Martha Reeves & The Vandellas: Gold
Who had the best female voice at Motown? A questioned often answered by many people with "Diana Ross". For me, she is way down the order - Gladys Knight, Wanda Young Rogers of The Marvelettes, Brenda Holloway, Barbara McNair, Mary Wilson of The Supremes could all stake a claim and, of course, so could (arguably) the best of them all, Martha Reeves.
Before The Supremes finally broke big, the top Motown girl groups were firstly The Marvelettes and then Martha & The Vandellas. This superb, great-sound possessing compilation tells you exactly why the latter were so damn good.
If you don't want to trawl through my individual album reviews, this provides an overview of pretty much all the best songs Martha & The Vandellas laid down.
Now let's look in the mirror to comb my hair.....
Disc One
The collection starts with a very early sixties vibe on the fetching ballad I'll Have To Let Him Go. Even this early number is remastered here is a fine stereo sound.
Having said that The Marvelettes were Motown's first big girl group, then Martha & The Vandellas were about to go on a run of hits that would eclipse them totally. Come And Get These Memories was one of the first Holland-Dozier-Holland songs to have that definitive "Motown sound" to it, something that would become instantly recognisable. The song definitely had something about it.
24-carat Motown gold here with (Love Is Like A Heat Wave). Martha and the girls moved to top spot at Motown with this wonderful, uptempo stomper that has ridden the decades and remains popular. It rocks, it thumps, the voices wail, the sax blares. Perfect. The Jam covered it on their 1979 Setting Sons. Paul Weller was a big Motown fan, having also had The Jam cover The Supremes' Back In My Arms Again. The Who had also done a version in 1964-65.
The 'b' side was a killer too. A Love Like Yours (Don't Come Knocking Every Day) is a gospelly beauty of a soulful ballad. Kim Weston also recorded it as the 'b' side to her Helpless single in 1966. Good as Kim's rendition is, Martha's version is sort of definitive, though.
As soon as you hear it, you realise that Quicksand was a virtual re-write of Heat Wave, but, as was often the case with H-D-H re-writes, it was still fresh-sounding enough to attract buyers who loved both songs. This, along with Come And Get These Memories and Heat Wave, was part of the trio of killer songs that put Martha & The Vandellas briefly at the top of the Motown tree. Incidentally, the intro to the song is longer than usual, "going round twice" if you know what I mean.
Darling, I Hum Our Song was a muscular ballad that was also recorded as a 'b' side by The Four Tops in 1965. A crystal clear stereo version of the song is found here. As you probably know, I love those stereo recordings. The frantic Live Wire is a wildly uptempo we-write of Heat Wave and Quicksand. Martha was astounded by its fast pace when presented with it - she thought she wouldn't be able to keep up, but she does fine, of course. The whole track has a celebratory, party vibe to it. In My Lonely Room is more uptempo, saxophone-backed grooving from Martha and the girls. Despite its fast, party sound it betrayed a rather sad lyric about isolation, something that was somewhat incongruous.
There He Is (At My Door) is a retro ballad recorded by the group's forerunner, The Vells, back in 1962. It is given a bit of a makeover here, with Martha's vocal dubbed on to it. It has a nice sound quality to it, particularly here, where it is in stereo.
Wild One built on the vitality of Dancing In The Street. It rocks and pounds just as much, this time tackling the "he's a rebel" theme of the bad boy with a heart of gold.
Apart from Jr. Walker's Shotgun, were you thinking that the classics were, thus far, a bit thin on the ground? Well - think again! From the first wonderful, rat-a-tat drumbeat, Nowhere To Run is one million per cent Motown Heaven. It is easily in my top ten Motown songs of all time - Martha's strident, God-given voice interacting with those pounding drums and James Jamerson's equally sanctified bass. I love those couple of bits where the beat stops save the thumping drums and Martha's voice. Just wonderful. It is also quite a cynical song in places, something that was quite unusual at the time.
Motoring is a chugger of a 'b' side that tries hard to match its partner for oomph. It has some great brass breaks and another of those drum/voice parts I love so much. A killer of a 45. Both sides are right up there. The Who covered the song in the same year too.
You've Been In Love Too Long is a chunky, ballsy mid-pace and muscular Vandellas number. Nowhere To Run it isn't but it's still not a bad one, not at all. It was difficult to follow such a barnstorming hit, though. It finds a place for a fine bit of saxophone too. Love (Makes Me Do Foolish Things) is a retro-sounding ballad with Martha on fine form. As always, The Andantes were used as backing singers behind The Vandellas on both these songs.
Here we get a smooth, lush, jazzy offering from Martha in My Baby Loves Me. It is a song that she has long credited as being one of her favourites. She always wanted to be a jazz singer, she has said. This song was given to Martha instead of Kim Weston, much to Kim’s disappointment. “Martha had that old church choir voice, the one that rang out real clear”, said co-producer Ivy Jo Hunter. Listening to it, you can see what he meant. As was so often the case, The Andantes supplied the backing vocals. Poor old Vandellas - again!
What Am I Going To Do Without Your Love was a rarity - an unremarkable song for Martha and the girls. It chugs along without really getting anywhere or possessing any real, catchy hook.
For me, Martha Reeves & The Vandellas were easily up there with Diana Ross & The Supremes. Indeed, I have always found the more gritty, earthy, sexy and soulful. Martha Reeves had much, much the better voice in comparison with Diana Ross. Hers was so strong, so expressive. I'm Ready For Love is one of their best, pounding along with that wonderful deep baritone Motown saxophone driving the song throughout. Martha and the girls soar alongside it. It is an irrepressible number, overflowing with energy. I love it. Anything they did sends me higher and higher.
Equally infectious as its 'a' side (Jimmy Mack) is the wonderful Third Finger, Left Hand, another one with a killer chorus. Just how good a 'b' side was this, by the way? How can such a quality song remain virtually hidden away? That's the prolific Motown catalogue for you. Astonishing.
It's Easy To Fall in love With Guy like You is a proper Martha & the Vandellas deep cut. It has a typically uptempo Motown sound of the sort that Diana Ross & The Supremes would have so many subsequent hits with. It has a bit of a Northern Soul vibe about it too.
Disc Two
For some reason Jimmy Mack has sort of ended up as a bit of a Motown deep cut. In 1976, when it appeared on the Motown Gold compilation, its stock appeared to be high, but its presence on both compilations and radio play seems to have faded over the years. Consequently, I had almost forgotten about it. I'm not sure why, because it pounds and stomps with the best of them. Check out the saxophone solo too. Hell, it's a Motown corker of a track, let's be honest.
Two copper-bottomed numbers from Martha and the girls here. Love Bug Leave My Heart Alone has a killer bassline and a bit of an air of mystery about it, while One Way Out is a typical Holland-Dozier-Holland stomper. Martha herself loved Love Bug.
Honey Chile is another robust, upbeat and singalong gutsy number from my beloved Martha Reeves & The Vandellas. From the first drum beats and the brass breaks the song has kick-ass balls. There's always something just so muscularly soulful about MR & The V's songs. Lyrically, the song harked back to co-writer Sylvia Moy's childhood, as Stevie Wonder's I Was Made To Love Her also had.
Show Me the Way is an infectious grinder of a number, with an upbeat bluesiness to it. It was first recorded by Northern Soul favourite J. J. Barnes. Both songs here had The Andantes replacing The Vandellas on back-up vocals to Martha. The Vandellas were still credited, however. They both appeared on the 1968 Ridin' High album. It was considered that within The Andantes there was the greater vocal range, hence their being used, often uncredited on many Motown records.
I Promise To Wait My Love had a Stax-like groove to it - more Stax than Motown, particularly in its Steve Cropper-ish guitar sound. Martha's vocal, and the backing, are both really down 'n' dirty, gritty and soulful. Martha almost sounds like Aretha Franklin at some points, praise indeed. It is one of the group's most intrinsically soul recordings. I reckon Southside Johnny would love this.
I Can't Dance To That Music You're Playin' was a great bit of Motown - wonderful James Jamerson bass, an upbeat, slightly funky Motown sound and a great saxophone solo too. One of Martha & the girls' best. That said, apparently, Rita Wright sang Martha's parts on the chorus because Martha's vocals were lost for some reason and she then sulked off in a huff after Wright was brought in to sing the chorus. Martha later said "it really pissed me off that she sounded just like Dian(e) Ross!". Listen to the chorus - you will hear what she meant. The vocals are higher than on any other Martha Reeves & The Vandellas songs.
Martha Reeves didn't do bad ones, did she? Sweet Darlin' has a superb deep bass sound to it, hooks-a-plenty and, of course, a killer lead vocal from our Martha. I love everything she did. She could totally own a song.
I love (We've Got) Honey Love. It is just so Vandellas. Guess what? I'm going to recommend the stereo version available here. Predictable, aren't I? Just how good has this run of songs been? Seriously special.
Only their second single of 1969, Taking My Love (And Leaving Me) was bassy and solid, but maybe not quite as special as many of the girls' other singles.
In 1970, Songs about the war in Vietnam were quite common at Motown, and they often had a dark side to them, as indeed does I Should Be Proud. Martha sings of getting the news her man has been killed in action. She is proud in her reflection but also somewhat cynical as to what he actually died for. This was a question regularly and rightly posed. Martha had lost her own brother in Vietnam, so the song was an emotional one for her to deliver. As you would expect, she soars. She still believes that government pressure stopped radio stations from playing the song. She was probably right.
Love, Guess Who is a quality 'b' side. Nothing outrageously special, but perfectly enjoyable. Apparently, it is The Andantes as opposed to The Vandellas singing back ups on this one, as they had also done for Diana Ross.
Martha was once again backed by The Andantes on an instrumental track dating from the mid-sixties, I Gotta Let You Go. It has that typically upbeat Motown sound from that period, even down to the blaring mid-song sax solo. Martha's vocal is strong, as is the backing, but 1970-sounding it ain't. Unsurprisingly, perhaps, it became a big hit on the Northern Soul circuit and has appeared on rarities compilations such as This Is Northern Soul, Vol. 2.
In And Out Of My Life is an uplifting mid-pace sixties-ish Motown number. Notably, it was written with The Jackson 5 in mind. I feel it suits Martha and the girls better, however. She delivers a fine soulful vocal that makes the song. There is something proud and dignified about it.
Tear It On Down is a big, brassy, punchy number chock full of full-on soul. It is the last great track from this seminal group. Martha is on top gospelly form on her vocal intro. This was the final single credited to Martha Reeves & The Vandellas. What a great run of hits they had too.
Now, we end the collection with some Martha Reeves solo numbers. Mighty impressive and surprising they are too!
Why - Martha has got herself the funk! In total contrast to the rest of the material on the collection, we now get a Blaxploitation-style serving of wah-wah, brass and congas street funk from Martha in the excellent, cookin' Willie D. It is a tale of a serial womaniser and it a serious contender for garnering some deep cut kudos.
Power Of Love is a seriously good serving of bassy and brassy Gladys Knight-esque proper soul. It shows that Martha had a great voice that she could adapt to anything. She nails it on this, another killer little-known gem.
Martha Reeves covering Van Morrison would not immediately spring to mind as something that may happen, but here, on Van's Wild Night, she does it with considerable soulful and vibrant aplomb. Van's songs were intrinsically soulful, so it doesn't stretch credibility that much.
Love Blind gets funky again in a Philly soul early seventies style - a funky beat, brassy breaks and another solid, robust vocal. Again, it is a million miles away from typical sixties Motown.
What more could Martha dabble in ? Disco - that's what! Free Again is an early Grace Jones-ish big disco stomp 'n' strings number. While this collection is primarily one of glorious girl group Motown, this last handful of tracks make for a really interesting finish to what is up there as one of my favourite Motown compilations of all.
I love it - it's like a heat wave burning in my heart.....
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