The Marvelettes – When Your Young And In Love (1967) #9 R&B, #23 Pop
The young and Marvelous Marvelettes started out with the typical pop/Brill Building Girl Group sound but matured into a groovy (yes I said groovy) Motown sound during their tenure at the label. Unlike Martha & The Vandellas and The Supremes, these young ladies would split leads between Gladys Horton (top row left) and Wanda Young (bottom row left) — both dynamos on vocals!
This group, that started out as a quintet formed to enter an Inkster, Michigan High School talent contest in 1960, is actually my favorite Motown Girl Group. Heck — even The Beatles loved them so much they covered their 1961 #1 hit “Please Mr. Postman,” (which incidentally was Motown’s first #1 song EVER!) so I am not alone in my assessment.
From the frisky “Locking Up My Heart” to the funky “Don’t Mess With Bill” these girls were awesome yet underrated and underutilized at Motown. Of course we all know why don’t we — but I better not get started on that favoritism thing because my blood pressure will sky-rocket. (LOL)
I often wonder what Motown would have been like had all of the glorious talent that was under contract had been given the chance to blossom and grow in their art like young Primettes/Supremes. I know it is not prudent to dwell in the past but I just can’t help but wonder about this on occasion. There truly must have been something in the water in Michigan that produced the talented teens.
It was very hard to narrow down a song selection from this group but I had to pick something so I went with this beautiful mid-tempo ballad composed by the late great Van McCoy. Does anyone reading remember when the Michael Evans character from TV’s “Good Times” not only sang a cover of this song in a talent show but had actually recorded it for an album that was released at about the same time? A little cross promotion going on with the actor’s singing and acting career.
More Trivia you ask?
When the Marvelettes were on tour in 1962, Florence Ballard of the Supremes, filled in for a pregnant Wanda Young.
The Velvelettes – Needle in a Haystack (1964) #45 R&B, #45 Pop
I vividly recall seeing the Blossoms perform this great song on Shindig. This is my first recollection of the song, but I knew it sounded like a Motown song. It wasn’t until many years later that I found out the the song belonged to The Velvelettes. (BTW Darlene Love can sing anything! Can’t she? That woman should be a superstar!)
The Velvelettes obviously are another of the super talented Motown groups that would probably have had much more attention and success if they had left the label as did The Isley Brothers and Gladys Knight and the Pips.
Unfortunately The Velvelettes only did a few singles for Motown in the Sixties with the most memorable being “Needle” and “He Was Really Saying Something”. Shamefully, an album was never released on them.
The single “Needle” only charted at #45 — obviously with no promotion. Imagine what these ladies could have done it they had been promoted even just a little.
In 2005 The Velvelettes reunited for this performance. It is amazing that over forty years later they sound just as great singing the song as they did back in 1964!
Thanks for stopping by and keep enjoying the music.
On Saturday I went to the dress rehearsal for Sunday evening’s National Memorial Day Concert held in front of the U.S. Capitol and televised on PBS. One of the songs the army band played was “When Johnny Comes Marching Home Again” which is a classic “war song”. Of course my younger sister said … “Oh, that’s the ants song. You know the ants go marching one by one hurrah.”
I don’t know the deep signifigance of Generation X not knowing American Civil War songs, but it got me to thinking. I was looking for the history of that particular song and came across this forgotten 45 by the Shangri-Las which includes a bit of “When Johnny Comes Marching Home Again.” It too, is a “war song” of another era and time.
In honor of Memorial Day 2008 I thought I would post this song which happens to fall in line with this month’s musical theme “Girl Groups”.
The Shangri-Las (pictured above) were two pairs of sisters from Queens, NY – identical twins Marge and Mary Anne Ganser and siblings Mary and Betty Weiss.
In the WIKI article on this legendary girl group, their success with Red Bird Records label from 1964 – 1966 is summed up this way:
In April 1964, when the girls were still minors, their parents signed for them with Red Bird Records; Mary was 15, Betty was 17, and the Ganser twins were 16. Having been hired by record producer George “Shadow” Morton, they had their first success with the summer hit, “Remember (Walking in the Sand)” (U.S. #5, UK #14). Billy Joel, an unknown working as a session musician at the time, played on the original demo recording of “Remember (Walkin’ In The Sand)” . The original demo recording was nearly seven minutes long, far too long for Top 40 radio airplay. Morton had originally hired the group to just perform on the demo, but Red Bird liked their sound, and decided to release a re-recorded version by them after cutting it down to proper length for a 45 RPM single. Rather than edit the original song, Morton simply faded the new version out around the 2:16 mark.
The group’s recordings for Morton featured lavish production with heavy orchestration and sound effects, and their next and biggest hit, the renowned ‘death disc’, “Leader of the Pack” (U.S. #1, UK #11), climaxes with the sounds of roaring motorcycles and breaking glass. UK re-issues of the single peaked at #3 in 1972 and at #7 in 1976. The song epitomized the “death disc”; other examples of the era including Ray Peterson’s “Tell Laura I Love Her”, Jan and Dean’s “Dead Man’s Curve”, and Twinkle’s “Terry”.
By the end of 1964 the group were an established hit act. They performed on a live bill with the Beatles, toured with R&B artists such as The Drifters and James Brown (who, according to Mary Weiss, was surprised to discover the girls were white when he met them), and Cashbox magazine listed them as best new R&B group. They also promoted Revlon cosmetics. In March 1965 they toured the UK with Dusty Springfield and The Zombies.
Because Betty did not tour regularly with the group until 1966, and because she often and mysteriously did not appear in promotional photos despite the fact that she continued to sing on the records, many fans believed the Shangri-Las were a trio. (SOURCE)
Here are the Lyrics to this classic then charted #33 in 1966.
Long Live Our Love Composed by Sidney Barnes & Jerome Jackson
When Johnny comes marching home again, hurray hurrah
Chorus;
Long live our lo-o-ove, long live our happiness,
Heres a toast to happiness,
Long live our love.
When we were childhood sweethearts,
We had made a simple vow,
We vowed to love each other,
And I know we won’t stop now.
Chorus;
But somethings come between us,
And its not another girl,
But A lot of people need you,
There is trouble in the world.
Spoken:
Its the fighting, that has come between us, and its
taken you far far away.
But please don’t wonder if Ill be faithful, your in my heart both
night and day.
So, darling, I send my love to you, while you are fighting
overseas,
And, I know one day, if we are lucky, God will send you back to me.
Chorus;
Spoken by lead singer Mary Weiss while rest of group sings intro;
Please Lord Don’t Let anyting happen to him Please.
I’m waiting for you Johnny, Im waiting. .
Chorus;
(fading out)
Chorus;
Another song of this same era with the same theme is “Soldier Boy” as performed by another great girl group, The Shirelles, in 1962. You may listen to it and read all about it here.
The original concept of Memorial Day was to decorate the graves of the American Soldiers lost in the Civil War. My Dad used to call it “Decoration Day”. But these days it is often just considered as the Memorial Day Holiday that starts off our summer. Please remember our veterans and what they sacrificed for our country then and now. You may read more about the Memorial Day Holiday at the History Channel Web Site.
After the great success of 1957’s “Maybe” The Chantels just couldn’t seem to get a hit on End Records.
“The group was dropped by End in 1959, and Arlene Smith decided to go solo. Harris left to pursue a college education. In 1960, Annette Smith (no relation) replaced Arlene Smith, and the group went to Carlton Records, where they had their second huge hit with “Look in My Eyes” (#14 pop, #6 R&B). Several other singles followed and the group switched record labels several times. Personnel changed throughout the 1960s, with their final single released in 1970.
Arlene Smith fronted a new group of Chantels in the 1970s which featured up and coming Disco diva Carol Douglas for oldies shows and continues to perform.” (Source)
When not performing Ms. Smith worked as a school teacher.
Even though “Maybe” is what The Chantels are most remembered for “Look In My Eyes” is my preference. I practically wore the vinyl grooves off of my 45 while singing along to the record for many many years after it’s release. And it is still a favorite to this day.
Look In My Eyes Composed by Richard Barrett
Look in my eyes,and tell me you love me
Tell me you love me, or darling I’ll be gone
(gone,gone,gone,gone)
Look in my eyes,and tell me that you’re the
one for me, and that our love will always be
or darling I’ll be gone (gone,gone,gone,gone,
gone)
You said it that time
So glad you’re all mine
What’s it to be? Do you wanna be?
And let me know, a little more time
Have that love to be, or darling set me free
Look in my eyes and tell me you love me
Tell me you love me or darling all be gone
(gone,gone,gone,gone)
Ooooooh ooh-ooooooh
Ooh ooh ooh
(repeat and fade out)
Keep enjoying the music and thanks for stopping by.
This is the original version of the classic “Maybe” that I love. It was the second single on End records for one of the first nationally know R&B girl groups, composed of pre-teen friends in a school choir in the Bronx, New York — The Chantels. Their expertise in singing those flawlessly beautiful harmonies came from the Gregorian chants they learned and practiced in school choir.
Here’s what transpired next, after they were “discovered” and signed to the End record label, per the well written synopsis at The History of Rock.Com:
“The Chantels’ first single “He’s Gone,” was released in August 1957. From the four part a capella chime harmony intro topped by Arlene’s floating falsetto to its duplicate ending, “He’s Gone” instantly set a new standard of quality for female group recording. By September 30, the record was on the Billboard national Top 100 charts but inexplicably stopped at number 71. This record charted only seven weeks after Bobbettes hit the top 100 with their first release “Mr. Lee.” Ironically, these two trend setting groups of the 50s only lived a few mile apart.
The Chantels first live performance was at a Jocko show at the Apollo Theatre (Jocko was a legendary New York disc jockey at the time) in which the group was not even on the bill. Richard Barrett brought them on stage and waited for Jocko to present them. The Chantels wowed the audience with “He’s Gone.”
The next recording session, on October 16, 1957 was scheduled not at a regular recording studio, but a refurbished church in midtown Manhattan, apparently for its acoustics. Barrett played the piano along with the supportive bass and drums for the Chantels recording of Arlene Smith’s “Maybe.” Released in December; by January 20, 1958, it was climbing the pop charts and a week later the rhythm and blues charts. “Maybe” reached number 15 Pop and number two R&B by late winter. Interestingly, though not unusual for the time, the original records writer credit s read Casey and Goldner. Later issues and reissues had Arlene Smith and Goldner. As recently as 1987 a Chantels compilation on a Murray Hill three LP set with “Maybe” listed as being written by R. Barrett.”
This live version of original lead singer of the Chantels, Arlene Smith performing “Maybe”, is also priceless. I remember watching this on the original airing of the PBS special and I also purchased the CD from this “Doo-Wop 50 Live” Special recorded in Pittsburg, PA in May of 1999. Ms. Smith still is in great voice, isn’t she?
Now this is one funky girl group! This group was formed in 1960 when lead Delores Johnson (Flora Williams), Eloise Hester, and Joshie Armstead sang backup for Tina Turner on her first recording, “A Fool in Love.” They cut “I’m Blue” on the Atco label the following year, with Tina singing background for them, and it zoomed to #3 on the R&B charts and #19 on the Pop charts. In fact it charted eight higher than Ike & Tina’s “Fool In Love” release.
Unfortunately after this release The Ikettes couldn’t seem to get another hit as big as this one, but this tune insured their rock and roll legacy. Ike penned this track so you must give him his props as well.
The song was featured prominently in the original Hairspray movie and on the 1988 Soundtrack.
Last but not least — another girl group, Salt ‘N Pepa, turned “I’m Blue” into “Shoop” on London Records in 1993. So the song lived on for over 30 decades still charting that year at the top spot (#1) on the Dance chart, Rap Single chart, and Top 40 chart – plus #4 on the Billboard Hot 100 Chart !
“It all started as a pastime for eight girls ranging in age from nine to eleven in New York’s Harlem. Schoolmates that began singing in the glee club of P.S.109 in 1955. Calling themselves the Harlem Queens, they began by doing local amateur nights. Gradually over the next two years the octet shrunk to a quintet. After appearing at the Apollo Theater’s famed amateur night, they didn’t win, they broadened their already growing following. Soon thereafter, James Dailey took over the group’s management. Feeling that “The Harlem Queens” wasn’t an appropriate name for five girls in there early teens he changed the name to the Bobbettes.
Dailey got them a recording contract with Atlantic Records and had them in the recording studio by the end of February 1957. Their first four recordings were group compositions and it wasn’t a fluke. They would write ten of their first eighteen recorded songs.
The group had already written a few songs and one which was the legendary “Mr. Lee,” who was actually a teacher of some of the Bobbettes. The group’s first single was released in June 1957. Although the lyrics speak glowing of “Mr. Lee,” the original lyrics were not the least bit flattering. The girls had an immense dislike for the teacher and the song was originally written as a put down. At the request of Atlantic’s A&R executives the group revised the lyrics to make it more commercial or possibly less controversial. ” (Source)
Composed by the Bobettes, “Mr. Lee” went straight to #1 on the R&B Chart and to #6 on the Pop Chart.
Mr. Lee Composed by Heather Dixon/Helen Gathers/Emma Pought/Jannie Pought/Laura Webb
One, two, three, look at Mr. Lee
Three, four, five, look at him jive
Mr. Lee, Mr. Lee
Oh, Mr. Lee
Mr. Lee, Mr. Lee
Oh, Mr. Lee
Mr. Lee
I met my sweetie
His name is Mr. Lee
I met my sweetie
His name is Mr. Lee
He’s the hansomest sweetie
That you ever did see
My heart is achin’ for you Mr. Lee
My heart is achin’ for you Mr. Lee
‘Cause I love you so
And I’ll never let you go
Mr. Lee, Mr. Lee
Oh, Mr. Lee
Mr. Lee, Mr. Lee
Oh, Mr. Lee
Mr. Lee, Mr. Lee
Oh, Mr. Lee
Mr. Lee
Here comes Mr. Lee
He’s coming for me
Here comes Mr. Lee
He’s coming for me
He’s my lover boy
Let’s jump for joy
Come on Mr. Lee and do your stuff
Come on Mr. Lee and do your stuff
‘Cause you’re gonna be mine
Till the end of time
One, two, three, look at Mr. Lee
Three, four, five, look at him jive
One, two, three, look at Mr. Lee
Three, four, five, look at him jive
Mr. Lee, Mr. Lee
Oh, Mr. Lee
Mr. Lee, Mr. Lee
Oh, Mr. Lee
Mr. Lee, Mr. Lee
Oh, Mr. Lee
Mr. Lee
One, two, three, look at Mr. Lee
Three, four, five, look at him jive
Mr. Lee, Mr. Lee
Oh, Mr. Lee
Mr. Lee, Mr. Lee
Oh, Mr. Lee
Mr. Lee, Mr. Lee
Oh, Mr. Lee
Mr. Lee
“Despite their initial success and the excitement of their performances, the Bobbettes’ next five releases sold poorly and Atlantic lost interest. At a final 1959 session, the girls recorded “I Shot Mr. Lee,” in which they finally sang what they really thought about their former teacher, but Atlantic refused to release it. The company did release the girls from their contract, however, and they went looking for a new label.” (Source)
This is what “I Shot Mr. Lee” sounds like. Great cut don’t you think? I had not heard it before I began searching the internet for information about the Bobbettes! Love it. Gonna add it to my Zen.
I Shot Mr. Lee Composed by Dixon/Gathers/Emma Pought/Laura Webb
One, two, three
I shot Mr. Lee
Three, four, five
I got tired of his jive
Whoa, whoa, whoa
We should’ve never, uh oh
Whoa, whoa, whoa
We should’ve never, uh oh
Whoa, whoa, whoa
We should’ve never, oh no
Whoa, whoa, whoa
We should’ve never, uh oh
Whoa, whoa, whoa
We should’ve never, oh no
Whoa, whoa, whoa
We should’ve never
Shouldn’t have never met a sweety
He shouldn’t have never met me
Shouldn’t have never met a sweety
Shouldn’t have never met me
Now his memory has got a history
He was a real cool cat
And wore a high top hat
He was a real cool cat
And wore a high top hat
He was a real cool cat
All the girls loved that
Whoa, whoa, whoa
We should’ve never, uh oh
Whoa, whoa, whoa
We should’ve never, uh oh
Whoa, whoa, whoa
We should’ve never, oh no
Whoa, whoa, whoa
We should’ve never, uh oh
Whoa, whoa, whoa
We should’ve never, oh no
Whoa, whoa, whoa
We should’ve never
I picked up my gun
And I went to his door
I picked up my gun
And I went to his door
Now Mr. Lee can tell me no more
He hollered help, help
Murder, police
The girl’s after me with a gun
Hollered help, help, murder, police
The girl’s after me with a gun
Six, seven, eight
Mr. Lee had a date
Nine, ten, eleven
Now he’s up in heaven
Shot him in the head
Boom boom, whoa oh
Shot him in the head
Boom boom, whoa oh
Shot him in the head
Boom boom, whoa oh
Shot him in the head
Boom boom, whoa oh
Shot him in the head
Boom boom, whoa oh
Shot him in the head
Boom boom
Old School Music Lover 
