- Tammi Terrell (aka Tammy Montgomery, aka Tana Montgomery)

  (RIP 1970) --  vocals

- Marvin Gaye and Tammi Terrell

- Tammy Montgomery

- Tana Montgomery

Genre: soul

Rating: 3 stars ***

Title:  Irresistible Tammy

Company: Motown

Catalog: M5-231V1
Year: 1968

Country/State: Philadelphia, Pennsylvania

Grade (cover/record): VG+/VG+

Comments: still in shrink wrap;  reissue

Available: 1

Catalog ID: 5659

Price: $40.00

Almost four decades after her death Tammi Terrell's chiefly known for her work with the late Marvin Gaye.  That's not a bad way to go down in history, though to my ears Terrell was easily one of Motown's most talented performers and certainly one of the label's sexiest acts.  Anyhow, the three Gaye-Terrell collaborative albums for Tamla stand among the cream of the Motown empire's catalog.

                                                               early promo pictures

Curiously Terrell's solo catalog remains largely unknown.  Born Tomasina ('Tammy') Montgomery, as a teenager she was winning local talent shows and opening for national groups at clubs around Philadelphia.  Luther Dixon spotted the 15 year old Tammi Montgomery performing in a club and helped her sign with Scepter where she cut her 1961 debut:

- 1961's 'If I See Bill' b/w 'It's Mine' (Scepter catalog number 1224)

That was followed by a 45 for Scepter's Wand  subsidiary:

- 1962's 'Voice of Experience' b/w 'Wancha To Be Sure' (Wand catalog number 123)

Her next break came in 1964 courtesy of James Brown.  Brown saw one of her shows and hired her as part of  his mid-1960s Fabulous Flames touring ensemble.  Credited to 'Tana Montgomery', under Brown's arm she released a third single; the Brown produced 1964 single on Brown's Try Me imprint:

- 'I Cried' b/w 'You Don't Think' (Try Me catalog number 45-28001).

The single went nowhere as did a follow-up released by Checker:

- 1964's 'If I Would Marry You' b/w 'This Time Tomorrow' (Checker catalog number 1072).

Uncertain about her musical future, Montgomery enrolled in the University of Pennsylvania as a pre-med student.  She continued to pursue music on a part time basis until Berry Gordy Jr. saw her working with Jerry Butler at a 1965 Detroit concert and signed her to Motown under the stage name Tammi Terrell (she felt Tammi Montgomery was too cumbersome).  Over the next two years Terrell released a string of three widely ignored singles:

- 1966's 'I Can't Believe You Love Me' b/w ''Hold Me Oh My Darling' (Motown catalog number M-1086) # 72 pop

- 1966's 'Come On and See Me' b/w 'Baby Don'cha Worry' (Motown catalog number M-1095) # 80 pop

- 1967's 'What a Good Man He Was' b/w 'There Are Things' (Motown catalog number M-1115)

Things changed in 1967 when she was paired with Marvin Gaye (see separate entry).  Unfortunately a promising career came to an abrupt stop when Terrell collapsed in Gaye's arms during a 1967 performance at Virginia's Hampton-Sydney College.  She was originally thought to have suffered from exhaustion, but was subsequently diagnosed with a brain tumor.  Over the next three years she underwent a series of eight operations.  The medical procedures left her exhausted, limited her memory, and finally left her partially paralyzed.  She succumbed to the disease in March 1970.  Sadly she was only 24.   Ironically her ongoing struggles didn't stop Motown from trying to cash-in on her successes via a string of Gaye-Terrell albums and singles (Valerie Simpson rumored to have mimicked Terrell on much of the latter material).  

With Terrell unable to actively participate in recording new material, Motown cobbled together a solo album - 1968's "Irresistible".   Co--produced by Harvey Fuqua and Johnny Bristol the set pulled together a mixture of the earlier Motown singles and previously recorded, but shelved numbers.  By all rights the project should have been a complete artistic disaster.  It wasn't.  Yes, the earlier singles had a somewhat dated sound, but that didn't make much difference given Terrell's wonderful voice.  Again, I'm clearly biased, but Motown somehow managed to uncover enough quality material to pull together what was in effect a nice tribute to Terrell.

"Irresistible track listing:
(side 1)

1.) I Can't Believe You Love Me   (Johnny Bristol - Harvey Fuqua) - 2:32

It wasn't as good as the version she cut with Marvin Gaye (the male backing vocals were disruptive and irritating), but the mid-tempo 'I Can't Believe You Love Me' served up an instantly recognizable Motown groove providing a nice showcase for Terrell's sassy and sexy voice.  rating: *** stars

2.) That's What Boys Are Made For   (Harvey Fuqua - Gwen Gordy) - 2:58

Virtually every Motown LP seems to have included at least one throwaway MOR tune.  Her cover of the old Spinners tune (with a suitable gender modification) 'That's What Boys Are Made For' was that song this time out.  Horrible !   rating: ** stars

3.) Come On and See Me    (Johnny Bristol - Harvey Fuqua) - 2:20

One of the album standouts, 'Come On and See Me' was another classic slice of Motown pop perfection.  Instantly memorable melody with a great hook; great horn and string arrangement, and another fantastic performance from Terrell.  The song was released as the album's second single:

- 1968's 'Come On and See Me' b/w 'Baby Dont'cha Worry' (Motown catalog number M-1095)   rating: **** stars

4.) What a Good Man He Is   (William Robinson - A. Cleveland) - 2:59

My vote for the standout track, 'What a Good Man He Is' was simply irresistible (ha).  As if she didn't have enough appeal as was, on this one Terrell brought all of her sassy edge to this one.  Makes you wonder if she was thinking about then-boyfriend David Ruffin ...  Motown apparently intended to release it as a single, but for some reason elected not to - perhaps it was just too sexy for the marketplace ?  Shame they didn't since it was a simply killer performance.   rating: **** stars

5.) Tears At the End of a Love Affair   (Johnny Bristol - Harvey Fuqua - Sylvia Moy) - 2:52

'Tears At the End of a Love Affair' came close to being great, but ultimately fell short due to the clunky backing vocals (guys singing in falsetto?) and an arrangement that sounded like it was trying to rip off The Supremes.  rating: *** stars

6.) This Old Heart of Mine (Is Weak for You)   (Brian Holland - Lamont Dozier - Eddie Holland) - 2:28

Covering 'This Old Heart of Mine (Is Weak for You)' almost seems to have been an initiation requirement for Motown acts.  As a result you couldn't be blamed for having low expectations for yet another cover.  Funny thing is that by kicking into hype-drive Terrell came very close to making the song her own.  Her cover is easily one of my favorites and gawd knows there are enough versions out there.   The track was tapped as a single:

- 1968's 'This Old Heart of Mine (Is Weak for You)' b/w 'Just Too Much To Hope For' (Motown catalog number M-1138) # 67 pop  rating: *** stars

(side 2)
1.) He's the One I Love   (William Robinson) - 2:35

'He's the One I Live' was another track with considerable commercial potential and served as a nice showcased for Terrell's playful side.   rating: **** stars

2.) Can't Stop Now (Love Is Calling)   (J. Dean - Williams Weatherspoon - S. McMullen) - 2:40

If the album sported a song that typified the Motown sound, 'Can't Stop Now (Love Is Calling)' was it.  Hard to believe that this one wasn't tapped as an earlier single.  Great backing vocals ...  rating: *** stars

3.) Just Too Much To Hope For    (Johnny Bristol - W. Jackson - C. Wilson - Harvey Fuqua) - 2:54

A little on the MOR side, though the bossa nova feel was kind of cool.  Unfortunately Terrell didn't seem very comfortable on this one.   rating: ** stars

4.) Hold Me Oh My Darling   (Harvey Fuqua) - 2:58

'Hold Me Oh My Darling' was a rather bland ballad,.  Kicked along by some goofy male supporting vocals, the track didn't have a great deal going for it.  The song was originally recorded by Mary Wells, though her slower version wasn't any better.   rating: *** stars

5.) I Can't Go On without You  (Johnny Bristol - Harvey Fuqua - Sylvia Moy) - 2:55

'I Can't Go On without You' was another song that sounded incomplete.  The song had considerable commercial potential with a nice little hook (though the bells were irritating), but somehow it never all came into focus.  rating: *** stars

Far from the perfect collection but for folks who only knew her as Marvin Gaye's foil, the album went a long way to demonstrating Terrell was a capable performer in her own rite.  It also leave you to wonder what Terrell could have done had the powers to be decided to give her a little more time.  Well worth seeking out.

There are a number of Tammi Terrell related websites.  Though it doesn't seem to have been updated in some time, one of the better ones is located at: http://www.tammiterrell.com/tammi.html