Detroit Free Press [DETROIT Magazine] Sunday, July 23, 1972
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“If everybody will keep on remembering, keep the music alive, our children and grandchildren will know what this was.” — Claudette Robinson, November 21, 2009
Motown 50 Ball Golden Gala, Detroit Marriott, Det., MI.
Detroit Free Press [DETROIT Magazine] Sunday, July 23, 1972
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The above featured ‘Motown’ newspaper article (Detroit Free Press) was clipped, saved, and was digitally re-imaged from the credited source by Motor City Radio Flashbacks.
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DETROIT FREE PRESS Sunday, January 30, 1966 [D]
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The Miracles (also known as Smokey Robinson and the Miracles from 1965 to 1972) were an American rhythm and blues vocal group that was the first successful recording act for Berry Gordy’s Motown Records, and one of the most important and influential groups in pop, rock and roll, soul and R&B music history.
The group that later became the Miracles was formed in 1955 by five teenage friends from Detroit, Michigan, under the name the Five Chimes. Three of the founding members, Smokey Robinson, Warren “Pete” Moore, and Ronnie White, had been singing together since they each were around the age of eleven. The group, influenced by acts such as Billy Ward and His Dominoes and Nolan Strong & the Diablos, featured Clarence Dawson and James Grice in the original lineup.
All of the group’s original members attended Northern High School in Detroit. After Dawson quit the group and Grice dropped out to get married, they were replaced by Emerson “Sonny” Rogers and his cousin Bobby and changed their name to the Matadors.
Coincidentally, both Smokey Robinson and Bobby Rogers were born in the same hospital on the same date (February 19, 1940), despite not actually meeting each other until they were fifteen. In 1957, Sonny Rogers left to join the United States Army and Claudette Rogers, his sister, who had been singing with the sister group the Matadorettes, joined them shortly afterwards, and in 1958, the group became the Miracles. Following two years of courtship, Smokey and Claudette married in November 1959.
The group’s extensive work with Berry Gordy and Tamla Records gave the parent label Motown Record Corporation its first million-selling hit record with the 1960 Grammy Hall of Fame smash, “Shop Around”, and further established themselves as one of Motown’s top acts with the hit singles “You’ve Really Got A Hold On Me“, “What’s So Good About Goodbye”, “Way Over There”, “I’ll Try Something New”, “Mickey’s Monkey”, “Going To A Go-Go”, “(Come ‘Round Here) I’m the One You Need”, “Just A Mirage”, “If You Can Want”, “More Love”, “I Don’t Blame You At All”, “Ooo Baby Baby”, the multi-award-winning “The Tracks of My Tears”,”My Girl Has Gone’ “Special Occasion”, “I Second That Emotion”, “Baby Baby Don’t Cry”, the number-one Pop smashes “The Tears of a Clown” and “Love Machine”, “Do It Baby”, and “That’s What Love Is Made Of”, among numerous other hits
Referred to as Motown’s “soul supergroup”, the Miracles recorded 26 Top 40 Pop hits, sixteen of which reached the Billboard Top 20, seven top 10 singles, and a number one single, “The Tears of a Clown”, while the Robinsons and Tarplin were members.
Following the departure of Tarplin and the Robinsons, the rest of the group continued with singer Billy Griffin and managed by Martin Pichinson who helped rebuild the Miracles, they scored two final top 20 singles, “Do It Baby” and “Love Machine”, a second No. 1 hit, which topped the charts before the group departed for Columbia Records in 1977, recording as a quintet with Billy’s brother Donald Griffin replacing Marv Tarplin, where after a few releases, they disbanded in 1978. In all, the group had over fifty charted hits by the time they disbanded.
On the R&B charts, the Miracles scored 26 Top 10 Billboard R&B hits, with 4 R&B No. 1’s, and 11 U.S. R&B Top 10 Albums, including two No.1’s.
Bobby Rogers and Ronald White revived the group as a touring ensemble sporadically during the 1980s and again in the 1990s. Following White’s death in 1995, Rogers continued to tour with different members until he was forced into retirement due to health issues in 2011, dying less than two years later. Bobby Rogers died in March 2013, 2 weeks after his 73rd birthday. Pete Moore died November 19, 2017, on his 79th birthday. Former members Carl Cotton, Marv Tarplin and Donald Griffin are also deceased (in 2003, 2011, and 2015 respectively).
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Information and credit source: “The Miracles” Wikipedia
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The Marvelettes was an American girl group that achieved popularity in the early-to mid-1960s. They consisted of schoolmates Gladys Horton, Katherine Anderson, Georgeanna Tillman, Juanita Cowart (now Cowart Motley), and Georgia Dobbins, who was replaced by Wanda Young prior to the group signing their first deal. They were the first successful act of Motown Records after the Miracles and its first significantly successful female group after the release of the 1961 number-one single, “Please Mr. Postman“, one of the first number-one singles recorded by an all-female vocal group and the first by a Motown recording act.
Founded in 1960 while the group’s founding members performed together at their glee club at Inkster High School in Inkster, Michigan, they signed to Motown’s Tamla label in 1961. Some of the group’s early hits were written by band members and some of Motown’s rising singer-songwriters such as Smokey Robinson and Marvin Gaye, who played drums on a majority of their early recordings. Despite their early successes, the group was eclipsed in popularity by groups like The Supremes, with whom they shared an intense rivalry.
Nevertheless, they managed a major comeback in 1966 with “Don’t Mess With Bill“, along with several other hits. They struggled with problems of poor promotion from Motown, health issues and substance abuse with Cowart the first to leave in 1963, followed by Georgeanna Tillman in 1965, and Gladys Horton in 1967. The group ceased performing together in 1969 and, following the release of The Return of the Marvelettes in 1970, featuring only Wanda Rogers, disbanded for good, with both Rogers and Katherine Anderson leaving the music business.
The group has received several honors including induction into the Vocal Group Hall of Fame, as well as receiving the Pioneer Award from the Rhythm and Blues Foundation. In 2005, two of the group’s most successful recordings, “Please Mr. Postman” and “Don’t Mess with Bill” earned million-selling gold singles from the RIAA. On August 17, 2013, in Cleveland, Ohio, at Cleveland State University, the Marvelettes were inducted into the first class of the Official Rhythm & Blues Music Hall of Fame.
The departure of Georgeanna Tillman and renewed success
By 1964, the majority of American vocal groups especially all female bands such as the Shirelles and the Ronettes started struggling with finding a hit after the arrival of British pop and rock acts. In the meantime, other Motown girl groups such as Martha and the Vandellas and the Supremes were starting to get promoted by Motown staff with the Vandellas becoming the top girl group of 1963. The following year, the Supremes took their place as the label’s top primary female group after a succession of hit recordings that year, culminating in the release of their second album, Where Did Our Love Go, which Motown was able to promote successfully. Some sources claim “Where Did Our Love Go” was turned down by the Marvelettes. Gladys recalls “When they played ‘Where Did Our Love Go’ they played ‘Too Many Fish In The Sea‘. We picked ‘Too Many Fish In The Sea’ because it had all the music and all the bongos. We were all together and said at the same time we didn’t want ‘Where Did Our Love Go’.”
The Marvelettes, 1966 Katherine Anderson, Gladys Horton and Wanda Young.
That year, the Marvelettes reached the top forty with the Norman Whitfield production, “Too Many Fish in the Sea”, reaching #25 with the recording. By now, Motown had begun its charm school hiring choreographer Cholly Atkins and Maxine Powell to refine the label’s acts. Atkins began polishing the Marvelettes’ dance moves while Powell taught the group to be more graceful, telling them and every other Motown act that they would “perform in front of kings and queens“. Meanwhile, two of the Marvelettes got married: Georgeanna Tillman married longtime boyfriend Billy Gordon of the Contours and Wanda Young married her longtime boyfriend Bobby Rogers of the Miracles changing her name to Wanda Rogers. By the end of 1964, Georgeanna Tillman, a longtime sufferer of sickle cell anemia was diagnosed with lupus. By early 1965, struggling to keep up with their stringent recording sessions and touring schedules and her illnesses, a doctor of Tillman’s advised her to leave performing for good. The rest of the Marvelettes carried on as a trio from then on.
In mid-1965, Wanda Rogers took over as lead vocalist, as Motown producers felt Rogers’ voice was more suitable for this role than Horton’s. With Rogers as lead, the group had a hit with “I’ll Keep Holding On“, which reached #34 while “Danger! Heartbreak Dead Ahead” settled for a #61 showing but was #11 on the R&B chart. Later in 1965, the group released the Smokey Robinson composition, “Don’t Mess with Bill“, which brought the group back to the top ten reaching #7 and becoming their second single to sell over a million copies. From then on, with Robinson mainly in charge, most of the Marvelettes singles would feature Rogers on lead. In 1966, they had a modest success with “You’re the One” and by the end of that year, they reached the top 20 with “The Hunter Gets Captured by the Game“, which Smokey had to fight to get released. In 1967, the group recorded the Van McCoy composition, “When You’re Young and in Love“, which had been originally recorded by Ruby & the Romantics. The song reached #23 in the U.S. and peaked at #13 in the UK, becoming their only British hit.
By 1967, Gladys Horton had reconsidered her involvement with the Marvelettes. After her first child, Sammie, was born with cerebral palsy, Horton decided to leave the group entirely, doing so before the release of the hit “My Baby Must Be A Magician“. The song peaked at #17 and was noted for featuring the Temptations’ Melvin Franklin providing the opening line. With Horton out, Harvey Fuqua introduced the group to Ann Bogan who became Horton’s replacement. However, by the time Bogan joined the group in 1968, most of the musicians of Motown’s early years had left, mainly due to financial disputes with the label. The group struggled with recordings after the release of “Magician“, with Motown offering little to no promotion. The 1968 singles “Here I Am Baby” and “Destination: Anywhere” were only modestly successful, peaking at #44 and #63 respectively. The release of their 1969 album, In Full Bloom, failed as did its only single, the remake of Dinah Washington’s “That’s How Heartaches Are Made“.
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Information and credit source: “The Marvelettes” Wikipedia
“What’s Going On” is a song by American singer-songwriter Marvin Gaye, released in 1971 on the Motown subsidiary Tamla. Originally inspired by a police brutality incident witnessed by Renaldo “Obie” Benson, the song was composed by Benson, Al Cleveland, and Gaye and produced by Gaye himself. The song marked Gaye’s departure from the Motown Sound towards more personal material. Later topping the Hot Soul Singles chart for five weeks and crossing over to number two on the Billboard Hot 100, it would sell over two million copies, becoming Gaye’s second-most successful Motown song to date.
The song’s inspiration came from Renaldo “Obie” Benson, a member of the Motown vocal group the Four Tops, after he and the group’s tour bus arrived at Berkeley on May 15, 1969. While there, Benson witnessed police brutality and violence in the city’s People’s Park during a protest held by anti-war activists in what was hailed later as “Bloody Thursday”.Upset by the situation, Benson said to author Ben Edmonds that as he saw this, he asked, “What is happening here?’ One question led to another. Why are they sending kids so far away from their families overseas? Why are they attacking their own children in the streets?”
Upset, he discussed what he witnessed with friend and songwriter Al Cleveland, who in turn wrote and composed a song to reflect Benson’s concerns. Benson wanted to give the song to his group but the other Four Tops turned down the request. “My partners told me it was a protest song”, Benson said later, “I said ‘no man, it’s a love song, about love and understanding. I’m not protesting, I want to know what’s going on.” In 1970, Benson presented the untitled song to Marvin Gaye, who added a new melody and revised the song to his liking, adding in his own lyrics. Benson later said Gaye tweaked and enriched the song, “added some things that were more ghetto, more natural, which made it seem like a story than a song . . . we measured him for the suit and he tailored the hell out of it.”Gaye titled it “What’s Going On”. When Gaye initially thought the song’s moody feel would be appropriate to be recorded by The Originals, Benson convinced Gaye to record it as his own song.
Gaye entered the recording studio, Hitsville USA, on June 1, 1970 to record “What’s Going On“. Instead of relying on other producers to help him with the song, Gaye, inspired by recent successes of his productions for the vocal act, The Originals, decided to produce the song himself, mixing up original Motown in-house studio musicians such as James Jamerson and Eddie Brown with musicians he recruited himself. The opening soprano saxophone line, provided by musician Eli Fontaine, was not originally intended. Once Gaye heard Fontaine’s riff, he told Fontaine to go home. When Fontaine protested that he was just “goofing around“, Gaye replied, “you goof off exquisitely, thank you.” The laid-back atmosphere in the studio was brought on by constant marijuana smoking by Gaye and other musicians.
Jamerson was pulled into the session after Gaye located him playing with a band at a local bar. Respected Motown arranger and conductor David Van De Pitte said later to Ben Edmonds that Jamerson “always kept a bottle of [the Greek spirit] Metaxa in his bass case. He could really put that stuff away, and then sit down and still be able to play. His tolerance was incredible. It took a hell a lot to get him smashed.” The night Jamerson entered the studio to record the bass lines to the song, Jamerson could not sit properly in his seat and, according to one of the members of the Funk Brothers, laid on the floor playing his bass riffs. De Pitte recalled that it was a track that Jamerson greatly respected: “On ‘What’s Going On’ though, he just read the [bass] part down like I wrote it. He loved it because I had written Jamerson licks for Jamerson.”Annie Jamerson recalls that when he returned home that night, he declared that the song they had been working on was a ‘masterpiece’, one of the few occasions where he had discussed his work so passionately with her. Gaye also added his own instrumentation, playing piano and keyboards while also playing a box drum to help accentuate Chet Forest‘s drumming.
To add more to the song’s laid-back approach, Gaye invited the Detroit Lions players Mel Farr and Lem Barney to the studio and, along with Gaye and the Funk Brothers, added in vocal chatter, engaging in a mock conversation. Musician and songwriter Elgie Stover, who later served as a caterer for Bill Clinton and was then a Motown staffer and confidante of Gaye’s, was the man who opened the song’s track with the words, “hey, man, what’s happening?” and “everything is everything”. Later Gaye brought Lem Barney and Mel Farr as well as Bobby Rogers of The Miracles to record the song’s background vocal track. The rhythm tracks and the song’s overdubs were done at Hitsville, while strings, horns, lead and background vocals were recorded at Golden World Studios.
On hearing a playback of the song, Gaye asked his engineer Kenneth Sands to give him his two vocal leads to compare what he wanted to use for the song’s release. Sands ended up mixing the leads together, by accident. However, when he heard it, Gaye was so impressed with the double-lead feel that he kept it, influencing his later recordings where he mastered vocal multi-layering adding in three different vocal parts. Before presenting the song to Gordy, he produced a false fade to the song, bringing the song back for a few seconds after it was initially to have ended. The song was also notable for its use of major seventh and minor seventh chords, which was a fairly uncommon use at the time Gaye recorded the song’s b-side, “God Is Love“, on the same day.
When Berry Gordy heard the song after Gaye presented the song to him in California, he turned down Gaye’s request to release it, telling Gaye he felt it was “the worst thing I ever heard in my life“. When Harry Balk requested the song to be released, Gordy told him the song featured “that Dizzy Gillespie stuff in the middle, that scatting, it’s old“. Gaye responded to this rejection by refusing to record material unless the song would be released, going on strike until, he felt, Gordy saw sense in releasing it.
RELEASED IN MAY 1971, ‘What’s Going On’ was Gaye’s 11th album he recorded and was his first album he was sole credited, having produced for the Tamla label.
Anxious for Marvin Gaye product, Balk got Motown’s sales vice president Barney Ales to release the song, releasing it on January 17, 1971, pressing 100,000 copies of the song and promoting the single to radio stations across the country. The initial success of this led to a further 100,000 to reach demand, selling over 200,000 copies within a week. The song was issued without Gordy’s knowledge. The song eventually became a huge success, reaching the top of the charts within a month in March of the year, staying at number-one for five weeks on the Billboard R&B charts and one week at number-one on the Cashbox pop chart. On the Billboard Hot 100, it reached number two, behind both “Just My Imagination (Running Away with Me)” by The Temptations and “Joy to the World” by Three Dog Night. Billboard ranked it as the No. 21 song for 1971. The song eventually sold more than two million copies, becoming then the fastest-selling Motown single at the time. The song’s success forced Gordy to allow Gaye to produce his own music, giving him an ultimatum to complete an album by the end of March, later resulting in the What’s Going On album itself.
“What’s Going On” was nominated for two Grammy Awards in 1972 including Best Male R&B Vocal Performance and Best Arrangement Accompanying Vocalist(s), but failed to win in any of the categories.
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PERSONNEL
Lead vocals by Marvin Gaye. Background vocals by Marvin Gaye and The Originals
Spoken interlude by Marvin Gaye, Mel Farr, Lem Barney, Elgie Stover, Kenneth Stover, Bobby Rogers, and the Funk Brothers.
Written byRenaldo “Obie” Benson, Al Cleveland, and Marvin Gaye
Produced byMarvin Gaye
Instrumentation byThe Funk Brothers,The Detroit Symphony Orchestra and Marvin Gaye (piano and box drum)
The Elgins were an American vocal group on the Motown label, active from the late 1950s to 1967. Their most successful record was “Heaven Must Have Sent You”, a song written and produced by the Holland–Dozier–Holland team, which was a hit single in the US in 1966, and in the UK when reissued in 1971.
The Elgins 1967
Founding members Robert Fleming, Johnny Dawson, Cleo “Duke” Miller and Norman McLean recorded together for various small labels in Detroit prior to their Motown days, as The Sensations, The Five Emeralds, and The Downbeats, and also recorded as The Downbeats for Motown in 1962. The record company suggested that they add female lead vocalist Saundra Mallett, who had recorded unsuccessfully for the label, backed by The Vandellas; she later married and became Saundra Edwards.
The new group’s first single release was “Put Yourself In My Place”, issued in December 1965; early copies credited the record to The Downbeats, but Berry Gordy wanted to use the name Elgins, which had previously been one of the names used by The Temptations. The record rose to no. 4 on the Billboard R&B chart and no. 72 on the Billboard Hot 100, and its B-side, “Darling Baby”, also made the Hot 100.
Several months later, they issued “Heaven Must Have Sent You”, which again reached both the R&B and pop charts, becoming their biggest pop hit. They also released an album, Darling Baby. However, their follow-up single, “I Understand My Man”, was less successful, and the group broke up in 1967.
With the continuing popularity of Motown records in the UK fueled by the Northern Soul scene, “Heaven Must Have Sent You” was reissued in 1971 and peaked at no. 3 on the UK Singles Chart. “Put Yourself In My Place” was also reissued and made the chart. With Saundra Mallett Edwards being unwilling to rejoin the group, the Elgins toured the UK with former session vocalist Yvonne Vernee Allen taking her place. One of Yvonne Vernee’s solo singles from the 60’s, “Just Like You Did Me”, also became popular on the Northern Soul scene, especially at Wigan Casino Soul Allnighters. Vernee also recorded some material with The Elgins at Motown, but none of it saw release.
In the photo above, the original V.I.P. artists consisted of (standing) Duke Miller, Saundra Mallet, Johnny Dawson and Norman McLean (kneeling).
Saundra Mallet passed away in 2002.
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Source: The Elgins; Wikipedia
The above featured V.I.P. Recording Artists(Motown) promotional photograph was digitally restored by Motor City Radio Flashbacks
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