Archive for the ‘The Marvelettes’ Category

The Contours

Wednesday, December 11th, 2013

Side 1:

Listen: Can You Jerk Like Me / The Contours
Can

Listen: That Day When She Needed Me / The Contours
That

Side 2:

Listen: Can You Do It / The Contours
Can

Listen: I’ll Stand By You / The Contours
ContoursIllStand.mp3

Looking back, The Contours probably released more dance instruction songs than anybody, with a possible exception being Chubby Checker. ‘Can You Jerk Like Me’ was one of their earliest.

They were never an act to achieve much more than lower chart success in the US, and excepting the reissue of ‘Just A Little Misunderstanding’, none in the UK. They mirror The Marvelettes in Motown’s history books. That being, there was always some other act getting the best songs from their in-house writing machines, and ultimately the push at radio.

And like The Marvelettes, for my two cents, that became a benefit. Not to take away from The Four Tops or The Temptations, clearly on the A list then, but the quick in/quick out studio policy meant The Contours’ records remained unpolished and messier in the best way.

So in Berry Gordy’s world, if The Marvelettes were to The Supremes as The Rolling Stones were to The Beatles, let’s take it a rung lower in the case of The Contours. They were to The Temptations what The Pretty Things were to The Beatles.

Hence I covet every single they ever recorded. And heavens knows, no price is too high for their only EP.

The Marvelettes

Friday, December 6th, 2013

THE MARVELETTES / The Marvelettes:

Side 1:

Listen: Too Many Fish In The Sea / The Marvelettes
Too

Listen: He’s A Good Guy (Yes He Is) / The Marvelettes
MarvelettesGoodGuy.mp3

Side 2:

Listen: You’re My Remedy / The Marvelettes
MarvelettesRemedy.mp3

Listen: Little Girl Blue / The Marvelettes
Little

If you believe all the accusations contained in the handful of detailed Motown history books on the market, The Marvelettes got the second tier of important songs coming off the in-house songwriting assembly line. The cream of the most obviously commercial works went to The Supremes. It had been deemed early on that they were the label’s female superstars, and so The Marvelettes had fewer home run hits, but in the end, came off more intellectual. One might even slot them in as Motown’s biggest cult group.

Mind you, The Supremes were great, I loved them. The world loved them. But The Marvelettes, they had the darker slant, minor key at times, thereby giving them edge, even a touch of danger.

Their patch of Smokey Robinson written and produced ’66 to ’68 singles rate amongst Motown’s highest calibre. ‘The Hunter Gets Captured By THe Game’ and ‘My Baby Must Be A Magician’ to name a few.

But this EP, with earlier songs from ’63 – ’64 and their accompanying Motown bounce, mark a time when all things were a bit more juvenile and created a bit more equal, and the first division songs went around to all.

In the end, my two cents maintains The Marvelettes were to The Supremes what The Rolling Stones were to The Beatles. And I just love that.

The Valadiers

Saturday, June 23rd, 2012

Listen: I Found A Girl / The Valadiers
I

Seems I’ve heard the first white act of Motown claim many times. History dictates though that The Valadiers indeed take home that honor, if you can call it that. You’d have to look pretty hard to find a more hated release amongst the diehards that follow all things Motown.

One of their biggest gripes focuses on the single’s UK release via Oriole, Britain’s first ever record company, which by the mid 60′s was the Detroit label’s exclusive outlet. Seems there were many terribly more deserving records that didn’t luck into a UK release, and given the dated doo woo pop of ‘I Found A Girl’, this just drove the devoted bonkers. The hate still spews on some hard corp Motown blogs.

I always kind of liked this though. Never did experience doo woo first time through, way too young if even born, and have never been interested enough to figure that out. Closest I come is Ruben & The Jets first album, where Frank Zappa, as on several songs by The Mothers Of Invention, does a spotless send up. So quite possibly my references for comparison are titled terribly in the wrong direction. Whatever.

Hard to disagree that ‘I Found A Girl’ certainly sits okay next to some same period releases by The Marvelettes and The Miracles. As with those Oriole issued copies and in fact, all nineteen released during their partnership, they are amongst the most valuable English Motown pressings ever.

Al Grey

Tuesday, November 16th, 2010

Listen: Salty Papa / Al Grey AlGreySaltyPapa.mp3

Ella Fitzgerald’s version of ‘Black Coffee’ is classic. Some adult radio station spun it while riding in a friend’s parent’s car back in the early 70′s. His Dad was driving us somewhere or another, a couple of hours away, and everyone was well fidgety trying to tolerate the music. Indeed, it was a challenge until this came on, then suddenly worth the struggle.

Soon after, I found a promo of her then current Reprise album, THINGS AIN’T WHAT THEY USED TO BE, in a used shop for $1.00. Not only was ‘Black Coffee’ included, but her rendition of ‘Sunny’ was as well. Perfect.

Al Grey featured on the trombone. Although not one for brass, it was hard to ignore his post-swing era style, almost muzak or bachelor pad. You couldn’t have matched a better player to the songs.

Fast forward to September 2010. While rummaging through a Detroit junk shop, I came across a fairly beat copy of Al Grey’s ‘Salty Papa’ on Argo. A no brainer at 25ยข.

Somewhat more in the Lionel Hampton or Dizzy Gillespie pocket than I was expecting, ‘Salty Papa’ has still settled nicely into the Seeburg’s C4 slot, parked between The Marvelettes’ ‘I’ll Keep On Holding On’ and Lee Perry’s ‘Roast Fish And Cornbread’…and sounding perfectly at home.

Sugar Pie DeSanto

Saturday, November 6th, 2010

sugar-pie

Listen: Slip-In Mules / Sugar Pie De Santo SugarPieSlipIn.mp3

I was so taken by her name from the very first time I saw it: Sugar Pie De Santo. You see I’m a pushover when it comes to cakes, pies, basically anything from bakeries. And there are none quite like the ones in mainland Europe. I first travelled there in ’87 with X and 10,000 Maniacs and had just become an unbearable militant vegetarian, basically making all my friends uneasy whenever they ate any meat. At least I had Natalie and Exene, both vegetarians, on my side for the trip, but still, not very nice I realize now. Those bakeries were safe neutral ground for us all. The places were so good, especially the ones in Holland and Switzerland. Oh and Denmark too. I still think about them.

There was a great record store just down from The Paradiso in Amsterdam, where both bands were playing. The window was jammed with Checker/Chess records and we were just staring at all the great sleeves. It was late and the place was closed. There were at least two from Sugar Pie De Santo. And next door was a Bakery & Sweet Shoppe. It must have been there for decades. Ever since, I’ve associated her with bakeries, good ones too.

I attended the Rhythm & Blues Foundation Awards show in Philadelphia September ’08, Vivian Green was singing with Chaka Kahn. It was heaven on earth for rubbing shoulders with legends: Bill Withers, The Dixie Cups, Mable John, Aretha Franklin, The Marvelettes, Earl Van Dyke, The Soul Brothers, Martha & The Vandellas, so many, they were all there.

I had no idea until arriving that Sugar Pie De Santo was being inducted. Plus she even performed and no one was ready. She owned the place, wow, what a fireball and a voice to stop most others in their tracks. I’m inclined to say she stole the show, but Bill Withers doing ‘Grandma’s Hands’ was pretty fierce too. ‘Slip-In Mules’ has always been my favorite single by her, although I have many. Her phrasing of toes into toesies is classic.

Worth getting immediately: SUGAR PIE DE SANTO / GO GO POWER: THE COMPLETE CHESS SINGLES 1961 – 1966 (Ace CD 317). It’s all her Chess A & B sides, including this one. Pretty much a must-have.

The Marvelettes

Friday, July 23rd, 2010

The Hunter Gets Captured By The Game / The Marvelettes

Listen: The Hunter Gets Captured By The Game / The Marvelletes MarvelettesHunter.mp3

I loved The Supremes, who didn’t? But there’s something about the underdogs that make them even more appealing to me. Happens every time.

I guess The Rolling Stones (who I always preferred) were considered second to The Beatles for a while there; and then The Pretty Things to The Stones. Or as I mentioned in an earlier post, Inez & Charlie Foxx to Ike & Tina Turner.

Like Martha & The Vandellas, The Marvelettes were certainly playing second fiddle, at best, to The Supremes over at Motown. There’s a terrific book CALLING OUT AROUND THE WORLD / A MOTOWN READER by Kingsley Abbott, detailing (and I mean detailing) those heydays of Motown. It describes the songwriting rivalries, struggles for priorities, everything. It’s a fascinating read. According to Kingsley, William Robinson, or Smokey as we know him, was always under appreciated by Berry Gordy. Even when coming off of a hit, Smokey’d be starting over. Marvin Gaye too. The girl groups were in a constant struggle to get first dibs on the strongest new songs. It’s why Mary Wells left the fold – well at least according to this book.

In the case of The Marvelettes, there were few occasions when they got those gems. Like ‘The Hunter Gets Captured By The Game’ (another Smokey composition), many of The Marvelettes releases had a slight darkness to them – not quite as glistening with all the pop flash that those Supremes singles packed, hence their cult appeal? Probably.

I'll Keep Holding On / The Marvelettes

Listen: I’ll Keep Holding On / The Marvelletes MarvelettesHoldingOn.mp3

Let’s face it – The Marvelettes were hip. Hats off to The Action for the brave and triumphant cover of ‘I’ll Keep Holding On’

My Baby Must Be A Magician / The Marvelettes

My Baby Must Be A Magician / The Marvelettes - UK

Listen: My Baby Must Be A Magician / The Marvelettes MarvelettesMagician.mp3

And thank you to Tony King for generously giving me the UK promocopy of ‘My Baby Must Be A Magician’ pictured above.

The Contours

Sunday, June 13th, 2010

The Contours / Just a Little

ContoursLittleUKA, The Contours, Tamla

Listen: Just a Little Misunderstanding / The Contours 06 Just A Little Misunderstanding.mp3

Most times the really successful acts are great, but after they’re pounded into your brain relentlessly, you can go off them a bit. The Beach Boys come to mind and their biggest hits at that. I love ‘California Girls’ but never need to hear it again. Likewise ‘Hey Jude’ or ‘You Can’t Hurry Love’.

So yeah, we all loved The Supremes and The Four Tops too, but those lesser known Motown acts were just as great. Some had the occasional smash, Like Mary Wells or The Marvelettes, yet some just never got near their fair share. Like The Contours.

It’s in hindsight I’ve come to appreciated them. Northern Soul has given a lot of great singles an unexpected success story, if not in big sales at least in big appreciation. ‘Just A Little Misunderstanding’ is one. I heard this on a few of those truly great Northern comps like THE IN CROWD – THE STORY OF NORTHERN SOUL and it’s accompanying must-read book.

Gladys Knight & The Pips

Tuesday, March 23rd, 2010

GladysEndRoad, Motown, Gladys Knight & The Pips, Soul, Norman Whitfield

Listen: The End Of Our Road / Gladys Knight & The Pips GladysEndRoad.mp3

Feeling victims, as were The Marvelettes and Mary Wells, of being tossed the leftovers, those songs passed on by Motown’s A level acts (The Supremes, Marvin Gaye, The Temptations) according to legend, really pissed off Gladys Knight and her Pips (all family members as it turns out). Having moved from Vee Jay to Motown in ’65 with wider success in mind, they quickly found themselves relegated to subsidiary Soul, set up for the more RnB, less leaning pop acts. good call there. From ’66 – ’68, they recorded some of the label’s dirtiest and most raw sides. I’m sure to Berry Gordy’s surprise, ‘I Heard It Through The Grapevine’ became the company’s biggest selling single at that point, leaping to #2 pop and bringing Gladys Knight’s signature rasp to the mainstream.

Even better was “The End Of Our Road’, it’s followup. Peaking at #15 on Billboard’s Hot 100, it was a mighty strong showing for such a picture perfect dirt and grime black single. Their performance, recording and mix are so aggressive, it’s impossible to not be dragged in. Played this a few nights ago at the Otis Clay show – it sounded mighty powerful through that big system, filled the room, every last head and foot surrendering.

Mary Wells

Friday, February 26th, 2010

MaryWellsBeatMeUSA, Mary Wells, Atco, Motown, Oriole
MaryWellsPunchUK, Mary Wells, Atco, Motown, Oriole

Listen: You Beat Me To The Punch / Mary Wells MaryWellsPunch.mp3

I agree with those who say Mary Wells was the first lady of Motown, well if I turn a blind eye to Brenda Holloway, Kim Weston and Tammi Terrell that is. I guess because she had the biggest pop crossover hit out of the bunch with ‘My Guy’ sort of justifies it. Whatever, she had the voice and the presence. There are some fantastic shots of her on various UK album sleeves, and that blond hair dye job turned brassy orange – I just love it.

No question, she and Smokey Robinson were a perfect match and gave her the biggest successes. Same with The Marvelettes. It’s just something about his productions, maybe it’s the drum sound or use of vibes combined with handclaps. Some magic recipe was definitely at work, I never could put my finger on it though.

MaryWellsTwoUSA, Mary Wells, Atco, Motown, Oriole
MaryWellsTwoUKA, Mary Wells, Atco, Motown, Oriole

Listen: Two Lovers / Mary Wells MaryWellsTwoLovers.mp3

Then there’s the lyrical twist, most prevalent on ‘Two Lovers’. It doesn’t get much more clever than this. What happens at the end of this song again, how does the two lovers thing play out? I forget every time.

It’s a drag about the royalty issue that drove Mary Wells from Motown. Once burned, it’s sometimes hard for certain folks to move beyond it – by all counts, that summed up her attitude toward Berry Gordy. And so the downward spiral began.

MaryWellsDearLover, Mary Wells, Atco, Carl Davis
MaryWellsDearLoverUKA, Mary Wells, Atco, Motown, Oriole

Listen: Dear Lover / Mary Wells MaryWellsDearLover.mp3

The fact that ‘Dear Lover’ was substandard compared to any of the Smokey songs, in a way, became the appeal. I do love a struggle to polish up something fairly mediocre in the world of singles and follow-ups. I find it rather interesting, the way all parties involved go through the motions, hoping no one else will notice that it’s actually not very good.

In the case of ‘Dear Lover’, seems producer Carl Davis basically tried copying the Motown sound – unsuccessfully. Is that a description of Northern Soul or what? Exactly the whole point of the genre, making substandard copy attempts glorious in their own way.

Probably the most Northern of any Mary Wells track, it’s absolutely become a favorite.