Martha and the Vandellas
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Martha and the Vandellas Martha and the Vandellas (known from 1967 to 1972 After Motown staffer Mickey Stevenson noticed Reeves as Martha Reeves and the Vandellas) were an Ameri- singing at a prominent Detroit club, he offered her his can vocal group who found fame in the 1960s with a string business card for an audition.[5] Reeves showed up at of hit singles on Motown's Gordy label. Founded in 1960 Motown on a wrong date (Motown auditions were held by friends Annette Beard, Rosalind Ashford and Gloria at Thursdays, while Reeves showed up to Motown’s Williams, the band eventually included Martha Reeves, Hitsville USA studios on a Tuesday). Stevenson, ini- who moved up in ranks as lead vocalist of the group af- tially upset, told Reeves to look out for clients and other ter Williams’ departure in 1962. The group signed with matters. Soon Reeves became Stevenson’s secretary and and eventually recorded all of their singles for Motown’s later was responsible for helping acts audition for the Gordy imprint. label.[6] By 1961, the group, now known as The Vels, The group’s string of hits included "(Love Is Like a) were recording background vocals for Motown acts. Prior Heat Wave", "Nowhere to Run", "Jimmy Mack", "Bless to her success as lead singer of The Elgins, Sandra Ed- You" and "Dancing in the Street", the latter song becom- wards (then going by her surname Maulett) recorded the ing their signature single. During their nine-year run on song “Camel Walk”, in 1962, which featured the Vels in the charts from 1963 to 1972, Martha and the Vandellas background vocals. That year, the quartet began apply- charted over twenty-six hits and recorded in the styles of ing background vocals for emerging Motown star Marvin Gaye, singing on Gaye’s first hit single, "Stubborn Kind doo-wop, R&B, pop, blues, rock and roll and soul. Ten [7] Vandellas songs reached the top ten of the Billboard R&B of Fellow" After Mary Wells failed to make a sched- singles chart, including two R&B number ones. uled recording session feigning a short illness, the Vels recorded what was initially a demo recording of “I'll Have to Let Him Go”. Motown was so impressed by the group’s vocals – and Martha’s lead vocals in the song – that the 1 History label CEO Berry Gordy offered to give the group a con- tract. Figuring that being in show business was too rig- 1.1 Early years (1957–1962) orous, Williams opted out of the group. With Williams out, the remaining trio of Ashford, Beard and Reeves re- Teenagers Rosalind Ashford and Annette Beard first be- named themselves The Vandellas. came acquainted after a local music manager hired them to be members of a girl group he named The Del-Phis. Ashford & Beard, along with then-lead vocalist Gloria Williams, performed at local clubs, private events, church benefits, YMCA events and school functions.[1][2][3] They were also being coached by Maxine Powell at Detroit’s Ferris Center.[1] One of the group’s first professional engagements was singing background for singer Mike Hanks.[4] The group originally had up to six mem- bers, shortened to four. After another member left the group, she was replaced by Alabama-born vocalist Martha Reeves, who had been a member of a rival group, the Fascinations and had also been a member of another group, the Sabre-Ettes. In 1960, the group signed their first recording contract with Checker Records, releasing the Reeves-led “I'll Let You Know”. The record flopped. The group then recorded for Checkmate Records, a sub- sidiary of Chess Records, recording their first take of “There He Is (At My Door)". That record, featuring Williams on lead vocals, also flopped. Martha & the Vandellas, 1964. From left to right: Martha Briefly separated, Reeves returned to a solo career per- Reeves, Annette Beard and Rosalind Ashford. forming under the name Martha LaVaille, in hopes of getting a contract with emerging Detroit label Motown. 1 2 1 HISTORY 1.2 Motown major hit years (1962–1968) Reeves’ mentor William “Mickey” Stevenson in 1967 and Holland–Dozier–Holland in early 1968, but after their Following their signing to Motown’s Gordy imprint in former collaborators left the label, the Vandellas ini- 1962, The Vandellas struck gold with their second re- tially continued to find success with the Richard Morris- lease, the first composition and production from the produced singles "Love Bug Leave My Heart Alone" (US famed writing team, Holland–Dozier–Holland, titled #25; R&B #14) and "Honey Chile" (US #11; UK #30; "Come and Get These Memories". It became The Van- R&B #5) added to their already extended list of charted dellas’ first Top 40 recording, reaching number twenty- singles. In the summer of 1968, the group joined The nine on the Billboard Hot 100 and peaking at number Supremes, The Temptations, The Four Tops and Marvin six on the R&B chart. Their second hit, "(Love Is Like Gaye in performing at the Copacabana though much like a) Heat Wave", became a phenomenal record for the albums from the Four Tops and Gaye, a live album of group,[8] reaching number four on the Hot 100 and hitting their performance there was shelved indefinitely. number one on the R&B singles chart for five weeks. It That same year, label changes had started to take effect, became their first million-seller and eventually won the and Gordy focused much of his attention on building the group their only Grammy Award nomination for Best Supremes’ as well as Diana Ross’ burgeoning upcoming R&B Vocal Performance by a Duo or Group. (On the solo career that would follow in 1970. The Vandellas’ single and album, the song was titled “Heat Wave”. It was sound (and the sound of many Motown acts with the sometime later that the song was retitled to avoid confu- exception of Marvin Gaye, The Temptations, The Mar- sion with the Irving Berlin song.) velettes, and Stevie Wonder) suffered as a result.[5][11] The group’s success continued with their second Top Ten However it was the infighting among the members of the single and third Top 40 single, "Quicksand", which was [8] Vandellas that led to their problems. Kelley was the first another composition with Holland-Dozier-Holland and to be let go after reportedly missing shows, as well as get- reached number eight pop in the late fall of 1963. Around ting into altercations with Reeves.[5][12] There were many that time, Annette, who was pregnant with her first child instances where these “fights” happened on stage. Kelley and set to get married, chose to leave her singing ca- [9] was fired in 1967 and was replaced by Martha Reeves’ reer behind by 1964. Betty Kelley, formerly of The sister Lois.[7][12] Simultaneously, the group’s name was Velvelettes, was brought in shortly afterward to continue officially changed to Martha Reeves and the Vandellas, the Vandellas’ rise. to conform with the company’s recent changes of The The next two singles, “Live Wire” and “In My Lonely Supremes' and The Miracles' names to reflect their fea- Room"(#6 R&B Cashbox) were less successful singles, tured lead singers. During this time, Vandellas records in- failing to reach the Top 40. However, their next single, cluding "(We've Got) Honey Love", “Sweet Darlin'" and "Dancing in the Street", rose up to #2 on the Billboard “Taking My Love and Leaving Me” were issued as singles Hot 100 and also found global success, peaking at #21 on with diminishing success. the UK Singles Chart in 1964. In 1969, “Dancing in the Street” was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in 1.4 “Bless You” (1969–1972) the UK, thus making the song one of the all time favourite Motown single releases ever. The song became a million- Reeves, out of the group temporarily due to illness, re- [10] seller, and one of the most played singles in history. covered and returned; Ashford was replaced by another Between 1964 and 1967, singles like "Wild One" (US former member of the Velvelettes, Sandra Tilley, and #34), "Nowhere to Run" (US #8; UK #26), "Love (Makes the group continued to release albums and singles into Me Do Foolish Things)" (US #70; R&B #22), "You've the early 1970s, although they could not reignite the Been in Love Too Long" (US #36), "My Baby Loves Me" fire that had made their records successful in the 1960s. (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B Among their late 1960s hits was "I Can't Dance to That #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK Music You're Playing", which featured singer Syreeta #21) kept The Vandellas on the map as one of the label’s Wright singing the chorus, and peaked at number forty- top acts. The Vandellas’ popularity helped the group get two. Reeves reportedly hated singing the song sensing it spots on The Ed Sullivan Show, The Mike Douglas Show, “close to home”. In 1970, the group issued Motown’s American Bandstand and Shindig!. Throughout this pe- first protest single, the controversial anti-war song, "I riod, The Vandellas had also become one of the label’s Should Be Proud", which peaked at a modest forty-five most popular performing acts. on the R&B singles chart.