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Printablemidnightmover said: Timmy84 said: Watch one of the greatest girl groups of all time in action.
The Marvelettes were better. Gladys Horton's voice was one of the best ever. Period. Their material was great too. Definitely the most underrated Motown group. But yeah, The Vandellas were cool too. Nowhere To Run is my favourite of theirs. The Marvelettes were so cool. I can see why they'd be better: they had not one but TWO lead singers.  One of the original members co-wrote "Please, Mr. Postman" actually. 
I do think they're underrated and they should be in the Hall of Fame alongside the Supremes and Vandellas, it's only fair. I think it's fair to say that won't happen unless Berry Gordy and Smokey Robinson passes away since the both of them had something to do with the group's name being lost in a gambling bet. I haven't looked at Smokey the same way again after that so FUCK HIM. But yeah the Marvelous Marvelettes were one of the best girl groups of all time too. All the Motown girl groups were great in their own way including the Velvelettes ("Needle in a Haystack"  ) | |
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Timmy84 said: midnightmover said: The Marvelettes were better. Gladys Horton's voice was one of the best ever. Period. Their material was great too. Definitely the most underrated Motown group. But yeah, The Vandellas were cool too. Nowhere To Run is my favourite of theirs. The Marvelettes were so cool. I can see why they'd be better: they had not one but TWO lead singers. One of the original members co-wrote "Please, Mr. Postman" actually.
I do think they're underrated and they should be in the Hall of Fame alongside the Supremes and Vandellas, it's only fair. I think it's fair to say that won't happen unless Berry Gordy and Smokey Robinson passes away since the both of them had something to do with the group's name being lost in a gambling bet. I haven't looked at Smokey the same way again after that so FUCK HIM. But yeah the Marvelous Marvelettes were one of the best girl groups of all time too. All the Motown girl groups were great in their own way including the Velvelettes ("Needle in a Haystack" )What's this? “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
- Thomas Jefferson | |
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midnightmover said: Timmy84 said: The Marvelettes were so cool. I can see why they'd be better: they had not one but TWO lead singers. One of the original members co-wrote "Please, Mr. Postman" actually.
I do think they're underrated and they should be in the Hall of Fame alongside the Supremes and Vandellas, it's only fair. I think it's fair to say that won't happen unless Berry Gordy and Smokey Robinson passes away since the both of them had something to do with the group's name being lost in a gambling bet. I haven't looked at Smokey the same way again after that so FUCK HIM. But yeah the Marvelous Marvelettes were one of the best girl groups of all time too. All the Motown girl groups were great in their own way including the Velvelettes ("Needle in a Haystack" )What's this? Apparently, Berry and Smokey were in Las Vegas shooting craps or something, I'm not sure what, but they decided to foolishly bet on one of the groups' names. Apparently the Marvelettes had been mistreated by Motown for years that it didn't seem wrong for them to bet the group's name on this bet. Apparently, they lost the bet and the name "The Marvelettes" was vanished leading to the disbandment of the remains of the Marvelettes. Their last hit was 1968's "My Baby Must Be a Magician". It was the lowest someone could ever treat a group that gave Motown their first number-one pop hit and was arguably the first star recording group of the label. | |
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Timmy84 said: midnightmover said: What's this? Apparently, Berry and Smokey were in Las Vegas shooting craps or something, I'm not sure what, but they decided to foolishly bet on one of the groups' names. Apparently the Marvelettes had been mistreated by Motown for years that it didn't seem wrong for them to bet the group's name on this bet. Apparently, they lost the bet and the name "The Marvelettes" was vanished leading to the disbandment of the remains of the Marvelettes. Their last hit was 1968's "My Baby Must Be a Magician". It was the lowest someone could ever treat a group that gave Motown their first number-one pop hit and was arguably the first star recording group of the label. The group could easily have changed their name. I heard that Gladys Horton had a child who had cerebral palsy and she retired to look after the baby, although I never understood why Motown couldn't have helped her. She said there was no one to look after the child so she took time out to do it herself. Maybe there's more to it than that. (?) [Edited 9/4/07 10:06am] “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
- Thomas Jefferson | |
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midnightmover said: Timmy84 said: Apparently, Berry and Smokey were in Las Vegas shooting craps or something, I'm not sure what, but they decided to foolishly bet on one of the groups' names. Apparently the Marvelettes had been mistreated by Motown for years that it didn't seem wrong for them to bet the group's name on this bet. Apparently, they lost the bet and the name "The Marvelettes" was vanished leading to the disbandment of the remains of the Marvelettes. Their last hit was 1968's "My Baby Must Be a Magician". It was the lowest someone could ever treat a group that gave Motown their first number-one pop hit and was arguably the first star recording group of the label. The group could easily have changed their name. I heard that Gladys Horton had a child who had cerebral palsy and she retired to look after the baby, although I never understood why Motown couldn't have helped her. She said there was no one to look after the child so she took time out to do it herself. Maybe there's more to it than that. (?) [Edited 9/4/07 10:06am] I honestly don't think there's more to it. Motown treated them like shit because they were trying to promote the Supremes (they were the first group to get signed to the label before the Marvelettes). And since the Supremes were from Detroit and the Marvelettes from Inkster, the group were always looked on as outsiders. I don't buy that there's more to the story. If there is, Berry and Smoke ain't said shit! Go here: http://www.history-of-roc...lettes.htm It'll tell you about their amazing story: their rise and their fall. By the way, Gladys left the group in 1967. [Edited 9/4/07 10:14am] | |
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Here's a quote from Ms. Horton:
"They never really respected us. Berry Gordy lost the Marvelettes name in a gambling game once, that's how much he cared about us. We were just nothing to them." Motown didn't wanna do shit for Gladys because they didn't give a fuck about her and her group despite the achievements they had over there! | |
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You know that their original name was the Casinyets (Can't sing yet) because they weren't confident about their singing abilities. Florence Ballard used to teach them how to arrange their harmonies and told the lead singers how to bring emotion out. Flo also replaced one of them briefly while one of the members was on maternity leave. Flo was actually friendly with all the girl groups. Her and Mary were. Diane was supposedly the one who had resentment towards the other girls especially the Marvelettes. | |
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Timmy84 said: midnightmover said: The group could easily have changed their name. I heard that Gladys Horton had a child who had cerebral palsy and she retired to look after the baby, although I never understood why Motown couldn't have helped her. She said there was no one to look after the child so she took time out to do it herself. Maybe there's more to it than that. (?) [Edited 9/4/07 10:06am] I honestly don't think there's more to it. Motown treated them like shit because they were trying to promote the Supremes (they were the first group to get signed to the label before the Marvelettes). And since the Supremes were from Detroit and the Marvelettes from Inkster, the group were always looked on as outsiders. I don't buy that there's more to the story. If there is, Berry and Smoke ain't said shit! No, I meant maybe there's more to it than Gladys was saying in the interview I heard. All I've ever heard on the subject was her saying about the cerebral palsy and saying she "took time out to care for this baby", but this was on some celebratory documentary where they make a habit of glossing over the more unpleasant aspects of things. Hell, if Diana Ross had a baby born dead you know she wouldn't let it stop her career. I'm aware of how the Marvelettes didn't fit the uptown sophisticated image Motown was after, and it's a damn shame because I think Gladys's voice had such great character. [Edited 9/4/07 10:26am] “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
- Thomas Jefferson | |
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midnightmover said: Timmy84 said: I honestly don't think there's more to it. Motown treated them like shit because they were trying to promote the Supremes (they were the first group to get signed to the label before the Marvelettes). And since the Supremes were from Detroit and the Marvelettes from Inkster, the group were always looked on as outsiders. I don't buy that there's more to the story. If there is, Berry and Smoke ain't said shit! No, I meant maybe there's more to it than Gladys was saying in the interview I heard. All I've ever heard on the subject was her saying about the cerebral palsy and saying she "took time out to care for this baby", but this was on some celebratory documentary where they make a habit of glossing over the more unpleasant aspects of things. Hell, if Diana Ross had a baby born dead you know she wouldn't let it stop her career. I'm aware of how the marvelettes didn't fit the uptown sophisticated image Motown was after, and it's a damn shame because I think Gladys's voice had such great character. Motown didn't know how to promote the artists as best as they did with the Supremes, Four Tops, Temptations, Stevie and Marvin. The Marvelettes were just too fucking raw. Gladys left to get married, I think. Nah, the lineup of the Marvelettes were not consistent to what is said here though. Here were their different lineups: LINEUPS ORIGINAL (1960-61): Gladys Horton Georgeanna Tillman Georgia Dobbins Juanita Cowart Katherine Anderson (1961-64): Gladys Horton Georgeanna Tillman Wanda Rogers Juanita Cowart Katherine (Andrews) Young (1964-65): Gladys Horton Georgeanna Tillman Wanda Rogers Katherine Young (1965-67): Gladys Horton Wanda Rogers Katherine Young (1967-69): Wanda Rogers Katherine Young (the only one to remain with the group from beginning to end) Anne Bogan Georgia Dobbins left to take care of her sick mother, Juanita left after a nervous breakdown, Georgeanna contracted lyme disease and lupus and later died of sickle cell anemia in 1980, Gladys left to get married and, like you suggest, take care of her handicapped son. Either way, their story is ultimately sad. And if Diane had a child that had an illness, the Supremes would've been kicked out of the label. We'd never know if Flo - who had suffered a rape incident but still carried on with her career, and Mary, would've found another girl to replace Diane. We never truly would've known what Diane would've done. [Edited 9/4/07 10:33am] | |
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Timmy84 said: You know that their original name was the Casinyets (Can't sing yet) because they weren't confident about their singing abilities. Florence Ballard used to teach them how to arrange their harmonies and told the lead singers how to bring emotion out. Flo also replaced one of them briefly while one of the members was on maternity leave. Flo was actually friendly with all the girl groups. Her and Mary were. Diane was supposedly the one who had resentment towards the other girls especially the Marvelettes.
Yeah I know the story about Flo coaching her on Please Mr Postman. Gladys may not have been confident, but she had something rare in her voice that can't be taught. Personality. Character. Individuality. There is no one else that sounds like her. That's why she's leagues above Martha Reeves IMO. That's the thing about Motown, the singers had unique voices (Stevie, Smokey, Diana, Marvin, etc.). I don't know whether it was by accident or design, but Berry signed up voices that stood out from the crowd. That kind of character is very rare. It goes beyond mere technical ability. Gladys is a great example of that. “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
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midnightmover said: Timmy84 said: You know that their original name was the Casinyets (Can't sing yet) because they weren't confident about their singing abilities. Florence Ballard used to teach them how to arrange their harmonies and told the lead singers how to bring emotion out. Flo also replaced one of them briefly while one of the members was on maternity leave. Flo was actually friendly with all the girl groups. Her and Mary were. Diane was supposedly the one who had resentment towards the other girls especially the Marvelettes.
Yeah I know the story about Flo coaching her on Please Mr Postman. Gladys may not have been confident, but she had something rare in her voice that can't be taught. Personality. Character. Individuality. There is no one else that sounds like her. That's why she's leagues above Martha Reeves IMO. That's the thing about Motown, the singers had unique voices (Stevie, Smokey, Diana, Marvin, etc.). I don't know whether it was by accident or design, but Berry signed up voices that stood out from the crowd. That kind of character is very rare. It goes beyond mere technical ability. Gladys is a great example of that. Berry did good in picking exceptional talent but he sucked at promoting them for a long run. The Marvelettes had a rise and fall and rise and fall kind of career, the Supremes were down for a while before finding their ground and the Vandellas almost were up and smoking from the second single release onwards but he failed in establishing them in the long run favoring one group over another. He didn't do good with some of the male groups either. The Contours were the first male group (not naming the Miracles since they had a female in the group) to have chart success before the Temptations did but Berry thought they were "too black". Some other groups were signed to Motown but weren't allowed promotion either because they didn't care or they didn't have time. The Isleys and the Pips came in at the wrong time I would think but they knew better and they knew Berry wouldn't let them express themselves the way they want to. The Marvelettes are very interesting because they were still looking to Berry to help them out and when they didn't, they lost all interest in music. So how could they have continued? | |
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And Motown wanted to be "too proper". Sure that was a way of getting through but I would think Motown could've promoted everybody equally but they didn't. | |
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Timmy84 said: midnightmover said: No, I meant maybe there's more to it than Gladys was saying in the interview I heard. All I've ever heard on the subject was her saying about the cerebral palsy and saying she "took time out to care for this baby", but this was on some celebratory documentary where they make a habit of glossing over the more unpleasant aspects of things. Hell, if Diana Ross had a baby born dead you know she wouldn't let it stop her career. I'm aware of how the marvelettes didn't fit the uptown sophisticated image Motown was after, and it's a damn shame because I think Gladys's voice had such great character. Motown didn't know how to promote the artists as best as they did with the Supremes, Four Tops, Temptations, Stevie and Marvin. The Marvelettes were just too fucking raw. Gladys left to get married, I think. Nah, the lineup of the Marvelettes were not consistent to what is said here though. Here were their different lineups: LINEUPS ORIGINAL (1960-61): Gladys Horton Georgeanna Tillman Georgia Dobbins Juanita Cowart Katherine Anderson (1961-64): Gladys Horton Georgeanna Tillman Wanda Rogers Juanita Cowart Katherine (Andrews) Young (1964-65): Gladys Horton Georgeanna Tillman Wanda Rogers Katherine Young (1965-67): Gladys Horton Wanda Rogers Katherine Young (1967-69): Wanda Rogers Katherine Young (the only one to remain with the group from beginning to end) Anne Bogan Georgia Dobbins left to take care of her sick mother, Juanita left after a nervous breakdown, Georgeanna contracted lyme disease and lupus and later died of sickle cell anemia in 1980, Gladys left to get married and, like you suggest, take care of her handicapped son. Either way, their story is ultimately sad. And if Diane had a child that had an illness, the Supremes would've been kicked out of the label. We'd never know if Flo - who had suffered a rape incident but still carried on with her career, and Mary, would've found another girl to replace Diane. We never truly would've known what Diane would've done. [Edited 9/4/07 10:33am] It's a sad fact that female groups can never stay in one piece. Girls love to fight. Supremes, Marvelettes, En Vogue, Spice Girls, etc. The list goes on and on. “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
- Thomas Jefferson | |
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midnightmover said: Timmy84 said: Motown didn't know how to promote the artists as best as they did with the Supremes, Four Tops, Temptations, Stevie and Marvin. The Marvelettes were just too fucking raw. Gladys left to get married, I think. Nah, the lineup of the Marvelettes were not consistent to what is said here though. Here were their different lineups: LINEUPS ORIGINAL (1960-61): Gladys Horton Georgeanna Tillman Georgia Dobbins Juanita Cowart Katherine Anderson (1961-64): Gladys Horton Georgeanna Tillman Wanda Rogers Juanita Cowart Katherine (Andrews) Young (1964-65): Gladys Horton Georgeanna Tillman Wanda Rogers Katherine Young (1965-67): Gladys Horton Wanda Rogers Katherine Young (1967-69): Wanda Rogers Katherine Young (the only one to remain with the group from beginning to end) Anne Bogan Georgia Dobbins left to take care of her sick mother, Juanita left after a nervous breakdown, Georgeanna contracted lyme disease and lupus and later died of sickle cell anemia in 1980, Gladys left to get married and, like you suggest, take care of her handicapped son. Either way, their story is ultimately sad. And if Diane had a child that had an illness, the Supremes would've been kicked out of the label. We'd never know if Flo - who had suffered a rape incident but still carried on with her career, and Mary, would've found another girl to replace Diane. We never truly would've known what Diane would've done. [Edited 9/4/07 10:33am] It's a sad fact that female groups can never stay in one piece. Girls love to fight. Supremes, Marvelettes, En Vogue, Spice Girls, etc. The list goes on and on. Yeah I know. Shit happens. Tell that to SOME of the male groups (the Temptations for a controversial example). | |
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Anyway back to Martha and the Vandellas, I always loved this song:
Come Get These Memories (Holland-Dozier-Holland) Lover, you've gone from me And left behind so many memories Here's that old friendship ring I can't wear it no more (woooo) Here's your old love letters I can't read 'em any more Lover, you've gone from me And left behind so many memories Here's that old teddy bear (come and get it) That you won for me at the state fair (woooo) Here's your old Valentine cards (come and get 'em) Give them to your new sweetheart Lover, you've gone from me And left behind so many memories Yeah, yeah, yeah Come and get 'em Come and get 'em Come and get 'em Here's our old favorite record (come and get it) I can't stand to hear it anymore (woooo) Here's some old lingering love (come and get it) It's in my heart and it's tearing it apart Because of these memories I can't think of anybody but you... So come on and get 'em 'Cause I've found me somebody new Come and get these memories, come on (Since you've gone out of my life) So my mind and heart can be at ease, come on (Since you've gone out of my life) Give them to your new love Give them to your new love So come on and get your memories, come on (Since you've gone out of my life) So my mind and heart can be at ease, come on... Oh and for bonus: 
http://www.youtube.com/wa...FW_NWZIfd0 | |
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Funny thing but all four promient Motown girl groups played a pivotal role in the development of Holland-Dozier-Holland:
*Martha and the Vandellas were the first group to benefit from their writing and producing: "Come and Get These Memories" was one of their first compositions and the first song that became a hit for both the Vandellas and HDH leading on to "Heat Wave", "Quicksand", "In My Lonely Room", "Nowhere to Run", "Jimmy Mack" and "I'm Ready for Love". *The Marvelettes were the second girl group to work with HDH, "Strange I Know", "Locking Up My Heart" and "Too Many Fish in the Sea" were HDH compostions. *The Supremes first worked with HDH on "When the Lovelight Starts Shining Through His Eyes", which was their first hit in late 1963. *The Velvelettes had a hit with HDH composing "Needle in the Haystack". However the biggest influence has to be from the Marvelettes and the Supremes. "Where Did Our Love Go" (1964) were first given to the Marvelettes who turned it down chiding the song as childish and not the direction they were going for. When the group heard the Supremes were going to record it, they tried warning the girls not to record it. "Have some pride, don't fall for anything they try to give you", Gladys reportedly told Diane. At this point, the Supremes were at the bottom of the Motown's totem pole. The Marvelettes and Vandellas were long established at this point as hitmakers but the Supremes only had one top forty pop hit at this point. The Supremes reluctantly recorded "Where Did Our Love Go" then head out on the road. Motown had joked that the Supremes were "no-hit wonders". However, something about the style of the record and the sound of Diane's vocals and Mary and Flo's backing led to it being heavily aired on radio. By the time they had came back from Dick Clark's Caravan of Stars, they had went from being known as "the others" (since they were replacements for Brenda "Every Little Bit Hurts" Holloway) to being the number-one group in the country: "Where Did Our Love Go" had a two-week run at number one on the Billboard Hot 100. When "Baby Love" and "Come See About Me" did similar success, suddenly the Supremes were the top group of the company from that point on. As a result, the Marvelettes and the Vandellas did their best to separate themselves from the Supremes and continued to have success up until 1968 before "Love Child" established the late-'60s Supremes as a mainstream force. Afterwards, the Marvelettes broke up after the supposed gambling game loss of their name by Berry and Smokey in 1969. It was sad since the Marvelettes were the first group there to have a number one pop hit there yet they were never truly given the support they should've received. I honestly don't believe they, the Miracles and Mary Wells won't be inducted until Berry Gordy passes away as unfortunate as that is. Look how long the Ronettes took to get inducted and it was rumored Phil Spector had prevented the Hall of Fame to induct them. Berry Gordy could be doing the same thing for the Miracles, Marvelettes and Mary Wells. These three acts gave Motown their first true brand of success and they got disrespected in the end by the very label they helped make an international success story. SAD! | |
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Timmy84 said: Funny thing but all four promient Motown girl groups played a pivotal role in the development of Holland-Dozier-Holland:
*Martha and the Vandellas were the first group to benefit from their writing and producing: "Come and Get These Memories" was one of their first compositions and the first song that became a hit for both the Vandellas and HDH leading on to "Heat Wave", "Quicksand", "In My Lonely Room", "Nowhere to Run", "Jimmy Mack" and "I'm Ready for Love". *The Marvelettes were the second girl group to work with HDH, "Strange I Know", "Locking Up My Heart" and "Too Many Fish in the Sea" were HDH compostions. *The Supremes first worked with HDH on "When the Lovelight Starts Shining Through His Eyes", which was their first hit in late 1963. *The Velvelettes had a hit with HDH composing "Needle in the Haystack". However the biggest influence has to be from the Marvelettes and the Supremes. "Where Did Our Love Go" (1964) were first given to the Marvelettes who turned it down chiding the song as childish and not the direction they were going for. When the group heard the Supremes were going to record it, they tried warning the girls not to record it. "Have some pride, don't fall for anything they try to give you", Gladys reportedly told Diane. At this point, the Supremes were at the bottom of the Motown's totem pole. The Marvelettes and Vandellas were long established at this point as hitmakers but the Supremes only had one top forty pop hit at this point. The Supremes reluctantly recorded "Where Did Our Love Go" then head out on the road. Motown had joked that the Supremes were "no-hit wonders". However, something about the style of the record and the sound of Diane's vocals and Mary and Flo's backing led to it being heavily aired on radio. By the time they had came back from Dick Clark's Caravan of Stars, they had went from being known as "the others" (since they were replacements for Brenda "Every Little Bit Hurts" Holloway) to being the number-one group in the country: "Where Did Our Love Go" had a two-week run at number one on the Billboard Hot 100. When "Baby Love" and "Come See About Me" did similar success, suddenly the Supremes were the top group of the company from that point on. As a result, the Marvelettes and the Vandellas did their best to separate themselves from the Supremes and continued to have success up until 1968 before "Love Child" established the late-'60s Supremes as a mainstream force. Afterwards, the Marvelettes broke up after the supposed gambling game loss of their name by Berry and Smokey in 1969. It was sad since the Marvelettes were the first group there to have a number one pop hit there yet they were never truly given the support they should've received. I honestly don't believe they, the Miracles and Mary Wells won't be inducted until Berry Gordy passes away as unfortunate as that is. Look how long the Ronettes took to get inducted and it was rumored Phil Spector had prevented the Hall of Fame to induct them. Berry Gordy could be doing the same thing for the Miracles, Marvelettes and Mary Wells. These three acts gave Motown their first true brand of success and they got disrespected in the end by the very label they helped make an international success story. SAD! Didn't Norman Whitfield write Too Many Fish In The Sea with Eddie Holland? “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
- Thomas Jefferson | |
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But you know the funniest thing about the Vandellas, they were probably the biggest Motown group to not have a number one pop hit though "Dancing in the Street" (#2) came extremely close. 
However, that song is actually more timeless than even some of the Supremes records. Mainly because of the music, its positive lyrics and Martha's emotionally charged vocals and the Vandellas (and Marvin and Mickey's) background vocals. Here's a list of the group's hit singles they scored between 1962 and 1973: *1962: "I Have to Let Him Go" *1963: "Come and Get These Memories" (US pop #29; US R&B #6) *1963: "(Love Is Like A) Heat Wave" (US pop #4; US R&B #1) Grammy nomination for Best Rhythm and Blues Vocal Performance by a Duo or Group *1963: "Quicksand" (US pop #8; Cashbox R&B #7) *1964: "Live Wire" (US pop #42; Cashbox R&B #11) *1964: "In My Lonely Room" (US pop #44; Cashbox R&B #6) *1964: "Dancing in the Street" (US pop #2; Cashbox R&B #8; UK pop #4) *1964: "Wild One" (US pop #34; US R&B #11) *1965: "Nowhere to Run" (US pop #8; US R&B #5; UK pop #26) *1965: "You've Been in Love Too Long" (US pop #36; US R&B #25) *1965: "Love (Makes Me Do Foolish Things)" (US pop #70; US R&B #22) *1966: "My Baby Loves Me" (US pop #22; US R&B #3) *1966: "What Am I Gonna Do Without Your Love?" (US pop #71) *1966: "I'm Ready for Love" (US pop #9; US R&B #2; UK pop #29) *1967: "Jimmy Mack" (US pop #10; US R&B #1; UK pop #21) *1967: "Love Bug Leave My Heart Alone" (US pop #25; US R&B #14) *1967: "Honey Chile" (US pop #11; US R&B #5; UK pop #30) *1968: "I Promise to Wait My Love" (US pop #62; US R&B #36) *1968: "Forget Me Not" (US pop #93; UK pop #11) *1968: "Sweet Darlin'" (US pop #80; US R&B #45) *1969: "(We've Got) Honey Love" (US pop #56; US R&B #27) *1969: "I Can't Dance to That Music You're Playin'" (US pop #42; US R&B #24) *1969: "Taking My Love (And Leaving Me)" (US R&B #44) *1970: "I Should Be Proud" (US pop #80; US R&B #45) *1970: "I Gotta Let You Go" (US pop #93; US R&B #43) *1971: "Bless You" (US pop #53; US R&B #29; UK pop #33) *1972: "In And Out of My Life" (US R&B #22) *1972: "Tear It On Down" (US R&B #37) *1973: "Baby Don't Leave Me" NOTES: *Martha and the Vandellas were formed in their classic lineup in 1962 by Martha Reeves, Annette Beard, and Rosalind Ashford. Early names included the Del-Phis and the Vells. *Martha and the Vandellas were the first female background singing partners for Marvin Gaye on his first three hit singles: "Stubborn Kind of Fellow", "Hitch Hike" and "Pride & Joy". *Martha and the Vandellas were the first group to turn a Holland-Dozier-Holland composition to a hit: "Come and Get these Memories" (1963). *Martha and the Vandellas' "Heat Wave" was one of the first songs classified as an example of the classic "Motown Sound". *"Heat Wave"'s Grammy nomination helped to make the Vandellas the first of the Motown groups to be nominated for a Grammy. They followed Mary Wells, who was the first Motown star to be nominated for a Grammy. *Martha and the Vandellas were one of the first black groups to perform on "Ed Sullivan" after the Supremes. *The Vandellas' "I Should Be Proud" was the first protest song released by Motown before "War" and "Ball of Confusion". *In 1995, Martha and the Vandellas became the second-ever girl group to be inducted to the Rock & Roll Hall of Fame. The Vandellas had twelve top forty pop singles, twenty-one top forty R&B singles, six top ten pop singles, ten top ten R&B singles, two number-one R&B singles, seven top forty UK pop singles and a total of twenty-five Hot 100 pop and twenty-six Hot R&B singles in their ten years of existence. In essence with the success in America and England and possible other countries, they were the second most successful girl group in Motown's history after the Supremes and one of the top ten best-selling girl groups of all time. The Marvelettes are just right around the corner. | |
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midnightmover said: Timmy84 said: Funny thing but all four promient Motown girl groups played a pivotal role in the development of Holland-Dozier-Holland:
*Martha and the Vandellas were the first group to benefit from their writing and producing: "Come and Get These Memories" was one of their first compositions and the first song that became a hit for both the Vandellas and HDH leading on to "Heat Wave", "Quicksand", "In My Lonely Room", "Nowhere to Run", "Jimmy Mack" and "I'm Ready for Love". *The Marvelettes were the second girl group to work with HDH, "Strange I Know", "Locking Up My Heart" and "Too Many Fish in the Sea" were HDH compostions. *The Supremes first worked with HDH on "When the Lovelight Starts Shining Through His Eyes", which was their first hit in late 1963. *The Velvelettes had a hit with HDH composing "Needle in the Haystack". However the biggest influence has to be from the Marvelettes and the Supremes. "Where Did Our Love Go" (1964) were first given to the Marvelettes who turned it down chiding the song as childish and not the direction they were going for. When the group heard the Supremes were going to record it, they tried warning the girls not to record it. "Have some pride, don't fall for anything they try to give you", Gladys reportedly told Diane. At this point, the Supremes were at the bottom of the Motown's totem pole. The Marvelettes and Vandellas were long established at this point as hitmakers but the Supremes only had one top forty pop hit at this point. The Supremes reluctantly recorded "Where Did Our Love Go" then head out on the road. Motown had joked that the Supremes were "no-hit wonders". However, something about the style of the record and the sound of Diane's vocals and Mary and Flo's backing led to it being heavily aired on radio. By the time they had came back from Dick Clark's Caravan of Stars, they had went from being known as "the others" (since they were replacements for Brenda "Every Little Bit Hurts" Holloway) to being the number-one group in the country: "Where Did Our Love Go" had a two-week run at number one on the Billboard Hot 100. When "Baby Love" and "Come See About Me" did similar success, suddenly the Supremes were the top group of the company from that point on. As a result, the Marvelettes and the Vandellas did their best to separate themselves from the Supremes and continued to have success up until 1968 before "Love Child" established the late-'60s Supremes as a mainstream force. Afterwards, the Marvelettes broke up after the supposed gambling game loss of their name by Berry and Smokey in 1969. It was sad since the Marvelettes were the first group there to have a number one pop hit there yet they were never truly given the support they should've received. I honestly don't believe they, the Miracles and Mary Wells won't be inducted until Berry Gordy passes away as unfortunate as that is. Look how long the Ronettes took to get inducted and it was rumored Phil Spector had prevented the Hall of Fame to induct them. Berry Gordy could be doing the same thing for the Miracles, Marvelettes and Mary Wells. These three acts gave Motown their first true brand of success and they got disrespected in the end by the very label they helped make an international success story. SAD! Didn't Norman Whitfield write Too Many Fish In The Sea with Eddie Holland? Yeah, he sure did... scratch that then.  | |
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BUMP! | |
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Timmy84 said: OH!
Did you know Martha was influenced by Della Reese? She influenced the group's name too..
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funkpill said: Timmy84 said: OH!
Did you know Martha was influenced by Della Reese? She influenced the group's name too..
That's what I meant too. | |
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Timmy84 said: funkpill said: She influenced the group's name too..
That's what I meant too. k | |
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Yo, funk, you checked out the YouTube videos I posted of Martha and the Vandellas' other performances? | |
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Timmy84 said: midnightmover said: No, I meant maybe there's more to it than Gladys was saying in the interview I heard. All I've ever heard on the subject was her saying about the cerebral palsy and saying she "took time out to care for this baby", but this was on some celebratory documentary where they make a habit of glossing over the more unpleasant aspects of things. Hell, if Diana Ross had a baby born dead you know she wouldn't let it stop her career. I'm aware of how the marvelettes didn't fit the uptown sophisticated image Motown was after, and it's a damn shame because I think Gladys's voice had such great character. Motown didn't know how to promote the artists as best as they did with the Supremes, Four Tops, Temptations, Stevie and Marvin. The Marvelettes were just too fucking raw. Gladys left to get married, I think. Nah, the lineup of the Marvelettes were not consistent to what is said here though. Here were their different lineups: LINEUPS ORIGINAL (1960-61): Gladys Horton Georgeanna Tillman Georgia Dobbins Juanita Cowart Katherine Anderson (1961-64): Gladys Horton Georgeanna Tillman Wanda Rogers Juanita Cowart Katherine (Andrews) Young (1964-65): Gladys Horton Georgeanna Tillman Wanda Rogers Katherine Young (1965-67): Gladys Horton Wanda Rogers Katherine Young (1967-69): Wanda Rogers Katherine Young (the only one to remain with the group from beginning to end) Anne Bogan Georgia Dobbins left to take care of her sick mother, Juanita left after a nervous breakdown, Georgeanna contracted lyme disease and lupus and later died of sickle cell anemia in 1980, Gladys left to get married and, like you suggest, take care of her handicapped son. Either way, their story is ultimately sad. And if Diane had a child that had an illness, the Supremes would've been kicked out of the label. We'd never know if Flo - who had suffered a rape incident but still carried on with her career, and Mary, would've found another girl to replace Diane. We never truly would've known what Diane would've done. The Marvallette's were very raw. http://youtube.com/watch?v=qHd3FqgotXc At the Apollo in 63 Locking up hearts. PRINCE: Always and Forever
MICHAEL JACKSON: Always and Forever ----- Live Your Life How U Wanna Live It | |
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Timmy84 said: Yo, funk, you checked out the YouTube videos I posted of Martha and the Vandellas' other performances?
not yet but i will | |
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LittleBLUECorvette said: Timmy84 said: Motown didn't know how to promote the artists as best as they did with the Supremes, Four Tops, Temptations, Stevie and Marvin. The Marvelettes were just too fucking raw. Gladys left to get married, I think. Nah, the lineup of the Marvelettes were not consistent to what is said here though. Here were their different lineups: LINEUPS ORIGINAL (1960-61): Gladys Horton Georgeanna Tillman Georgia Dobbins Juanita Cowart Katherine Anderson (1961-64): Gladys Horton Georgeanna Tillman Wanda Rogers Juanita Cowart Katherine (Andrews) Young (1964-65): Gladys Horton Georgeanna Tillman Wanda Rogers Katherine Young (1965-67): Gladys Horton Wanda Rogers Katherine Young (1967-69): Wanda Rogers Katherine Young (the only one to remain with the group from beginning to end) Anne Bogan Georgia Dobbins left to take care of her sick mother, Juanita left after a nervous breakdown, Georgeanna contracted lyme disease and lupus and later died of sickle cell anemia in 1980, Gladys left to get married and, like you suggest, take care of her handicapped son. Either way, their story is ultimately sad. And if Diane had a child that had an illness, the Supremes would've been kicked out of the label. We'd never know if Flo - who had suffered a rape incident but still carried on with her career, and Mary, would've found another girl to replace Diane. We never truly would've known what Diane would've done. The Marvallette's were very raw. http://youtube.com/watch?v=qHd3FqgotXc At the Apollo in 63 Locking up hearts. Thanks, LBC!
The Marvelettes were getting DOWN! That's the thing though: the Vandellas and Marvelettes had fine dance moves, the Supremes were cool but I think Berry wanted to keep them stiff. The Supremes of the '70s though are a different story.  [Edited 9/4/07 21:22pm] | |
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LittleBLUECorvette said: The Marvallette's were very raw. http://youtube.com/watch?v=qHd3FqgotXc At the Apollo in 63 Locking up hearts. WTF?! Who ever told that other girl she could sing? Berry should have stepped in there and been a bastard and just flat out told them, "Gladys is the lead singer. Now polish up that choreography, bitches!". “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
- Thomas Jefferson | |
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midnightmover said: LittleBLUECorvette said: The Marvallette's were very raw. http://youtube.com/watch?v=qHd3FqgotXc At the Apollo in 63 Locking up hearts. WTF?! Who ever told that other girl she could sing? Berry should have stepped in there and been a bastard and just flat out told them, "Gladys is the lead singer. Now polish up that choreography, bitches!". Berry did that, I'd kick his ass. Don't hate on Wanda now...  [Edited 9/5/07 13:12pm] | |
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Bump... | |
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