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  1. #51
    Quote Originally Posted by westgrandboulevard View Post
    'Don't Make Hurting Me A Habit' is, for me, another beautiful blend of The Marvelettes and The Andantes, creating a layered, chorale effect where everyone has a valid presence on the recording.

    IMO, just in an artistic sense, The Andantes were present to discreetly enhance The Marvelettes sound, not to completely replace them on all recordings. It's quite reasonable to add them to the original voices, when in the business of making records. But then, it always had to be about 'business' and availability of singers, which is understood.

    The only track where I feel The Andantes simply were not needed was 'Anything You Wanna Do'....way too prominent, to the point of being really annoying... (but just love that sax....)
    Were they really using the Andantes as long back as "Anything You Wanna Do?" That was a pretty early B-side as I recall. I didn't think the Andantes came into being until '65 or even '66. Am I wrong?

  2. #52
    Quote Originally Posted by kenneth View Post
    Were they really using the Andantes as long back as "Anything You Wanna Do?" That was a pretty early B-side as I recall. I didn't think the Andantes came into being until '65 or even '66. Am I wrong?
    I believe the Andantes were being used at times on all of the girl groups, as early as 1963, maybe earlier. For ANYTHING YOU WANNA DO, I think they are singing the high parts.

  3. #53
    Quote Originally Posted by CoolKatz View Post
    I'm pretty sure I hear Wanda and possibly Kat on "Breakthrough". I also hear some additional vocals blending it together
    You're right. "Breakthru" is Wanda and Kat with the Andantes added for sweetening. Motown missed out on releasing "Breakthru" has a single. The second I heard it I knew it was a great track and I think it could have done well on the charts.

  4. #54
    Just as one example, The Andantes are certainly on 'Baby I Need You Loving', completed May 7th 1964.

    It would be interesting to know which was the first release on which the voices of The Andantes could be heard. It could easily be 1963....

    I think Louvain was the first soprano, had a greater vocal range, and who took the top notes. Marlene was either second soprano or alto, and Jackie was definitely contralto, with her rich, warmer tones.

    None of The Marvelettes had a soprano singing voice. They were all altos, though Wanda would often employ a falsetto tone, which wasn't within her natural singing register. Gladys also would occasionally use falsetto, as on 'Little Girl Blue'.

    When The Marvelettes were down to three members, being all alto singing voices, it would have been harder for them, without a soprano, to produce three-part harmony as effectively as did The Supremes, or Martha & The Vandellas.

    So, whenever The Andantes were used on Marvelettes recordings, theirs are the higher notes heard, very often in three-part harmony, or heavenly 'oooooooo' notes.

    One notable exception is 'I'll Keep (On) Holding On' (Wanda singing in her natural register) where background voices seem to be The Andantes singing in unison, with mellow alto voices...and effectively replicating The Marvelettes' sound, but with a warmer tone.
    Last edited by westgrandboulevard; 07-06-2018 at 11:39 AM.

  5. Quote Originally Posted by Philles/Motown Gary View Post
    You've got a good point there, WaitingWatching. On records like "When You're Young And In Love" (which, BTW, is one my favorite Marvelettes recordings), you definitely get the best of both worlds -- The Marvelettes AND The Andantes!
    Exactly! (grin!) I love when it's done that way. It's almost like what they do today in music where you've got the artist and they have some "guest artist" on the song too. When Dean/Weatherspoon produced the Marvelettes like on "When You're Young And In Love" and "Now Is The Time For Love", it's kind of like having the group and a "guest group" on the same record. And the way they had the Marvelettes doing their parts and the Andantes doing something different, it's exactly like you said: the best of both worlds!

  6. Quote Originally Posted by kenneth View Post
    Were they really using the Andantes as long back as "Anything You Wanna Do?" That was a pretty early B-side as I recall. I didn't think the Andantes came into being until '65 or even '66. Am I wrong?
    That, to me, was a good one, because it was a case where The Marvelettes were prominent as well as the Andantes. But as reese said, The Andantes were doing the very high "ahhs and oohs" while the Marvelettes were doing some damn fine harmonizing on the main lyrics.

    That one knocked me out because it was the first time I heard the Marvelettes harmonizing in a way that sounded very stylistically sophisticated. To me, if you can focus on what The Marvs were doing, it was not unlike something you would have heard from earlier groups like the 1940's group, The Andrews Sisters. The fact that the girls were harmonizing entire lines together, not just call-and-response, demonstrated that they could be amazingly good if given the chance.

    I love the effect of having the Marvelettes and Andantes each doing their thing on this. It gave the record a sound that was nothing at all like what anyone else was doing at Motown, although it does tickle me that the record is almost like a duet (or a battle of the bands!) between the two groups!

    This is the record I always point out when people start talking about the Marvelettes not being able to harmonize.

  7. Quote Originally Posted by westgrandboulevard View Post
    Just as one example, The Andantes are certainly on 'Baby I Need You Loving', completed May 7th 1964.

    It would be interesting to know which was the first release on which the voices of The Andantes could be heard. It could easily be 1963....

    I think Louvain was the first soprano, had a greater vocal range, and who took the top notes. Marlene was either second soprano or alto, and Jackie was definitely contralto, with her rich, warmer tones.

    None of The Marvelettes had a soprano singing voice. They were all altos, though Wanda would often employ a falsetto tone, which wasn't within her natural singing register. Gladys also would occasionally use falsetto, as on 'Little Girl Blue'.

    When The Marvelettes were down to three members, being all alto singing voices, it would have been harder for them, without a soprano, to produce three-part harmony as effectively as did The Supremes, or Martha & The Vandellas.

    So, whenever The Andantes were used on Marvelettes recordings, theirs are the higher notes heard, very often in three-part harmony, or heavenly 'oooooooo' notes.

    One notable exception is 'I'll Keep (On) Holding On' (Wanda singing in her natural register) where background voices seem to be The Andantes singing in unison, with mellow alto voices...and effectively replicating The Marvelettes' sound, but with a warmer tone.
    Wow, Westgrand, what an excellent breakdown of the styles of both groups. I had never thought about the sound being influenced by the fact that Katherine, Wanda and Gladys were all alto singers. You brought up something too that I always thought was interesting about "I'll Keep Holding On", the Andantes really do a fantastic job of sounding like you'd expect Katherine and Gladys would have sounded if they had done the backgrounds.

    All these great illuminating comments! I wish Soulful Detroit and you guys had been around back in the 80's when I was really getting into Motown. It is VERY difficult to be a teenager of the 80's listening to music of the 60's!

  8. #58
    I'm not gonna swear on a Bible, but I thought the vocals of "I"ll Keep Holding On" were done in NYC, as the Marvelettes were at the Apollo and Mickey wanted to get it done. The first time I heard of the Andantes were they along with the Love Tones were listed on the Mary Wells 45 "Laughing Boy"., 1963.

  9. #59
    Quote Originally Posted by motony View Post
    I'm not gonna swear on a Bible, but I thought the vocals of "I"ll Keep Holding On" were done in NYC, as the Marvelettes were at the Apollo and Mickey wanted to get it done. The first time I heard of the Andantes were they along with the Love Tones were listed on the Mary Wells 45 "Laughing Boy"., 1963.
    I do remember reading somewhere that the vocals for both I'LL KEEP HOLDING ON and DANGER HEARTBREAK DEAD AHEAD were done in NYC because Mickey didn't want to wait for the girls to get back to Detroit.

  10. #60
    Interesting....

    DFTMC notes that 'Danger Heartbreak Dead Ahead' was recorded entirely at Hitsville. The 'Forever' box set notes that the band track was recorded May 31 1965 (assigned to Martha & The Vandellas) and The Marvelettes completed it, June 2 1965.

    DFTMC also notes that 'I'll Keep Holding On' was also recorded entirely at Hitsville, completed on April 21 1965.

    I've also heard the story that the tape of 'I'll Keep Holding On' was flown out to NYC for vocals.

    Not heard the same about 'Danger Heartbreak Dead Ahead'...but if the story is true about 'IKHO', then it could be true about 'DHDA'...except the recording dates don't appear to tally?

    In the case of the NYC story being true, I would imagine the band track was recorded at Hitsville, flown out to NYC, and vocals by at least Wanda, if not all the Marvelettes, recorded. btw Wanda's lead vocal is, to me, a revelation. Seldom did she sing with quite such fire and attack.

    The notes on the 'Forever' box set are inconclusive (and generally not as comprehensive as on the 'Forever More' box set), particularly on which date the band track was recorded, and when the lead vocal was recorded, or where.

    'Recorded April 5 1965; background vocals April 16; additional or new backgrounds and other overdubs recorded April 21 1965.'

    If April 5 1965 was the recording date for both the band track (definitely Hitsville) and the lead vocal (which is unlikely?), then the NYC story has to be untrue?

    If the recording date of the band track is not known or given, and April 5 1965 is the recording date for the lead vocal (in NYC?) then it seems the background vocals were not recorded on that same date.

    However, the notes do indicate that the background vocals (be they Marvelettes, Andantes, or possibly both) recorded on April 16 were then replaced on April 21 by the voices of The Andantes.

    Anyone here care to check those dates for any errors on my part - and make more sense of them?

  11. #61
    Quote Originally Posted by westgrandboulevard View Post

    ...DFTMC also notes that 'I'll Keep Holding On' was also recorded entirely at Hitsville, completed on April 21 1965.

    I've also heard the story that the tape of 'I'll Keep Holding On' was flown out to NYC for vocals.

    Not heard the same about 'Danger Heartbreak Dead Ahead'...but if the story is true about 'IKHO', then it could be true about 'DHDA'...except the recording dates don't appear to tally?...
    I'd like to correct my earlier post. In the notes for DELIVER: THE SINGLES 1961-1971, it is mentioned that I'LL KEEP HOLDING ON was unusual among Marvelettes songs because it was recorded in New York instead of Detroit. There is a quote from Gladys Horton:

    "Mickey Stevenson came to New York and they rented a studio. They wanted to get those songs recorded so bad they couldn't wait for us to get back to Detroit."

    I mistakenly thought the other song was HEARTBREAK because Gladys mentioned "songs" plural in her quote, but the notes neglect to mention what the other songs might be.
    Last edited by reese; 07-06-2018 at 05:57 PM.

  12. #62
    My memory is the Andantes are on Run Run Run - in 1963

  13. #63
    That one was completed on May 27 1963....and I hear The Andantes on The Marvelettes' 'Tie A String Around Your Finger', completed June 12 1963....

  14. #64
    Quote Originally Posted by jobeterob View Post
    My memory is the Andantes are on Run Run Run - in 1963
    They are not on that record. "Run, Run, Run" was recorded by the Supremes with the Four Tops and Holland, Dozier, Holland on the background. Your memory is shot or is severely lying to you..........hehehehehehehehehe!

  15. #65
    As to how early The Andantes started recording as in-house back-up singers with Motown, they appeared live on stage with Kim Weston as early as the Motortown Review (Vol. 2) LP which was released on Motown in April 1964. Kim even credtited them verbally during her on-stage performance. At age 13, I remember how impressed I was with their fantastic and powerful harmonies.

    The Andantes have appeared on Kim's studio recordings from her very first Tamla 45 -- "Love Me All The Way" -- released in June 1963, followed by "Just Loving You" and "Looking For The Right Guy" as well as, I think, every Motown recording that Kim ever made on Tamla as well as her later recordings on the Gordy label ("Take Me In Your Arms", "Helpless", "A Thrill A Moment", etc.).

    In 1964, I also remember The Andantes absolutely shining on Eddie Holland's "Just Ain't Enough Love" and "Candy To Me".

    From then on, I've been a die-hard Andantes fan.

  16. #66
    Kenny, how could I forget -- In answer to your question, The Andantes were prominently featured on the very first Motown single I ever bought which was Mary Wells "My Guy" in the early summer of 1964. (Also, see my post just ahead of this one regarding The Andantes' early recordings with Kim Weston.)

  17. #67
    As Kim Weston's 'Love Me All The Way' was completed on November 19 1962, that now gives an even earlier date for The Andantes to feature on a recording.

    Like Philles/Motown Gary, I love 'Just Ain't Enough Love' and 'Candy To Me'.

    One of my very favourite Andantes' recordings is Tommy Good's 'Baby I Miss You'. Their harmony on "oh yeahhhh!' at 2.35 and 2.47 is just sublime. You can hear each of their three individual notes, and also their combined harmony note.

    Something changed with the Andante harmonies through the following years, and they became subdued, and far less uninhibited and joyful.

    I'm not sure, but maybe it wasn't always Louvain, Marlene and Jackie singing together, and that other voices made up the trio, which then changed their sound. Pat Lewis?

  18. #68
    Quote Originally Posted by westgrandboulevard View Post
    As Kim Weston's 'Love Me All The Way' was completed on November 19 1962, that now gives an even earlier date for The Andantes to feature on a recording.

    Like Philles/Motown Gary, I love 'Just Ain't Enough Love' and 'Candy To Me'.

    One of my very favourite Andantes' recordings is Tommy Good's 'Baby I Miss You'. Their harmony on "oh yeahhhh!' at 2.35 and 2.47 is just sublime. You can hear each of their three individual notes, and also their combined harmony note.

    Something changed with the Andante harmonies through the following years, and they became subdued, and far less uninhibited and joyful.

    I'm not sure, but maybe it wasn't always Louvain, Marlene and Jackie singing together, and that other voices made up the trio, which then changed their sound. Pat Lewis?
    In the book GIRL GROUPS by John Clemente, it says that one of the Andantes first assignments was doing the background for Eddie Holland's JAMIE, which I think was late '61 / early '62.

    I've also read that Pat Lewis did some background vocals with the Andantes, one of which was the Supremes' MERRY CHRISTMAS album. Pat also was a member of the group when they recorded for Motorcity.

    Re other backup vocalists, I always assumed that the Andantes couldn't have done EVERY background vocal. Surely their vocal cords needed a rest. But I also recall reading a 70s or 80s article with Michael Lovesmith and he said that his aunts had a group called the Shepherd Sisters and they did a lot of background vocals.

  19. #69
    ...all of which leads me to realise I have yet to buy myself a copy of 'Motown From The Background' biography of The Andantes.

    Comments about it from anyone?

  20. #70
    I believe Louvain Demps was a part of the Rayber Voices, a group that sang backup on Berry Gordy productions prior to the formation of the Andantes.

  21. #71
    Quote Originally Posted by westgrandboulevard View Post
    ...all of which leads me to realise I have yet to buy myself a copy of 'Motown From The Background' biography of The Andantes.

    Comments about it from anyone?
    I purchased it and really enjoy it. It's written in a very relaxed style and provides the obvious biography of each of the ladies. It does include a quite a number of reflections of what it was like working at Motown and with its artists. I highly recommend it.

  22. #72
    Quote Originally Posted by westgrandboulevard View Post
    ...all of which leads me to realise I have yet to buy myself a copy of 'Motown From The Background' biography of The Andantes.

    Comments about it from anyone?
    By all means, westgrand -- get it while the gettin' is good. You won't be sorry. Your only regret will be that the book isn't longer. (Given that it's The Andantes, could it ever be long enough?!!! Same with The Marvelettes' book -- excellent reading but left me wanting more.)

  23. #73
    Definitely recommend it because of the history that is represented. They were truly unsung TEAM MOTOWN.......and they never said a word.

  24. #74
    Many thanks for that Jobucats, and Philles/Motown Gary. I will get a copy of The Andantes' book.

    Yes, I would say The Marvelettes book is very worthwhile reading, as far as it goes.

    I won't say I was disappointed, but one drawback is it doesn't contain the depth of insight into career and recording details as, say, found in the books by Mary and Martha.

    In reading it, I started to find it hard to escape the feeling that there may never have been a great depth of interest within the group in what was recorded by them, details of the recordings, live appearances and general anecdotes.

    Maybe I missed it but, as a fan and follower of the group, I would have liked to have seen more evidence of pride being shown in the career of The Marvelettes.

    Or maybe Katherine, as the spokesperson, feels not so many people would be interested now...and perhaps, after so many years have passed, the memories are simply not there any more. Now that I could well understand....

  25. #75
    I liked Marc Taylor's book about the Marvelettes as well, but I think it suffered from not having the participation/cooperation of Gladys and, sadly, Wanda.

    Although I will say Katherine seemed quite balanced and fair in her comments about the group and its decline. Of course by now we all know about Wanda's demons, but Katherine never seemed to have any animosity towards her. But Katherine is indeed a very special person. When her son, Jason 'Tony' Schaffner, was murdered in Detroit, in the obituary all she said about him and the way he died was he "never met a stranger." Obviously, a courageous soul.

    The only other thing about the book that I thought was a bit of overkill was how much time was spent analyzing the Marvelettes' singles. I like reading musical critiques, but it seemed he spent more time on the lyrics and story line of the songs.

    Finally, how impressive is it that you guys know so well the singers' key and how to recognize the Andantes in the mix! You guys are experts. And how great is it to have such a great, productive thread about a different girl group! (Now don't start, anybody!)

  26. #76
    First time I heard 'Tie A String Around Your Finger', I registered voices singing low notes, then high notes.

    I remember thinking how good they were....and then, in my naivety, found myself thinking "yes, they're really good. They can all sing high and low, at the same time"...LOL

    When it soon dawned on me that this would be impossible, and that there were extra ladies involved, I just started listening out for them......

  27. #77
    On the subject of Marvelettes' backgrounds....

    Carolyn Crawford : Keep Stepping (Never Look Back)

    'Track cut 30 May 1965 and assigned to The Vandellas; Marvelettes dub-in on 2 June 1965; Carolyn Crawford dub-in later the same day on 2 June 1965'

    (source: notes by Paul Nixon, for 'A Cellarful Of Motown! Volume 2')

    The Marvelettes may never, as Katherine has said, have done session background work for anyone else, but that has to be the Marvelettes background vocals left on the track, when Carolyn Crawford's lead was dubbed in?

    It has always sounded like them, to me, and June 2 1965 was also the date of completion for 'Danger Heartbreak Dead Ahead'...
    Last edited by westgrandboulevard; 07-08-2018 at 07:42 AM.

  28. #78
    Quote Originally Posted by CoolKatz View Post
    On the In Full Bloom album, Wanda sang lead on all except "Everybody Knows But You"which was lead by Ann
    Many thanks for the information.

    This thread has been one of the most informative I've seen for a long time. Clearly there's an abundance of love for the Marvelettes about the group, as well as a massive amount of knowledge.

    I love the photograph jsmith - I never knew that was taken in Kingston Upon Hull.

  29. #79
    I was assuming that particular photo was a most ingenious, computer generated modification of the original - ?

    Or did The Marvelettes, with Ann, really visit Kingston-upon-Hull after all, I wonder....

  30. #80
    Did they go to " HULL and back" ?

  31. #81
    LOL! According to Katherine's comments in Marc Taylor's book about the later years with The Marvelettes, the answer would indeed seem to be "yes".....

  32. #82
    Quote Originally Posted by jobucats View Post
    I purchased it and really enjoy it. It's written in a very relaxed style and provides the obvious biography of each of the ladies. It does include a quite a number of reflections of what it was like working at Motown and with its artists. I highly recommend it.
    Every Motown fan needs to read Motown from the Background - the writing was pretty basic but we all needed to hear what was said

  33. #83
    i've always thought the Andantes joined the girls on Too Many Fish In the Sea. obviously the four marvelettes share the lead lines. but i think there are session singers doing the 3 or 4 part harmony when they sing "too many fish in the sea, too many fish in the sea." the harmonies are perfect and really balanced. That's not typically how the marvelettes sounded.

  34. #84
    Quote Originally Posted by westgrandboulevard View Post
    Just as one example, The Andantes are certainly on 'Baby I Need You Loving', completed May 7th 1964.

    It would be interesting to know which was the first release on which the voices of The Andantes could be heard. It could easily be 1963....

    I think Louvain was the first soprano, had a greater vocal range, and who took the top notes. Marlene was either second soprano or alto, and Jackie was definitely contralto, with her rich, warmer tones.

    None of The Marvelettes had a soprano singing voice. They were all altos, though Wanda would often employ a falsetto tone, which wasn't within her natural singing register. Gladys also would occasionally use falsetto, as on 'Little Girl Blue'.

    When The Marvelettes were down to three members, being all alto singing voices, it would have been harder for them, without a soprano, to produce three-part harmony as effectively as did The Supremes, or Martha & The Vandellas.

    So, whenever The Andantes were used on Marvelettes recordings, theirs are the higher notes heard, very often in three-part harmony, or heavenly 'oooooooo' notes.

    One notable exception is 'I'll Keep (On) Holding On' (Wanda singing in her natural register) where background voices seem to be The Andantes singing in unison, with mellow alto voices...and effectively replicating The Marvelettes' sound, but with a warmer tone.
    Is that really true, that The Marvelettes had no soprano voices ? I canīt belive it because I never read anything about that fact in the Marvelettes book. I think in the marvelettes book must be documentary that fact !

    Well I think in my opinion only The Supremes were a unique group with unique voices from 1962 - 1967. For example The Marvelettes or Martha Reeves and The Vandellas were defined over the lead singer. I have open a new thread after reading that The Marvelettes have no Live recordings in the faults from 1966 - 1969 ! Maybe it was impossible for the group to perform on stage, because of the missing voices or the sound was too bad ?

  35. #85
    Quote Originally Posted by Fullfillingnessfirstfinale View Post
    Is that really true, that The Marvelettes had no soprano voices ? I canīt belive it because I never read anything about that fact in the Marvelettes book. I think in the marvelettes book must be documentary that fact !

    Well I think in my opinion only The Supremes were a unique group with unique voices from 1962 - 1967. For example The Marvelettes or Martha Reeves and The Vandellas were defined over the lead singer. I have open a new thread after reading that The Marvelettes have no Live recordings in the faults from 1966 - 1969 ! Maybe it was impossible for the group to perform on stage, because of the missing voices or the sound was too bad ?
    I don't have the Marvelettes book in front of me, but I thought there was a section that listed the different voices in the group, as to who was a soprano, alto, etc.

    Re their onstage ability, maybe they couldn't duplicate the exact sound that the Andantes added to their recordings, but I doubt Motown would have kept the group on the road if they weren't able to perform well on stage.

  36. #86
    Yes, Reese, it's noted on Page 9 of Mark Taylor's book.

    Technically, Katherine was considered to have a mezzo-soprano singing voice (sometimes known as second soprano), which meant she would have the ability to sing higher notes than many contr(alto) singers.

    The Marvelettes could sing in harmony, and certainly did so on their earlier recordings, and it has to be assumed that Katherine would have sung the top notes.

    With the change in members over the years, and who were generally all alto singing voices, it certainly sounds as if the group's harmonies were brought down the scale a little, perhaps to make their sound more mellow?

    In that event, Katherine would still sing the top notes, but just not as near the top of her range, and so singing more as if she were a natural alto.

    Increasingly, The Marvelettes seemed to be recorded singing more in unison, with The Andantes brought in to harmonise, and singing higher notes, simply to enhance the recordings.

    There is nothing unusual about a female group featuring all alto voices, and who can harmonise, but just not at the top end of the singing scale. ...

    The Marvelettes were very talented, who not only could sing, but could put on a great, energetic show.

    It just seems that, for whatever reasons there may be, their talents did not reach their full potential. And I think that is something we all regret....
    Last edited by westgrandboulevard; 07-10-2018 at 12:21 PM.

  37. #87
    A few years ago, there was at least one pic (maybe several?) posted on SD of Wanda, Kat/herine and Ann, on-stage.

    Different pic from the one on the back of the cover for 'Best Of The Marvelettes', released in January 1975, here in the UK. I don't think 'Anthology' had an official release here, but I picked up a copy...(and remember being disappointed there was no booklet).

    Can anyone remember the pic(s), know how to locate them, and post them here- ?
    Last edited by westgrandboulevard; 07-10-2018 at 12:22 PM.

  38. #88
    I've only seen one photo of Ann on stage with the group. They had on pink dresses, and Kat was in the middle. It looked like they were on stage at the Twenty Grand. It was in the book MOTOWN THE HISTORY by Sharon Davis.

    I just saw it during a Google image search. It has a Getty Images stamp on it.
    Last edited by reese; 07-10-2018 at 12:39 PM.

  39. #89
    Yes, that's indeed the photo on the reverse of the UK 'Best Of' release.

    It has (Hamilton) Bohannon's band sign shown in the background.

    The Marvelettes look so good there, really cool and elegant in those long pink gowns....but I guess they had toned down their act towards the end of the '60s.

    There's definitely at least one more on-stage pic out there, somewhere......

  40. #90
    complex harmonies require much more than simply being in the range of a singer. being a soprano, mezzo, alto, etc simply identifies where the center of your range is - where you're able to easily and comfortably hit notes outside of headvoice. being able to shift or jump from a unison line or melody and into harmony requires vocal skill, training and talent. As Gladys mentions in the Marvelettes book, she felt that the group simply didn't have that skill, as opposed to the Supremes. their ability to quickly and accurately record harmonies is probably much of the decision to have them simply sing in unison and then add the andantes.

    When the girls were doing their earlier work, it was a more teen-age/girl group sound and approach. the phase has been used that they were "adolescently off key" which was fine for songs like Playboy and Please Mr postman. But as they matured and advanced into more sophisticated songs, that doesn't work as well. Maybe if they had more time to rehearse the material and prepare, they could have done it. but motown was wanting to move fast and it was just easier to have the andantes do it.

  41. #91
    Quote Originally Posted by westgrandboulevard View Post
    Yes, that's indeed the photo on the reverse of the UK 'Best Of' release.
    .
    Here it is :


  42. #92
    Can someone post the front of the Marvelettes Greatest Hits album? I've never seen this LP before. Beautiful photo on the back, have never seen that before either.

  43. #93
    Here it is Kenneth :


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