-American Distributing Co., a Detroit company owned by John Kaplan and Bernie Besman. In July 1947, the partners launched Sensation Records. Hooker’s initial recording proved so successful that other Detroit musicians flocked to the label, including T.J. Fowler, vibraphonist Milt Jackson, and country blues singer Sylvester Cotton.
Berry Gordy, Jr. and Motown Records
Motown Records founder Berry Gordy Jr. nurtured his early recording career at United Sound. Gordy was not employed there, but he spent considerable time observing recording sessions, learning the recording business, and bringing his own tapes in for sound level checks. He soon branched out independently. His first Motown single, Mary Johnson’s “Come to Me,” was recorded at United Sound. The Miracles also cut their first singles at United Sound under Gordy’s Tamla Records.
Dizzy, Dave, and Dee Gee Records
In the 1950s, Detroit’s Dave Usher—jazz and A&R executive—partnered with jazz great and good friend Dizzy Gillespie to form Dee Gee Records. The label released jazz and pop records. Usher produced 14-year-old Jackie Wilson’s first record, “Danny Boy,” and “Rainy Day Blues,” at United Sound as a favor to jazz musician Billy Mitchell.
In February 1951, Dizzy Gillespie brought his sextet to Club Juana in Detroit for a 10-day run, featuring Percy Heath (bass), “Kansas” Fields (drums), 19-year-old Kenny Burrell (guitar), 24-year-old John Coltrane (tenor sax), Gillespie (trumpet), and Milt Jackson (vibes). Days later, they entered United Sound Systems Studio and recorded three songs for Dee Gee Records: “Birks’ Works,” “Tin Ten Deo,” and “We Love to Boogie.” This session marked one of John Coltrane’s first recordings and his first recorded bebop session. Kenny Burrell’s debut recording followed— he recorded earlier with pianist Otis “Bu Bu” Turner, but this recording was released in 1955, 4 years after the Dizzy recordings.
Aretha and George Clinton
Aretha Franklin recorded several hit songs at United Sound Systems Studio, including “Jumpin’ Jack Flash” with Keith Richards and Ronnie Wood, “Who’s Zoomin’ Who,” “Freeway of Love,” and “Sisters Are Doin’ It for Themselves” with the Eurythmics.
In 1970, George Clinton rented studio space and recorded Funkadelic’s “Free Your Ass, and Your Mind Will Follow.” The United Sound Studios became the home studio of Clinton’s Parliament-Funkadelic. In the following years, Clinton returned to the studio to record “Cosmic Slop” (1973), “Chocolate City” (1974) and Parliament’s “Mothership Connection” (1975).
Many other musical notables recorded at United Sound Systems Studios, including Bob Seger, Alberta Adams, the Red Hot Chili Peppers, and Whitney Houston.
Next Steps in Question
The studio was closed in 2018 and has been threatened by demolition as part of an expansion of Interstate-94. It is hoped that it can be moved to another location. The building is now owned by the State of Michigan.
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