Martha Reeves & The Vandellas

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"Martha Reeves & The Vandellas," Motown's second top priority girl group signed with the company in 1962. Originally a quartet known as "The Del-Phis," they had originally worked at "Checkmate Records" as session singers. The group then consisted of lead singer, Gloria Jean Williamson, second lead, Martha Reeves, and background singers, Annette Beard and Rosalind Ashford. There, with short-time group member, Gloria Jean in the lead, they had backed up artists like Hank Ballard and J.J. Barnes. They did however, get the chance to release one of their own singles while at Checkmate. The Gloria-led song "I'll Let You Know" was released to the public sometime in 1961. Unfortunately, it did not meet with much success. Soon afterwards, the group more-or-less split-up, and each girl got a job as a secretary. Martha however, was the exception. She had every intention of singing, and first went to audition for the fledgling Motown label. By 1960, the company was starting to gain some momentum. "The Miracles" had found the top five on both the pop and R&B singles charts with "Shop Around," while Mary Wells had found the R&B top 10 with her own composition, "Bye, Bye Baby." That same song had also found the Pop top 50. At that time, HITSVILLE, was really starting to live up to its name. In the end, while Martha was not granted a record contract, she was given a job as an A&R secretary instead. Interestingly, one of the unofficial duties for her position was in-fact recording demos for the company's signed artists. As Martha was a very good singer, and she could sing in any key, she was generally sought after by the various producers at the company for recording early demos so that the other artists could hear how a song should be sung. Luckily Martha destined for greatness, had a big break coming. That break came early the next year when Mary Wells, (then the reigning Queen of Motown) failed to show up for a recording session. The song was entitled "I'll Have To Let Him Go," and Martha was quickly ushered into the recording studio to record it. Because Motown's in-house backing group, "The Andantes" were away on a gig, Martha called in her old friends "The Del-Phis" to fill in for her in the background. Berry Gordy liked the finished recording, and therefore had them record another song. However, this one was recorded with Gloria Jean in the lead. This song was one of Gordy's very own early compositions, and it was entitled "You'll Never Cherish A Love So True ('Til You Lose It)." Backed with "There He Is (At My Door)," a composition by Edward Holland Jr. and Freddie Gorman, the single was released from the company's "Mel-O-Dy" label on October 1, 1962. The group was credited under the pseudonym, "The Vells," as the Checkmate label still legally owned the name "Del-Phis." While the single went nowhere, Berry still saw a huge hit potential in the group, and offered them a contract. However, Gloria decided to leave the group, following the demise of that first single. She had a family at home that needed her care. This left Martha, the original second-lead of the group, as the official lead singer of the group. However, Berry whom did not really like the name "The Vells" for the group, told Martha that she needed to come up with a new name for the group. If she could not come up with anything, he said that he was going to call them "The Tillies". It took a little while, but MArtha eventually got creative. Wanting to include part of one of her then-favorite singers at the time in the group's name, she knew that Della (Reese) had to be in their somewhere. Then she thought of a street near where she lived "Van Dyke". And so, the new word, "Vandellas" was born. Berry liked the name idea, and therefore christened the new group, "Martha & The Vandellas," clearly establishing Martha as the lead singer of the group. After signing the trio to his GORDY label "I'll Have To Let Him Go," the trio's very first single under their new name, was released. Supposedly a rare cover version of "Camel Walk" was also recorded and released as well. Unfortunately, all of this was done to little avail.Truth-be-told, the group really got their head start singing back-up for up and coming star, Marvin Gaye. It all started when they backed him on his 1962 hit single, "Stubborn Kind of Fellow" {#46 U.S. Pop, #8 U.S. R&B} Released in September of that year, "Stubborn Kind of Fellow" became so popular, that it helped to make Gaye one of the label's leading recording artists. The Vandellas were heavily featured on Gaye's accompanying full-length Rock & Roll/Soul album, aptly entitled "That Stubborn Kind of Fellow." This was Gaye's second full-length album, after the failure of a primary album made up of jazz standards. Gaye had reluctantly decided to try his hand at R&B music with this album, after his attempt at being "the black Frank Sinatra" failed. The Vandellas sang back-up for Gaye on all of the album's A-side songs, which besides the title track, included the tunes "Pride & Joy," "Hitch Hike," "Got To Get My Hands On Some Lovin'," and "Wherever I Lay My Hat (That's My Home)." "Hitch Hike" {#30 U.S. Pop, #12 U.S. R&B} became the follow-up single that year. It was Gaye's first top 40 hit on the U.S. pop singles chart, and actually sparked a brief dance craze when kids on "American Bandstand" began doing the "hitch hike." Gaye did the move when he performed the song on the show's stage. "Pride & Joy," {#10 U.S. Pop, #2 U.S. R&B}, Gaye's first pop top 10 hit, followed suite later in 1963. It has been said that Reeves' voice can be clearly heard on these recordings, almost to the point where she appears to be drowning out Marvin's voice! Because of The Vandellas' heavy work involvement on the album, a picture of them was featured on its back-cover. While the full-length album did not find its way onto the U.S. Billboard charts, its three top 30 hits made it a popular buy for the day's youth. Afterwards, "Martha & The Vandellas" joined Marvin on an episode of the popular rock & roll show, "American Bandstand" in October of 1962. This was the day that was going to change everything for the girls. According to Reeves' autobiography, the show's performers finished too quickly, leaving some time for another group to perform. Therefore, "Martha & The Vandellas," who then did not have a hit of their own, were approached to step from behind Marvin and sing a song themselves. The girls broke out into a song that they had been working on at that time. Entitled "Come & Get These Memories," this was the song that was going to start getting the girls recognized. The audience was so riled up by their performance that "Martha & The Vandellas" became the first group to ever give an encore performance on "American Bandstand". It was obvious that these girls had found the right song to get them started, and that's how the whole thing began.Holland, Dozier, and Holland's upbeat and youth infused tune, "Come & Get These Memories," was the first of three consecutive U.S. top ten hits to get the group's train going in 1963. Following the single's release on February 22, 1963 and its success on the Billboard charts, a full studio recorded album was constructed around it. Motown's philosophy at the time was that it was ridiculous for an act to have a hit single without an album to accompany it. This album featured their first single to their new name, "I'll Have To Let Him Go," although neither the single's B-side, the Martha penned track "My Baby Won't Come Back" nor any of The "Vells" recordings were featured. The full "Come & Get These Memories" album was released on June 28th, 1963. However, it did not feature a picture of the group on the cover. At that time, many black artists did not feature their publicity shots on the covers of their albums if they were trying to cross over. The idea was to establish themselves as hits in the pop world with their music before revealing their faces. As a result, many of their hits initially went faceless. "(Love Is Like A) Heatwave," {#1 U.S. R&B, #4 U.S. Pop} more or less changed that for the group that same year. This new single immediately followed the success of "Come & Get These Memories" later in July of that year. Interestingly, the single was released only two months after their final collaboration single with Marvin Gaye, "Pride & Joy" was released. "Heatwave," (as it has more commonly been referred to over the years) became the song that sealed the group's immortality in the music world. It was their first #1 single on the U.S. R&B singles chart, and settled into the U.S. pop top 5. With this monstrous charting success under their belt, "Martha & The Vandellas" became headliners in the music world. They began getting more into television, with "Heatwave" even playing on a news broadcast when an actual "Heatwave" was going to hit! Martha was hysterical when she heard it, proceeding to jump around and scream so much that her mother had to tell her to "sit down and shut up!" It was at this point in time that Martha realized how powerful that song was, and was going to be. When "Heatwave" initially hit, Motown rush recorded and released its accompanying album. "Martha & The Vandellas" had actually been doing an extended live engagement out of state at the time, and they were flown to Detroit in the wee hours of morning to record a bunch of tracks to fill up the track list! Produced entirely by Holland/Dozier/Holland, they recorded mostly their own cover versions of then-current hits. For example their own version of Darlene Love's top 30 1963 hit, "Wait 'Til My Bobby Gets Home," "The Crystals'" 1963 hit "Then He Kissed Me," and "The Angels'" 1963 pop chart topping hit, "My Boyfriend's Back" were recorded for the album. Also featured was their own version of Doris Troy's "Just One Look," and "Danke Schoen," which found popularity in America that year in a version by Wayne Newton. After recording all night long, they then had to fly right back to their gig! (Needless to say, their vocal chords were quite sore during that performance!) "Heatwave's" accompanying album {#125 U.S. Pop}, was released to the public on September 30th of 1963. Meanwhile, "Quicksand," {#8 U.S. R&B, #8 U.S. Pop} an upbeat and danceable track that sounded like "Heatwave on its ear" followed suite in November of that year. It too became another U.S. pop top ten hit for the trio, though it was not featured on an album. By the end of that year (1963), "Martha & The Vandellas" had become one of HITSVILLE's staple acts, alongside Mary Wells, "The Miracles," "The Marvelettes," and "The Contours." However, despite their status, it was at this time that Annette Beard decided to leave the group. She was having some issues with her pregnancy, and decided that it was high time for her to settle down. This left Martha with a huge trio to promote, and only two girls (including herself) to do it with! However, she did not have far to look, for a lesser known girl group had recently signed to the company. Calling themselves "The Velvelettes," the quintet, was going through a very rough time and had, according to some, sort of semi-broken up. This situation sort of left group member Betty Kelley hanging. Martha took the chance laid before her, and asked Betty to join her group. Betty at first was reluctant as she was a member of a rival group of sorts, and she also didn't really have a place to stay. However, after some urging from The Velvelettes' lead singer Cal, and Martha's promise that she could stay with her until she got on her feet, Betty in the end said to Martha "You've got yourself a Vandella!"Former Velvelette, Betty Kelley stepped into Motown's then hottest all-girl trio toward the very beginning of the year 1964. Though Beard had partaken in the recording of the group's initial hits, Betty was the Vandella that most people actually saw through television show appearances, and publicity shots, as well as album covers. According to Martha, Betty was a pretty good sport, and learned the material and routine very quickly. With Betty in the group, "Martha & The Vandellas" continued to score hits, such as 1964's "Wild One". Released in early November, the up-tempo dance song became a top 40 smash that year, peaking at #34 on the U.S. pop singles chart, and at #11 on the U.S. Cashbox pop singles chart (Cashbox was a rival of Billboard's at the time). The single succeeded the up-tempo ballad, "In My Lonely Room" {#44 U.S. Billboard Pop, #6 Cashbox Pop}, which in turn followed the up-tempo "Heatwave-sounding" "Live Wire," (another Holland, Dozier, Holland tune.) That single had just missed the pop top 40, peaking at #42. However, in the end, all of these singles barely ended up even holding a candle to their up-beat dance anthem, "Dancing In The Street" {#2 U.S. Pop, #2 U.S. R&B} Little was the group aware of the longevity that this song would have in America. Released to the public as a single in July of 1964, it was this song that earned the group an appearance on "The Ed Sullivan Show," sometime in earlier 1965. Looking more like their rivals, "The Supremes" in bright yellow floor-length gowns, the trio sang and danced live to, what would become, one of their greatest hits on that famous stage. Besides becoming the group's best and biggest immortal hit, "Dancing In The Street" was also the first single of theirs to chart in the United Kingdom. Its success their saw them flying to London to promote the song on the shows ""Ready, Steady, Go" and "Thank Your Lucky Stars." Only by now during the British Invasion of America, was the Motown sound, in turn, invading Britain. In order for American artists to perform in Europe, the same number of artists had to discover the fans of the United States. When the trio's label-mate, Kim Weston went to England, "The Rolling Stones" came to America. When "Martha & The Vandellas" went to England, "The Beatles" came to America. Besides charting in the top 5 on both U.S. charts that year "Dancing In The Street" also initially charted at a well deserved #21 in the pop world of the United Kingdom. (Interestingly, a 1969 re-release of the single in the U.K. would find the pop top 5, at #4!} In doing so, the single easily became a million-seller, opening the door to a whole new fan base for both "Martha & The Vandellas" and Motown.1965's Holland, Dozier, and Holland composition, "Nowhere To Run," {#5 U.S. R&B, #8 U.S. Pop, #26 U.K. Pop} also helped to pick up the pace at that point in time. As soon as Martha heard the lyrics to this danceable R&B tune, she immediately loved it. This, one of the group's signature songs, was released to the public on February 10 of that year. The tune sees a woman trapped in a bad relationship with a man she can not help but love. "Nowhere To Run," settled successfully into the pop and R&B top 10, and went on to have great longevity in America. Over the decades it would often be used in the backgrounds of many films set during that time such as "Good Morning Vietnam," "Why Do Fools Fall In Love?" and "Simon Birch." It was also featured in the 1995 film, CRIMSON TIDE. Following its initial release, "Nowhere To Run" also found the pop top 30 in the U.K., settling at a decent #26. In fact, the immense success of this single and "Dancing In The Street" in the U.K. earned "Martha & The Vandellas" a spot on British sensation, Dusty Springfield's 1965 television special, "Dusty Springfield Presents: The Sound of Motown." Though Dusty had specifically wanted The Vandellas as she and Martha were very good friends, Berry Gordy decided to take the opportunity to promote "The Supremes" instead! By this time, THE SUPREMES had become the major female superstars of the roster, scoring three consecutive #1 singles on the U.S. pop chart. (By the end of that year, they would have a total of six #1 pop singles.) Needless to say, Martha was not very happy with this. But what could she do? In the end though, the television special was a smashing success. "Nowhere To Run," as well as its predecessors "Wild One," and "Dancing In The Street" were the staple tracks of the groups next album, "Dance Party" released to the public in April of 1965. ("Live Wire" was left out of the tracklisting! True, it hadn't been a huge hit, but it had still charted decently enough to be featured on the album. Subsequently though, its successor, "In My Lonely Room" was also not included on the album.) Interestingly enough, though "Dance Party" did harbor three pop top 40 singles, the studio project as a whole, was not a huge hit, peaking at #139 on the U.S. pop albums chart. It didn't even have a picture of the group on the cover! However, at this time, the group's television credits were becoming a lot more impressive. Besides having previously appeared on "The Ed Sullivan Show" in 1965, they also eventually made it to prime-time television's "Shindig," as well as "The Mike Douglas Show" and "American Bandstand!" 1966's "My Baby Loves Me," another pop & R&B top 30 hit that was actually recorded by Martha, The Andantes, and The Four Tops! No Vandella sang on that recording, and yet it was still a huge hit for the group! The single's success on the charts landed it on the group's first hits compilation, "Martha & The Vandellas' Greatest Hits" {#50 U.S. Pop} Released to the public from the Gordy label on May 4th of 1966, "Greatest Hits" became the trio's best charting LP, peaking in pop top 50. That single was followed by the lesser known pop charting "What Am I Going To Do Without Your Love?" {#71 U.S. Pop}. That single's successor, "I'm Ready For Love" {#9 U.S.Pop, #2 U.S. R&B, #29 U.K. Pop} was almost their next chart topper, peaking in the R&B top five, and the pop top ten, and the U.K. top 30. Their next hit was "Jimmy Mack," {#10 U.S. Pop, #1 U.S. R&B, #21 U.K. Pop} which was released on February 3rd of 1967. The song was had actually been recorded a couple of years prior, but for whatever reason had been left "in the can". However, its hit potential was not diminished as it topped the U.S. R&B singles chart, and settled into the pop top 10 and the U.K. top 30 at #21. These three songs became the staples of the group's next album "Watchout!" {#116 U.S. Pop} which was released on November 16, of 1966. This would be one of the last of their albums to feature compositions by Holland, Dozier, and Holland, as the group would soon leave the company to start their own label. Although things seemed to be going more-or-less well for Martha & The Vandellas at the time, in lieu of irreconcilable differences between Martha and herself, Kelley ended up leaving the group toward later 1967. This was just after Motown had released the group's first and last "Live" album in September of that year, "Martha & The Vandellas Live!" {#144 U.S. Billboard Pop}.Luckily for Martha, her next Vandella was not going to be very hard to find. In fact, she would not have to look any farther than within her own family! Her younger sister Sandra Delores "Lois" Reeves had just recently graduated from "Eastern High School" in 1966. Lois was no stranger to the group and their legacy, as she had travelled with Martha before for companionship, and was all too familiar with their routines. Also, besides being sisters, she and Martha were close friends. While Lois was available to join the trio, she had had previously rejected any offers to sing professionally before. However, Martha was faced with a pressing ten day engagement at the Fox Theater, and she was having considerable trouble finding that elusive "third girl". Martha was so desperate for Lois to participte, that she literally begged her to sing with Rosalind! Therefore, during her sister's time of need, Lois Reeves, reluctantly at first, took her place behind her older sister as a stand-in member of the trio, which was now being billed as "Martha Reeves & The Vandellas." The Fox Theater performance was promoted by local DJ Robin Seymour. Also on the bill for the engagement, was J.J. Barnes (of "Baby Please Come Back Home" fame, and whom "The Del-Phis" had recorded background vocals all those years ago), Deon Jackson, and "The Parliaments." The show was definitely a test, as a then embittered Betty Kelley was in the audience, and took every opportunity to yell rude comments at them. Fortunately for Martha, the crowd payed her not attention whatsoever. Besides being called back for an encore, the group also received a thunderous standing ovation! It was that standing ovation that persuaded Lois to stay in the group, which she has done even as of now (2008). Unfortunately though, that same engagment was the one that was interrupted by the Detroit riots. The group had to cut the engagement short, and fly "to the safety of New Jersey" to take up some concerts there.At the time, 1967, things were continuing to change within Motown's walls. Firstly, this was the year that the company's long-time hit-songwriting trio Holland, Dozier, and Holland left. This trio had been responsible for most of Motown's biggest immortal pop hits such as Martha & The Vandellas' "Heatwave" and virtually everything by The Supremes. (The company lost a lot when they left). Also, this was the year that Motown came to the conclusion, that in giving the lead singers of groups top billing, they could milk more money out of club owners and television producers. Giving the lead singer star billing, would make it so that the companies would have to pay for two acts (a star, and a back-up group) even though they were really hiring one. This went into effect for most of Motown's biggest groups including, The Supremes and The Miracles. The first single to feature Lois was 1967's "Honey Chile" {#11 U.S. Pop, #5 U.S. R&B, #30 U.K. Pop} The up-tempo southern-flavored track would be one of the trio's last great hits, peaking in the Pop top 20, and R&B top 5. It would also bring the group back into the U.K. top 30. That success would soon be followed by "Love Bug Leave My Heart Alone," {#25 U.S. Pop, #14 U.S. R&B, #55 U.K. Pop} which would settle into the pop and R&B top 30. Both singles were produced by Motown executive, Richard Morris. "Forget Me Not," {#11 U.K. Pop, #93 U.S. Pop} the B-side to "I Promise To Wait My Love," {#36 U.S. R&B, #62 U.S. Pop} would be the single to bring the group back into the U.K. top 20 at #11 at the beginning of 1968 as well. Therefore, things started off pretty well following Lois' induction. Afterwards, she got her first exposure as a Vandella on the cover of the group's next album, "Ridin' High" {#167 U.S. Pop Albums} released in April of 1968. Group pictures featuring Lois were also found on the covers of the singles "I Promise To Wait My Love" and "I Can't Dance To That Music To That Music You're Playing." Lois proved to be a very good choice for group member, as she remained one of Martha's longest lating Vandellas! She remained with the group until the very end. However, the same could not be said for long-time original group member, Rosalind Ashford. Irreconcilable differences between she and Martha led to her deciding to leave the group at the beginning of 1969. Once again, this left Martha with a group to promote, yet No Group to promote!That year, 1969, the group's hottest single "Dancing In The Street" was re-released, and was creating something of a buzz, especially overseas. "The Vandellas" were on a small hiatus, with Reeves having fallen victim to an acid trip in later 1968. Other singles to be issued during Reeves' departure were the minor hits, "I Can't Dance To That Music You're Playing" {#42 U.S. Pop, #24 U.S. R&B}, "Sweet Darlin'" {#80 U.S. Pop, #45 U.S. R&B}, "(We've Got) Honey Love" {#56 U.S. Pop, #27 U.S. R&B}, and "Taking My Love (& Leaving Me)" {#102 U.S. Pop, #44 U.S. R&B}. Unfortunately, Reeves' ailment caused for these would-be hits to see little to no promotion, besides some radio airplay; thus resulting in mostly dismal chartings, save for the U.S. R&B Singles chart. However, in time with her records still moving, Reeves had to find it within herself to get back on her feet and promote them! Unfortunately, due to Rosalind's departure toward the beginning of that year, she didn't have enough girls to do it with! Luckily though, just like when Annette had left, Martha did not have to look too far for her next Vandella. In fact, she once again took a member of "The Velvelettes" to fill Rosalind's place. Singer, Sandra "Sandy" Tilley had been a later member of Motown's Velvelettes. By the time she came along, the group had long-since been reduced to trio, and a trio of mostly background singers for other artists at that. However, Cal Gill the lead singer of that group decided to call it quits that year, leaving "Sandy" between groups. She had actually just finished a small recording stint with the Motown group, "The Orlons" when Martha approached her to join the group. Martha was taken by Sandra's natural beauty, grace, and how she "talked with her eyes". True her voice was a little hoarse, due to a small throat affliction, Martha overlooked that small detail in favor of everything else that the singer had to offer. Tilley officially became a Vandella just in time for photo sessions for the group's next album, "Sugar & Spice". The new soul LP, was constructed of unreleased Martha, Betty, and Roz recordings. No new tracks were recorded for the album, as Reeves was still not doing well. The "Sugar 'N Spice" LP, was released during this hiatus, to bridge the gap created by Reeves' absence. In fact, Sandra's vocals did not even appear on a Vandellas recording until 1970, when the trio recorded their own version of The Beatles' hit song "Something" for their next album "Natural Resources". Released in September of that year, this next album had some really good tracks on it, and featured covers of songs made popular by non-Motown artists (for example The Rascals' "People Got To Be Free," Jackie DeShannon's "Put A Little Love In Your Heart," and Harry Nilsson's "Everybody's Talking".) All together, Martha was pretty pleased by "Natural Resources." Besides it being Sandra's vocal debut, Martha was also pleased that she even received a solo Jazz number for the project. The only single to come from that album would be the anti-Vietnam war song "I Should Be Proud". Interestingly, radio stations would be too afraid to play Motown's very first anti-war song, but then a few months later, Edwin Starr's "War," a much more blunt anti-war anthem would blow up the radio waves! Needless to say, the album, despite its huge potential, was not promoted very well, and its release was more or less a secret between Martha and Motown. Frustrated by this, Martha recorded two solo numbers around this time, "I Won't Be The Fool I've Been Again" and "Baby (Don't You Leave Me)". Incidentally, if Motown wasn't paying attention to her group, they sure weren't paying attention to Martha by herself either. Neither of these songs did not see release until the CD era.As if things couldn't get any worse, it was around this time that Martha started dating a man named Gerald. A career as busy as hers hadn't left much time for a man. Unfortunately, even a relationship wasn't destined to work for Martha either. Her time with this man was about as pleasing and fulfilling to her as lying on a bed of nails. The only positive thing to come out of this physically and emotionally abusive relationship was Martha's son Eric Graham, whom was born on November 10, 1970.By now, the early 1970's, Martha was fully aware that Motown didn't care much about the group anymore. Berry Gordy had made it all too clear to her in 1965 that The Supremes were "his girls," and that while they were at the top of the ladder, Martha's group was on the lower one. This stuck with her for many years, and it became all the more obvious as time went on. While The Supremes had always had at least #1 pop hit each year between 1964 and 1969, Martha & The Vandellas had never topped the pop chart even once! The closest they had come was with 1964's "Dancing In The Street" in 1964, which had stopped at #2 on both charts. 1963's "Heatwave" and 1967's "Jimmy Mack" would successfully top the R&B charts, and settle in the pop top ten. But truth be told, Berry was more interested in Diana Ross by 1970. He had been so since at least 1964, when he started separating her even from her own group, which would practically kill the group during the next decade. Now, he was assisting her with a phenomenal solo career, and leaving many of his other groups behind. This included "The Marvelettes," "The Velvelettes," and "The Contours," all groups whom had released some of Motown's best and most memorable staple hits. Motown was also preoccupied with a new all boy band from Gary, Indiana, calling themselves "The Jackson 5," and the company's move to Los Angeles was also taking up time and concentration. As a result, the careers of groups like Martha Reeves & The Vandellas suffered. Their next single, 1971's "I Gotta Let You Go" (backed with "You're The Loser Now") only went as high as #93 on the pop singles chart. It also missed the R&B top 40 at #43. While its follow-ups brought the group back into the U.S. top 40 ("Bless You" {#29 U.S. R&B, #33 U.S. Pop}, "In & Out of My Life" {#22 U.S. R&B, #102 U.S. Pop}, "Tear It On Down" {#37 U.S. R&B, #103 U.S. Pop})with Martha's blessing, they officially called it quits after one final album, "Black Magic" in 1972.