Dave Moore

Date Of Induction : 01 November 2014 Category : Female Vocalist Maxine Brown was born in Kingstree South Carolina on 18 August 1939 and first started singing during the long, balmy summer days alongside her sister and an upstairs neighbour. The product of a turbulent marriage The girls became quite accomplished as a three part harmony outfit but Maxine’s sister wasn’t as interested in spending the summer singing so the girls sought out a couple of other neighbours and before long the newly formed quartet were performing Gospel standards in the local area churches as The Angeleers. Due to their father’s violent outbursts Maxine and her sister were removed from the family home and fled to New York with their mother where they settled. Sadly Maxine’s mother passed away at the tender age of 34 but she stayed in NY and continued her education. On graduating High School, Maxine, now living in Queens, enrolled at the Central Needle Traders which was then affiliated to the Fashion Institute of Technology (1) As Maxine moved into her mid teenage years the church influences solidified when Maxine was asked to join another Gospel group The Royaltones which led to a move to Brooklyn, where the group spent the late 50s performing their Gospel repertoire. Professor Charles Taylor was a newly ordained Gospel singing minister who also played piano and was booked to play the famed Harlem Apollo Theatre and needed a female group for backing vocal duties. He selected The Royaltones and he girls found themselves on the bill alongside The Ward Singers and The Soul Stirrers, (a group that included Sam Cooke and Lou Rawls). When working in New York Maxine bumped into a fellow singer and friend Fred Johnson, who was looking for a female voice to join his male trio to make up a quartet singing secular music and, as The Royaltones had just folded and Maxine was between jobs, she took him up on his offer. Maxine was now a member of The Manhattans. (2) The Manhattans were also destined to be short lived as the military draft called upon the young man of the US to serve and the group became a trio named The Treys. It was whilst a member of The Treys that Maxine discovered her song writing talents when she was pressurised by Fred Johnson to contribute on that front and she laid down the foundation for a song that would lay dormant for the next two years but once resurrected, would give her her first ‘hit’. Whilst employed as a Medical Stenographer at Kings County Hopsital in Brooklyn, Ms Brown was invited to sing at a club on Linden Boulvard in Jamaica, Queens and it was here that she met future husband Mal Williams. Mr Williams, a somewhat jack of all trades as a budding booking agent and aspiring record producer, had just relinquished managership of Inez and Charlie Foxx and as a result, had an empty pre booked session in the Allegro Sound Studio basement studio of the legendary Brill Building at 1650 Broadway which he offered to Maxine. She duly arrived at the studio and cut the song she’d first drafted when a Manhattan. The song was a sultry bluesy ballad that flew in the face of the current bobby sox sound or Italian Matinee idol sound so prevalent at the time. Maxine’s Gospel grounding gave her an edge that, when coupled with her raw natural talent, made her vocal delivery a tour de force certainly to be reckoned with. In one of those defining moments that pepper peoples’ lives, on leaving the building Mal and Maxine bumped into Tony Bruno, the front man for NoMar records which was a business set up to front a ‘mob’ run bookie operation (3). Mal and Tony knew each other in a ‘nodding’ capacity and on hearing that Mal was trying to get Maxine started on a recording career, invited them to call into his office next day with the demo. The demo was of course picked up for release by Bruno and Maxine Brown - “All In My Mind b/w Harry Let’s Marry” — Nomar 103 was released in 1960. A few months later it was at #19 Pop and #2 RnB! Maxine was soon back at The Apollo Theatre but this time backed by the Rueben Phillips Band as a solo artist on a New Year’s Day Show hosted by Radio DJ: Jocko Henderson. (4) Whether the notorious Joe Ramano, the mob affiliated bookie and owner of the NoMar set up, was as pleased as Maxine at the success of his label I wouldn’t like to hazard a guess. After all, I doubt he wanted his fronting business in the spotlight! In fact, Maxine’s start as a recording artist was steeped in peripheral connections to ‘The Mob’. Her husband Mal, who she married on 27th December 1960 just as the ‘All In My Mind’ release was gaining recognition, owed a few favours around town to a number of unsavoury characters and on arriving to pick up the first check from the distributors for his wife’s hit, was ushered out of the door at gunpoint. The publishing company that the song was registered with belonged to none other than Alan Freed and when Maxine later tried to buy back the rights to her song the company had passed into the hands of Morris Levy! (5) Undeterred by the dramatics surrounding her recording she undertook another session (her guitarist being none other than Sam Taylor, the son of Professor Charles Taylor) and the team released Maxine Brown — “Funny b/w Now That You’re Gone” — Nomar 106, a song penned by Taylor. Although the song gave Maxine the pleasure of reaching #25 Pop and #3 RnB, unfortunately any financial benefit once again eluded her, possibly through Muse Products the company credited on the 45, (Muse was a Broadway musical playing at the time and I have failed to discover any musical production or record distributing company based in NY or New Jersey for the time period. Despite no money from the actual 45s Maxine at least made her name and kept the wolf from the door with the live appearances the success of the 45s had generated. Maxine was on the books of Shaw Booking Agency who were one of the prime Agency’s booking acts on the Chitlin Circuit and Maxine found herself on the road, often criss-crossing the country to fulfil engagements and played all the major theatres of the day including, The Baltimore Royal, Chicago’s Regal Theatre and The Uptown in Philadelphia. After a final recording session for the Nomar label which produced, Maxine Brown — “Heaven In Your Arms b/w Maxine’s Place” — Nomar 107 another bluesy based ballad that was paired with a jazz instrumental once Maxine had left the company, Maxine made the move to ABC where she stayed for over a year releasing half a dozen or so 45s. (“All In My Mind b/w Funny” was also rereleased as a double sider (Wham 7063), during her time with ABC). Most of Maxine’s ABC output consisted of bluesy, soulful ballads that evoke smoke filled jazz clubs although Maxine Brown — “Am I Falling In Love b/w Promise Me Anything” - ABC Paramount 10370 is a floating shuffler that has seen turntable action at Northern soul clubs over the years and she did record an upbeat Curtis Mayfied authored upbeat number entitled “I Don’t Need You No More”. In another of those previously mentioned defining moments, Maxine was having lunch in a restaurant frequented by a certain fellow Brill Building acquaintance Ms Florence Greenberg when Florence asked her when she was going to finally leave ABC and come to her stable of Scepter/Wand where she would be promoted properly. Maxine’s answer was “If You want me come and get me!” Florence wasn’t the type of woman to sit on her laurels and the very next day Maxine became a Wand/Scepter recording artist! It’s really Maxine’s time at Wand that put her on a pedestal with Northern soul fans and that relationship started almost immediately, once collectors and DJs latched on to her catalogue. The first 45 she released came in on the label Maxine Brown — “Ask Me b/w Yesterday's Kisses” — Wand 135 paired a couple of Tony Bruno penned songs that moved Maxine’s performance from a blues based balladeer to a soul singer amid that full blown exotic production style so perfected by the Brill Building inhabitants. The flip especially highlights Maine’s soulful vocal and her adaptability as she pulls of a great story of love gone bad on a dancer that has seen the odd play over the years. For her next outing Maxine was teamed with future legendary record producer Ed Townsend who was at that stage making a name for himself in New York. (6) Their collaboration delivered, Maxine Brown — “Coming Back To You b/w Since I Found You” — Wand 142 a disc that coupled a plaintive ballad with a more upbeat popcorn sounding song. In 1964 Maxine hit the Top 30 Chart again with Maxine Brown — “Oh No Not My Baby b/w You Upset My Soul” — Wand 162, a song which became an instant classic and performance that ranks up with anything she did before or after. Written by Brill Building stalwarts Carole King and Gerry Goffin and produced by one of New York’s finest Luther Dixon, the song was originally written for The Shirelles but was recorded with alternate lead vocals and Stan Greenberg, (7) Florence Greenberg’s son identified that the song needed a different melodic approach, hence it was offered to Maxine with the caveat that she develop the melody. Luther Dixon didn’t like the song, canned it and it lay dormant, my producer Stan Greenberg went into the vault, pulled it out and declared, ‘This is a hit! And it’s now Maxine’s next song!”. — Maxine Brown (8) The song’s dramatic overtones as Maxine loyally sticks by her man, despite dire warnings from her friends about his cheating, is a perfect companion to her earthy, somewhat raunchy style she employed in the delivery. She really did believe that her man wasn’t like the other boys who “Played With Hearts Like They Were Toys” and the song delivered her a seven week stay in the Billboard Hot 100 where it peaked at #24. Although recorded by a number of other artists, some of them with more commercial success that the original, “Oh No Not My Baby” will always be a Maxine Brown song. The follow up release, Maxine Brown - It's Gonna Be Alright b/w You Do Something To Me — Wand 173 saw Maxine again interpret the efforts of Goffin and King on a similar styled beat ballad outing that simply oozes class. The pressure under which the Brill Building songwriters worked delivered, as history has shown, hit after hit but many of the sings that didn’t quite hit the higher echelons of the Billboard Hot 100 were also high calibre and this plaintive, story of a girls past love receding in the arms of her new beau is exactly that. As an indicator of how strong the song is it was also recorded by Theola Kilgore, (Mercury #72564) and is often quoted in peoples top 10 soulful ballads of all time. Theola Kilgore’s version is an absolute stormer of a 45 that deserves a place on every collectors’ shelves for sure. In 1965, with duets proving to be popular with record the buying public Maxine was paired up with another legendary soul star who was making a name for himself at the time… none other than Chuck Jackson. Maxine and Chuck would collaborate on a number of outings that led to five US 45 releases in addition to a whole host on international releases as well as a handful of LPs. Maxine’s solo career was operating in tandem still and in that same year she started duet-ing with Mr Jackson she released one of her most sought after 45s Maxine Brown — “One Step At A Time b/w Anything For A Laugh” — Wand 185, a song written by emerging songwriters Nick Ashford, Valerie Simpson and Josie Jo Armstead, who may well have been on backing vocal duties. A mid-tempo plea to take things a little slower in their relationship is the song’s theme and as usual Wand’s commitment to a big, almost orchestral studio sound gives Maxine the perfect foil. As often happens in the Northern Soul arena one song becomes synonymous with an artist and in 1966 she recorded what is probably her most popular Northern Soul 45, Maxine Brown — “One In A Million b/w Anything You Do Is Alright” — Wand 1117, a fantastic tome, full of atmospheric horn riffs, lilting strings and of course Maxine’s soulful sultry vocals as she extols the virtue of her lover as being ‘one in a million’. Written by legendary songwriter Rudy Clark (who also wrote Betty Everett’s, “It’s In His Kiss, (Shop Shoop Song)” and The Olympics “Good Lovin’ ”, to name just two, the song will always be indelibly liked to Maxine. As an aside, UK pop/soul group Chapter Five also recorded the song which was released in UK on CBS which also gained the odd play on the Northern Soul circuit but it’s really like comparing a Del Boy Trotters Robin Reliant to a gleaming Rolls Royce. From the opening guitar and tambourine combination Maxine’s outing glides through three minutes of quintessential Northern Soul that sits at the peak of the idiom. It builds and fades, sounds like it was recorded by a philharmonic orchestra and provides the perfect platform for Ms Brown’s seductive tale of how she’s determined to make her man hers, no matter what the sacrifice. As an aside, Rhetta Hughes also delivered a credible version on Columbia (#44073) as did a UK singer called Karol Keyes on UK Columbia (UK- DB8001), that was produced by the Kinks' Ray Davies. There is also a version by Mary Ford on Tower Records (#279) but it's a poor effort compared with Ms Brown's outing and I'd suggest you flick by it should you see it in sales boxes! That same year Maxine released another duo of platters that saw sporadic plays by Northern Soul DJs, Maxine Brown — “Let Me Give You My Loving b/w We Can Work It Out” — Wand 1128 paired a version of The Beatles classic with an upbeat dancer that was co-written by Maxine herself. The A side is a wonderfully lilting, mid paced outing with all the hallmarks of the Big City sound that came to identify Wand/Scepter productions of the era. As Maxine’s vinyl outings started slowing down in terms of sales, Florence Greenberg figured a revamp of material may well breathe some wind into her musical sails and looked to the current en vogue Southern Soul sound of Otis Redding . Hence, Maxine subsequently recorded with Otis Redding at the production helm in the summer of 1967, at Muscle Shoals, but Otis died in the now infamous airplane crash on December 10th of the same year, before he could furnish the finished article to Wand/Scepter. The songs were finally given their second life in 1985. Two of these recordings gained cult status amongst Northern Soul fans. (Appearing on Kent/Ace LPs), “Slipping Through My Fingers” which is a down home, gritty dancer and a fantastic version of “Baby Cakes”, which of course was released on Otis’ own imprint as imprint by another female artists as Loretta Williams — “Baby Cakes b/w I’m Missing You” — Jotis 471. Another snippet from Maxin’s career that deserves recording here is that when Tammi Terrell first took ill with the ailment that would sadly see her demise, it was to Maxine that Motown turned to fulfil the engagement at The Apollo in Harlem that Marvin Gaye and Tammi were scheduled to appear at. Marvin and Maxine dueted on,“Ain’t No Mountain High Enough”, which was a current hit for Motown at the time. Of course Maxine also dueted with a huge success with Chuck Jackson and readers may well wonder why that part of her career doesn’t feature here? I figured it was only a matter of time before Mr Jackson also appears in our Hall Of Fame and so to that end I decide to revisit Maxine’s collaborations with Mr Jackson when that actually happens. The majority of Maxine’s records contain an element that it would seem remiss not to record here though and that is the backing singers. Most of the time backing singers are not just unheralded but often ignored but when it comes to The Sweet Inspirations who backed Maxine and indeed worked as the voices behind many soul performers including Solomon Burke, Aretha Franklin, Wilson Pickett to name just a trio and were also Elvis Presley’s ‘go to’ girls for his recordings of the era. Cissie Houston, The Warwick Sisters Dionne and Dee Dee), Doris Troy, Estella Brown, Sylvia Shemwell and Myrna Smith were all members of the group at some stage during Maxine’s tenure at Wand/Scepter. The group would of course go on to attain legendary status backing most of the stellar artists at Atlantic in the late 60s. Despite being ill and hospitalised, right up until the day before the performance, Maxine was also a headliner at one of the early: Concerts In The Park, a premier live music event held in NY Central Park and which also included Ramsey Lewis and Lou Rawls on the bill. The trio performed a number of popular songs of the time and Maxine contributed with renditions of, “In The Midnight Hour” and “Soul Serenade” The concert was recorded and segments of it were released on a 1968 released Capitol LP of the same name. With the success of Maxine’s outings now waning with Wand, in 1968 she made the move to Epic Records and came together with fellow SS Hall Of Famer, Mike Terry on arranging and production duties and armed with a portfolio of quality songs mainly from then quills of Detroit’s finest the LP is a much treasured item amongst soul fans even today. Amongst the list of songs on the album were two that were lifted and gained a scheduled release, Maxine Brown — “Seems You’ve Forsaken My Love b/w Plum Outta Site” — Epic 10334, the A Side is a great ballad written by Bridges Knight and Eaton (aka The Brothers Of Soul) and features Mike Terry’s swirling, soaring string arrangement and angelic backing vocals amongst Maxine’s pleadingly mournful lead. The Detroit based also furnished the flip side which has a much more up-tempo feel to it. The LP contains a number of cover versions, all of which are pulled back from becoming merely copies of the originals by both Mike’s mixing board skills and Maxine’s exquisite vocals, the pick of the litter being her version of Wilson Pickett’s “I’m In Love” and one of the very few female versions ofThe Temptations classic, “I Wish It would Rain”. By the rapidly approaching new decade , maybe it was the rise of the Philly Sound emanating from sigma Sound Studios and CBS’ Epics parent company’s shiny new deal with two of its architects Mr Kenny Gamble and Leon Huff, (The up and coming record producers had already been approached by the managers of the fellow CBS contracted group The Vibrations to produce material on them, which they did) but for whatever reason the second Epic release on Ms Brown, Maxine Brown — “From Loving You b/w Love In Them There Hills” — Epic 10424, is a coupling of the Gamble and Huff classic “Love In Them There Hills” and Ted Cooper’s “From Loving You” (Mr Cooper being a prolific in house producer for CBS’ stable of logos including Epic and Okeh). The change of production team mustn’t have impressed as Maxine was soon signing for the newly established Commonwealth United Records and the first 45 release from the infant company was the powerhouse Maxine Brown — “We’ll Cry Together b/w Darling Be Home Soon” — Commonwealth 3001. This song, for your author at least, is the crowning glory of Ms Brown’s career. A big statement indeed when you take into account her legacy of outings I agree. But if you were ever going to explain to someone who needed an example of soul music at its very best then point them in the direction of this 45. Job done! Co-Written by the re16 releases cently deceased (Jan 2015), Rose Marie McCoy and produced by legendary Bob Finiz, (Of Moses Smith — Girl Across The Street fame), the sheer quality of all involved propels the finished article with its lamenting vibe intro setting the initial pace, Maxine relates the heart-wrenching break up of her relationship, softly spoken at first but then she builds and builds and ….builds as does the backing track, melancholy strings, soul drenched backing vocals, but always at the core is Maxine, proving if anyone needed confirmation that she really was one of the great female voices of the era. The kind of performance that if you are unfortunate enough to suffer a house-fire, you make a bee line for along with family photos! The Commonwealth United Record company was an offshoot of a film production company but after signing and releasing initial 45s on fellow Northern Soul favourites Lenny Welch, Richard Parker and Cissie Houston amongst its roster and releasing one more 45 on Ms Brown, Maxine Brown - I Can’t Get Along Without you b/w Reason To Believe — Commonwealth 3008, its parent company went bust and took the record ‘division’ with it after only a mere 16 releases although it did manage to deliver an album on Maxine that also suffered from limited exposure and marketing as the company floundered. Maxine did however also release an album on the label Maxine Brown - We'll Cry Together - Commonwealth United LP (#CU6001), which has another song nestled on it co written by rose Marie McCoy, "See Don't See" which is real tight, funky styled dancer which has resulted in the LP becoming sought after item too. (There is reputedly a Canadian EP with this track on but I've not seen it yet). With Commonwealth United floundering, it left Maxine hunting for yet another label, which she found in 1971, when she was signed by Hugo and Luigi (9) for their newly established Avco Records. By co-incidence Avco Records was also an offshoot of a film company with Hugo and Luigi partnered with Avco Embassy Pictures. It was here that Maxine would find herself collaborating with yet another stellar soul producer when her suggestion that she might benefit from being produced by Van McCoy was accepted by the song-writing team. The Avco sessions produced three 45s, released in 1972/73, the first one by Van McCoy (utilising a young friend of Van McCoy’s on backing vocals, a certain Luther Vandross), “Maxine Brown — Make Love To Me b/w Always and Forever” — Avco 4585, put two Van McCoy and Joe Cobb (a long time song-writing partner), penned ballads back to back which certainly gave Maxine enough scope to highlight her talents but it was the next release, Maxine Brown — “Treat Me Like A Lady b/.w I.O.U.”- Avco 4604, that saw the production auspices of Tony Camillo (10), integrate a more funkier, modern sounding side to Maxine’s work. The follow up single, which is also a collaboration with Tony Camillo, would prove to be her last on the logo, Maxine Brown — “Picked Up, Packed And Put Away b/w Bella Mia” — Avco 4612 is a real two sider, delivering a raucus stormer on which Maxine turns in a strong perfvormance as a woman wronged and determined to move on with her life on the plug side, whilst Maxine gives a great performance on a ballad that once again will please fans of her style when she lets ‘rip’ with that sultry, smokey voice. By the mid seventies, the music industry had embraced black music in all its forms and had seen the lyrically poetic and melodically based soul of the previous decade replaced by urban funk, disco and the lush arrangements of the Sound Of Philadelphia. This left balladeers like Maxine in a quandary. Either look for other opportunities or take up a ‘day job’. Maxine chose the former and took acting and dancing lessons which she felt would add extra strings to her musical bow. Rhetta Hughes (Yet another of our soul heroines), was about to leave the stage show “Don’t Bother Me I Can’t Cope” and Maxine was encouraged to audition for the part. Her audition successful, she had 3 days to learn the part before her debut. (11) Once Don’t bother Me I Can’t Cope finished it’s run Maxine took to working the clubs and lounges around the city. Even with no record company backing she was still able to work a crowd with her voice singing everything from pop standards of the day to jazz classics. It wasn’t until 2005 that Maxine would release her next recordings, sessions that she financed herself the year before, resulting in the album: Maxine Brown — “From The Heart” - Fountainbleu Ent. With 13 songs, some penned by Maxine herself, the album is a testament to the art of singing. From cool, jazz infused outings to the plaintive ballads that Ms Brown made her own, she delighted her fans who had never given up hope that she would return to recording. Maxine also continued singing even though she had slowed down on the recording front and together with Ella ‘Peaches’ Garrett and Beverly Crosby formed a trio called The Wild Women who performed a fusion of Gospel/Jazz/Soulful songs in and around New York. (Sadly, Ella passed away recently). As was the norm, Maxine had recordings that for whatever reasons were left in the can and so when those erstwhile soul detectives at Ace/Kent Records in London gained access to the Wand Scepter vaults in the early eighties, it wasn’t long before they unearthed masters that were given a new lease of life and Maxine’s “It’s Torture” was amongst the tracks that’s aw a vinyl release. Maxine Brown — “It's Torture b/w I Got Love” - Town 110, became a hugely popular dance-floor filler in UK which led to her appearing at the Cleethorpes Weekender in 1987 at which Maxine wowed an enthusiastic crowd with her repertoire of classics which included “It’s Torture”, which has recently enjoyed a re-release coupled with an unreleased (at the time), song her old duet partner Chuck Jackson as, Maxine Brown — “It’s Torture” b/w Chuck Jackson — “I’d Be A Millionaire” — City 032. Maxine has also performed in continental Europe as the Northern Soul fraternity there has blossomed. Maxine Brown, despite missing the full blown break out that would have shot her to the International fame and fortune that her talents rightly deserved made an impact of aficionados of soul music worldwide. Her legacy of heart-wrenching ballads, great up-tempo dancers and everything in between will ensure that her legacy is kept fresh in peoples’ minds for a long time yet. One of the great voices of soul music when it was littered with quality vocalists. And that’s why we take great pleasure in welcoming Ms Maxine Brown into the Soul Source Northern Soul: Hall Of Fame. Lorraine Chandler and Dave Moore Notes and References: 1. Interview with Maxine Brown by James Power which can be found at: http://www.jamespower.net/Maxine_Brown.html 2. This Manhattans group is no connection to the one with the same name that started out recoding on Joe Evan’s Carnival label. 3, http://nycommonplace.wordpress.com/2010/11/06/nomar-records/ 4. Record Makers and Breakers: Voices of the Independent Rock 'n' Roll Pioneers by John Broven. Dated 2009. ISBN: 978-252-03290-5 5. Morris Levy was a notorious mover and shaker within the record industry. His involvement in shady dealings would soon attract the FBI and his mob connections were the focus of investigation that would reverberate throughout a number of ‘blue chip’ companies including MCA, Brunswick, Calla and Roulette. 6. Ed Townsend was a native of Tennessee who, after serving in the USMC would go on to become a sought after songwriter and producer. He worked with a plethora of soulstars including Ben e King, The Shirelles, Theola Kilgore, Dee Dee Warwick was the co-writer of Marvin Gaye’s huge hit “Let’s Get It On” and also wrote and produved the Impressions mid 70s #1 hit. “Finally Got Myself Together”. 7. Stan Greenberg was the son of Wand/Scepter owner Florence Greenberg. Stan was blind from a young age and it was his disability that was reputedly led his mother encouraged him to forge a career out of music. Mr Greenberg started out producing records and was eventually given the task of managing the creation of a studio set up and its subsequent operation. 8. Interview with Maxine Brown by James Power which can be found at: http://www.jamespower.net/Maxine_Brown.html 9. Hugo Perretti and Luigi Creatore were a prolific and hugely successful song-writing team based in New York’s Brill Building. They had scored hits as far back as the mid-fifties and produced a series of smash hits on artists as diverse as Perry Como, Elvis, Sam Cooke and were instrumental in the success of The Stylistics in the early seventies. 10. Tony Camillo was a well respected songwriter and record producer on the NY scene at the time. Probably his best known work was Gladys Knight’s — “Midnight Train To Georgia” smash hit but his cv incudes hiuts with Holland Dozier Holland’s Invictus set up as well as hits with Diana Ross, Peaches and Herb, Millie Jackson and The Fifth Dimension. 11. The musical play “Don’t Bother Me I Can’t Cope” was an all singing and dancing production that used as it’s subject matter aspects of black people’s lives at the time including tenements, ghetto life, slum landlords, the rise of Black power and used a fusion of black music to portray it’s message utilising Gospel, Jazz, Soul, Funk etc as its medium. Discography: All In My Mind b/w Harry Let's Marry — Nomar 103 Funny b/w Now That You're Gone — Nomar 106 Heaven In Your Arms b/w Frankie and The Flips - Maxine's Place - Nomar 107 Think Of Me b/w I Don't Need You No More — ABC Paramount 10235 After All We've Been Through Together b/w My Life - ABC-Paramount 10255 What I Don't Know (Won't Hurt Me) b/w I Got A Funny Kind Of Feeling — ABC Paramount 10290 Wham 7036 - All In My Mind b/w Funny — Wham 7036 Forget Him b/w A Man — ABC Paramount 10315 My Time For Crying b/w Wanting You — ABC Paramount 10327 I Kneel At Your Throne b/w If I Knew Then — ABC Paramount 10353 Am I Falling In Love b/w Promise Me Anything — ABC Paramount 10370 Life Goes On Just The Same b/w If You Have No Real Objection — ABC Paramount 10388 Ask Me b/w Yesterday's Kisses — Wand 135 Coming Back To You b/w Since I Found You — Wand 142 Little Girl Lost b/w You Upset My Soul — Wand 152 Put Yourself In My Place b/w I Cry Alone — Wand 158 Oh No Not My Baby b/w You Upset My Soul — Wand 162 It's Gonna Be Alright b/w You Do Something To Me — Wand 173 One Step At A Time b/w Anything For A Laugh — Wand 185 If You Gotta Make A Fool Of Somebody b/w Your In Love — Wand 1104 One In A Million b/w Anything You Do Is Alright - Wand 1117 Let Me Give You My Lovin' b/w We Can Work It Out — Wand 1128 I Don't Need Anything b/w The Secret Of Livin' — Wand 1145 Seems You've Forsaken My Love b/w Plum Outa Sight — Epic 10334 From Loving You b/w Love In Them There Hills — Epic 10424 We'll Cry Together b/w Darling Be Home Soon — Commonwealth United 3001 Can't Get Along Without You b/w Reason To Believe — Commonwealth 3008 Make Love To Me b/w Always And Forever — Avco Embassy 4585 Treat Me Like A Lady b/w I. O. U. — Avco Embassy 4604 Picked Up, Packed And Put Away b/w Bella Mia — Avco 4612 https://www.youtube.com/watch?v=yuWphXZCqkA https://www.youtube.com/watch?v=Ea_3pEvROQs

Date Of Induction: November 2014 Category: Female Vocalist When I realised Linda Jones was going to make the first list of inductees to our Northern Soul Hall Of Fame I have to admit to allowing a small satisfying smile cross my lips. For just about all my adult life I’ve marvelled at the lady’s talent and ability and her contribution to the lives of soul fans deserves no less than to be recognised by those very same fans to whom she is so endeared. Linda was born on January 14th, 1944 in Newark NJ. Even at the tender age of six years old she was entertaining crowds with her singing as part of her family’s Gospel group The Jones Singers and throughout her teenage years she developed her distinct powerhouse vocal style that would place her up alongside the highest echelons of female soul singers. In 1963 she made her first foray into the world of secular recording when she was billed as Linda Lane on the MGM subsidiary with a version of the Berry Gordy penned Jackie Wilson hit, Linda Lane — “Lonely Teardrops b/w Cancel The Celebration” — Cub 9124 but as with much of Linda’s catalogue it didn’t quite resonate with the record buying public. Undeterred by a lack of success from her initial waxing she persevered with her art and continued to sing on the local lounge and club circuit. Without completely ditching her Gospel roots, Linda nurtured them and embraced the sound in her singing. It was this fusion of a Gospel tinged, heart-wrenching vocal combined with Linda’s passionate delivery and wide range, that formed the building blocks of her career. Discovered singing in a local club by Jerry Harris, a sometime song-writing partner of legendary record producer George Kerr, the meeting led to an introduction that would change Linda’s professional life and open the way for her recording career to finally take off. George Kerr’s career had begun with him being a member of The Serenaders alongside Sidney Barnes, Timothy Wilson and Howard Curry but had really took off when he, alongside Mr Barnes, became a staff writer for the newly established Jobete (Motown) office set up by Berry Gordy’s second wife Raynoma. (1) When Berry Gordy decided to close down his New York office he transplanted George Kerr and his family to Detroit, which is where over the next two years, he would study the intricacies of arranging and producing. With Motown’s existing arranging and producing teams right at the forefront of the explosion of soul music during the mid-sixties it’s no surprise that George Kerr’s opportunities were limited and frustrating. On release from his Motown contract he returned to New York with all the skills and determination to forge his own way musically and his introduction to Linda Jones was one of those glorious coincidences when two talents collide with mouth-watering results. Basing their recording sessions in NY, George Kerr and Linda Jones kicked off their association with a song that was probably written whilst Kerr was a staff writer at Motown’s NY office. Linda Jones — “Take The Boy Out The Country b/w I’m Taking Back My Love” — Atco 63344. The B Side of which highlights just how mature Linda’s voice had become as she performs a dramatic twist and turn through her vocal range. An equally dramatic, piano laden backing rack from Messrs Kerr and Harris provide Linda with a great platform and she delivers in spades. The team’s next outing was placed with New York Brill Building tenants Jerry Leiber and Mike Stoller’s famous Blue Cat imprint, Linda Jones — “Fugitive From Love b/w You Hit Me Like TNT” — Blue Cat 128, the flip being another Kerr and Harris penned song but this time a full blown, on the fours, up-tempo dancer. (2) Mr Kerr was beginning to get the gist of Linda’s abilities and this outing solidified their combination with it’s almost Motown-esque driving beat, chanking guitar, Hammond organ riffs and forceful backing singers. There’s no mistaking the real star of this particular show though, Linda’s strained impassioned vocal takes centre stage and remains there throughout! As Linda extols the merits of being hit like TNT by her lover’s charms, this uptempo, bounce-along dancer gives the listener an audio peek of what was to come from the New Jersey songbird. George and Linda had recorded a song that Kerr tried to lease out and played to one of Brunswick’s main promotional guys, Joe Medin who liked it but with Brunswick in full promotional swing for a certain Jackie Wilson suggested Kerr punt the song to Ronnie Mosely who had just started work at the newly established Loma records. Mosely wasn’t particularly taken by the track but Jerry Ragavoy brokered a deal for George Kerr with the Warner Brothers’ subsidiary label, when he heard Linda singing the song. Ragavoy was producing records for the Bob Krasnow owned logo at the time and knew of Kerr’s emerging talent. With a Richard and Robert Pointdexter song utilising Richard Tee on duty as the arranger, the team got off to a veritable ‘flier’ right off the bat. Their initial release for the West Coast label in 1967, Linda Jones — “Hypnotized b/w I Can't Stop Loving My Baby” — Loma 2070, combined a strong ballad with Linda’s vocal gymnastics and delivered a performance that resonated with the record buying public who pushed it to #4 on the Billboard RnB Chart and #21 on its Hot 100 Pop equivalent. The flip is a fantastic Northern Soul dancer that has often been touted as the next big thing on DJ turntables but has yet to see it’s real appreciation by the dance-floors. It would prove to be Linda’s most commercially successful outing and the resulting LP, Linda Jones — “Hypnotised” — Loma (LP #5907), would become a ‘must have’ for soul fans and ranks up amongst other outstanding Northern Soul quality albums by such notables as The Metros, The Hesitations, Bobby Hutton, The Tempests etc. A couple of more than noteworthy tracks that can only be found on this album are Linda’s version of the Shirelles classic, “Last Minute Miracle”, which has an added urgency to the original and the sublime mid tempo outing, “If Only (We Had Me Sooner" The album also proved fertile ground for single releases too with six of the tracks making it to a 45 release on three outstanding back to back 45s. In addition to the album title song, three other singles were culled, Linda Jones — “What've I Done (To Make You Mad) b/w Make Me Surrender (Baby, Baby Please)” — Loma 2077, the A Side of which is a fantastic ballad on which Linda’s signature vocal gymnastic take centre stage as she interprets a song by George Kerr and Jerry Harris. It’s George and Jerry who provide the vehicle for the flip too, although this side seems to be a departure for not just them but also for Linda in that it’s a funky story of unrequited love which features a rather messy horn arrangement that leaves Linda kinda shrouded in the mix. The third and final 45 taken from the album was back to business as usual though, Linda Jones — “Give My Love A Try b/w I Can't Stand It” — Loma 2085 provides a wonderfully produced Pointdexter Brothers ballad and a raucus and criminally overlooked pounding dancer, both sides highlighting Linda’s now fully developed range and powerful delivery technique. One other track on the LP, "You Can't Take It" was also picked up for plays on the Northern Soul scene but because of it's LP status has never really dominated the dance-floor as it could have. The song does appear on a rare French 7inch single and is also available on a very much sought after French EP as well. Linda had three remaining outings on the Loma label, Linda Jones — “What Can I Do (Without You) b/w Yesterday” — Loma 2099, coupled a deep soul, Gospel influenced ballad with a version of the Beatles classic but Linda Jones - “I (Who Have Nothing) b/w It Won't Take Much (To Bring Me Back)” — Loma 2105 sees Linda deliver her interpretation of the classic first produced by the Brill Building residents Jerry Leiber and Mike Stoller on Ben E King (Atco #6267) in 1963 but made famous by Shirley Bassey the same year on a UK production (Columbia # 7113). She really grabs the song by the musical horns and her dramatic, soulful intonations give the song a different feel from Ms Basseys'. Linda Jones is one of those artists that will be forever linked with a song that is seen as their signature Northern Soul outing. Actually, in Linda’s case she will be forever intrinsically linked with two songs, both from the Warner Brother’s stable albeit only one showing the Loma insignia. Linda Jones — “My Heart Needs A Break b/w The Things I've Been Through (Loving You)” — Loma 2091 and Linda Jones — “I Just Can't Live My Life (Without You Babe) b/w My Heart (Will Understand)” — Warner 7 Arts 7278 are both iconic femme Northern Soul classics, the first one was written by Sammy Turner (3) and encompasses all the components of our music’s signature goodies, a dance-floor magnetic intro, peaks and troughs backing track, swirling strings, a metronome like tambourine and right at the fore is that impassioned, unique, gut wrenching vocal from a lady who absolutely nails it as she tales her tale of overpowering love in full blown dramatic fashion. The second one, written by George Kerr and arranged by that soul stalwart Richard Tee, has of course filled dance-floors for over 40 years. If anything is pitches up Linda’s emotionally charged vocals yet another notch! A tad faster than the predecessor, it’s a full ‘on the fours’ roller coaster ride as Linda battles amongst the harp, the machine gun like 88s, vibes, angelic backing singers, subtle horns (including a great sax mid range)! In this musical battle there’s only ever going to one winner and that’s Linda. Not only does she come out on top but she totally dominates the song especially on her high notes with her intense and undulating style of delivery. It’s easy to see that whilst everyone from the harpist to the drummer and Kerr and Tee are all on top form, it’s Linda’s vocal that is still ringing in your ears as the song fades after 2 minutes and 40 seconds of sheer dance-floor exuberance. Uptempo, Femme Northern Soul doesn’t get any better. (Actually it does but more of that later!) With Linda’s chart success with “Hypnotized”, came an opportunity to tour and with PR photos paid for by an advance from Ragavoy, Linda signed with the legendary Queens Booking Agency and subsequently made her first foray out on the tour circuit, joining Henry Wynn’s line-up which included Jackie Wilson, The Vibrations, The Chantels and The Bobbettes. She sang two songs on that initial tour earning $1250 per appearance as she wowed the crowds with her highly emotional interpretations of “Hypnotized” and Sam Cooke’s “A Change Is Gonna Come” . "We only did three takes on the songs and I always ended up using the first one. The best way to describe her performance in the studio is to say she was in love with the microphone, so at ease. We would turn down the lights in the studio and just listen. Linda did everything with no effort..." — George Kerr George Kerr and Linda’s success at Loma did however peter out in terms of sales when the last three 45s failed to impact the charts and they needed to look round for new opportunities. That opportunity came from Philadelphia and the city’s musical supremos Gamble and Huff who had established Neptune Records in the City of Brotherly Love with the tagline The Sound Of Philadelphia. The logo saw a couple of releases from Linda in 1970, the highloight of which has to be Linda Jones — “I'll Be Sweeter Tomorrow b/w That's When I'll Stop Loving You” — Neptune 17, that featured a song that Kerr had previously released on The OJays as the flip to “I Dig Your Act” (Bell # 691) in 1967 and fantastic version of the Vernon Harrel (4) penned song that has Linda slay the listener with an account of how nothing will ever stop her loving her man. Neptune was ill fated from the outset as Gamble and Huff had negotiated a distribution set up with Chess Records but had seen that company bought out by GRT who really only had eyes for the labels back catalogue at that stage. And so as Neptune languished Kerr approached Sylvia and Joe Robinson who were growing their New Jersey based All Platinum company. The musical entrepreneurs had newly established two labels called Stang and Turbo that they had started enjoying some success with, especially on the Whatnauts and Linda was signed to the company. Amongst the singles released was a version of the Jerry Butler classic on Linda Jones — “(For) Your Precious Love b/w Don't Go (I Can't Bear To Be Alone)” — Turbo 021, a song that had wowed audiences in her live performances when she added it to her repertiore and a release that for many of Linda’s fans ranks up at the very pinnacle of her legacy. George Kerr had already produced the self-penned song on The OJays, (Bell #704) a few years earlier and had revamped it for this outing that would see Linda duet with The Whatnauts. Carlos 'Billy' Herndon, Garnett Jones and Gerard 'Chunky' Pinkney were a trio of singers from Baltimore, OH who were also produced by George Kerr under the All Platinum banner. Putting both these acts together was something of a eureka moment and the ensuing single, Linda Jones and the Whatnauts — “I’m So Glad I found You” b/w The Whatnauts — “World Solution” — Stang 5039 is a performance of monolithic proportions in terms of Linda’s powerhouse delivery. The song itself is a great song, the backing track is faultless and the male vocals are superb but when, at 1:12 into it, Linda Jones, one of THE iconic voices of soul music turns up, its game set and match to the lady. From her initial “Ooh Ooh Oooh!” she tales control with her searing, almost blistering vocals, her voice simply pushes everything else out of the way in a kind of ‘Move over, real singer in town, let me show you how it’s done!’ attitude. For your author, this is Linda’s finest hour and that’s certainly saying something taking into account her catalogue of performances of such a high calibre. Sadly Ms Jones’ career was about to be tragically cut short. After another couple of releases back on the Turbo logo Linda was appearing in a short run of engagements at the famed Apollo Theater in Harlem and had, the night before, completely enamoured the audience with her performance. That fateful afternoon on March 14 1972 Linda was resting at her mother’s home between the matinee and evening shows and slipped into a diabetic coma, she had suffered from Diabetes for most of her life. Tragically Linda never recovered and a few hours later passed away at the tender age of only 27 years old. For one so young she left a legacy of music appreciated by a legion of fans and one can only wonder what she could have achieved had she been dealt a fairer set of life’s cards. Linda Jones would never receive the recognition in her homeland that she deserved, her voice was one of the iconic sounds celebrated by soul fans worldwide and as far as the Northern Soul fraternity is concerned her musical legacy lives on in all its glory. And that is why Linda Jones, New Jersey soulful songbird is one of the inaugural inductees into our Hall Of Fame. And rightly so. Dave Moore : February 2015 Notes And References: 1. The Serenaders did in fact release a 45 on Gordy’s VIP logo as, The Serenaders — “If You’re Heart Says Yes b/w I’ll Cry Tomorrow” — VIP 25002. 2. Although credited on the 45 to a George Harris, I think this is in fact Jerry Harris. 3. “My Heart Needs A Break” was originally recorded by Sammy Turner but only progressed to the demo tape stage and remained unissued until it appeared on the UK. Goldmine CD entitled, "Detroit Soul From The Vaults Volume One", (GSCD 19) in 1983. 4. Vernon Harrell was a New York based songwriter and performer who often collaborated with JR Bailey, (Bailey is often rumoured to have been Chuck Wood of “Seven Days Is Too Long” fame, the song was certainly written by Harrell and Bailey). Also amongst Harrell and Bailey’s other song-writing accomplishments is The Platters — “Sweet Sweet Lovin’ “. Mr Harrell would also become a member of long standing group The Coasters in the sixties. Discography: Linda Lane - Cancel The Celebration b/w Lonely Teardrops — Cub 9124 Linda Jones - Take This Boy Out Of The Country b/w I'll Take Back My Love — Atco 6344 Linda Jones - Fugitive From Love b/w You Hit Me Like T. N. T. — Blue Cat 128 Linda Jones - Hypnotized b/w I Can't Stop Loving My Baby — Loma 2070 Linda Jones - What've I Done (To Make You Mad) b/w Make Me Surrender (Baby, Baby Please) — Loma 2077 Linda Jones - Give My Love A Try b/w I Can't Stand It — Loma 2085 Linda Jones - My Heart Needs A Break b/w The Things I've Been Through (Loving You) — Loma 2091 Linda Jones - What Can I Do (Without You) b/w Yesterday — Loma 2099 Linda Jones - I (Who Have Nothing) b/w It Won't Take Much (To Bring Me Back) — Loma 2015 Linda Jones- I Just Can't Live My Life (Without You Babe) b/w My Heart (Will Understand) —Warner 7 Arts 7278 Linda Jones - I'll Be Sweeter Tomorrow b/w That's When I'll Stop Loving You — Neptune 17 Linda Jones - Ooh Baby You Move Me b/w Can You Blame Me — Neptune 26 Linda Jones- Stay With Me Forever b/w I've Given You The Best Years Of My Life — Turbo 012 Linda Jones - I Can't Make It Alone b/w Don't Go On — Turbo 017 Linda Jones - (For) Your Precious Love b/w Don't Go (I Can't Bear To Be Alone) — Turbo 021 Linda Jones - Not On The Outside b/w Things I've Been Through — Turbo 024 Linda Jones & The Whatnauts - I'm So Glad I Found You b/w World Solution — Stang 5039 Linda Jones - Let It Be Me b/w Don't Go (I Can't Stand To Be Alone) — Turbo 028 Linda Jones - Fugitive From Love b/w Things I've Been Through — Turbo 032

Induction Date: 01 November 2014 Category : Female Vocal Group When the film ‘Standing In The Shadows Of Motown’ hit the screens over a decade ago, it finally let the world in on what was one of the music industry’s best kept secrets. The group of musicians who had laid down the tracks to what became known as ‘The Sound Of Young America’, had been airbrushed out of most of the story of the rise of Detroit’s musical empire based at 2648 West Grand Boulevard but Alan Slutsky’s movie went some way to setting the record straight about the contribution to Berry Gordy’s success made by people who were kept behind the scenes. I say it went someway but there was still a trio of ladies who, although acknowledged, still hadn’t had the full splendor of their contribution highlighted as they deserved. Jackie Hicks, Marlene Barrow-Tate and Louvain Demps sang to soul fans on hundreds if not thousands of soul records. Their voices soared alongside every artist to grace the recording studio that became affectionately known as ‘The Snakepit’, including but by no means limited to, The Four Tops, Martha And The Vandellas, The Temptations, Kim Weston, Jimmy Ruffin, Marvin Gaye, Mary Wells and The Miracles. Their work which, like the Funk Brothers, provided a cornerstone to Berry Gordy’s vibrant combination of Gospel orientated Rhythm n Blues and secular lyrics, was vital to Gordy’s worldwide success and the music industry, although lagging behind us, the fans, in appreciating them has since unearthed the contribution they made and heralded the ladies for what they were, simply the most successful studio backing singers of all time. Those ladies were of course…The Andantes! The story of The Andantes, is really the story of Detroit. The city’s musical explosion of the sixties engulfed many of the city’s aspiring musical youth and The Andantes were at the centre of it all. Jackie Coela Hicks, a native Detroiter, was born 4 November 1939 to Aaron and Clara, Aaron her father having been enticed Northwards from Alabama by the Ford Motor Company met Clara in Detroit after she had also moved there with her family from Georgia, Alabama. Surrounded by church music from an early age Jackie’s brother Aaron Jr sang with a number of choirs in the city, eventually became a music teacher and taught piano. Jackie met Judith Marlene Reid when, as five year olds, they began singing as members of The Hartford Memorial Baptist Church presently located just off the James Couzens Freeway and along with their friends Emily and Edith Phillips became something of a trio/quartet with Emily or Edith joining in with Jackie and Marlene. They impressed their musical director, Ms Mildred Hankins—Dobey so much that she christened them The Andantes. (Andante is a musical term relating to tempo and the beats per minute that a piece of music is to be played at). Judith, who was always known by her middle name, Marlene, is also a native of Detroit having been born on 25 September 1941 and was adopted as a three month old baby by Victor and Johnnie Reid. Both Marlene’s parents had also made the economic trek to the Motor city in search of job opportunities, her father Victor hailing originally from Mt Bayou, Mississippi and her mother from Hawkinsville, Georgia. Victor found work in the Dodge Main Motor Plant at Hamtrack, a position he held for 33 years. Victor also sang in an adult choir whilst Marlene’s mother was also a musician, who directed a youth choir and played piano and organ at the church (Hartford Memorial), close to their Stanford Street home. Jackie, Marlene and Edith sang together through their formative years and attended Northwestern High School (1) listening to the emerging rock n roll sound and were especially fond of groups like The Drifters and Jackie recalls that one of her favourite songs of the time was Gene Chandler’s ‘Duke Of Earl’, a song that the girls performed in a school talent show. (2) As the girls progressed through their teenage years, they broadened their musical influences as well as their skills with Marlene taking piano lessons and being taught to read music. Chaperoned by Jackie’s brother Emory, the girls were allowed to attend dances and other music events in and around the city as well as just over the Ambassador Bridge spanning the Detroit River border in Windsor, Ontario. As the girls prepared for graduation from Northwestern High, Berry Gordy was pitching his idea for a record label to the Gordy family for an $800 loan that would change all their lives, The Andantes included. In 1959, Richard ‘Popcorn’ Wylie, on leaving High School had set his own sights on a musical career, a gifted songwriter and piano player he had managed to book an audition for the new record company on West Grand Boulevard: Motown. With Motown especially looking for musicians/artists with original material, Popcorn was well placed and asked his friends, The Andantes to come along with him to assist him by singing the backing harmonies, which they had been doing in his basement for while anyway. Popcorn and the girls, (Jackie, Marlene and Emily), duly arrived at their appointment, performed their songs and both Popcorn and The Andantes instantly became Motowners! Emily and Edith Phillips however had plans outside music and with Emily already married and Edith about to be a new wife the sisters chose not take up Motown’s offer. The third piece of the vocal jigsaw that would create such harmonious magic over the next decade was already singing at ‘Hitsville’, in the form of a young lady who sang with a group of early Motowners known as: The Rayber Voices. (3) Louvain Demps was a native New Yorker, born in the Big Apple 7 April 1938. Her parents, Alfred Moor was a Philadelphian and Louvain Ameroux, after whom Louvain was named hailed from O’Fallon Missouri. They first met in New York but settled in Michigan, originally in Ann Arbour but later in Detroit where Alfred became a postman. The family settled in the Courville area of the city which was a predominantly Polish area back then and the young Louvain recalls attending Courville Elementary School on nearby St Aubin Street where by all accounts she was something of a little firebrand with a temper match! Her father was an opera buff who also loved classical music and both Louvain and her only sibling sister San Carmen were given violin lessons as children, a craft that neither of them pursued. From an early age though, Louvain loved music, films and was a great fan of Lucille Ball and Red Skelton. Louvain worked her way through Cleveland Elementary School and eventually attended the Sacred Heart Catholic School and she and her family became members of the local Holy Ghost Roman Catholic Church where Louvain and her two Godsisters, Marlene and Jackie Harper would join the choir under choirmaster Mr Oreal Taylor. As her teenage years dawned Louvain had already decided that a singing career was her goal. In junior high school she cut her first record on which she sang “Waiting For The Sunrise”, as a present for her mother. Originally wanting to be an athlete and even a police officer at one stage until discovering she was too short, the record hops of the late 50s were in full swing and Louvain was hearing all kinds of different music and developing an even more determined outlook on her ambition to be a singer. After graduation Louvain married Max Demps, who she met whilst he was visiting his cousin, an old school friend who lived on the same street as her. They married in June 1956 and set up home but staying on Arlington Street. Louvain’s introduction to Motown came via her best friend, Rhoda Collins who was songwriting and attempting to get her songs recorded. Via an ad she spotted in the local paper that stated for $100 they would record your song for you she subsequently met Raynoma Gordy. Louvain went along to the appointment to demo her friend's songs and ended up with an audition of her own. That audition took place at a building on Dexter and Louvain passed with flying colors! Testing her vocal range to its fullest led to her impressing her accompanying pianists Brian Holland, Berry Gordy and Marv Johnson so much that she was signed to the company and began singing as part of The Rayber Voices, a group that had moved to Motown when Gordy had absorbed the Anna logo and now sang backing vocals on many of the sessions at the time. The official line up of the group at the time was Robert Bateman, Raynoma Gordy, Brian Holland and Sonny Sanders. As Ms Ray’s duties at Motown became more time consuming, it was Louvain who made the female vocal contributions and she can be heard on a number of early timeless classics like Barrett Strong’s ‘Money’ and Eddie Holland’s ‘Because I Love Her’. Louvain was nineteen years old, married and had now started a family having been blessed with little Max her infant son. A singer she wanted to be…. And at last, with the support of her husband and family, a singer she was! It was now that Louvain discovered that there was work to be had outside of Motown and on responding to a newspaper ad placed by local entrepreneur Harry Balk, discovered that he was looking for singers, successfully auditioned and became a Dream Girl, alongside Bobbie Smith, (Elma Holman), her sister Sheena Carson (Genever Holman) and Kay Green. the fourth member of the quartet was Tina LaGora and it was during Tina's pregnancy that Louvain stepped in as the fourth voice. (4) She recorded a couple of outings in New York with the all female group, including the 1961 release, Bobbie Smith And The Dreamgirls — "Mr Fine b/w Wanted" — Bigtop 3085 and three months later, Bobbie Smith And The Dreamgirls — "Duchess Of Earl b/w Mine All Mine" — Bigtop 3100. By 1962, Louvain was appearing at record hops as a member of the group, whilst also undertaking vocal duties as a member of The Andantes having been introduced to Jackie and Marlene because The Rayber Voices were doing less and less studio singing as a unit. As The Rayber Voices faded from the studio scene, The Andantes took up the mantle of their successors and thus began a decade of Motown’s producers preferring them on their productions than anyone else. It may surprise people to discover that many of the female group releases feature The Andantes quite prominently including early Velvelettes and Supremes sessions and a number of Martha and The Vandellas tracks. As songs like, The Velvelettes - “Needle In A Haystack”, The Supremes - “Run Run Run” and Martha And The Vandellas — “Quicksand” hit record stores and provided a platform for ‘The Sound Of Young America’, there too, in the final mix, amongst the Funk Bros fabulous musicianship and the lead singers plaintive vocals are three metronome-like, pitch perfect, angelic voices, in choruses, in call and response lyrics, in the Oohs and Aaahs are Jackie, Marlene and Louvain, The Andantes. "When it came to producing the records, it's a fact that The Andantes recorded on everyone's product" - Micky Stevenson: Motown A&R Director As well as quickly becoming indispensable in the studio the girls would also perform on the road at times with the traveling live shows that the company deployed. Mickey Stevenson, the respected A&R Director, songwriter and producer recalls “When I took the Motown Revues out, they would sound the best and sound just like the records. I would take The Andantes and put them off stage with microphones, behind the curtains. I intentionally did that so we sounded great………. When it came to producing the records, it’s a fact that The Andantes recorded on everyone’s product, from the Four Tops to The Supremes; they did everything". As the studio got busier and busier so did the girls schedule. If all three couldn't make it to a session then others would become honorary Andantes for that session too. Two ladies of special note who sang on sessions as Andantes were Pat Lewis and Ann Bogan. Ms Lewis of course has an individual musical legacy of her own but it was when the girls were one voice short for a session that Pat first stepped in. The resulting, Stevie Wonder - Uptight (Everything's Alright) b/w Purple Raindrops" - Tamla 54124 went on to deliver a Billboard Hot 100 #3 slot so I guess everyone was happy with Pat's input! Ann Bogan's musical journey began when she was discovered by Harvey Fuqua singing in church in her home town of Cleveland Ohio and would eventually lead her to becoming a member of The Marvelettes. Before that however she was a member of The Challengers who recorded for Fuqua's Tri-Phi logo in Detroit. When Berry Gordy absorbed Fuqua's label it also took over control of it's A&R roster. Hence Ms Bogan found herself striving to make a name for herself in Gordy's ever growing stable of artists. This included standing in on backing vocal duties which she often did, with The Andantes and with others. Of course the ultimate goal of any singer is to be heard and despite Berry Gordy’s reluctance to allow his studio stalwarts like The Funk Brothers and The Andantes to spread their own musical wings to much the girls did in fact record under their own name. On the 6th February 1964 and suitably armed with two songs written by the red hot in-house production team of Holland — Dozier — Holland, the girls recorded a session constructed around presenting their own voices in center stage. Ann Bogan was given the role of lead vocal for the session and little could they suspect that on that crisp, mid winter’s day in that little studio on a suburban, tree lined street in Detroit, they would create one of soul music’s most sought after outings on wax. The Andantes — “Like A Nightmare b/w If You Were Mine” — VIP 25006. Despite the disc being something of placation for the girls’ constant pestering to record, Berry Gordy having probably already decided that any 45 by his studio stalwarts wasn’t worth risking, (putting one of your best assets into the shop window isn’t good business sense), the uptempo, pacy song, full of vibrant drum fills played by Lamont Dozier, staccato horn riffs, an inspired Mike Terry sax break midway and a whole slew of ‘Oohs and Aaahs’ from the girls in support of Ms Bogans high alto, almost strained lead works like a charm. It’s got Motown circa 1964 stamped all over it and had it been a Martha Reeves and The Vandellas release would quite possibly have delivered a Hot 100 hit. With no success with their 45 on the horizon the girls continued undertaking backing vocal duties both at Motown and beyond. Although Berry Gordy demanded exclusivity from his musicians and The Andantes both the girls and the Funk Brothers regularly sang and played for other producers and not just in Detroit. Companies in Chicago, New York, Philadelphia all made use of the hit making machine from The Motorcity. When Carl Davis needed an injection of ‘vibrancy’ for a Jackie Wilson session it was to Detroit’s premier combination of The Funks and The Andantes that that looked to. The whole “Higher and Higher” album (Brunswick LP #54130), was performed by them which irritated Gordy back at West Grand Boulevard to the point that he employed people to investigate whether they were ‘moonlighting’. It's also The Andantes backing Jackie Wilson on his much sought after picture sleeved 45, "A Lovely Way To Die". Of course without the security of a contact, the girls still had to earn a living, especially as they became young mothers with family responsibilities and if it was a slow week in The Snakepit, they looked for gigs elsewhere. But it was Motown and backing the glittering Motown stable of artists that would ensure the Andantes would leave a legacy to match (if not surpass), the acts they supported. Kim Weston recorded a number of songs with the girls that hit the spot with record buyers and quite a few would also go on to achieve success with Northern Soul fans. Apart from the atmospheric background support on the anthemic, Kim Weston — “I’m Still Loving You b/w Go Ahead And Laugh” — Tamla 54110 and Kim Weston — “Helpless b/w A Love Like Yours (Don’t Come Knocking Everyday)” — Gordy 7050, it’s the ladies beautiful soaring voices that echo Kim’s emotional ‘Thrill A Moment’ throughout, Kim Weston - "Thrill A Moment b/w I'll Never See My Love Again" - Gordy 7041 that is really the peak of their collaborations. The backing vocals become as important a component as the opening bongo intro, or the stirring string arrangement, or indeed Kim’s tone perfect, soulful tale of her precious love, incidentally written by her with input from stalwarts William Stevenson and Ivy Joe Hunter. When all the pieces of this musical jigsaw came together in March 1965, the end result was one of Motown’s all time masterpieces. With every single part of the hit making machine firing all its cylinders the inspired ballad takes on an impressive, wholly atmospheric, moodiness that fits the song itself like a musical hand in a calf-skin glove. The Funks, Kim Weston, The Andantes... perform like a well tuned musical Ferrari and a more perfect example of craftsmanship within the company’s catalogue would be hard to find. The Andantes at their very best! Another female artist that benefited from having the group behind her on some of her successful outings was Brenda Holloway. Once again it’s the subtle but nevertheless vital ‘Oohs and Aaahs’ as well as the call and response lyrics that the girls bring to the musical table on 45s like the 1965 release of Brenda Holloway — “When I’m Gone b/w “I’ve Been Good To You” — Tamla 54111, a song originally recorded and subsequently aborted as a 45 release by Mary Wells a few months earlier, (Motown #1061). It’s a song that was also recorded in California by that other Motown songbird Barbara McNair but Brenda and The Andantes really make it their own and in the process created a stone mint classic for the Northern Soul fans. Brenda’s breathy vocal is a perfect foil for the Smokey Robinson penned classic whilst once again it’s the soaring backing vocals by The Andantes that provide the extra, powerfully dramatic musical podium, from which Brenda launches her sultry goodbye to her cheating beau. Simply put, it’s another 45 that has enraptured soul fans from the day it came of the press, was slipped into a sleeve and dispatched to record shops. It provided Brenda with a Top 30 hit on Billboard’s Hot 100 (#25) and peaked at #12 on its RnB equivalent. The Andantes were, by the mid sixties, an integral part of the Hitsville hit making machine often compared to the car producing assembly lines in the industrial plants the Motor City was equally famous for. They were there as Motown’s young aspiring singers became household names, they watched as the producers and songwriters hit the charts, providing the only real competition to The Brit Invasion. As The Miracles, The Supremes, The Four Tops, The Temptations, Stevie Wonder, Marvin Gaye led the assault on the international music scene, The Andantes, alongside that other troupe of musical talent The Funk Brothers, remained in Detroit, at 2648 West Grand Boulevard, continually adding to Motown’s legacy, unseen but certainly not unheard! If you ever wondered who it was that nudged the fantastic horn riffs to one side every now and then on Stevie Wonder’s fantastic “Uptight (Everything’s Alright) (Tamla # 54124). Then wonder no more, it was indeed Jackie, Louvain and Marlene, the very same trio that lifted Tammi Terrell’s outings from the great category to the fantastic category! A couple of great performances really highlight the quality of the vocal input from ‘background singers' and their effect on the final sound. “Come On And See Me” (Motown #1095), sees the girls interloping with Tammi’s emotional plea for love with that soaring style that created an almost tangible atmosphere to the songs, whilst their contribution on Ms Terrell’s version of, “This Old Heart Of Mine” (Motown #1138) is nothing short of stupendous. Without them the song becomes a pale copycat of The Isley Bros hit but with the girls stamping their signature impression all over it, it becomes a superb combination of fantastic musicianship coupled with uptempo vocal gymnastics worthy of a musical gold medal! “You could put a good singer on a good track. You could then put The Andantes behind them…and you had a hit record!” - R Dean Taylor R Dean Taylor’s blue eyed dancers “Lets Go Somewhere” (VIP # 25027) and “There’s A Ghost In My House” (VIP #25042), were also given The Andantes treatment and Mr Taylor himself recalls: “You could put a good singer on a good track. You could then put The Andantes behind them…and you had a hit record!”, (5) something that just about every producer did as the Motown machine rumbled ever onwards! The fantastic, Liz Lands — “Midnight Johnny b/w Keep Me” — Gordy 7030 is yet another Northern soul favourite song that was transformed by the girls “Stay away, stay away” and “Midnight Johnny”. Martha Reeves of course already had supporting voices in the form of the original Vandellas, Annette Beard and Rosalind Ashford, (Ms Beard being replaced by Betty Kelly in 1964) but even their 45s contain vocal enhancements contributed by the girls as did many of the hits enjoyed by The Marvelettes. Martha and The Vandellas — “Jimmy Mack b/w Third Finger, Left Hand” — Gordy 7058 gave the group it’s second #1 RnB hit once paired with The Andantes by the Holland — Dozier — Holland triumvirate. Of course H-D-H became one of the most prolific record producing teams of all time with Lamont Dozier eventually claiming the crown of the most successful producer of all time having scored more #1US Chart hits than anyone else. The Generals of Motown’s assault on the Billboard Charts the trio absorbed The Andantes into their creative mix. The group became such a feature on the recording sessions that they were given their own office space in which o rest awaiting the call to perform. Their role in the success of The Four Tops rise to international stardom via a series of fantastic outings on 45, certainly needs to be more recognized. As vital to the whole finished song as Earl Van Dyke’s clattering piano, or Mike Terry’s low end baritone sax snippets, the ladies “Oohs and Aahs!” combine with their male counterparts to create a musical balance that H-D-H and Levi Stubbs make full use of and together they literally grab the songs by the throat and squeeze the very soul from each note. If you’re not sure about how much their contribution was to these fantastic outings, re-listen to Four Tops — “Something About You b/w Darling I Hum Our Song” — Motown 1084 on which the girls sing nothing but “Oooh ooh ooh!” and then imagine the song without them! Or check out the soaring background voices on, Four Tops — “Shake Me Wake Me (When It’s Over)” b/w Just As Long As You Need Me — Motown 1090, that’s not just Messrs Benson, Fakir and Payton, oh no indeed, it’s the Seven Tops, the real ‘Magnificent Seven’: The Four Tops and The Three Andantes! All three of The Andantes recall their sessions with the Four Tops and H-D-H as being fun filled sessions that produced some of their best work, and Louvain Demps especially liked working with the Four Tops and cites “Bernadette” (Motown #1104) as one of her favourite songs thus: “The Guys sounded great, we sounded great and the production was amazing. The playback was so exciting to hear that first time. After all of the elements were on the record, it was like WOW!” It’s also the one song that Marlene would pick if she had to place one in a treasure chest. The Andantes also have special memories of their work with Marvin Gaye. In addition to Louvain’s fondness for “Mr Sandman”, Jackie still gets s thrill out of hearing, “I Heard It Through The Grapevine” and in fact still has it as her ringtone! The duets Marvin recorded with Kim Weston also conjure up evocative memories for the trio and are amongst their proudest moments. Marvin and Kim’s outings were all enhanced by The Andantes contribution in the back ground and songs like, “What Good Am I Without You” and “I Want You Around” are fine examples of how sweet, unobtrusive vocals can play such a large part in the final sound. As Motown changed and H-D-H left, other songwriters and producers would take up the baton. Nick Ashford and Valerie Simpson, Norman Whitfield, Pam Sawyer, Gloria Jones, Syreeta Wright, all recorded great music that would go on to achieve classic status and there, at the ever beating heart of it were The Andantes. When Marvin Gaye released his seminal album “What’s Going On” in 1971, it featured the girls as the backing vocalists and when it delivered 3 #1 RnB Hits as well as hitting the top spot as an album I guess it’s a lasting legacy to not just the girls but the musicians and Marvin himself. But even that kind of success couldn’t ensure more sessions and more work as Berry Gordy looked Westwards, his eyes firmly fixed on Hollywood. When, in 1972, Motown left its Detroit home for pastures new in California it appears to have done so with so many loose ends and a bucketful of unfinished business. Lives were left hanging and the three ladies of The Andantes found themselves picking up their last paychecks shortly after the move and having some serious decisions to make. With family responsibilities to meet it was the lure of a salary that drove them now, not the lure of the Snakepit and after almost 14 years of being a supporting pillar of ‘The Sound Of Young America’, it was all over.Jackie found herself working for the City of Detroit and now lives in Southfield, Michigan, Marlene took up a position working for the State, whilst Louvain made a new life for herself in Atlanta, Georgia initially working with disabled children but also kept up her singing on a number of projects including singing commercial jingles and singing backing vocals for artists appearing locally as well as studio sessions. All three have no regrets bar one. The one thing they would have loved to change about their legacy is they would have liked to have been annotated on the records they contributed so much to. Well, we can’t put the credits on the records but we can certainly give kudos, respect and our gratitude to the ladies for contributing so much to the music we love and so it’s with that gratitude front and foremost that we welcome the most successful backing singers of all time, The Andantes, to our Northern Soul Hall Of Fame. Lorraine Chandler & Dave Moore :16 November 2014 Notes and References: 1. Detroit’s Northwestern High School would provide fertile ground for Motown’s future international stars. Many of Motown’s ‘big hitters’ attended school there including, The Supremes, Mary Wells, Smoky Robinson, The Supremes and of course Richard ‘Popcorn’ Wylie and Motown bassist supremo, James Jameson. 2. Motown: From The Background, Vicki Wright (with The Andantes). Published by Bankhouse Books, 2007. ISNB 10:1-904408-29-X 3. The Rayber Voices were an amalgamation of the beginning of RAYnoma and BERry Gordy’s first names. 4. Harry Balk would later establish Impact and Inferno Records, Duke Browner becoming his most prolific producer on the labels. Harry was also the manager of Del Shannon who was discovered by Ollie McLaughlin and went on to head up Motown’s Creative Division in the early seventies. 5. Motown: From The Background, Vicki Wright (with The Andantes). Published by Bankhouse Books, 2007. ISNB 10:1-904408-29-X Acknowledgments: Andantes Red Poster courtesy of JD Humphreys www.invitationacrossthenation.com All the contributors to www.45cat.com Dave Rimmer’s site a www.soulfulkindamusic.net Discography: As with quite a few of our Hall Of Famers the discography of The Andantes would take up enough space to slow down the site! With most Motown mid 60s releases to their credit and the extra curricular releases running into hundreds of outings the four snippets below are simply an example of their talents.