Within a few weeks of the September European premiere of the deservedly much-acclaimed “Hitsville: The Making Of Motown” (now available on all platforms worldwide), SoulMusic.com’s David Nathan spoke with London-based brothers Ben and Gabe Turner (of Fulwell ’73 Films), the directors of the film about their approach in creating what is unquestionably one of the best documentaries about the global phenomenon that began six decades ago, particularly relevant with the recent ‘breaking ground’ ceremony in Detroit for The expansion of the Motown Museum and the announcement of Berry Gordy Jr.’s retirement…
Photo credits: Gerry Constable)
As you know, some months ago, founder and organiser Russ Winstanley invited me to the “Northern Soul Survivors Weekender: Celebrating 60 Years Of Motown” in Skegness last weekend, and to take part in a question/answer session with a trio of Motown ladies who were performing throughout the Saturday. I agreed in a heartbeat. To be in the company of Chris Clark, Gloria Jones and Brenda Holloway was irresistible. To mingle with the likes of, and see performances by, Bobby Brooks Wilson, The Flirtations, Paul Stuart Davies, Tommy Hunt, Johnny Boy, Eddie Holman, Stefan Taylor and The Signatures was certainly an added bonus. Besides I was a NS ‘virgin’ and had no idea what experiences lie ahead. A brief back story: I believe I last saw Gloria in 1977/78, while Brenda and Chris I caught up with after the “Divas Of Motown” show at the Hammersmith Apollo in November 2009. However, the week before setting off on my adventure, I was invited to attend the European premiere of “Hitsville: The Making Of Motown”. Such bad timing for sure and, although I was naturally thrilled to be included in this prestigious occasion, I knew I had to be in Skegness because friendship comes first. The film is, however, due to be screened locally and of course will be available on DVD within a few weeks, so I won’t miss out entirely. >With Gerry Constable and Lynne Pemberton, I travelled the long road to Skegness, and upon arrival late Thursday afternoon, texted Chris Clark. After unpacking, headed to her apartment in Minnows Way, where she and the ladies were staying; in fact, Chris and Brenda were opposite each other. As we left, The Flirtations arrived at the apartment block, so catch- up time was spent with Pearly, Shirley and Ernestine. Anyway, moving on…
At 10.30am on Friday, Chris Clark was booked in for rehearsal time in the Reds venue with Stefan Taylor and The Signatures – the coolest bunch of musicians and singers I’ve yet to meet – and once the first song was under her belt, the music fell into place. The balance of lead singer, support vocalists and music was perfected, which was an extraordinary achievement, bearing in mind this was the first time they had worked together this week. Brenda and Gloria also attended as a show of support to their friend – their rehearsals had, I believe, been the previous day – before The Flirtations arrived for their run through. Prior to this, while walking to Minnows Way, I chanced to meet Paul Stuart Davies for the first time; what a fabulously talented guy, having played his music regularly on my radio show and exchanging messages via FB. I felt the vibes were good and getting better.
After the rehearsal, we headed for coffee, diet coke, juice and snacks in the Pavilion, the huge area where stalls selling NS memorabilia, records and merchandise were being hastily erected, and where, in the centre was a dance floor overlooked on one side by the large DJ console on stage, and seating area on the other. It never occurred to me until the first time it happened – the ladies now belonged to their fans in the nicest possible way. Sitting back to watch the warm interaction between them all was touching as they exchanged easy conversation, signed autographs and posed for photos. We sat there until around 3pm before heading off, planning to meet up again two hours later for dinner in the artists’ section of The Deck restaurant.
While eating that evening, Gloria explained the three were the sisterhood, looking out for each other and, indeed, when they later switched and swopped stage clothes, it was indeed ‘family’. Like Motown in the early days, she continued, when they were Berry Gordy’s favourites because he could always rely on them. Later they became the “Los Angeles Girls” and talked over the blessed times on the West Coast, where the Mowest label was born. Working with The Commodores was a wonderful experience Gloria added; working with Pam Sawyer on their debut single “The Zoo (The Human Zoo)” lifted from the group’s debut album “Machine Gun” on which they also produced several tracks. She now lives in Sierra Leone where she tirelessly runs a children’s school in her late partner Marc Bolan’s memory.
Chris drew on her memories of touring the States with fellow artists and the audience reactions when she walked on stage: one white singer among a host of black groups. She worked hard to win them over. Talking about Michael Jackson’s envy when she introduced him to her big cat, a cougar, led to her re-telling her audition with Berry Gordy. She was eighteen years old and he kept her waiting outside his office for hours, adding to her anxiety levels. Once inside, he made it clear he wasn’t interested in signing a white singer. Undeterred she sang “All I Could Do Was Cry” accompanying herself on the piano, not realising at the time Gordy had penned the song! The rest is history. This evening Brenda was eating elsewhere with her husband, Sam, in another section of the restaurant. They joined us later.
Meal times had never been more entertaining and this was to continue: if you had told me a year ago my eating companions would be three of Motown’s most legendary artists I’d have laughed in your face. Leaving The Deck, Chris inadvertently dropped some papers where upon I bent down to retrieve them. My age kicked in as Gloria had to help me back up again! As if that wasn’t bad enough, I then accidentally knocked a small picture frame off its stand and watched in horror as it smashed to pieces, glass shattering everywhere. Chris laughed “You’ve been taking lessons from Dusty”, referring to the British singer’s love of smashing up crockery. Gloria said it was a good luck omen. Immediately, a member of the Butlins’ staff was on hand to clear it up, while a mortified me apologised profusely. By 9pm we were in our individual apartments readying to watch Martha Reeves on Celebrity Masterchief when sadly, she was voted out.
Saturday was ladies day. Brenda at 2.30pm; Gloria at 11.15pm, leaving headliner Chris to walk on stage at 00.45am, with Bobby Brooks Wilson, The Signatures, and non-stop music in between. Following our breakfast, Chris headed for another quick rehearsal with The Signatures at Reds because she was unhappy about her opening song. In the end, it was ditched to be replaced by the emotive “Rock Me”.
A packed venue greeted Brenda when she hit the stage. Dressed in a flowing, almost see through, gown, this beautiful singer kicked off with “Just Look What You’ve Done” followed by “When I’m Gone”. She epitomised cool soul. Working every inch of the stage, the audience sang with her, while her strong, pure voice brought up soulful goose bumps. “Operator”, “You Beat Me To The Punch”, “Two Lovers” and “My Guy” were next – her tribute to the first ‘Queen of Motown,’ Mary Wells. With a short introduction and a huge smile, she launched into the haunting “Every Little Bit Hurts” before raising the roof with a NS anthem “Reconsider” which, she said, was responsible for her being at Skegness today. A dramatic take on “You Made Me So Very Happy” closed her awe-inspiring performance that left the audience crying for more. Wow!
The immediately recognisable strains of “Tainted Love”, so synonymous with NS fans, introduced a vivacious Gloria Jones to an adoring audience. Dressed in a white gown, her welcome was overwhelming as she acknowledged the love. Her plan was to party, so she invited The Signatures’ singers and members of the audience to share the moment, as she set the pace for the 1979 Gonzales’ dance single “Haven’t Stopped Dancing Yet” which she penned, and co-produced with Paul Riser. “Just Let It Lay” was its flipside, a song written by them both with Gloria’s (late) brother Richard who chose the title from a phrase I regularly used at the time. Following a song I failed to note down (to my shame) as I was bouncing around trying to emulate some of the dancing audience, the hard-hitting NS diamond “Heartbeat” was next. A rousing few magical musical moments where her audience belted out the lyrics alongside her – an unashamed happy mingling of hundreds of voices, before she left the stage with a reprise of “Tainted Love”. Double wow! Could today get any better? You bet…
Just after midnight, the event’s elegant, quietly-spoken headliner slowly walked on stage: microphone in hand, to a rapturous welcome that hit the ceiling and bounced off the walls. Dressed in black, Chris Clark had arrived – epitomising cool on so many levels, her voice true and emotional. Following “Rock Me”, she moved the music to a higher pitch with the immortal “From Head To Toe” and “Do Right Baby”. Like Brenda before her with “Reconsider”, Chris performed a unique NS discovery “Something’s Wrong” where, once again, the audience joined in. So much love and respect bounced from stage to auditorium where the atmosphere was hot, hot, hot in every respect. In between songs, she modestly talked about her music before telling of her surprise to be headlining the event, saying it should really be Brenda. Moving the pace down a fraction, she introduced “I Want To Go Back There Again” while “Love’s Gone Bad” raised the temperature (if that was possible as faces already glistened). What else could this remarkable singer pull out of the musical hat? “Just My Imagination” with The Temptations on support vocals, that’s what. A master stroke for sure. All too soon, the unmistakeable riff of the finale arrived – “Do I Love You (Indeed I Do)”. Treble wow!
Adrenalin was pulsating through the veins as we all reluctantly stepped out into the morning air to collapse on our beds. The ladies had flown the Motown flag higher than high, they had performed and conquered, reinstating the extremely special relationship enjoyed with NS folk, whose dedicated loyalty to their music is to be applauded and cherished. A master stroke by Russ Winstanley.
(Photo: Brenda Holloway, Chris Clark, Gloria Jones, Sharon Davis, Russ Winstanley)
Late on Sunday, we collected Chris Clark on our way to watch Paul Stuart Davies in Reds at 1pm. This guy certainly knows his stuff as he performed like the true showman he is through a non-stop act of favourites before an audience that was with him from the start. What a terrific way to start the day’s entertainment, and, for myself, was thrilled to be at part of it all. An hour later, Brenda and Gloria arrived for the question/answer session. Sitting on the stage, with Russ Winstanley kicking off the proceedings, I was wondering how my presence there was credible in the presence of Motown royalty. In fact, and I’m ashamed to admit it, I froze during Russ’s introduction and was shaking so much that his thoughtful wife, Claire, helped me on stage. Brenda recalled working with The Beatles during their second American tour, and the time when Ringo Starr knocked on her dressing room door to borrow her hair dryer. Chris then related how she came to be a member of the Motown family as a singer and later the script writer for “Lady Sings The Blues”. She also holds a massive collection of Motown artwork and photographs, being taught how to utilise her unique camera skills by Berry Gordy. In fact, she carried her mobile and camera with her all the time, such is her passion for the art.
Gloria, on the other hand, talked, among other things, of the writers she had worked with, and how she, Brenda and Chris had established a lifelong bond of friendship. Talking about working with the likes of Pam Sawyer, Frank Wilson (who held a special part in their hearts), Clay McMurray, alongside the often overlooked heroes responsible for laying much of the company’s musical foundation, was of great interest with the others adding their memories. Asking me how I became involved with Motown, I told Russ it was due entirely to Dusty Springfield’s infatuation with the music, saying “what was good enough for her, was good enough for me”.
While the ladies explained the 24/7 working schedule of the studio where songs were recorded in conveyor belt style, with no knowledge of what would eventually be released, I explained how difficult it was for me to actually purchase those records in East Sussex. They then confirmed they had no idea of what was released outside America. It was only through visits to the UK that they were updated on their releases – much to their astonishment – and that there was indeed a flourishing fan base for them, led by the NS contingent who elevated them to cult stardom. The fact that their records were also officially British released also bypassed them, which, I fear, was typical of Motown at the time. They had careers they knew nothing about. It was an enlightening experience being in such a gloriously friendly environment, with easy interaction from the audience who, believe me, knew their stuff. As I had mentioned Dusty, the DJ played her “What’s It Gonna Be” for me as we left the stage; a touching moment.
From here, the ladies joined The Flirtations, Paul Stuart Davies, The Flirtations and others for a meet and greet session, while I headed for the nearest bar! Watching from the sideline as long queues formed to patiently wait to meet the artists, a feeling of ‘family’ once again hit me. NS people are gentle, friendly and respectful; no elbow pushing or raised tempers in this house. My, I was so glad I came to see this for myself and be a part of what later turned out to be the last “Northern Soul Survivors Weekender”.
Early Sunday dinner meant we missed Tommy Hunt, but happily caught The Flirtations, the last act to perform, and hell’s bells, these ladies can party. What a wise choice by Russ to close the event as their act was upbeat and joyous in the extreme. Party, party, party! However, the atmosphere really hit fever pitch with the grand finale just before midnight, where all the artists returned to the stage to sing the obvious uplifting “Do I Love You (Indeed I Do)” led by Paul Stuart Davies, in true Motown fashion, before a sweltering packed house. Inspiring to say the least; arms were raised in the air en masse, singing from the audience mingled with that from the stage, growing louder by the beat. The second coming sprang to mind but on a musical level. A celebration to end celebrations!
As the music faded, Russ Winstanley was called to the stage whereupon Tommy Hunt presented him with a very special award recognising his tireless contribution in organising events like this and keeping NS alive. An astonished Russ was humbly thrilled yet it was so well deserved, proving just how the artists hold him in such high esteem.
As the clock passed midnight, the NS bubble reluctantly burst and it was a weary stream of people who walked from the suffocating heat of the venue into the sharp morning air, to head for bed. For three days solid, NS music filled the air that we breathed, even in the restaurants. It was the backdrop to our stay, embracing us with a much needed respite from the outside world. However, we were in for a shock.
Rumours had circulated around the dance grooves that this was to be the last “Northern Soul Survivors” weekender at Skegness, and when Russ Winstanley issued a press statement, he confirmed the damning soul whispers. After thanking everyone for supporting him at this friendliest of events, he explained that “Due to the calendar changes at Butlin’s, I regret to say that this will be our last ever Weekender. It’s not all bad news though, we’ll be including more Northern Soul into some of the Soul Weekenders next year, starting with my Northern Soul room in Crazy Horse on Legends of Soul Weekender at Skegness 24 – 27 January 2020 with more dates to be announced….There probably won’t be a dry eye at the Finale in Reds on Sunday night….Do I Love You…Indeed I Do.”
Finally, I can only echo Russ’ final words and thank him unconditionally for the invitation. And, yes, I did love it, every emotional, musical moment, while harbouring pangs of regret that I didn’t join in the fun a helluva lot sooner. Northern Soulers are very special people and to thank them for welcoming me so warmly, for their friendship and caring ways, would full more pages, but suffice to say – ‘you made me so very happy’.
It’s been a sizzling bank holiday weekend in more ways than one. Not only have we enjoyed unprecedented temperatures but we’ve had Motown music scorching the airwaves. At long last national radio celebrated the 60th birthday. BBC Radio 2 opened its frequency with non-stop music and chatting company artists. The Motown countdown kicked off at noon today (Monday) with Craig Charles and the UK’s top one hundred, followed by Trevor Nelson – who I’m listening to now – as he picks up the next top fifty singles. “Superstition” was the number one downloaded/streamed song – which is a blinding track – but did surprise me a little. I’m thinking his recent concert here embedded him in the public’s mind, hence his runaway popularity in the top one hundred. The early evening session has Ken Bruce spinning Motown cover versions, before Richard Searling highlights the company’s connections with Northern Soul. Then Lionel Richie talks to Johnnie Walker in the early hours: sorry guys, it’ll be without this gal! All programmes are available via the BBC website though.
Other bank holiday weekend high spots included Stevie Wonder’s live 2005 concert at the Abbey Road Studios, a couple of Tony Blackburn programmes and the history of Motown narrated by Marshall Chess. I was going to write that it’s about time the BBC acknowledged this incredible music celebration, much of which formed the backdrop to our lives. Then stopped myself: research for this Motown Weekend was plainly extensive, particularly with artists’ interviews linking the music. I then also reminded myself, this was the radio conglomerate run by repressed bureaucrats, who, before pirate stations taught them a harsh lesson, wouldn’t entertain giving airtime to black artists, let alone an entire record company crammed to bursting with talent that, in some ways, changed the way music was recorded and presented. By saying that, I certainly take no credit away from The Beatles who, it’s probably fair to say, changed the entire music industry on several levels. So, well done the BBC – you got there in the end!
Club DJs up and down the country also paid homage during the past couple of days, while local radios, like 59.9 Hailsham FM, where I present a Motown/Soul show each Saturday evening, have taken the chance to extend the birthday celebrations, although to be honest, we’ve been celebrating since January! Why not? A birthday doesn’t have to be confined to one day does it? I applaud you all and only hope that by some quirk Berry Gordy gets to learn about our dedicated support.
Narrated by Ryan Mandrake and presented by 3DD Productions for Sky Arts, I had the misfortune to watch “Music Icons: Diana Ross and the Supremes” yesterday. It is thirty minutes of my life I won’t get back. The programme lacked enthusiasm; the handful of talking heads, whom I didn’t know, barely cracked a smile as they adopted a monotone commentary attitude about several of the trio’s releases in chronological order (with no little anecdotes that we love to hear about) while the latter part of the programme centred around Diana Ross as a singer and actress. All rushed, particularly the visuals, and irresponsibly edited, it certainly did not befit one of the world’s most successful black female trios of all time. What a waste of an opportunity. On the upside though…word has it that there’s at least two Marvin Gaye documentaries in the works, and that a BBC4 tv programme has recently been completed on Ready Steady Go for autumn transmission. I’m not sure which anniversary it’s celebrating, and the person I was talking to was pretty vague, so a quick recce across the internet resulted in these dates: show pilot – 16 July 1963; series start – 9 August 1963; series end – 23 December 1966. I’m none the wiser, but who needs anniversaries anyway!
Talking of The Supremes, Mary Wilson was in town recently promoting Supreme Glamour, published this month by Thames & Hudson, the same company behind Adam White’s ground breaking Motown: The Sound Of Young America. I caught Mary on The One Show where she was animated and entertaining with her co-guest Robert Rinder, who appeared bemused most of the time. Anyway, Mary’s coffee table book was co-penned by Mark Bego, whose work is familiar to us all with publications on Aretha Franklin, Whitney Houston and, of course, he co-authored Martha Reeves’ sterling autobiography Dancing In The Street, a much respected diary which isn’t far from my desk even now. Martha’s dedication to detail is awesome, while, on occasion, her honesty is heart breaking.
With a foreward by Whoopi Goldberg – a lady who bubbles over with all things entertaining, while being a leading figure in civil rights, LGBT and other causes she believes deserve a public voice – Supreme Glamour readers enter the world of home-made frocks to designer gowns, celebrating The Supremes’ rise to fame through fashion rather than song. Alongside well publicised visuals there’s a huge amount of exclusive pictures indicating how the group’s brand was developed. We travel through the stoic poses of the early line up, with photos taken wearing those heavy necklaces and suits, through to the frilly blouses and pleated skirts, t-shirts and slacks. The conservative-styled dresses eventually explode into the rich, sumptuous gowns bedecked in glass beads, sequins, pearls, and all in glorious hip hugging colour, which became their trademark. Utilising the talents of some of the top designers like Michael Travis and Bob Mackie, The Supremes were probably loved for their stage clothes as much as they were for their music. Like Motown:The Sound Of Young America, the black/white and coloured visuals are lavishly presented with accompanying detail captions, while the story of the fashionista trio is recounted throughout. Cover price is £29.95 but available at £18.54 from Amazon.
It’s certainly been a month for book releases as here’s another. Although I knew my dear friend Graham Betts, who has a penchant for facts and figures, was publishing his long-researched tomes, the thrill is in the holding of the actual book. The Official Charts: The Sixties is a massive research vehicle, so valuable to people like myself who constantly refer to these sources of information. Briefly, this book uses the singles charts used by BBC Radio 1, Top Of The Pops and the much-loved industry magazine Music Week. Listed weekly, they are easy to read, with the artists’ names in bold print. Moving on from these pages, you’ll find EP and album charts covering the same decade. The Official Singles Hits Book is a companion read, crammed with data, listings of artist by artist hit singles, EPs and albums, brief biographies, awards, honours and sales. Similar publications covering the Eighties are also available: £20 and £16 respectively. By the way, Graham is known to us for his 2014 Motown Encyclopedia, another useful guide to everyone and everything connected with the company. Actually, I told him with a smile that I was miffed because he beat me to it as I had planned a similar project about the ladies of Motown. All is fair in love and publishing, of course, and maybe something for another day eh?
Another book that arrived in the post is the revised and updated Lucy O’Brien’s The Classic Biography: Dusty published this month by Michael O’Mara Books. I’ve got Lucy’s previous two books about the singer and this once features new interviews and photographs. As the blurb says “Dusty Springfield was one of our greatest pop singers. She was a musical pioneer and the very essence of authentic white soul.” However, as we know, she played a pivotal role in endorsing Motown over here. Lucy covers this from the time Dusty was a member of the Tamla Motown Appreciation Society, her friendship with Martha Reeves, working with the artists at The Brooklyn Fox, New York, and, of course, the crème de la crème, The Sound Of Motown which introduced the British public to the magic of the music in their own homes on 28 April 1965. Dusty attended the opening night of the Motown Revue on 20 March, sitting in the audience of the Astoria, Finsbury Park, with other excited fans. It seemed every soul fan in London turned out that night to celebrate. When Dusty was asked for her autograph, she said ‘Any other time but not tonight, because I’m here as a fan.” In a Daily Express review, Ron Boyle applauded the new label – “To counterblast the Liverpool sound along came the Detroit sound known to the ‘in’ crowd as Tamla Motown…The punch of the big beat in a velvet glove.” Martha Reeves has always given her British friend kudos for promoting the company in the UK. “Any chance she got she’d mention Detroit and the Motown sound. Lots of things happened after that tour, so she introduced Motown to England. She can take credit for that.” The tour may have been a financial disaster but The Sound Of Motown lives on.
Lucy’s book, now with a new cover, covers the singer’s public life of beehives and black mascara, while dipping into how it really was behind the glare of the spotlight. Using new introduction and interviews with the likes of Tom Jones and Dusty’s music arranger Ivor Raymonde, Lucy offers fresh material to satisfy most Dusty fans, with opinions that are rounded and often different about the shy, awkward convent girl who created a musical brand that crossed from pop into soul music. Naturally, the ground-breaking album “Dusty In Memphis” is once again highlighted, a release the singer was shy to admit centred her squarely in the soul world. Since her death, the floodgates opened about her struggle with being gay, her drugs and alcohol addiction, and the darkest secrets of her mental health issues. I am a firm believer that some aspects of anyone’s personal life shouldn’t be exposed in the public arena, but such is the way of the world today, there’s no such animal as discretion. Besides, didn’t Dusty tell her lifelong friend Pat Rhodes that after her death she would hear things she wouldn’t like. So the singer was very aware! Having said this, I sincerely hope I kept within the boundaries in my 2008 book A Girl Called Dusty, but if asked to update this, would my thinking change?
Anyway, the legacy the singer left behind is awesome; her status as a pop icon and soul singer has never been stronger. Dusty played a vital musical role on several levels, including her beloved Motown. As Martha is quoted in the book – “Dusty had a positive enthusiasm for the music. At the same time she didn’t pretend she was the bona-fide article. She acknowledged her roots and often said that she wished she’d been born black.” Available from Amazon at £13.88.
And finally…one book that really excites me – Lamont Dozier’s How Sweet It Is co-penned by Scott B Bomar. Strictly speaking, it’s not published until October, and I’ve not yet read it but thought I’d squeeze in a mention here. The publicity blurb states the book pulls back the curtain on studio secrets that inspired some of H-D-H’s songs. “After exploring the struggle of growing up in Detroit and pursuing music, Lamont takes us behind the scenes of the Motown machine, sharing personal stories of his encounters with Diana Ross, Marvin Gaye, Stevie Wonder, Smokey Robinson, and Berry Gordy. He details the rise of own artistic career, his business and legal struggles, and the personal triumphs and tragedies that defined him. ” On my bucket list for sure!
Let’s move away from the printed word to the musical note and a quick reminder. As you know, earlier in the year, and using the slogan “Motown Did It First!”, a huge re-issue programme of physical titles were released by Universal Japan to mark the 60th anniversary. A series of new playlists are to be unveiled during the course of the year, alongside further albums. So, without listing them all, suffice to say it’s a real pot pourie of artists who hit the market place last March, like Martha Reeves and the Vandellas (“Heat Wave”/”Dance Party”); Grover Washington Jr (“Mister Magic”); “Odyssey”; Edwin Starr (“War And Peace”); Leon Ware (“Musical Massage”) and others from Earl Van Dyke, The Temptations, Syreeta, The Supremes, Nolen & Crossley and The Spinners. All releases replicate original artwork and album sequences. Yeah, it was quite a list! Further details, of course, from the “Motown Did It First!” website. If Japan can admirably steer this incredible collection, why not the UK I wonder? Anyway, what we have got is “Motown: Greatest Hits”, available this month on vinyl (yay!) and a 3-CD box set. There are 27 tracks on the first, 60 on the second. No surprises here I guess as it features the hit-making artists – Stevie Wonder, Four Tops, Jimmy Ruffin, Marvin Gaye and so on. Unless Motown fans want to mark the birthday with this, sales will come from the curious record buyer, while connoisseurs will be satisfying their souls with the items like the “Unreleased” compilations available online only. I use Spotify, it costs nothing and is easily accessible but, to be honest, nothing replaces the physical vinyl/CD. No wonder, Universal cops for the cheaper method of getting music to the public.
Next month will be devoted to my visit to the Skegness Motown/Northern Soul Weekender where hanging out with Brenda Holloway, Chris Clark, Gloria Jones, among others, will be the name of the game. That’s if I survive the three days, as it’s been &^%$$ years since I attended such an event – and that was with Gloria and Dave Godin – whereupon I recall sleeping for a week afterwards!
I thought it was about time we lent space to another of Motown’s unsung heroes, who rightly deserved their own special niche in the company’s history, but about whom, little or nothing was known at the time, let alone acknowledged. Thankfully, as time passed, company rules were relaxed, with the result that musicians, session singers and the like received their due credit on label copy. So let’s TCB…
They were Motown’s sought-after session singers at the Los Angeles studios, yet, unlike the Andantes for instance, The Blackberries never scored an official single or album release, despite recording sufficient tracks for both. Often uncredited too on other artists releases, Sherlie Matthews, Clydie King and Venetta Fields were finally singled out as contributors to Tom Clay’s milestone 1971 single “What The World Needs Now Is Love”/”Abraham, Martin & John”. A respected DJ on Los Angeles’ KGBS radio station, Clay created the social commentary single to enjoy a somewhat surprising summer hit. Highlighting segregation, bigotry and prejudice on several levels, soundbites of gunfire effects, a drill sergeant training a platoon, the two songs are linked by The Blackberries. Excerpts of speeches by the Kennedy brothers and Martin Luther King Jr, with flashbacks to news coverage of the assassinations, reshaped the single into a history lesson of chilling proportions. This was Tom Clay’s only hit but its million-plus sales status encouraged the release of the “What The World Needs Now” album in August ’71. And, of course, the status of The Blackberries.
Pulling on the notes from the outstanding box set “The Complete Motown Singles Volume 12A:1972”, which, among other gems, includes The Blackberries’ “Somebody Up There” and “But I Love You More”. It appears that once recorded, a purchase order was raised for the single to be pressed at the Columbia and Eastern plants early in July 1972. The order was never completed; subsequently the tapes collected dust. However, purchasers of the box set were thrilled to discover the disc (Mowest MW5020) slotted into the packaging – its debut on vinyl! Worth the wait? I think so. The topside “Somebody Up There” is upbeat, and so typical of Motown’s commercial girl group sound, with the added edge of the lead vocals being shared between two singers. Likewise “But I Love You More”, a re-visited version from The (new) Supremes’ “Right On” album. As you know, Diana Ross left the trio to be replaced by Jean Terrell, with her distinctive warm voice, and who actually began recording her vocals for this album while Mary Wilson and Cindy Birdsong continued to tour with Diana.
So, who are The Blackberries, another group that falls into Motown’s unsung heroes category? A quick overview coming up…
Sherlie Matthews was born in 1934 in Los Angeles, and at the age of two years was a soloist in her local church, before practising harmonizing with her younger sister. With their grandmother being an accomplished musician and composer, the sisters were tutored from an early age, leading to performances at weddings, church services and other functions. On her website (sherliematthews.com) the singer wrote “From her (grandmother) early nurturing I continued to develop my natural abilities for all phases of the performing arts, through school, college, community and professional workshops.” At ten years old, Sherlie set Bible verses to music as a means to encourage children to learn religious teachings. Decades later, she added “I’ve written and arranged over five hundred songs, both secular and sacred, three children’s musical comedies, two movie themes and several commercials.”
Graduating from the University of California with a BA in Pre-Social Welfare, Sherlie earned a living as a medical social worker until she took the plunge to embark upon a career in the music business with former Vee Jay executive Randy Wood’s Mirwood Records. As a composer and lyricist she was responsible for a large chunk of the label’s output between 1966 and 1967, via her group The Belles, where she shared lead vocals with Brenda and Patrice Holloway. “The three of us did a lot of background singing before I started singing with Vernetta and Clydie. The Belles cut several Mirwood singles including 1966’s ‘Don’t Pretend.'” A second single, “Cupid’s Got A Hold On Me” featured Patrice on lead and can be found on Kent’s 2006 compilation “The Mirwood Soul Story Volume 1”. Again on her website, Sherlie wrote she also created most of the early hits for acts like The Olympics, Bob & Earl and Jackie Wilson, as well as working with James Carmichael, a future Motown arranger, notably with the Commodores.
Her Mirwood tenure stood her in excellent stead when her friend, producer/writer Frank Wilson elevated her professional career by introducing her to Motown in December 1964, where she was signed as a singer, composer and producer. “When I performed at the church that Frank attended, I guess I caught his eye or something. His wife was a member of his gospel group and when that group broke up, he needed someone to take her place,” she explained in the Motown box set’s essay. Incidentally, the pair recorded a single “Come Back To Me” for the Power label using the moniker Sheri Matthews and Sonny Daye, while Frank also recorded solo sides. Alongside performing on stage with the Commodores and Diana Ross, Sherlie noted on her website “I wrote and produced recordings for The Supremes, Diana Ross & Marvin Gaye, Martha and the Vandellas, and the Jackson 5.” With the latter, she worked with Deke Richards on two tracks “Corner Of The Sky” and “Skywriter” from the musical “Pippin”. Out of interest, and as I love Celebration, a mixed-gender vocal group, Sherlie co-wrote and produced their sumptuous single “Since I Met You There’s No Magic”, among other titles, earmarked for their lone eponymous album released on Mowest during 1972. However, the single, with “The Circle Again” on the flipside was pulled for some reason, but can, thankfully, be heard, for instance, on “The Complete Motown Singles:Volume 12B:1972”.
As a session singer, Sherlie contributed to hundreds of recordings ranging from Stevie Wonder’s “Signed, Sealed, Delivered I’m Yours”, through to Elton John’s “The Bitch Is Back”, the Bee Gees’ “Stayin’ Alive”, Diana Ross’ “Touch Me In The Morning”, The Rolling Stones and Joe Cocker. To be honest, the list is awesome….Barbra Streisand, Lionel Richie, Ike and Tina Turner…in fact, it would be easier to list those she hadn’t worked with!
Between 1984 – 1988, the singer lived and worked in Australia, where she performed in three groups, formed and recorded an eight member children’s group named Babe, recorded voice overs and commercials, and toured the country as a background singer. Upon her return to the States, she concentrated on her family, while studying for three years to earn a Degree in Computer Graphics/Animation. Moving on, and at the invitation of Ace Records, during 2005 Sherlie performed her Mirwood Records repertoire at a Cleethorpes weekender: Marva Holiday and Jim Gilstrap joined her. Three years later, she released “We Come As One” album with her sister Donna Samuel, plus “A Band Of Angels”, a compilation of children’s songs, followed in 2010 by her solo outing “I’m A Cute Little Gay Boy Inside”. Having penned and arranged 500+ songs, commercials, film themes, children’s musical comedies, her resume is a lifetime experience put to music.
Clydie King, born in 1943 in Dallas, Texas, was raised by her older sister following the death of their mother, and later the family re-located to Los Angeles during the early fifties. The church-trained singer was discovered by Richard Berry to begin her recording career with “A Casual Look” as Little Clydie & The Teens, released on the Bihari brothers’ RPM label, one of several they owned, including Flair and Meteor Records. Moving on from here, Clydie joined Speciality Records where she recorded a pair of singles during 1957-58, namely, “Our Romance” and “I’m Invited To Your Party” (to be found on 1994 “The Speciality Story” 5-CD box set). Following this was a trio of singles carrying the Philips Records logo, with her group The Sweet Things (“The Boys In My Life” and “Only The Guilty Cry”), and as a soloist and duettist with Mel Carter (“Turn Around” and “Who Do You Love” respectively).
During 1965 she joined Sherlie Matthews in Bonnie & The Treasures to record “Home Of The Brave” for Phil Spector’s Phi-Dan imprint and a year on became a core member of Ray Charles’ backing group, The Raelettes (established in 1958) where she stayed for just over two years, and which went on to produce several celebrated soloists. Minnie Riperton, Edna Wright, Marilyn McCoo, Merry Clayton, Susaye Green, among them. Following a further two outings for Imperial, Clydie joined Minit Records to release a handful of singles during 1967-69 – “I’ll Never Stop Loving You” and “Love Now, Pay Later” being two – plus “Ready, Willing And Able” with Jimmy Holiday.
Jumping a decade, and after savouring success with The Brothers and Sisters of Los Angeles, Clydie enjoyed an R&B top four hit with “‘Bout Love” from her “Direct Me” album via the Lizard label, and another R&B hit with “Loneliness (Will Bring Us Together Again)” as Brown Sugar featuring Clydie King. An album for Chelsea Records was next. Moving on further, the singer joined Bob Dylan for his 1970 album “New Morning”, before becoming a regular touring crew member. Dylan had recently converted to evangelical Christianity, so, it’s said, the two bonded over faith and music, before becoming lovers for several years. Clydie King died in January 2019 at the age of seventy-five. Bob Dylan said of her passing “She was my ultimate singing partner. No-one ever came close. We were two soul mates.”
Venetta Fields was born into a religious family during 1941 in Buffalo, New York. Like Sherlie and Clydie, she was an early-aged gospel singer in church. Citing Aretha Franklin as her all-consuming inspiration, she kicked off her singing career with The Templaires, later The Corinthian Gospel Singers. While working as a beautician in 1961, Venetta spotted a poster advertising an Ike & Tina Turner Revue at a nearby venue. After being told there was a vacancy in their support group. The Ikettes, she auditioned, was successful and went on to enjoy a five-year stay as a touring and recording member. Her solo slots like “The Love Of My Man” can be heard on 1964’s “The Ike & Tina Turner Revue Live” album.
As a member of The Ikettes, Venetta recorded “Crazy In Love” and “Prisoner In Love” for Ike’s Teena record label, after which their material was released on the Innis and Phi-Dan labels. A move to Modern Records in 1964 clocked up interesting sales with “The Camel Walk”, “Peaches ‘N’ Cream” and “I’m So Thankful”. In time though Ike Turner had two sets of Ikettes: a new line-up that toured with Dick Clark’s Caravan Of Stars, while the other, that included Venetta, toured with him. At the height of the Revue’s success, the Turners decided to move to Los Angeles in 1965, whereupon Venetta, Jessie Smith and Robbie Montgomery morphed into The Mirettes. “I was an Ikette for five years. It was a rough job, but a very good experience,” explained Venetta in an unidentified interview. “It’s just like a school…and when you graduate you have to leave…staying too long you get stagnant and stifled by what you’re doing.” The new group landed a deal with Mirwood Records, where their 1967 single “Now That I Found You, Baby” was penned and produced by a certain Sherlie Matthews. Switching to the MCA imprint Revue during 1968, they recorded “In The Midnight Hour”, pre-loved by Wilson Picket, among other titles, before moving to Minit where “Help Wanted” was another poor seller. From this, and under a deal with UNI Records, their “Whirlpool” album was issued, with extracted singles unfortunately attracting minimum interest.
As a session singer, Venetta often hooked up with Clydie King and Sherlie Matthews, earning themselves the reputation of being vital contributors to A-listed acts – Aretha Franklin, Bette Midler, Neil Diamond, to mention a few. With Clydie, she recorded with The Rolling Stones on their “Exile On Main Street” album in the early seventies, singing on the “Tumbling Dice”, “Let It Loose”, “Shine A Light” and “I Just Want To See His Face” tracks. “All wonderful songs” said Venetta. “And they were just right for us. We know gospel (and) that’s what most people wanted from us, a gospel sound.”
After touring Australia as part of Boz Scagg’s support group during 1978 and 1980, Venetta decided, two years later, to move there permanently. “I had all that experience and a good reputation, but I felt like I was stuck in a stereotyped box….I had to get away to somewhere where I could start again.” One settled, she threw herself back into work once more; lending her voice to touring American acts like Randy Crawford, Dionne Warwick and George Benson, and recording with a host of Australian artists. By 1980 she had formed a new group, Venetta’s Taxi, in Melbourne, with Sherlie, became a singing coach and presented vocal workshops. Nine years later, the stage beckoned, as she debuted in musical theatre playing Alice in “Big River: The Adventures Of Huckleberry Finn” in Sydney. Other stage appearances were next, including forming, and touring with, her own musical “Gospel Jubilee”.
After hanging up her microphone for other artists, and living a quiet life on the Gold Coast, the singer received the 2002 Australian Gospel Singer of the Year award, and recorded her own “At Last” album three years later. (venettafields.com)
Like Sherlie Matthews and Clydie King, Venetta Fields’ voice was a premium to any recording, and when they joined ranks in the early seventies to become The Blackberries to work from Motown’s Los Angeles offices, their future looked secure. With the Mowest single recorded, Sherlie worked with Marva Holiday and producer Deke Richards to create an album for the trio. “Kidnapped”, “I Found A Friend”, “Let’s Get Married” and “Love Child” were in the selection of titles, as confirmed by Reel Music, who were considering releasing the album canned by Berry Gordy, who rejected it without good reason, although Sherlie believed he felt The Blackberries posed a threat to The Supremes at the time. “…And the company was unused to a female group alternating leads. Motown didn’t have enough faith in our new concept to take a chance. Today it’s the common denominator,” she explained in the essay for “The Complete Motown Singles: Volume 12A:1972”. Deke Richards agreed. He was responsible for the unique recording style that achieved the sound he wanted, but not one that was recognised by Motown, as it involved the trio singing as one, then individually, and then with one lead supported by two backing vocalists. “The result was a fat but very tight sound,” he said. “It also gave me complete control over the voicing of the harmonies.” Like the single before it, the album likewise collected dust.
From here, and during 1972, Steve Marriott asked the trio to join Humble Pie. Sherlie opted out as she had a young family: Billie Barnum (late of Apolla) replaced her. The line-up subsequently toured and recorded with the group throughout 1973, issued their own single, a version of “Twist And Shout”, on A&M Records, while Marriott produced an album which, like its Motown predecessor, was canned. The two groups parted company at this point, whereupon Billy Preston produced a further single on them in 1974 titled “Yesterday’s Music”. The Blackberries last outing by all accounts. However, by now, Clydie had recorded with Brown Sugar for other labels including RCA Records.
Despite ongoing battles to record their own material, The Blackberries were the crème de la crème in session and performing singers. And as such they were constantly on the most-wanted list. However, the industry was changing and by the mid-seventies recording techniques were different. “That was around the time of the end of all the background singing in Los Angeles” Sherlie said. “We were one of the last groups actually to do that type of thing, because most of the new groups emerged with self-contained vocals.”
As with this type of overview, some items are probably missing, particularly when the ladies branched out individually. I’m reliant on several different and diverse sources for this information and, like a jigsaw, have attempted to put the pieces together. With this in mind, I’d like to acknowledge the ladies’ two websites, plus Wikipedia and the numerous sites advertising obscure records and discographies. The visuals I also acknowledge with grateful thanks, most of which are uncredited.
So, all that’s left for me to say this month is….”Hitsville: The Making Of Motown” will be premiered in Los Angles on 8 August, with Berry Gordy and Smokey Robinson expected to walk down the red carpet. The film is premiered in Detroit on 23 August, before being screened on Showtime at 9pm the following day. British screenings are expected but I have no confirmation yet, I’m afraid.
That’s it for now and, as always, I look forward to your company next month.
Well, if you’d asked me a year ago would I attend a Northern Soul Weekend I’d have given a negative response, sighing that those days were over for me. But no, here I am going to an event “The Northern Soul Survivors” in Skegness, Lincolnshire, kicking off on 20 September for three nights. I’ll give you the line-up as it stands at present – Chris Clark, Brenda Holloway, Gloria Jones, Bobby Brooks Wilson, Tommy Hunt, Dean Parrish, Eddie Holman, Angelo Starr and The Team, Lorraine Silver, and Ritchie Sampson. Alongside these are British acts like Signatures featuring Stefan Taylor, Paul Stuart Davies and Johnny Boy. I’m told other artists are yet to be announced, so more when I know.
The place to be is Butlin’s and the event covers five venues. Thirty legendary DJs are booked, with a dance competition (that’s me out for sure!), meet and greets, record and memorabilia stalls, silent disco, dance workshop, spa, water world and a host of other attractions. More information can be gleaned from bigweekends.com or 0330 1009750. All I can say is the three girls are back in town and personally speaking I can’t wait to meet them again. Hope my accommodation is next to theirs as we’ve years of catch-up to take care of! I’ll pass on more details when they arrive courtesy of Russ Winstanley, who is organising the event. Meantime, I’ve one nagging question: how on earth do I get to Skegness from East Sussex!
I’m not going to dwell on the CBS television special “Motown 60: A Grammy Celebration” which aired Stateside on Easter Sunday – where Berry Gordy closed the show with his speech about his dreams coming true and where he thanked people who helped make his company “a legacy of love” – but rather wanted to make mention of a short interview Martha Reeves gave to The Daily News. As you know, her performance was axed from the two-hour show which included her colleagues Diana Ross, Stevie Wonder and Smokey Robinson, alongside non-Motowners. Martha said she was originally asked to sing “Nowhere To Run” and not her signature song “Dancing In The Street”. Then when the programme was edited, there was nothing at all. As always, she proved what a Motown ambassador she is, when she told the newspaper, “I’ve learned to handle the decisions that Motown made from the early beginnings. The history of Motown is in my heart and I guess I’m one of the best people to express it because I’m one of the only people living who can.” To be honest, I don’t know that I’d have been that gracious. Let’s move on….
I’m grateful to my colleague Adam White for mentioning this book a few months ago in his West Grand Blog. I knew I’d got it, but took a few exasperating hours to locate it! Anyway, what am I talking about? Janie Bradford’s Rolling! Take One! Lyric, Rhyme & Prose published in 1996 by Mountain Goat Press. The book is a little worst for wear and well thumbed but extremely enjoyable as an insight into her writing talent. When Janie first met Berry Gordy, she gave him a notebook filled with her poems, passing them off as song lyrics. He saw through her ruse but believed they could be structured into commercial songs. “I’ve always felt a kinship to rhyme” she wrote. “I guess that is why I have been writing poems as far back as I can remember….It was while I was attending Lincoln High School …that I began to amass the notebook filled with poems.”
Born in June 1939, in Charleston, Missouri, Janie was known for her quirky sense of humour, which she wrote, was inherited from her minister father “who would preach a hell-fire and brimstone sermon that brought his audience to their feet, then he would tell the most unrelated joke and lay them in the aisles with laughter.” She had two siblings, brother Joe and sister Clea who, when older was a respected jazz singer. She relocated to Detroit, so Janie joined her. Clea often worked with Jackie Wilson, who lived a short distance away from them, and who often fell asleep on their floor in front of the television. It was through Jackie that Janie met Berry Gordy, and from that, the two began writing together, where one of their first collaborations was “Lonely Teardrops” for the before mentioned Mr Wilson. In between composing, Janie was Motown’s first receptionist, but I’m assuming she left that role when writing took up all her time. So, next of note was “Money (That’s What I Want)” first recorded by Barrett Strong and subsequently covered over two hundred times. From here, she moved on to work with Smokey, Holland-Dozier-Holland, Norman Whitfield, among others, notching up hits like “Too Busy Thinking About My Baby”, “Your Old Standby”, “Contract On Love”, “Hip City Part 11”, “Honey Bee Keep On Stinging Me”, “My Smile Is Just A Frown Turned Upside Down”, “Share My Love” and so many others.
Being so engrossed in writing songs, Janie’s first love of writing poetry was relegated to the back burner. However, they were regularly retrieved when she was asked by some of the guys working at Motown to compose a love letter to win the heart of a potential lover. She wrote – “Granted most of them were songwriters and producers themselves, but I guess they could not muster up that something extra special needed to create a…speciality letter.” By doing this she knew who was dating who, yet never told because “they paid me very well!” Enterprising lady. The bubble burst for Ms Bradford when Motown moved from Detroit to Los Angeles. When told she had to be a credited producer or performing artist to ensure her work was recorded, it was the close of an era for her.
Janie’s book – where the foreword is a collection of quotes from Claudette Robinson, Chuck Jackson, Levi Stubbs, Brian Holland, Mable John and Mary Wilson – is split into sections. For example, there’s Poems That Make You Go Mmm prefaced by Janie noting “Erasers were put on pencils for mistakes made on paper. Words spoken cannot so easily be erased from the mind”. While others include Identity, Friendship, Black Heritage, Music and Growing Through Changes. Dotted about are pictures of her family and her professional life, and I have to say, I thoroughly enjoyed my little insight into the talents of this remarkable wordsmith. However, that’s not all this lady is known and respected for, as Motown fans will know. …read on….
Janie created The Heroes And Legends Scholarship Programme (HAL) to help talented young people in the community to shape their careers in one of the performing arts. HAL also spotlighted positive role models from many diverse backgrounds, including leaders in the fields of theatre, music, films and business, who have utilised their celebrity status to benefit the community. In September 1990 Janie and her team launched the first HAL Awards black tie ceremony in Los Angeles’ Hollywood Roosevelt Hotel to raise money for their Scholarship Fund which, I understand, helps those promising students who have achieved at least a 2.0 grade average. The Fund provides financial assistance to enable them to complete their education, later being honoured at the star studded annual Awards event. Nine Awards are presented annually, including Legacy, Icon, Theatre and TV/Film and The Unsung Hero sections, and past recipients cover Smokey, the Four Tops, Della Reese, Thelma Houston, Tyne Daly, The Temptations, Ray Parker Jr, Gladys Knight and Berry Gordy. HAL also recognised the talents of producers, composers and industry figures like Universal executive Andy Skurow, and so well deserved too. Last year the event was held at the Beverly Hills Hotel, where honourees were Deniece Williams, the Undisputed Truth, Suzanne de Passe and Switch, among others. Brenda Holloway, Brenda Lee Eager and The Dennis Edwards Review provided the entertainment, while Martha Reeves, Freda Payne, Claudette Robinson and Ms Houston, wore the presenters’ hats. Will there be an awards ceremony this year I wonder?
And that’s not all as Janie Bradford went on to open Twinn Records with fellow-Motowner, writer/producer/singer Marilyn McLeod. Born in Detroit, Marilyn came from a musical family as her parents were singers, and her pianist mother composed music. According to www.twinnrecords.com, her five siblings were musical, particularly her older brother Ernie Farrow who played upright bass with the noted jazz musician Yusef Lateef, while her late musician sister Alice was married to the legendary saxophone player John Coltrane and recorded several albums as a keyboardist and harpist. Long story short, Marilyn joined Jobete as a songwriter during 1968 where she stayed for fifteen years. Her compositions are no strangers to Motown fans, as she pitched songs for the likes of Diana Ross with “Love Hangover” which won the singer her fourth US chart topper in 1976. Co-penned with Pam Sawyer, it was earmarked for Marvin Gaye, but its producer Hal Davis believed it suited the sensual Diana better, as it weaved between ballad and dance. In fact, once Diana heard the backing track, she stamped her mark on it, with the result launching her as a major player in the disco market. First heard as a track on her self-named album, it was rush-released when the 5th Dimension issued their version, thereby killing her “I Thought It Took A Little Time” which had charted.
Other McLeod written and co-written tracks include Jr Walker’s “Walk In The Night”, Marvin Gaye/Diana Ross/Stevie Wonder/Smokey Robinson’s “Pops We Love You”, the Four Tops’ “Body And Soul”, Marvin and Diana’s “Love Twins” and “Include Me In Your Life”. “The World Is Rated X” for solo Marvin, and High Inergy’s “You Can’t Turn Me Off (In The Middle Of Turning Me On)”. These are just the ones that spring to mind. Then, it seems she moved on to record with Nu Page for the Mowest label, and as a member of Pure Magic. From Motown, Marilyn released “(I Don’t Wanna Dance Tonight) I Got Love On My Side” for Fantasy Records in 1979, before co-writing numerous tracks for Ian Levine’s great Motorcity Records, and recording her own album “I Believe In Me” in 2010 for Twinn Records, which she kindly sent to me at the time. Phew! That was a long sentence. It was an excellent release, co-written with Janie Bradford, with a handful of top songs including “What Would Marvin Say”, “It’s Gonna Be A Beautiful Day” and “About U”. The CD is certainly a worthy addition to any soul fan’s collection.
Yeah, I did digress a bit this time, as the intention was to tell you about Janie’s book, but one thing led to another, and here we are, nearly at the close of this month’s offering. However, I can’t close yet without mentioning “Motown: The Complete No 1’s” box set, due at the end of this month. Released as part of the 60th anniversary celebrations (what?! I must have missed them – thank goodness though for the wonderful Jr Walker & the All Stars’ box set “Walk In The Night – The Motown 70s Studio Albums”)!
This 11-CD is, I presume, identical to the one I bought in 2008, but with an added CD. If this is the case, fans like myself, who have the original, will be forking out around £120 for the following handful of tracks: The Miracles and the Jackson 5’s “Who’s Lovin’ You”, the Jackson 5’s “Santa Claus Is Comin’ To Town”, Stevie Wonder’s “For You Love”, and Diana Ross’ “Ain’t No Mountain High Enough (2017 remix), “I’m Coming Out” and “Upside Down” (2018 mix). Well, if that’s so, here’s one gal who won’t be buying it.
Thank you for being with me this month, always love your company, and I’ll be back before you know it.
Just when you think all is well with the world, the gremlins get into your computer and gobble up a morning’s work. And that’s exactly what happened with the result that this Motown Spotlight covers two months. So let’s TCB before anything else happens!
While rifling through my collection the other day, I came across a CD I’d forgotten about, probably because it was mis-filed. Anyway, that aside, it got me thinking, and here’s what I came up with….
As you know, in 1970 Berry Gordy entered the American political arena with his spoken-word Black Forum label, giving a public platform to leading black activists and intellectuals. He initially had grave reservations about dipping his record company into such a volatile and violent market because it worried him that if Motown became too political it would damage the almighty success of groups like Diana Ross and the Supremes. After all, Motown was the top international black recording company, steering street artists into global stars and turning over millions of dollars annually as it did so. The music was aimed at all races, but by now, to mostly white record buyers due to its commercial slant. The early raw ‘race music’ or R&B aimed at black audiences was gone, replaced by lush productions over blue-eyed soul presentations. Yet, it can’t be disputed the music benefitted all as it broke down racial barriers in its quest for unification. However, digging deeper into the formation of Black Forum, it appeared Ewart Abner and Junius Griffin were instrumental in convincing Berry Gordy it was the right move to make. The time was right to make a stand.
Further research revealed that radio and television broadcaster, Alvin Hall, wrote a half-hour programme about the label for the BBC, and indicated that both Abner and Griffin were actually involved in aspects of the civil rights movement, either with Dr Martin Luther King or C.O.R.E. (Congress of Racial Equity). “They saw the need to educate the public, to give the public more information about what was going on nationally – and they were the ones who convinced (Gordy).”
Two years after Dr King was assassinated, Black Forum debuted with his “Why I Oppose The War In Vietnam”, recorded in 1967 at the Ebenezer Baptist Church, Atlanta. Showing Dr King in the foreground of the album sleeve, fighting soldiers in the background, and with the words “Black Forum” boldly prominent down the right-hand side, it was a stark black and white drawing on haunting blue. The sleeve was both dramatic and somewhat poignant, while the actual album within was powerful in the extreme, and as I played it back in the day, recall I could have actually been in Dr King’s presence. The record went on to win a 1971 Grammy for Best Spoken-Word Album, Motown’s only winner that year.
Incidentally, during 1963, two Dr King albums were issued on the Gordy label, namely, “The Great March To Freedom” and “The Great March On Washington”, followed five years later by “Free At Last”. When Berry Gordy suggested royalties earned from these albums should be split between King’s family and the Southern Christian Leadership Conference, King refused. “(He) told me, ‘There is enough confusion out there right now, as it is. I cannot allow the perception of personal gain, right or wrong, to confuse the message of the cause.'” Gordy wrote in his “To Be Loved” autobiography. “Not since Pop (Gordy’s father) and the Reverend William H Peck (his family’s pastor) had any man’s words aroused such deep feelings within me.” He also touched upon the significance of the NAACP (National Association for the Advancement of Coloured People) which was in the forefront of the fight for civil rights, by writing – “As a kid I remembered them always taking up some unpopular fight for freedom and justice. Now some thought (they) had done too little. I often said if it hadn’t been for them we would never have come this far.”
He also compared Motown to the world Dr King was tirelessly fighting to achieve, where people of different religions and races worked together harmoniously for one goal. “While I was never too thrilled about that turn-the-other-cheek business, Dr King showed me the wisdom of non-violence.” Tragically, King’s death was the result of the violence he wanted to eradicate.
Civil Rights activist and member of the Black Panthers, Stokely Carmichael’s “Free Huey!”, and political writers Langston Hughes and Margaret Danner with “Writers Of The Revolution” followed Dr King’s Black Forum debut. In February 1972, the Black Fighting Men Recorded Live In Vietnam’s “Guess Who’s Coming To Dinner”, narrated by Wallace Terry, was issued. Next up were Ossie Davis and Bill Cosby’s “The Congressional Black Caucus; Emamu Amiri Baraka and The Original Black Poets’ “Black Spirits”; Emamu Amiri Baraka’s “It’s Nation Time – African Visionary Music”, and Elaine Brown’s eponymous album, rounded off the releases on this short-lived label that opened in 1970 and closed three years later. According to Alvin Hall, it was simple economics. When distributors ordered a healthy quantity of, say, The Temptations’ albums, the order for Black Forum records failed to reach double figures. “There was never the demand or distribution for the records like they anticipated. So after losing money, Berry Gordy closed the door on it.” Nevertheless, Black Forum provided a solid representation of the most radical thinking of their era on record and, to be fair, Gordy should be applauded for taking on such a non-commercial venture which, if it had gone horribly wrong in the political arena, could have had a disastrous financial effect on Motown’s future success.
Based on this, it’s easy to see why Berry was concerned when Marvin Gaye steered his “What’s Going On” project into the political quagmire of war and social issues. Stevie Wonder too, when he publicly ventured into African-American consciousness, with his tenuous approach to political and spiritual statements. Several other Motown artists also flexed their political music muscles and Edwin Starr immediately springs to mind with his version of Whitfield/Strong’s “War”. Previously recorded by The Temptations, this anti-Vietnam protest was released in preference to the group’s less intense version, to become one of the most popular protest singles of all time.
However, there’s more tracks….and they are included in a special 2-CD compilation named ” Power To The Motown People! Civil Rights Anthems And Political Soul 1968 – 1975″ (Universal-Island Records/ M980 090 2) which I unearthed from my collection and which, to be honest, inspired me to re-visit the Black Forum label. I do urge you to check this out if you haven’t already done so. However, before moving forward with this, I’ve just been reminded of the “Love Child” album in 1968. Discarding the glamorous gowns, coiffured hair and pouting poses to dress in cut-off jeans and sweatshirts, Diana Ross and the Supremes wore little make-up with their hair in the afro style popular at the time, on the album sleeve. The aim was probably to show they were streetwise and one of the gang. The music was a markedly different sound for the trio – who were used to Holland, Dozier, Holland compositions – as writers and producers like Ashford & Simpson, R Dean Taylor, Pam Sawyer, Smokey Robinson and Gordy himself, were pulled together across tracks like the album’s title, “I’m Livin’ In Shame” and their version of “Does Your Mama Know About Me”.
The single “Some Things You Never Get Used To” was released prior to the album and the intention was to use this as the album’s title. However, when the single failed to rack up big sales, the plan was scrapped, and it was relegated to “Love Child” instead. “Love Child” the single, co-penned by Pam Sawyer, was released to rejuvenate the trio’s selling power to become their 11th US chart topper, propelling the album into a top selling item. On her Facebook page, Pam had nothing but praise for Diana Ross. “I was lucky to be allowed to work directly in the studio and I was thrilled (Diana) was so co-operative. We actually went into a small bathroom adjacent to the studio where she could listen privately, where she wrote signs and underlined words in her own writing….as she couldn’t read my badly written handwriting. She is the consummate artist.” The single was a mere toe dip into the urban, socially conscious whirlpool because the remainder of the album was devoted to rather sweet soul tracks, with moments of inspiration.
Anyway, I’ve digressed. “Power To The Motown People!” includes Detroit mixes of Marvin’s “What’s Going On, “What’s Happening Brother” and “Inner City Blues (Make Me Wanna Holler)”, with the unexpected inclusion of “You’re The Man (Pts 1 & 11). The Undisputed Truth’s magnificent ten minute version of “Ball Of Confusion”, “Ungena Za Ulimwengu (Unite The World)” and “Smiling Faces Sometimes”, stand proudly next to David Ruffin’s “Flower Child” (lifted from his “My Whole World Ended” elpee). Naturally, Bobby Taylor and the Vancouvers’ “Does Your Mama Know About Me” is included. Diana Ross and the Supremes’ haunting “Shadows Of Society”, “The Young Folks” and the disturbing “I’m Livin’ In Shame”, sit happily with Syreeta’s distressing history of African-Americans in “Black Maybe”, and Stevie Wonder’s “Do Yourself A Favour.”
Martha Reeves and the Vandellas’ emotional “I Should Be Proud” is another co-penned by Pam Sawyer, with lyrics highlighting the devastating news of Private Johnny C Miller losing his life in the Vietnam War. With Martha as the narrator, she tells the story of people around her gushing how proud she should be because he fought and died for his country, while all she wanted was her lover safely back home. Due to the anti-war message, Martha said the single was pulled from many radio stations’ playlists, but more importantly, it was personal to her as one of her brothers lost his life in a Vietnam War related incident. To this day, it remains one of the most upsetting of releases although Ms Sawyer again indicated on her Facebook page that she felt creatively restricted because some of the original lyrics dealing with drug addiction were changed. “The lyric at the end originally said ‘now he can’t live without a needle in his arm’.” The intention was to tell the story of the young boyfriend being an innocent when he went to war but due to his injuries, returned a broken man hooked on heroin. Regrettably, or thankfully, Motown’s Quality Control committee gave it the thumbs down.
The Temptations are obviously featured on this special 2007 compilation with “Masterpiece”, “War”, “Plastic Man”, the hard-hitting “Slave” and the George Clinton-inspired “Message From A Black Man”, while Edwin Starr is present with “Stop The War Now” and “Cloud Nine”. Welcome additions here are Reuben Howell’s “Help The People” and Willie Hutch’s “Brother’s Gonna Work It Out” and “Life’s No Fun Living In The Ghetto.” The CD is then rounded off with Smokey Robinson’s passive “Just My Soul Responding”; Gladys Knight and the Pips’ “Friendship Train”; The Miracles’ “Ain’t Nobody Straight In LA”, Eddie Kendricks’ “My People…Hold On”, and Jr Walker and the All Stars’ “Right On Brothers And Sisters”. All these message songs are, of course, heightened by Motown’s constantly evolving recording techniques, where producers’ imaginations were adventurously exploited.
I was, however, a little surprised that one track in particular was overlooked; that by Tom Clay released on the Mowest label. Titled “What The World Needs Now Is Love”/”Abraham, Martin And John”, it is a thought provoking compilation of clips from the song, interspliced with speeches by John and Bobby Kennedy, Dr King, among other items. This ground-breaking single went on to sell over one million copies and prompted the release of a follow up “Whatever Happened To Love”, and the album “What The World Needs Now.” Alas, one can’t have it all!
Compiled and annotated by Peter Doggett, “Power To The Motown People!” is an extremely potent selection of songs. While it doesn’t condone or condemn what was happening in America and the world at the time, it does go to show Motown was aware and cared in a non-violent manner. And I, for one, salute them!
It was with a heavy heart that I read of the passing of Lilian Kyle, known to so many people in the business. Lilian was Edwin Starr’s manager, later that of The Team, featuring Edwin’s younger brother Angelo. I’ve known the dear lady for years and admired and respected her tremendously. She was tireless in promoting her artists but never let business get in the way of having a chat in her inimitable warm way. I’ll miss her regular contacts via social media and, of course, not meeting up with her at concerts. She loved life, fought the battle but sadly lost. My sincere condolences go out to her family, friends and fans – Lilian Kyle was one helluva lady and I was honoured to have her in my life.
Now there’s time to mention three fabulously exciting releases. First out is Scherrie Payne’s magnificent “The Man That Got Away”, her version of the Judy Garland song from “A Star Is Born”. Produced by Rick Gianatos and taken from her forthcoming album “Vintage Scherrie: Volume Two”, the ex-Supreme throws her heart and soul into this moving ballad. Her voice is breathtakingly emotive as she weaves through the lyrics and melody, tugging at the emotions on several levels. I have to say, it’s such a joy hearing her like this; nothing fancy or distracting, just pianist Garrett Miller and Scherrie – the voice. Pure magic! Available in a gate-fold package housing the CD and DVD, it’s released by Altair Records and available from most reputable sites.
Second out is a Kiki Dee three CD set “Gold”, which sneaks in here thanks to her Motown connection. Firstly though, I was disappointed that no notes or booklet were included with this major release from a singer who was the first from Britain to record for the company. Anyway, there are 45 tracks included on this Demon Music Group release including Kiki’s soul and/or Northern Soul treatments on “Put A Little Love In Your Heart”, “I Second That Emotion”, “Walk On By”, “Why Don’t I Run Away From You”, “The Day Will Come Between Sunday And Monday”, “How Glad I Am” and with Elton John “Loving You Is Sweeter Than Ever”. “I was approached by (Motown) and went over there for eight days to look round” said Kiki in a 1970 interview. “I met the producers and writers, and generally got to know what was going on. I signed the contract on the day I left, and then returned …for two months recording. They taught me about my voice and how to use it. In fact I learnt so much in such a short time I couldn’t believe it.” By all accounts, there were plans for her to duet with Marvin Gaye but, for some reason, the project was shelved. However, during her American stay, she recorded the “Great Expectations” album and performed – “so that the people who were working with me would have some idea of what I was capable of and to give them a chance to decide what material would suit me best. The idea wasn’t for the producers to turn me into a soul singer but rather to record me on material to which I’m most suited.” Sadly, the album wasn’t the hit it should have been, despite the critically-acclaimed debut single “The Day Will Come Between Sunday And Monday”, which I personally loved.
After Motown, Kiki drifted in and out of the British charts, “Amoureuse” and “I’ve Got The Music In Me” being the most successful, until she enjoyed a worldwide hit with Elton titled “Don’t Go Breaking My Heart”, originally intended to feature Dusty Springfield, for whom Kiki once sang as a session singer. I have to say, I love this type of compilation and being such a fan of the lady anyway, means I can play my favourite tracks without searching for the original albums.
And the third project is one I’ve kept a secret for the longest time, released on our very own SoulMusic Records – “Walk In The Night: The Motown 70s Studio Albums” from Jr Walker & the All Stars. A timely release to celebrate the company’s 60th anniversary, don’t you think? The highly colourful and eye-catching box set contains three CDs featuring six albums – A Gasssss”, “Rainbow Funk”, “Moody Jr”, “Peace & Understanding Is Hard To Find”, “Jr Walker & The All Stars” and “Hot Shot” – in their entirety, spanning 1970-1976. I should mention here, that the 1974 eponymous album was only issued in the UK and Europe, and all are debuting on CD for this worldwide release.
A backbone musician with the All Stars, Jr Walker’s rousing, often raw, sax playing and identifiable gruff vocals, elevated him into stardom. Sure, his start in life was awful yet his determination to bring his music to the world spurred him on when others would have said ‘what the hell’.
So a quick summary coming up:
Disc One: “A Gasssss” and “Rainbow Funk” were both produced by Johnny Bristol, and include noted tracks like “Do You See My Love (For You Growing)”, “Carry Your Own Load” and “Take Me Girl, I’m Ready”.
Disc Two: The Johnny Bristol produced “Moody Jr” and “Peace & Understanding Is Hard To Find” produced by Hal Davis, Willie Hutch, Gloria Jones, Pam Sawyer and Jr Walker, include charted titles like “Way Back Home”, “Groove Thang” and “Walk In The Night”.
Disc Three: “Jr Walker & The All Stars”, produced by Clarence Paul, known for his work with the young Stevie Wonder, who guests on a couple of tracks, “You Are The Sunshine Of My Life” and “All In Love Is Fair”. Then the final album “Hot Shot”, produced by Brian Holland and Lawrence Horn, features that haunting “I Need You Right Now” with Thelma Houston on vocals.
On a personal note, I was extremely honoured to be associated with this extremely significant release, returning Jr Walker & the All Stars to the public stage, and it’s with fingers crossed that I hope this lovingly prepared and mastered work, leads the way for more releases in the future.
Phew! That’s it for now. I’ll be back again on track next month if those blessed gremlins have moved on to pastures new.
(selected visuals courtesy of Motown Museum’s FB page)
In celebration of Marvin Gaye’s 80th birthday on April 2, Motown/UMe has released his never-issued 1972 Tamla/Motown album, You’re The Man, in 2-LP gatefold vinyl and digital editions. You’re The Man features all of Gaye’s solo and non-soundtrack recordings from 1972, with most of the album’s tracks making their vinyl release debuts.
In 1972, Marvin Gaye was on top: or so it seemed. “What’s Going On,” “Mercy Mercy Me (The Ecology),” and “Inner City Blues (Make Me Wanna Holler”),” the three singles from his universally acclaimed album What’s Going On, had each hit No. 1 on Billboard’s Hot Soul Singles chart (since renamed Hot R&B/Hip-Hop Songs) and Top 10 Pop the year before. His new single, “You’re The Man” – a percolating, sarcastic riff on political non-action issued as the U.S. presidential campaign was kicking off – reached No. 7 on Billboard’s Hot Soul Singles chart. He saw Motown schedule a You’re The Man album (catalog number Tamla 316). But when the lead single didn’t cross over Pop, stalling at No. 50, Marvin retreated. Ambivalent about recording, stubborn about moving to Los Angeles with Berry Gordy and Motown, Marvin by his actions proclaimed no more new Marvin Gaye music.
Or so it seemed.
In this singular and transitional year for the late music legend, Gaye recorded more than an album’s worth of music in Detroit and L.A. He produced himself, creating a suite of aching ballads; he worked with songwriters-becoming-producers Willie Hutch, then known mainly for the Jackson 5 smash “I’ll Be There,” but soon to be lauded for his film scores to The Mack and Foxy Brown; and with Pam Sawyer and Gloria Jones, whose “Piece of Clay” for Marvin decades later became a smash in the 1995 film Phenomenon. He cut two sought-after tracks with Freddie Perren and Fonce Mizell, half of the hit-making machine behind the Jackson 5; he got together with Hal Davis, who was preparing a Marvin Gaye-Diana Ross album, to cut another topical gem, “The World Is Rated X.” And Marvin funnelled his anger over the Vietnam War, and his brother’s experiences there, into a sequel of sorts to “What’s Going On,” the poetic holiday ballad, “I Want To Come Home For Christmas.” He even re-cut “You’re The Man” as an eerie funk jam, perhaps for the LP as a bookend to the single.
None of these tracks or any other on the LP, except the single, were issued at the time.
Three tracks from the album are newly mixed by SaLaAM ReMi, the songwriter and producer long associated with Nas, the Fugees, and Amy Winehouse: “My Last Chance,” “Symphony,” and “I’d Give My Life For You.” Also included is the rare, long LP version of Gaye’s cancelled 1972 Christmas single, plus an unreleased vault mix of its instrumental B-side. Over the years, songs from You’re The Man have been included on several CD releases but 15 of the album’s 17 tracks have not been released on vinyl until now.
You’re The Man’s 2LP vinyl edition includes new liner notes by Marvin Gaye biographer David Ritz. In his essay, Ritz delves into Gaye’s deeply personal internal conflict as a source of creative vigor and emotional burden as he experienced What’s Going On’s massive success and all that came with it. “Now I could do what I wanted,” Gaye told Ritz in an interview that first appeared in Divided Soul: The Life of Marvin Gaye. “For most people that would be a blessing. But for me the thought was heavy. They said I’d reached the top, and that scared me because Mother used to say, ‘First ripe, first rotten.’ When you’re at the top there’s nowhere to go but down. No, I needed to keep going up – raising my consciousness – or I’d fall back on my behind. When would the war stop? That’s what I wanted to know – the war inside my soul.”
Despite his inner turmoil, that same year Gaye recorded a duets album with Diana Ross, and he accepted an offer to write what became his landmark Trouble Man film score. A year later, he released Let’s Get It On, the biggest hit of his career.
In addition to You’re The Man, Motown/UMe will release a new expanded edition of Marvin Gaye’s 1965 album, A Tribute To The Great Nat King Cole, digitally on March 15. Honoring what would have been Cole’s 100th birthday, the album’s original mono mix makes its digital debut with the new edition, which also adds more than a dozen bonus tracks, including six alternate takes from the studio sessions.
Marvin Gaye: You’re The Man [2LP vinyl]
Produced by Marvin Gaye (1), Hal Davis (2), Gloria Jones and Pamela Sawyer (3), Freddie Perren and Fonce Mizell (4)
1. You’re The Man 5:45
2. The World Is Rated X 3:50
3. Piece of Clay 5:10
4. Where Are We Going? 3:53
Produced by Willie Hutch
1. I’m Gonna Give You Respect 2:55
2. Try It, You’ll Like It 3:55
3. You Are That Special One 3:35
4. We Can Make It Baby 3:20
Produced by Marvin Gaye except *Freddie Perren and Fonce Mizell.
Mixes for tracks 1-3, by SaLaAM ReMi, and track 5, by Art Stewart, are previously unreleased.
1. My Last Chance 3:40
2. Symphony 2:52
3. I’d Give My Life For You 3:31
4. Woman of the World* 3:30
5. Christmas In the City (instrumental) 3:48
Produced by Marvin Gaye
1. You’re The Man Version 2 4:40
2. I Want to Come Home For Christmas 4:48
3. I’m Going Home (Move) 4:38
4. Checking Out (Double Clutch) 4:50
DAVID NATHAN’S SPOTIFY PLAYLIST – CELEBRATING MARVIN GAYE
With the Mary Jane Girls’ single “In My House” and his own “Glow” album in the American charts, Rick James launched his next protégé, Val Young. He’d originally penned “In My House” for Val but decided to cut it on the Girls instead, rewarding them with an international number one and their first platinum seller. Anyway, I digress, prior to the release of Val Young’s aptly titled “Seduction” album in July 1985 (UK: March 1986), she released the single “Mind Games” in America as a taster of what was to come. Watch out world!
“Seduction” was Rick James’ conception, from the music to the musicians through to the actual artwork. He wrote and produced it, sang support vocals with members of the Mary Jane Girls and the Stone City Band, and played guitar, drums, congas, synthesisers and timbales alongside his own group and musicians from the Stone City Band. On the project he steered his musical family with Val Young at the helm through a powerful, solid funk/dance journey. The distinctive Rick James brand of music was rampant throughout, as he multi-layered the songs with full-blooded riffs, rhythms and a multitude of driving, hard hitting tempos. Nothing was left to chance as the perfectionist in him encouraged his musicians to go that one step further to ensure the prime vocalist had all the support she needed. Hell’s bells, what a blending of sounds that was too!
From the opening track, “Mind Games”, into “If You Should Ever Be Lonely” the beat was relentless. “Let’s Fall In Love” and “Tellin’ Me Lies”, slightly less robust in sound but nonetheless mega-exciting, led into “Come Hang Out” and the epic “Seduction”. A Rick James orgy of personalised funk which, I guess in hindsight, could probably be said of the whole album. One of my favourites has to be “Piece Of My Heart” with its unyielding musical drive, yet have a huge fondness for the last two tracks “Waiting For You” and “Make Up Your Mind”. To be honest, if I was reviewing this for the first time, I’d easily award it full points, based on Rick James’ production alone. However, topping this with Val’s raw-edged rasping, robust voice, it’s absolute magic to these ears.
Like the Mary Jane Girls before her, Ms Young naturally attracted considerable media interest as she was marketed as the ‘black Marilyn Monroe’. “My blonde hair was Rick’s idea” explained the singer at the time of the album’s release. “He convinced me that blondes have more fun and more funds. I’m the same person inside, but I do like it. When I look in the mirror, I like what I see. Sure, people do stop and look at me but I don’t mind. Mostly I get compliments and the only one or two negatives have come from people who don’t know me.”
To find out more about the lady, I delved into “The Confessions Of Rick James” written by the singer and published in 2007 by Colossus Books. As far as I can tell, it’s still available. Due to the explicitness of the book, I’m being mindful of what I can share here without causing offence. So, he wrote that Val (later to become his lover) actually looked like a black version of the world’s most famous film icon. “I had her hair done blonde and dressed her in sexy clothes from the thirties and forties. She pulled it off well. She was one of the most down-to-earth ladies I’ve known; simple and straight.”
Born Valaria Maria Young on 13 June 1958, and later known as “Lady V”, she was raised in Detroit, where, at the age of eleven she sang in her nearby church and later in school. She finished her education to ensure she had a profession to fall back on should her ambition to become a professional singer failed to materialize.
During 1978 Val got her first professional break as a ‘Bride Of Funkenstein’ with George Clinton’s Parliament-Funkadelic. She stayed a year with Clinton (who was also a staff writer at Motown) before touring and recording with Roy Ayers during 1980. From here she became a backing vocalist with the Gap Band on stage and in the studio, and can be heard on their funk anthem “Oops Up Side Your Head”, and on five subsequent albums. It seems she first met Rick backstage in Memphis during his 1979 “Bustin’ Out” tour. “I just walked up to him and told him I loved him, and wanted to sing with him. Getting to work with Rick has been the most exciting thing that has ever happened to me.” While James wrote, “She was a beautiful black thing.”
Although sadly not a huge money spinner, “Seduction” represented her aggressive unique talent and with the right marketing and promotion could have elevated Val Young into Motown’s top funk songstress. A 12” single bearing the album’s title was released during September 1985; two months later over here in the UK. “(It) was one of the longest standing dance records in New York City’s dance chart,” James added. “She was a diva in New York. They loved her….It was magic when she sang. I always liked the way she sounded (because) she had this sexy-ass rasp to her voice.”
The instantly compelling “If You Should Ever Be Lonely” followed in February 1986. Again aimed at the extremely lucrative disco/funk buying mood at the time, it was, like its predecessor, a much requested track in nightclubs. But sadly, not sufficiently to generate enough sales to cross it over into the national listings. “Sometimes getting a performance out of Val was like pulling teeth,” James further wrote. “But the outcome was always worth it.”
A Christian and mother, and later wife of Process and the Doo Rags’ member, Dennis Andrews, Val Young said she was careful with the lyrical content of her material, despite calling her album “Seduction”, which she interpreted as meaning “sexy and showing everything you’ve got, but you can only admire it, you can’t have it. In my case, my eyes are my seducers, they do my talking for me. I think my album is seductive but it’s also tasteful.”
Rick James introduced the lady to American audiences via a five-month tour with the Mary Jane Girls and Process and the Doo Rags. The latter unit was another of Rick’s projects whom he intended to sign to Motown but when negotiations broke down, their planned album was scrapped. The group switched to CBS Records instead.
Before Val could release her second album “Private Conversations” with Motown, Rick and his inimitable stable of artists became the subject of dispute with the company. This was partly due to his world crumbling into a drug haze making him incapable of spearheading his family of music, and Motown’s reluctance to continue bank rolling them. Subsequently, careers came to an unexpected halt when all releases were temporarily shelved as the wrangle continued. “Although she didn’t get a huge hit like the Mary Jane Girls or myself, I always loved recording with her. She was a joy to work with,” Rick further wrote in his autobiography.
However, “Private Conversations” wasn’t lost. Ms Young signed with the Buffalo-based Amherst Records, where the album was released in 1987, spawning the title track as a 12” single. Rick James produced a handful of tracks that included “True Love (Is Hard To Find)”, “Don’t Make Me Wait”, “Dreamin’”, “Forever Yours” and “Sweetest Thing”. By all accounts, the album is now difficult to find with a resulting high price tag which accounts for me not spending more time with it!
In his book James recalled a time when Diana Ross invited him, Val Young and the Mary Jane Girls to her house. She had just broken up with Gene Simmons and was, Rick wrote, heartbroken. “She asked me ‘Who is that girl, Val Young?’ At first I thought ‘Uh-oh, what has Val done now?’ But she said ‘Rick, don’t you ever lose her.’ Then Diana went on to tell me how she and Val were both from Detroit and how they talked about recipes and growing up in the Brewster Projects. I think Val bought Diana down to earth for a moment. Diana wasn’t Diana anymore, just a poor, struggling girl from Detroit’s Brewster Projects.”
From Rick James, Val hooked up with Bobby Brown to tour with him during 1988, following the release of his “Don’t Be Cruel” album. From here, her extraordinary talent was widely recognised, and she was much in demand as a session singer. Teena Marie, Bobby Womack, El DeBarge, Teddy Riley and Evelyn “Champagne” King were among those she worked with. Judging by the list of projects she was involved with during the nineties, Val was an extremely busy lady, but I have been unable to locate any further recordings. Moving into the noughties, she appeared on several Public Broadcasting Service-televised concerts, like one as a background singer for Raphael Saadiq, and she can be seen on the official music video for Eddie Murphy and Snoop Lion’s “Red Light” single. That reminds me, one Rick James’ conceptual video that sticks out in my mind, is that for his single “Glow” – what a song! – because it features his musical family, including Val Young on support vocals. Do check it out.
Finally, before ending this ‘seducing’ item on Ms Young, I came across a 2018 American advertisement for a Rick James Tribute show where the Mary Jane Girls featuring Val were performing. The blurb read “Val Young, Candice Ghant and Farah Melanson currently represent today’s Mary Jane Girls.” Well I never!
Before closing, I’d like to give a mention to a new Kent release “Cosmic Truth/Higher Than High” from The Undisputed Truth. Featuring their last two Motown albums, produced by Norman Whitfield, this release follows the CD premiere of their first, third and fourth albums (the second one was already available on CD) a couple of years ago. Since that time, a spokesperson for Kent said they’d been pursued by fans to release the remaining Gordy albums by the group’s changed membership. The decision to go ahead was made when the first collection proved to be a healthy seller. So, to bring you up to date. Following their fourth album “Law Of The Land”, the two original songstresses, Billie Rae Calvin and Brenda Jo Evans departed, leaving Joe Harris on his own.
Instead of burying The Undisputed Truth altogether, Norman Whitfield and Joe, recruited a Detroit quartet, The Magic Tones, to carry on their name. Virginia “Vee” McDonald (the only lady in the line-up and niece of The Miracles’ Pete Moore) and Joe Harris, were joined by Calvin Stephenson, Tyrone Barkley and Tyrone Douglas. Of the eighteen tracks here, spanning two CDs, several were minor hits, but “Help Yourself”, their biggest seller, shot into the R&B top twenty, and crossed over to peak in the top seventy. The latter was their highest position since “Smiling Faces Sometimes”. Incidentally, the version of “Help Yourself” included here, is the re-make of the original featured on
their earlier “Down To Earth” album which, by the way, held material by both the original trio and the new line-up.
With the personnel change, the group’s image underwent a major make over – huge afros, silver face paint with coloured eye make-up, space age silver outfits – as they became fully-fledged members of the funk club, swiping ideas from the George Clinton songbook to secure longevity. Some of the material is second hand, like The Temptations’ “(I Know) I’m Losing You”, wearing a different musical overcoat, which was lengthened from its original four minutes, while “1990” flattered the original length. Inspired by the children’s fairy tale, “Lil’ Red Ridin’ Hood” was their first to bypass the charts due, quite probably, to their vulgar interpretation of the innocent writer’s intention, while “Earthquake Shake” (the opening track on “Cosmic Truth”) merged into the unlikely inclusion of the Neil Young song “Down By The River”. Then the flat-out “Squeeze Me, Tease Me” overflowing with funk/rock, and “UFO’s” paying direct homage to Clinton’s Funkadelic, proved just too much for this gal.
Sometimes I felt drowned by Norman Whitfield’s all-consuming productions which, to be fair, aren’t lightweight are they? Also, I often felt he’d lost his way as he bamboozled the listener (and possibly the singers) with a plethora of music. While Phil Spector adopted the same principle, his productions were full to bursting but smoothly rounded, almost enveloping the vocalists. Whitfield, on the other hand, appeared to scatter his musical litter across the studio floor, then sweep them up in no particular order. Sounds like I’m on a downer here, doesn’t it? But no, it’s more a case of disappointment as I tightly cling onto the Truth’s early material which I absolutely love, and always have done. Nevertheless, it’s a great feeling to add this release to my collection and I’m sure you Truth fans out there, will feel the same.
That’s it for this month. I’m hoping you’ll join me next time around, but meantime, please stay safe and Keep the Motown Faith.
NEW FEATURE! SOULMUSIC GLOBAL PLAYLIST FOR MOTOWN SPOTLIGHT!
[Site owner David Nathan note: ‘This Motown Spotlight should have been published at the end of January – so apologies to Sharon and all for the delay.”]
Happy 60th birthday Motown! And a Happy New Year to you – even though it’s now the first week of February! Both belated I know, but, I can assure you, the sentiments are exactly the same. So let’s TCB…Over the past few weeks information has filtered through about plans to celebrate this extremely significant event so I’ll run them past you now and, needless to say, if you know of others, do please let me know.
So, first off. As part of a year long celebration, the Motown Museum announced plans to run an online video series, “Archive Dives”, bringing into the public arena unseen items from its treasure trove of artifacts. If I’m right, this started the day before the actual anniversary on Saturday, 12 January, and will continue on a regular basis via its Facebook page, tying in key dates in Motown’s history. The revealed items will then go on display in Hitsville. The anniversary ball also got rolling with a digital playlist of 70 vintage songs and I think Spotify is the site to check out to hear these. Robin Terry, Museum chairwoman and CEO told the Detroit Free Press “We have this tremendous collection of artefacts and many aren’t seen by the public. We’re taking the anniversary year as an opportunity to showcase some of these unique items.”
Kicking off the series is the actual Ber-Berry Co-op savings account book owned by Berry Gordy Sr, which, among other things, shows the organizational structure put in place by members of the family; minutes from the Co-op meeting dated 8 February 1959, providing a glimpse into how the family conducted their business at this time, and the archival document that was the official accounting ledger certifying the re-payment of Berry’s $800 loan. “What’s really exciting for us, and for all Motown fans, is that this is just the beginning,” Terry said. “It’s a privilege for us to continue to share more Motown history and artifacts from our vast collection with fans and to tell new stories in new ways.” This stockpile of unseen treasures is also one of the driving forces behind the non-profit Museum’s $50 million fundraising campaign to expand the complex with 40,000 square feet of exhibits, meeting and performing areas, among other things, with expectations of quadrupling the complex’s footprint. These guys don’t do things by half do they?!
Other events planned by the Museum include a 60th anniversary exhibition in early spring and a party in the grounds with live music, free Museum tours and food trucks, which has been tagged as a beefed-up edition of the annual Founder’s Day event that’s held in commemoration of Berry’s late sister Esther, who, as you know, took on the challenge of opening the Museum to the public during 1985. What a stroke of genius that was too! I have to say, it was a huge thrill and personal ambition to get the chance to meander through the smallish rooms where history was made: in fact, if it wasn’t for the photos I took at the time, can’t believe I was actually there. And from what some other folks have told me, they felt exactly the same although putting into actual words the overwhelming feelings of being there, was somewhat difficult. Only one gripe though was the shop where prices were sky-high and beyond the reach of my pay packet for sure. I wonder how the former first lady Michelle Obama felt when she wandered around in December? Judging by the video I’ve seen, it was smiles all round. Anyhow, I’m digressing…
So, according to the Detroit Free Press music writer Brian McCollum, the keystone event will be Motown’s 60th birthday celebrations covering 21-23 September on sites across Detroit, opening with a black-tie concert dinner “Hitsville Honors”. A Motown-infused gospel concert in partnership with local churches is planned for the next day, with the weekend closing on a high note with the “Soul-In-One Motown Golf Classic.” Robin Terry further said the plans were geared to include everyone in the local community because “This is obviously a tremendous milestone year. Our approach is to celebrate six decades of not only phenomenal music but these artists who came out of Detroit.”
We’re used to Motown’s anniversaries aren’t we? Some are true to the dates while others, well, adopted a certain amount of poetic licence. Actually, I’m thinking in particular of the award-winning “Motown 25: Yesterday, Today, Forever” staged at the Pasadena Civic Auditorium, California, on 25 March 1983. Broadcast by NBC and later available commercially, didn’t we all sit open-mouthed as Marvin Gaye played at the piano, Michael Jackson moonwalked, Smokey Robinson rejoined The Miracles, Stevie Wonder sang with Wonderlove, the Four Tops and The Temptations performed the “battle of the bands”, and Diana Ross returned to the Supremes to the strains of “Someday We’ll Be Together”. Thirty second spots were afforded to Martha Reeves, Mary Wells, Jr Walker, among others, which did not sit at all well with them or Motown fans, yet it was those who were omitted or not actually invited that caused the most upset. We won’t go there now, but suffice to say the album “The Motown Story: First 25 Years” narrated by Lionel Richie and Smokey, followed. Now long out of print, it did receive a Grammy nomination for Best Historical Recording.
Also worth a mention is the two-part anniversary special “Motown 40: The Music Is Forever” screened by ABC in 1998. The four-hour documentary featured interviews and performances by Smokey, Diana, Lionel, En Vogue, James Taylor and Bonnie Raitt, among other A-line names. Also “Motown 50” in 2009 when a variety of artists returned to Hitsville during January to officially launch the year’s celebrations. Duke Fakir was joined by the likes of Rosalind Ashford, members of the Funk Brothers, Bobby Rogers, Gil Bridges, Mrs Maxine Powell and Paul Riser. “Fifty years is a wonderful anniversary” Duke told Billboard magazine. “You’ve got to give credit to the songs but, of course, you’ve got to give credit to Berry Gordy for the vision. He had the whole vision, and he made it come true. It’s just great to be part of that legacy and still be alive to talk about it.”
Several discs were issued with the special 50th logo attached, while us Brits were treated to the “Divas of Motown” tour in the November, featuring Chris Clark, Brenda Holloway, the Former Ladies of the Supremes, Thelma Houston, Mable John and Jack Ashford’s Funk Brothers Band. Wow! What a concert that was! So what concerts for 2019, I wonder?
This year will also honour Motown’s artists who have passed and those, happily, still with us, like Martha Reeves (who has to be the company’s finest and truest ambassador), Smokey Robinson, Diana Ross, Stevie Wonder, Otis Williams, Duke Fakir and Mary Wilson. However, I’m not sure as I write this, just what part they will play, maybe over the September weekend. Anyway, watch this space.
From the musical note to the written word or, to be more precise, colourful pictures. Mark Bego (who you may remember assisted Martha Reeves with her terrific autobiography “Dancing In The Street”) announced on his Facebook page that he helped Mary Wilson compile a 240-page coffee table type book “Supreme Glamour” due to be published this year by Thames & Hudson, the same company behind Adam White’s glorious “Motown:The Sound Of Young America” tome now available in soft back. In a press statement the publisher said, “Marrying sumptuous fashion with insightful biography, ‘Supreme Glamour’ charts the glittering story of Motown’s most successful act and original pop fashionistas.”
And, let’s not forget either the many hints thrown at us during the past few months about “Hitsville: The Making Of Motown” docufilm which focuses on the birth of the company through to its relocation to Los Angeles in 1972. It will feature new and exclusive interviews with Berry and several of his top artists and creative figures, rare performances and behind-scenes footage from Berry’s personal archives and items discovered in the company’s vaults. Check out https://classic.motown.com/ for more information.
Finally, if you’re planning a trip to New York this year, do try to get tickets for the Broadway musical “Ain’t Too Proud – The Life And Times Of The Temptations” based on Otis Williams’ informative autobiography which, I have to say, spares no punches. The jukebox musical has had a series of regional productions and is expected to hit Broadway next month with previews from the 28th, before the opening night on 21 March.
So, what of the UK and what plans for celebrations here? Well to be honest, so far, I know of only one very special CD release which hopefully I can talk about next time, likewise a Motown/Northern Soul weekender in Skegness during September featuring three much revered and loved Motown ladies. I’m so happy to read about nightclubs and pubs up and down the country devoting evenings to Motown; tribute groups and shows keeping the sound alive, while radio stations have done the same, with more coming during the year I expect. Actually, on that subject, if anyone cares to spend a little time celebrating with me, do please visit https://www.mixcloud.com/HailshamFM/sharon-davis-12012019/
Well, that’s about it for now. Needless to say, will keep you updated as items hit me but, as mentioned before, if you know of any celebrations going on, do let me know and I’ll be happy to share. We’re in this together remember, so do hope we’ll be holding hands through this year because, to be honest, it’ll be lonely without you.
Final words then from Robin Terry; “This year the whole of Detroit will salute its legacy. The world is going to be celebrating Motown throughout this 60-year anniversary but no other city can claim the birthplace.”
Just recently I was a guest on the highly respected Clive Richardson’s Solar Radio programme. “Soul Summit” is an annual affair, and I was, naturally, delighted to be invited along again to have a chat. In the studio with Clive was Adam White, author of “Motown – The Sound Of Young America”, and, although I didn’t join the programme until it was part-way through – I was on air at Hailsham FM – did manage to get my selected tracks included. As you know, I’ve known Clive for the longest time, and talking to Adam reminded me that I probably first met him during the sixties in The Clifton Record Shop in Bristol, run by Bill Francis. The shop specialised in Motown and soul music, and, if my memory serves me well, Adam later wrote and distributed a regular newsletter, crammed with must-have information about new Motown releases. This would have been prior to my moving to London, so I’ve no idea how I travelled up country but am guessing it was with Phil Symes and Pete McIlroy, who ran the Jimmy Ruffin fan club. What stuck out in my mind particularly about this trip, was hearing Diana Ross and the Supremes’ “Reflections” played through the shop’s several powerful wall speakers. Adam pointed out while the song was playing that the music actually shifted from one speaker to the other, particularly the introduction. What an amazing experience it was for this country gal who relied on her parents’ hi-fi to play singles, often so loud that they became rather distorted. But, hey, that was part of the whole experience. Thank you Clive for your kind invitation; it’s always a fun experience, although I know sometimes I do push you to the limit with risqué comments. Keep the soul flag flying my friend. And, thank you Adam, for fuelling my appetite for Motown over the years.
Let’s TCB some more with Anna Records. As you know, Gwen Gordy had the photo franchise at the Flame Show Bar in Detroit, and with her sister Anna became celebrities of the city’s nightlife. Through her contacts, Gwen introduced her brother Berry to the Bar’s manager, Al Green, who also managed LaVern Baker and Jackie Wilson. Other hook-ups included a life-changing one for Berry with fellow songwriter Roquel “Billy” Davis who, although not a hit maker as yet, did have valuable connections with Chess Records. The two decided to work together. “Roquel and I made a solid writing team” Gordy wrote in his autobiography “To Be Loved”, “I was the active go-getter, the extrovert. He was more passive and had a patient way about him. I’d watch how business and creative people seemed to feel comfortable dealing with him.”
When it was suggested that Berry, Roquel and Gwen form an alliance to open a new label, Anna Records – which Gwen had already registered and named after her sister – Berry declined, having had his cheque book burned by a previous business arrangement. Even a national distribution deal with Chess Records, failed to sway his decision. Berry’s all-consuming ambition was to be his own boss but he promised to help them in whatever capacity needed. “We had taken separate paths and for the first time I was really on my own and really, really happy.”
Gwen and Roquel rented a downstairs room in the record store that Berry once used to sell the Blues to a limited buying audience, as their company headquarters. Gradually the Anna label gained local momentum, while Berry struggled independently. When he wrote “Money (That’s What I Want)” with Janie Bradford for his Tamla label, he wanted national exposure for the single by Barrett Strong. Following its release in Detroit, he sent it to the Washington-Baltimore and the Cleveland-Cincinnati areas, with plans to promote it further afield. The idea worked well but there was a downside; orders came in so quickly that he was swamped and totally unable to press sufficient records to match demand. Gwen had the answer: release “Money (That’s What I Want)” on her label, which she did in August 1959. “I liked the idea” Berry Gordy wrote. “(It was) a good opportunity to fulfil my promise to her and Roquel to help them in any way I could.” Yet still the plan backfired as Gordy quickly realised he had made more money working directly with his independent distributors. “(They) had to pay Chess. Chess had to pay Anna Records, and then Anna paid me. I was the furthest away from the money.” He stuck to his original plan in future to go it alone.
Anyway, all this preamble is to introduce a 2-CD package that arrived last week – “The Complete Anna Records Singles – Volumes One and Two”. Am I right in thinking that our Graham Betts and Paul Nixon had a hand in this, because certainly the latter is mentioned in the short CD notes? So, to the music…..
The first disc kicks off with both sides of The Voice Masters’ first two singles “Hope And Pray”, “Oops I’m Sorry”, “Needed” and “Needed (For Lovers Only)” from May 1959. Evolved from the Five Jets and Five Stars, they were the first outfit that Berry Gordy used as session singers. Passing through its membership were future Temptations’ Melvin Franklin and David Ruffin, plus Henry Dixon and Walter Gaines who went on to become members of Motown’s best kept secret, The Originals. These are followed by a pair of tracks, namely, “Hit And Run Away Love” and “Advertising For Love”, from the Detroit-based Hill Sisters. It appears Carol, Lynne and Beverly were session singers prior to joining Anna, but it was a short-lived career, as following their unsuccessful venture into the music business, they abandoned all ideas of becoming recording artists.
Also of note on this disc is Bob Kayli with “Never More” and “Peppermint (You Know What To Do)”, also released mid-1959. Kayli, as you know, is Berry Gordy’s younger brother, Robert, who would later record two further singles “Small Sad Sam” on Tamla, and “Hold On Pearl” which, although scheduled for that label, ended up on Gordy instead for November 1962 release.
The eleventh Anna outing was the afore-mentioned “Money (That’s What I Want)”, with “Beatnik Beat” and “Scratch Back” from Paul Gayten, his follow-up to the earlier hit “The Hunch”. Already an established artist before linking with Anna, having enjoyed five top ten R&B hits between 1947-1950, Paul later rejected an offer from Berry Gordy to join Motown. The talented pianist, composer and producer died in 1991, aged 71 years. The first CD of 26 tracks closes with (another future Originals’ member) Ty Hunter and the Voice Masters’ “Orphan Boy” and “Everything About You”, released during July 1960.
“Hurry Up And Marry Me” and “Do You Want To See My Baby” from Herman Griffin, introduces the second CD, housing 28 tracks. He was first associated with the Gordy family by recording “I Need You” on The House Of Beauty label. Switching to Anna, and later Tamla in 1960 with “True Love (That’s Love)”, Griffin worked with Mary Wells as her touring musical director, often attempting to steal her limelight with his acrobatic antics on stage. He was also (probably) responsible for Mary’s hasty exit from Motown, despite her riding high in the single’s chart with “My Guy”. The couple later married, with the unhappy liaison ending when Mary’s new career failed to ignite. The rest is history.
Ruben Fort’s “So Good” and “I Feel It” is followed by Allan “Bo” Story with his version of “Blue Moon”, a blues version of the Rodgers and Hart classic, making way for “Hoy Hoy” and “No One Else But You” from Johnny and Jackey. Johnny Bristol needs no introduction; prolific composer, producer and singer, he first duetted with Jackey Beavers, before moving to the Tri Phi label, later joining Motown. While there, he was responsible for some of the company’s most defining songs for Marvin Gaye and Tammi Terrell, Edwin Starr, Gladys Knight and the Pips, Jr Walker, among others. Plus, of course, he first recorded “Someday We’ll Be Together” with Jackey Beavers, later recorded by Diana Ross, with back-up vocals by Merry Clayton, Maxine Waters, and Julia Waters, as the Supremes’ farewell single in 1969. By the way, the male voice ad-libbing on the track belongs to Mr Bristol. From Motown, this exceptionally talented man, who I had the great privilege to meet, forged a recording career in his own right with world sellers like “Love Me For A Reason” and “Hang On In There Baby.” It was a sad day when he died from natural causes in 2004, at the age of 65 years.
Jackey Beavers, on the other hand, was a gospel and R&B singer, who, following his stay at Anna, went on to record with Roquel Davis for the Checker label, a subsidiary of Chess Records. Their debut outing in 1965, “Jack-A-Rue”, was a minor local hit. Not so their follow-up. From here, Beavers unsuccessfully hooked up with several other labels before being ordained as a minister; first at the New Hope Baptist Church, then at the Glory Harvester Church. He also recorded a handful for gospel albums for the Glory label. He died at the age of 71 in October 2008.
Other tracks worth a mention here include Lamont Anthony’s “Let’s Talk It Over” and “Benny The Skinny Man” released in November 1960. He worked his way through several groups, including The Voice Masters, before recording as a soloist under various names, until he joined Motown’s top composing/producing trio Holland, Dozier, Holland. And you know the rest! Then, there’s David Ruffin with an early 1961 release, “I’m In Love” and “One Of These Days”. David actually lived with Berry Gordy’s father “Pops”, and helped him with the construction work on the Hitsville building, before packing boxes of records with another ambitious, rising star, Marvin Gaye. In time both would find their way to the recording studio. Gwen Gordy told the “Detroit Free Press” that David Ruffin was the perfect gentleman. “But the thing that impressed me about (him) was that he was one of the only artists I’ve seen who rehearsed like he was on stage.”
Finally, Joe Tex, featured here six times, closes this second CD with “Baby You’re Right” and “Ain’t That A Mess”. Joining the Anna set up during 1960 from Ace Records, he attracted a solid fan base due to his opening shows for James Brown, Little Richard, among others. Incidentally, James Brown re-recorded “Baby You’re Right”, with a lyric and melody change, earning himself a top two R&B single. By the mid-sixties, Joe Tex had joined Atlantic Records and released thirty non-hit songs. However, that was to change when success came with his particular brand of Southern Soul, with touches of gospel, R&B and funk. Another artist taken too soon, Joe died in August 1982 following a heart attack. He was 49 years old.
This is merely an overview of artists who were instrumental in keeping the Anna label afloat, earning some success on the way. With severe financial problems, the label closed and was absorbed into Berry Gordy’s operation during 1961, with its artists becoming Motown acts rather by default. Gwen Gordy was also transferred to her brother’s company to handle business affairs, before spreading her wings by co-heading artist development. She then managed acts like Shorty Long, The Spinners and Jr Walker and the All Stars. Apparently, Gwen was also responsible for signing Tammi Terrell, and later convinced her brother she should duet with Marvin Gaye. Clever lady! A vital and energetic member of the team, Gwen was widely loved, and highly respected by the acts she worked with, often guiding them into stardom. Into the seventies, she founded Gwen Glenn Productions, producing the likes of High Inergy, until she retired from the business during the early eighties. In November 1999, Gwen lost her battle with cancer and, although she lived in San Diego, was buried in Detroit. She was 71 years old. Her legacy of pioneering her brother’s future music enterprise is rightly recorded in Motown’s history books. Certainly a lady to be reckoned with!
So, if you’re interested in, or hooked on, Anna Records, then this pair of CDs will fit the bill, with all the known singles available across two discs.
All that’s left for me now is to wish you all a very Happy Christmas time. Whether you’re with your loved ones, or working in one of the vital services that we rely upon, like the medical and caring professions, the services protecting us from harm, and other essential professions, my thoughts and thanks are with you all. My heartfelt wishes and hopes for a healthy, happy and peaceful coming year – when we celebrate Motown’s 60th anniversary – are also sent your way. Thank you for supporting me again this year because without you, there’d be no me, and I’m hoping we’ll stay together for another year, at the very least!