The Marvelettes


Band members                             Related acts

  line up 1 (1960-61)

- Katherine Anderson (aka Katherine Schaffner -- vocals

- Juanita Cowart (aka Cowart Motley) -- vocals

- Georgia Dobbins -- vocals

- Gladys Horton (RIP 2011) -- vocals

- Georgeanna Tillman (aka Georgeanna Gordon) (RIP 1980)

   -- vocals

 

  line up 2 (1961-63)

- Katherine Anderson (aka Katherine Schaffner -- vocals

- Juanita Cowart (aka Cowart Motley) -- vocals

- Georgia Dobbins -- vocals

- Gladys Horton (RIP 2011) -- vocals

- Georgeanna Tillman (aka Georgeanna Gordon) (RIP 1980)

   -- vocals

NEW - Wanda Young (aka Wanda Rogers) -- vocals (replaced

  Georgia Dobbins) 

 

  line up 3 (1963-65)

- Katherine Anderson (aka Katherine Schaffner -- vocals

- Georgia Dobbins -- vocals

- Gladys Horton (RIP 2011) -- vocals

- Georgeanna Tillman (aka Georgeanna Gordon) (RIP 1980)

   -- vocals

- Wanda Young (aka Wanda Rogers) -- vocals

 

  line up 4 (1965-67)

- Katherine Anderson (aka Katherine Schaffner -- vocals

- Georgia Dobbins -- vocals

- Gladys Horton (RIP 2011) -- vocals

- Wanda Young (aka Wanda Rogers) -- vocals

 

  line up 5 (1967-69)

- Katherine Anderson (aka Katherine Schaffner -- vocals

NEW - Ann Bogan -- vocals (replaced Gladys Horton)

- Georgia Dobbins -- vocals

- Wanda Young (aka Wanda Rogers) -- vocals

 

  line up 6 (1970)

- Katherine Anderson (aka Katherine Schaffner) -- vocals

- Georgia Dobbins -- vocals

- Wanda Young (aka Wanda Rogers) -- vocals

 

  line up 7 (1989)

- Gladys Horton (RIP 2011) -- vocals

NEW - Echo Johnson -- vocals

NEW - Jean McLain -- voals

- Wanda Young (aka Wanda Rogers) -- vocals

 

  line up 8 (1990)

NEW - Jackie Holleman -- vocals

NEW - Regina Holleman -- vocals

- Gladys Horton (RIP 2011) -- vocals

- Wanda Young (aka Wanda Rogers) -- vocals

 

 

 

 

- The Challengers (Ann Bogan)

- The Darnells

- Love, Peace & Happiness (Ann Bogan)

 

 

 


 

Genre: soul

Rating: 3 stars ***

Title:  In Full Bloom

Company: Tamla

Catalog: TS 288
Year:
 1969

Country/State: Detroit, Michigan

Grade (cover/record): VG+/VG+

Comments: --

Available: 1

Catalog ID: 2300

Price: $25.00

 

For all intents and purposes 1969's "In Full Bloom" marked the end of The Marvelettes' Motown recording catalog.  True, the next year saw the release of "The Return Of The Marvelettes", but that was basically a Wanda Young solo effort with little participation from the rest of the group.  

 

If you've ever heard any of the late-'60s Supremes album you'll know what to expect on this one.   By the time this was released Motown's classic sound had largely been replace by a more sophisticated pop-soul attack.  Exemplified by tracks like 'Seeing Is Believing', 'Sunshine Days', and 'That's How Heartaches Are Made' there were still plenty of wonderful songs here, but they were frequently wrapped in overblown, MOR-ish arrangements that were just this side of boring.  It was almost like being forced to listen to a stream of television commercials.  For another group that might have not posed an insurmountable obstacle.  Not so for The Marvelettes.  I'm sure legions of fans will disagree with me, but to my ears while Young certainly had a nice enough voice, she simply lacked the range exhibited by her competitors and when pushed to show restraint on these sophisticated arrangements, tended to go flat and shriek (check out the ballad 'Rainy Mourning').  She came off much better on the isolated tracks that reflected a tougher, older Motown feel - 'Love Silent, Love Deep'.   Unlike most of the album's attempt to frame The Marvelettes as an adult pop group, 'Too Many Tears Too Many Times' and the Ann Bogan sung 'Everybody Knows (But You)' recalled their earlier Motown catalog and provided the two album standout performances. 

 

"In Full Bloom" track listing:
(side 1)

1.) Seeing Is Believing   (Stephen Bowden - J. Dean - William Weatherspoon) - 3:09   rating: *** stars

While I've always liked the song, this version sounded clunky and overly dramatic.   Adding to the problem, Young didn't sound very comfortable with the song's sophisticated pop sheen, her vocals coming off as brittle and shrill.   

2.) Sunshine Days   (Janie Bradford - Raynard Miner) - 3:21    rating: *** stars

Thanks to the cool Coral electric sitar 'Sunshine Days' Young had an amazing voice, but once again she didn't sound all that comfortable with the material and the spoken word midsection was kind of clunky.

3.) That's How Heartaches Are Made   (Bill Halley - Ben Raleigh) - 2:59    rating: **** stars

Like a lot of folks, I knew this song through Baby Washington's recording.  While this version smoothed the song out, giving it kind of a Burt Bacharach-Hal David, feel, I have to admit to liking it.   Pretty arrangement and Young and company managed to fight their way through the heavy arrangement without too much difficulty.  Tamla tapped the song as a single:

- 1969's 'That's How Heartaches Are Made' b/w 'Rainy Mourning' (Tamla catalog number 54186)  # 97 pop

4.) The Truth's Outside My Door   (Janie Bradford - Raynard Miner) - 2:46    rating: *** stars

'The Truth's Outside My Door ' was another example of what was a pretty good tune undermined by an attempt to make it more acceptable to pop audiences.  

5.) I Have Someone (Who Loves Me Too)  (J. Dean - Paul Riser - Williams Weatherspoon) - 2:59       rating: *** stars

'I Have Someone (Who Loves Me Too)' framed the group in a big Supremes-styled ballad, but once again Young lacked the smooth chops required to pull it off.   

6.) Uptown  (Barry Mann - Cynthia Weil) - 2:27   rating: ** stars

If you ever heard the version Phil Spector produced for The Crystals you'll just shake your head.   The guitar work was interesting.

 

 

(side 2)
1.) At Last I See Love As It Really Is   (J. Dean - Stanley McMullen - William Weatherspoon) - 2:55  
rating: *** stars

Maybe because it harkened back to their earlier, tougher sound 'At Last I See Love As It Really Is' struck me as being one of the album's better performances.

2.) Now Is the Time For Love   (Stephen Bowden - J. Dean - William Weatherspoon) - 2:52   rating: **** stars

A perfect example of Motown's attempt to shape them as a sophisticated adult group ....  This one actually turned out better than most of them, if only due to the fact it had a strong melody (which reminded me of the post-Diana Ross Supremes catalog).

3.) Too Many Tears Too Many Times   (Eugene Dozer - Ivy Joe Hunter - William "Mickey" Stevenson) - 3:22   rating: **** stars

Finally a tune that captured the classic Motown sound and the results were simply stellar, revealing just how good Young's voice could be.   This blazing mid-tempo ballad was  the tune that should have been released as the single.

4.) Rainy Mourning   (Ivy Jo Hunter - Beatrice Verdi) - 2:55    rating: ** stars

About as bland as imaginable.   zzzzzzzzz   

5.) Everybody Knows (But You)   (Henry Cosby - Walter "Wolfman" Washington) - 2:53    rating: **** stars

Hearing Ann Bogan on lead vocals you had to wonder why Motown didn't give her more opportunities to take the spotlight ...   Bogan's deep, Gospel-ish voice had the range and power that Young lacked ...  oh maybe I just answered my own question.  Another album highlight.

6.) Love Silent, Love Deep  (J. Dean - William Washington) - 3:05    rating: **** stars

Another tune that stepped away from the album's adult pop orientation and Young's best performance on the album.   

 

 

 


Genre: soul

Rating: 3 stars ***

Title:  The Return of the Marvellettes

Company: Tamla

Catalog: TS 305
Year:
 1970

Country/State: Detroit, Michigan

Grade (cover/record): VG+/VG+

Comments: --

Available: 1

Catalog ID: 2711

Price: $25.00

 

Working with songwriter/producer Smokey Robinson, 1970's "The Return of the Marvellettes" was originally intended as a Wanda Young solo project.  Along the way Motown management decided Young simply did have the name recognition to release the album as a solo effort.  As a result the decision was made to market the album as another Marvelettes package.  Truth in advertising, the other Marvelettes (Katherine Anderson and Georgia Dobbins) refused to participate in the sessions.  Motown management didn't blink twice, bringing in The Andantes to pick up the slack.  (if you look at the album cover you'll notice Young is the only face you can clearly identify.) 

 

Musically the album was essentially an odds and ends collection.  Heavy on Robinson-penned tracks, of the songs had previously been recorded by other Motown acts.  Kim West had recorded a superior version of 'Marionette'.   The Miracles had recorded 'After All'.  The Temptations had covered 'fading Away' and 'I'll Be In Trouble'.  The Supremes had recorded 'He's a Breath Taking Guy'.  Elsewhere 'Uptown' and 'That's How Heartaches Are Made' had both appeared on the previous "In Full Bloom" album.  Nothing but speculation, but either Robinson really liked those tracks, or he was running short of material.  Against that backdrop this collection tends to get trashed.   It's certainly not the best Marvelettes album, but has more than its share of keepers.   With, or without the rest of the Marvelettes Young had a fantastic voice and when she was paired with the right material, she was easily on the same level as any other female Motown artist.

 

Busy relocating to the West Coast, Motown had zero interest in promoting the album.  The fact Young was pregnant with her third child (she was married to Miracle member Robert Rogers), and unable to actively promote the album, or the singles certainly didn't help sales.

 

"The Return of the Marvellettes" track listing:
(side 1)

1.) So I Can Love You   (Sheila Hutchinson) - 2:50  rating: *** stars

Sweet, mid-tempo ballad that would not have sounded out of place on a Supremes album.  The Emotions wrote it and released it as a single the previous year.  While this cover didn't stray too far form the original arrangement and served as a nice showcase for Young's voice, The Emotions version was far better..

2.) Marionette   (William Stevenson - Warren Robinson) - 3:30  rating: **** stars

'Marionette' sported one of Smokey Robinson's best melodies and also featured a cool "warning" lyric.  The song was originally recorded by Kim Weston back in 1966, but never got much exposure.   Compared to Weston's version The Marvelettes version comes off as over orchestrated and a bit too urban, but Young's voice was strong enough to save it from oblivions. Tapped as the album's second single, it should have been a massive hit for the group:

- 1970's 'Marionette' b/w 'After All' (Tamla calalog number T 54198)

3.) That's How Heartaches are Made  (B. Halley - B. Raleigh) - 2:37    rating: **** stars

One of two tracks that had been on the previous album, I think most folks would vote for the Baby Washington version (it's certainly better known than The Marvelettes version), but I'll go against the grain.  Washington's take was certainly nice, but the sophisticated Motown arrangement on this one was a perfect fit for Young's dynamite voice.  It was tapped as the leadoff single:

- 1970's 'That's How Heartaches are Made' b/w 'Rainy Mourning' (Tamla catalog number T-54186) 

4.) A Breath Taking Guy   (William Robinson) - 3:25    rating; *** stars

The Supremes recorded this one back in 1963.  Diana Ross turned in a nice performance, but their silky smooth version was clearly intended to appeal to young suburban audiences.   Can't say I'm a big fan of this one either ...  the arrangement was simply too sophisticated and MOR-ish.  On the other hand, it was a great showcase to hear just how good The Andantes were.  Who needed the rest of The Marvelettes when you had Marlene Barrow, Louvain Demps, and Jackie Hicks in your corner ?  

- 1971's 'A Breath Taking Guy' b/w 'You're the One for Me, Bobby' (Tamla catalog number T 54123F)

5.) No More Tear Stained Make Up   (William Robinson) - 3:20    rating; ** stars

Who but Smokey Robinson could have written a song like this ?  Martha and the Vandellas own the classic version (off their 1966 "Watchout" album).  Slowed down and smoothed out, Young sounded uncomfortable and shrill on this one.   

6.) Uptown  (Barry Mann - Cynthia Weil) - 2:26    rating; ** stars

One of two songs that had appeared on the earlier "In Full Bloom" album.  I'll simply repeat what I had to say about the song the first time around: If you ever heard the version Phil Spector produced for The Crystals you'll just shake your head.   The guitar work was interesting.

 

(side 2)

1.) Someday We'll Be Together   (Jackey Beavers- Johnny Bristol - Harvey Fuqua) - 3:10   rating: *** stars

No matter how good a job you did, this is one of those iconic songs that's simply owned by Diana Ross and the Supremes.  If it had been up to me, I simply would have refused to record it.  Speeding the tune up and adding some irritating guitar effects to the melody really didn't do much to improve it.  I'll give it an extra star just because the song itself was so good.

2.) After All  (William Robinson) - 3:15    rating; ** stars

With future wife Claudette on lead vocals, Smokey and the Miracles had recorded this one on their 1961 debut album "Hi, We're the Miracles".   The Supremes also took an early stab at the song.  Both early versions were sappy teenage love fest material.   This version turned it into a supper club ballad ...  Easy to imagine Diana Ross doing this one on a solo album.  To her credit, Young turned in a nice vocal, but she simply couldn't overcome the heavy and sappy orchestration.  (Not sure who the drummer was, but his fills were amazing.)

3.) Our Lips Just Seem To Rhyme Everytime  (William Robinson - Al Cleveland) - 3:05   rating: **** stars

I'd argue 'Our Lips Just Seem To Rhyme Everytime' was the album's catchiest and most commercial track.  Nice, bouncy melody and the "cute" lyrics that Smokey Robinson seemed to excel at.  Another tune that served to showcase how talented The Andantes were.  

4.) Fading Away   (William Robinson - Robert Rogers - Warren Moore) - 2:49  rating; *** stars

Included on their "Get Ready" album and featuring Edie Kendricks on lead vocals, most folks are likely to recall The Temptations version.  Certainly good company, but I'll tell you Young's version wasn't half bad.  Sped up and given an elaborate arrangement that had a mid-Eastern tinge, (The Temptations' version was also heavily orchestrated), but Young had the chops to keep her own on this one.

5.) Take Me Where You Go   (William Robinson - Warren Moore) - 3:30  rating; ** stars

Another tune originally done by The Supremes, I actually like Young's version better.   That's not to say this was a great song - Robinson's lyrics were clever, but the arrangement was too MOR-ish for Young's talents.  

6.) I'll Be In Trouble   (William Robinson) - 2:49

Stripped of the heavy orchestration that drown most of the album, Young's cover of 'I'll Be In Trouble' was one of the few tunes that harkened back to the original Motown sound.  As such, it's an album highlight.  I think I actually like it better than The Temptations version.

 

 

T

BACK TO BADCAT FRONT PAGE

BACK TO BADCAT CATALOG PAGE

BACK TO BADCAT PAYMENT INFORMATION