Why wasn't I Can't Dance To That Music You're Playing a big hit?

[floyjoy678]

Was this song really pulled because Martha did not like it? I just find it hard to believe that she had that much power. Was it promoted much to begin with? I don't know how it wasn't a top ten hit. I love this song even with Syreeta singing on the chorus. Although I do love the first version of the song too that came out on the Vandellas anniversary singles collection as well. Was this put out during the Martha, Lois and Rosalind line up or was Sandra already in the group?

[Thornton]

I've never gotten a satisfactory explanation as to what happened with the recording of this song. That said, it's one of my favorite tracks recorded by Martha. I think it could have been a modest hit with the more promotion. I am glad that we now have the original version without Syreeta's overdub [[nothing personal against Syreeta).

I'm not sure if Rosalind had already left the group, but I think it's The Andantes doing background vocals.

[motony]

It came out the summer of '68 . Rosalind & Lois were the Vandellas.Way back Deke Richards talked alot about it on Soulfuldetroit.I seem to remember a full page ad in Billboard when it came out. I am sure Martha was agitated by them having Syreeta on the released version, who wouldn't be upset by that?Motown was going through alot at that time, what with H D H jumping ship.

[Boogiedown]

Tito discovered you're way ahead of your time ....

[BayouMotownMan]

The predominant reason, in my opinion, that this great track was not more successful was that, first, Motown was starting to have issues with Martha who was wanting to question her royalty statements. Secondly, music was changing and more deep soulful artists like Aretha, James, Otis et al were having hits without all the polish Motown gave their recordings.

More than anything, I feel, Diana and the Supremes long train of hits had stopped. Berry Gordy had a vision for Ross and before Love Child it was starting to look endangered. How would it look if Martha, Gladys or the Marvelettes started having bigger hits that Ross? If you check the charts, it was during the period, early to mid 1968 that other female artist recordings at Motown started struggling.

Additionally, the girl group phenomenon had ended. Motown had a couple of them too many

[SatansBlues]

It went to #24 on the R&B charts and #42 on the Pop charts. I think the tune is actually quite average, more of an album cut than a hit single. The chorus is the best part of the song, but it's hard to sing along with the lead vocals. I think the group's best songs are the ones where you can sing along to, which makes the song memorable. It reminds me of the Four Tops song I'm In A Different World where the lyrics are difficult to remember, much less sing along to, but the chorus is memorable. Neither song was a hit.

[Spreadinglove21]

I wonder for those who heard the song when it came out, did they think that was Martha singing Syretta's parts? Or one of the other Vandellas getting a chance to sing a lead part?

[WaitingWatchingLookingForAChance]

I wonder for those who heard the song when it came out, did they think that was Martha singing Syretta's parts? Or one of the other Vandellas getting a chance to sing a lead part?

Good question. I only heard it a couple of decades after it was released, but well before the internet made any of this backstage drama well known. To me, I just assumed it was some new grouping of the Vandellas singing the choruses without Martha. There is an entire thread about the history of this recording and I believe a few commenters also said they really didn't think much about or even knew it was Syreeta singing those parts.

[johnjeb]

I wonder for those who heard the song when it came out, did they think that was Martha singing Syretta's parts? Or one of the other Vandellas getting a chance to sing a lead part?

I heard it on the radio when it was released and also bought the single right away. I just assumed it was the background vocals of the Vandellas. It seemed to be getting decent airplay but then it dropped off rather abruptly, as I recall.

I listened to all the top Boston radio stations. They played primarily Hot 100 songs. The fact that they were playing “Can’t Dance” indicated it had potential for Pop crossover success . For comparison, I only heard “I Promise To Wait My Love” on the Black-owned Boston station WILD, which, unfortunately, had limited transmission capability out to my suburb.

I guess the verdict is that group and company politics sabotaged not only “Can’t Dance “ but also it’s follow-up, “Sweet Darlin’”.

[BayouMotownMan]

I wonder for those who heard the song when it came out, did they think that was Martha singing Syretta's parts? Or one of the other Vandellas getting a chance to sing a lead part?

Actually I always thought it was Rosalind cutting loose. You can hear Rosalind on many of the early hits like Heat Wave and Jimmy Mack and she did sound too far from Syreeta

[motony]

just thought it was the Vandellas turned up louder on the chorus. I thought "Sweet Darlin'" was a much better record & would have been a hit if released after "Forget Me Not" which should have been promoted as the A side instead of "I Promise to Wait My Love".Motown political brass were "scared" of Martha after "Honey Chile" was such a huge hit.Lord knows they couldn't let Martha show up Ms. Ross.

[drlorne]

My recollection of Deke's explanation was Quality Control wanted it reworked. By the time he came up with the new version Martha was "in a mood" and wouldn't come back to the studio, so he used Syreeta. There are 2 alternate versions on the 50th Anniversary, and they are pretty bland. There was no real hook. The released version at least caught your attention. Of course Martha didn't want to promote a song with Syreeta on it.

[bradsupremes]

My recollection of Deke's explanation was Quality Control wanted it reworked. By the time he came up with the new version Martha was "in a mood" and wouldn't come back to the studio, so he used Syreeta. There are 2 alternate versions on the 50th Anniversary, and they are pretty bland. There was no real hook. The released version at least caught your attention. Of course Martha didn't want to promote a song with Syreeta on it.

Both Martha and Deke have told their own stories about this song.

Deke cut the single version first - Martha sung it all the way through and did a few vocal takes on it so whatever the story about her refusing to sing isn't true. When Deke presented it to Quality Control, they recommended changes so Deke went back into the studio and cut a second version in a different key and slightly different arrangement - Martha again sung it all the way through.

Quality Control then preferred the first version and recommended some edits to Deke. In the process, he had to wipe Martha's vocal in spots. After hearing it, Quality Control then told him to go back to the way it was originally cut. Deke must have forgotten he bumped the tape or something as the parts with Martha singing the chorus were missing even though they did exist on the master. He said he tried getting studio time with her but with her touring schedule she was unable thus why Syreeta was brought in to sing over that part. Had he realized Martha's missing vocal spots still existed on the master, he may never had to have used Syreeta in the first place. It wasn't until the 50th Anniversary Singles Collection was released that we got to hear both versions as they were originally recorded.

[Philles/Motown Gary]

At the time when "I Can't Dance....." was released, I had never heard of Rita Wright nor Stevie's wife Syreeta. I knew that something was going on with the unexpected high voice in the chorus, but I didn't let it bother me. All it took was hearing the single on our local AM radio station just once to inspire me to race to Cass Records & TV store to buy it. Ditto for the two follow-ups "Sweet Darlin'" and "I've Gotta Let You Go." I played all 3 singles to death until they became a permanent part of me. For me, they would have made a great 3-track start to a long-overdue Martha Reeves & The Vandellas album.

[BayouMotownMan]

Apparently this long held fable that Martha pitched a fit over Syreeta being on the song wasn't as bad as it was made out to be. Please consider the following year when Syreeta was again dubbed basically doing a duet with Martha at the end of Taking My Love [[And Leaving Me). When they performed the song on TV, Lois mouthed Syreeta's part.

What is obvious to me was that they were trying to get a voice similar to Diana's in hope of bolstering Martha's sales. After Honey Chile she went into a deep slump. Was this a good idea? Obviously not. It made no difference in her sales power and only made Martha more angry. Then on the Natural Resources lp Martha was told to sing The Hurt Is Over the way "Diane would do it." She lays a totally uninspired vocal over a rousing instrumental track on what could have been a single. So we can't say that Martha was uncooperative.

[bradsupremes]

Quality Control at this time wasn't making the best decisions like it had been doing in two years earlier. HDH's departure sent things into a tailspin and scramble to find hits on the Supremes, Four Tops, Vandellas. Some of their decisions are questionable and rather poor considering the tracks that sat in the can/used as album tracks that should have been singles. An argument can be made that all of the singles issued on Martha after "Honey Chile," probably could have gone to better songs that were either in the vault or on an album. When a track like "Taking My Love [[And Leaving Me)" is chosen as a A-side while "Shoe Leather Expressway" is thrown onto album, you know Quality Control wasn't thinking clearly.

[lucky2012]

just thought it was the Vandellas turned up louder on the chorus.

I thought it was just the Vandellas turned up louder, too. I Can't Dance is one of my favorite MRV recordings. I think it should have followed Honey Chile. Though I don't know how big a pop hit it would have been, I think it could have been a bigger R&B hit.

Motown political brass were "scared" of Martha after "Honey Chile" was such a huge hit.Lord knows they couldn't let Martha show up Ms. Ross.

MRV were riding high from late 1966 on. It would have been great to see the momentum continue. Honey Chile reached #11 Pop, very big but not "huge". DRATS In And Out Of Love reached #7 around the same time and is not considered one of their biggest hits. At the same time, DRATS Greatest Hits Volumes 1 & 2 was probably Motown's first mega selling album.

[jobeterob]

To me it wasn’t a hit because it’s just not a very good song - no comparison to Stop, My Girl, Dancing in the Street - not very catchy and no hook, no ear worm.

It doesn’t even stand up to In And Out of Love.

[WaitingWatchingLookingForAChance]

"I Can't Dance" was a good record. It was a good tune. But I have to say this- it almost sounds like it's not of its time. I honestly feel that this would have been a good hit for a soul music artist in maybe '69 or the early 70s. It's got a decidedly tight, funky groove that probably was more popular in black communities than with a Top 40 crowd. In a way, the sound is a precursor to what you got on the Jackson Five's "I Want You Back".

The chorus IS catchy, but again, maybe it appeals more to an urban crowd, because that phrase "I can't dance to that music you're playin'" sound VERY much like a phrase the kids in my neighborhood would have used when trying to put someone down. I was actually surprised when I found out who Deke Richards was and that HE came up with this.

Now on the flip side- I remember finding the Martha Reeves and the Vandellas Anthology album as a teen in the summer of '77. I had no idea what all the group had done except "Heat Wave" and that was it. That said, I loved EVERYTHING I heard...up to "Jimmy Mack." Even the earliest songs I played over and over, even "Wild One". All of those songs just clicked. When I got to "Love Bug", I actually liked it, but to me, this was a vastly different sound from everything else. "Honey Child" was good too, but again, from this point on, it seemed I was having to grow into these tunes. I think after "Honey Child", I didn't automatically like much else except "I Gotta Let You Go" and oddly, "Benjamin". Later, when I heard "I Can't Dance", it seemed again that this one sounded vastly different from the music I loved from the early days up to "Jimmy Mack". I think in my mind, the group's records seemed "fractured" after "Jimmy". As if Motown couldn't figure out what exactly to do with the Vandellas.

Looking back now, and after learning about the troubles the group was having, it's funny how on point my first impressions were of some of these later Vandellas records.

[westgrandboulevard]

WatchingWaiting...

For me, a typical Martha & The Vandellas single needed to have Martha's voice in a strong echo, with equally strong, distinct 'call and answer' responses from The Vandellas.

Because Martha's emphatic voice on up-tempo recordings could really drive the song forward, her singles would need strong chorus and hook. You could just pick up on the excitement. Especially in mono.....

Don't know about you, but whenever people sing along with records they are hearing, some people become lead voice singers, and some follow the background voices.

Vandellas records were generally great for background voices. You could chant, holler and make all your little moves. But they needed 'Vandellas' sounding background voices, also in echo....even if The Andantes were then added. Andantes voices [much as I love them] alone tended to make the records a tad too sophisticated....to me, they weren't 'street' enough for Vandellas singles.

So, to me, Martha's productions all needed to have a strong direction and punch....when they had that, it was obvious from the radio it was a Motown record, and it was Martha.

I just think that some of the singles which were middling sellers, lacked some of those qualities I have mentioned, and which would typically distinguish Martha & The Vandellas records.

Those singles sold to their fans, did OK on R&B chart, but didn't have enough 'rock' appeal to then catch the ear of the general public, to make them go out and buy them in sufficient quantities to make them bigger hits.

I think 'I Can't Dance...' is one such recording. I agree...it is a good song, and there are good things there, but much of its potential was not realised.

And I do agree about 'having to grow into the tunes'. It shouldn't have been necessary with a Vandellas single. They all needed to get straight to the point.

And if there are just two things that really drive home the message of a Vandellas single, it needs Martha's voice pitched up in key, and then underscored by a strong brass section.

Try listening to the singles in order of release, starting with 'I'm Ready For Love' [I believe that band track was not recorded at Hitsville], and you might start to notice that although the sax was still there, the sound of the brass section became downplayed. At times, seemingly non-existent. ['Jimmy Mack' did have a strong brass sound, but was an older recording].

"I can't dance..." still has that terrific sax sound on the bridge....but, to my ears, it needed a different arrangement. It chitters, and it chatters....the lyrics seem too busy to me.....but just needed the emphasis of a strong brass section to really sell it, right from that piano intro...

[floyjoy678]

I agree after Jimmy Mack things are hit or miss, more so miss. I never liked and still don't like Love Bug Leave My Heart Alone. But Honey Chile I love. I also loved Can't Dance the first time I heard it. Definitely was ahead of its time if you ask me. That sax break is a highlight for especially how Martha's voice segues into it. I actually don't mind the Andantes on this one. There's some songs I think wouldn't have worked without them [[such as Love Child) and I think this is one. But I understand the notion that they take away a rawness that Rosalind provided.

[Boogiedown]

"I Can't Dance" was a good record. It was a good tune. But I have to say this- it almost sounds like it's not of its time. I honestly feel that this would have been a good hit for a soul music artist in maybe '69 or the early 70s. It's got a decidedly tight, funky groove that probably was more popular in black communities than with a Top 40 crowd. In a way, the sound is a precursor to what you got on the Jackson Five's "I Want You Back".
.

That was the point I was alluding to earlier as well. I gather that high pitched voice in this is the Syreeta one that's being discussed , for me her voice is a distraction sounding like a bad imitation of Foster Sylvers doing a bad imitation of Michael J.

[motony]

"I Can't Dance..." was actually a much bigger POP hit #42 Billboard HOT100, then Soul hit #24 Billboard Top SOUL 50. Where as "In And Out of My Life" in 1972 went #22 Soul but only #102 HoT 100.

[jobeterob]

"I Can't Dance..." was actually a much bigger POP hit #42 Billboard HOT100, then Soul hit #24 Billboard Top SOUL 50. Where as "In And Out of My Life" in 1972 went #22 Soul but only #102 HoT 100.

In And Out of My Life was a much stronger song but by that time, many of the 60’s Motown groups that had so much success, were slipping. Singer songwriters were gaining in popularity and groups were waning.

[floyjoy678]

In And Out of My Life was a much stronger song but by that time, many of the 60’s Motown groups that had so much success, were slipping. Singer songwriters were gaining in popularity and groups were waning.

That whole last album was amazing. No One There was a lost hit. I wonder if it had been released as just Martha Reeves if it would have fared better.

[WaitingWatchingLookingForAChance]

that high pitched voice in this is the syreeta one that's being discussed , for me her voice is a distraction sounding like a bad imitation of foster sylvers doing a bad imitation of michael j.

lol!!!!!!!!!!!!

[Philles/Motown Gary]

I've said it before, and I'll say it again. I strongly feel that "Honey Chile" should have been followed up with "Leave It In the Hands Of Love". It's a great HDH tune, and it's my favorite track on ""Ridin' High".

[WaitingWatchingLookingForAChance]

On the subject of the follow up for "Honey Chile", I'd love to hear opinions on "He's Good For Me" as a more obvious choice...[and in a strange twist, I swear it sounds like Martha's voice on the choruses]

[BayouMotownMan]

I have to disagree on all of this. I like Leave It In The Hands of Love but it just doesn't sound as finished or polished as the previous HDH songs on Martha.

Since Richard Morris was successful with Honey Chile and to a lesser extent Love Bug, my choice for the follow up to Honey would have been Honey Love. It is a funky track and was typical of the successful Motown "sound" of that period. Great vocal from Martha. I enjoy I Promise To Wait, it's a funky little track but it was not single material. It ran barely two minutes. Likewise for Sweet Darlin. Great lp track but not a single.

Motown made a lot of missteps where Martha's career was concerned. Holding back Honey Love for nearly two years was one. I love Taking My Love And Leaving Me, but Martha sounds strained on it, her voice slightly cracks at one point, but it just didn't have the fire that other Motown singles had and previous Martha singles had. Going into 1970, releases on Martha were scaled back as her breakdown made her career at Motown questionable. One of the biggest missteps was I Should Be Proud. What a depressing song and desperately over-arranged. I love I Gotta Let You Go, but the rhythm track was 4 years old and it sounded it. It wasn't until Bless You and the other singles from Black Magic that Motown once again had Martha on the right track. But by then she had been dormant for nearly four years. Her comeback at MCA is one of the greatest robberies in music history. That Richard Perry lp is brilliant, Martha was never in better voice and the album is still as refreshing today as it was in 1974.

[BayouMotownMan]

That whole last album was amazing. No One There was a lost hit. I wonder if it had been released as just Martha Reeves if it would have fared better.

Berry Gordy was pretty much finished with Martha and her group as well as the new Supremes sans Diana as 1972 rolled around. Releasing the Black Magic lp was a final hurrah. It was an album of tracks in the vault. It was pretty well known that Martha was negotiating with other companies at the time of the lps release.

[motony]

I have to agree with BayouMotownMan. "[[We've Got)Honey Love" would have been a hit follow up to "Honey Chile". Mr. Gordy was pretty much finished with the records by 1972. Martha had even said before that most of that Black Magic lp contained tape tracks marked for Diana Ross.

[BayouMotownMan]

Whenever Martha and her sisters played along the Gulf Coast I was usually backstage with them. They are truly lovely ladies and Martha always had a wealth of information regarding Motown. What impressed me so much about Martha was that any song you name from any lp, or for that matter any song she recorded that was never issued, she could sing it to you. Her memory astounded me. Also, no matter how tired she was after a show, and she spends a lot of energy on stage, she signed every lp for ever fan before leaving.

I asked her about the Black Magic lp one time. She said that "some" of the tracks were intended for Ross during the time that Ross was not recording and preparing for her movie. Martha liked some of them and recorded them. In and Out Of My Life was a couple of years old when it was finally issued. Doing backgrounds on that is Martha and Sherlie Matthews she told me. In fact the only track we are sure is Lois and Sandy is Something, which came from the previous lp.

I told her I was perplexed by including Something again on the lp when you had the explosive Earthquake just sitting in the vault. She started singing a few bars of that song, then said she had nothing to do with picking out the songs. The only time I ever saw Martha confused about something has to do with the cover of Sugar 'n Spice. She wrote in her book that she was pregnant for that cover. I had to remind her that her son was born the following year and if you look at the Natural Resources covers Martha is wearing a loose top. So that would probably be the lp she was pregnant on.

On I Can't Dance she once said that she disliked that Dean Taylor didn't allow her any creative input on the song, but never actually put it down. I just don't think Martha liked the lyrics since she had just broken up with a musician.

[daviddesper]

I love Bayou's input. I only met Martha once and it was only about 4 or so years ago. She was appearing as the "warm up act" [[how insulting is that?) for The Spinners, which would of course contained at the time only Henry and a bunch of new guys. The show was in a casino and Martha, Lois and Delphine were only given half an hour.

The Spinners then performed for at least an hour and a half. So even though Martha and the girls could have gone back to their hotel room and chilled out, instead they were the ones out in the lobby doing a Meet and Greet and the Spinners were nowhere to be found. I chatted with Martha for about half an hour and just as Bayou said, when you mention a song, she will sing a bar or two of it for you.

After my visit with her I gambled for a while and when I came back [[and by now it would have been midnight or later), they were still there, willing to talk to anyone who wanted to chat. It was overall one of my nicer concert experiences despite their short time on stage.

As for favorite songs, like all Motown artists in my opinion, their peak was 1966. Honey Chile and I Can't Dance were great but as a naive teenager I did not know anything about the turmoil of the time within Motown. When Bless You came out, I thought then [[and still do) that it was one of Motown's all-time classics and that they were here to stay.

I further agree that the Richard Perry album was a masterpiece and should have done much better.

[Boogiedown]

I love Bayou's input. I only met Martha once and it was only about 4 or so years ago. She was appearing as the "warm up act" [[how insulting is that?) for The Spinners, which would of course contained at the time only Henry and a bunch of new guys. The show was in a casino and Martha, Lois and Delphine were only given half an hour.

The Spinners then performed for at least an hour and a half. So even though Martha and the girls could have gone back to their hotel room and chilled out, instead they were the ones out in the lobby doing a Meet and Greet and the Spinners were nowhere to be found. I chatted with Martha for about half an hour and just as Bayou said, when you mention a song, she will sing a bar or two of it for you.

After my visit with her I gambled for a while and when I came back [[and by now it would have been midnight or later), they were still there, willing to talk to anyone who wanted to chat. It was overall one of my nicer concert experiences despite their short time on stage.

As for favorite songs, like all Motown artists in my opinion, their peak was 1966. Honey Chile and I Can't Dance were great but as a naive teenager I did not know anything about the turmoil of the time within Motown. When Bless You came out, I thought then [[and still do) that it was one of Motown's all-time classics and that they were here to stay.

I further agree that the Richard Perry album was a masterpiece and should have done much better.

Love this . So nice to hear. What a great experience for you too!!

[floyjoy678]

In and Out Of My Life was a couple of years old when it was finally issued. Doing backgrounds on that is Martha and Sherlie Matthews she told me. In fact the only track we are sure is Lois and Sandy is Something, which came from the previous lp.

Thank you!!! I remember Martha told me the same thing for the backgrounds for that song and could never remember who the other singer was. I had asked her because I thought it was the Andantes. She also said it was Lois and Sandy on Something and one other song but I can't remember what the other song was. The rest was herself and various session singers [[The Andantes, The Blackberries, etc) doing the backgrounds for that album.

[arr&bee]

Of all the great songs from the vandellas, this ain't one of em, it's just album filler to my ears.

[BayouMotownMan]

Of all the great songs from the vandellas, this ain't one of em, it's just album filler to my ears.

Oh I love In and Out Of My Life, with that Lawrence Welk champagne organ intro. I never understood why Billboard is such a bible on the success of a recording, they used bizarre methods of compiling a weekly list, such as radio requests and jukebox plays, etc. Sales was only a part of it. This song never made the Top 100 but on Cash Box it crawled to No. 75 and was on the chart for a couple months, so it did get national airplay to some degree. Down south it was popular. In hindsight, I'd have to say it was not a single. Had I been in charge Bless You would have been followed by No One There.

[daviddesper]

While we are on that time frame, what did you guys think of Your Love Makes it All Worthwhile? Any hit potential there?

[BayouMotownMan]

While we are on that time frame, what did you guys think of Your Love Makes it All Worthwhile? Any hit potential there?

I thought it had single potential even as a B side to In and Out Of My Life. It had the Heat Wave piano track on it and was notalgic, plus it was funky.

[Philles/Motown Gary]

While we are on that time frame, what did you guys think of Your Love Makes it All Worthwhile? Any hit potential there?

David, I loved "Your Love Makes It All Worthwhile" from the first time I played the "Black Magic" album. I was hoping it would be the next single after "In And Out Of My Life" but, alas, that wish went down the drain.

[Philles/Motown Gary]

Whenever Martha and her sisters played along the Gulf Coast I was usually backstage with them. They are truly lovely ladies and Martha always had a wealth of information regarding Motown. What impressed me so much about Martha was that any song you name from any lp, or for that matter any song she recorded that was never issued, she could sing it to you. Her memory astounded me. Also, no matter how tired she was after a show, and she spends a lot of energy on stage, she signed every lp for ever fan before leaving.

I asked her about the Black Magic lp one time. She said that "some" of the tracks were intended for Ross during the time that Ross was not recording and preparing for her movie. Martha liked some of them and recorded them. In and Out Of My Life was a couple of years old when it was finally issued.

Bayou, I've gotta put in my 2-cents' worth here. When I took my tour of Motown's Donovan Building in October 1971, producer George Gordy invited me into his office where he played two brand new recordings he had just finished producing on Martha. The first was "In And Out Of My Life" which he played 3 times for me. If Martha remembered it as being 2 years old, either she or Producer George Gordy were mistaken. With all due respect to Martha who I loved [[and still love) as a Motown-era Vandella, I tend to believe George Gordy, as he was the Producer of that session. George also played for me Martha's brand new version of * "Living In A World I Created For Myself". As soon as the instrumental intro started, George was pleasantly surprised that I immediately recognized it as a track on Jimmy Ruffin's new "Groove Governor" album. Soon after, "In And Out Of My Life" was released as a single, and "Black Magic" was released as, unfortunately, the last Motown album by Martha Reeves & The Vandellas.

* For whatever reason, Harry Weinger told me a few years back that they hadn't been able to find Martha's "Living In A World I Created For Myself" in the Motown vaults. To this day, it remains unreleased.

[Philles/Motown Gary]

Speaking of Martha/Vandellas' "Sugar & Spice" album, Martha revealed in her book that the "Sugar & Spice" front-cover photo was her favorite. I was pleased to hear her admit that, as it's my favorite of all her album covers, too!

[Philles/Motown Gary]

And, speaking of potential singles, I've always thought that "Easily Persuaded" from Martha's "Natural Resources" album should have been released as a Gordy single. I also love "The Hurt Is Over" which, for me, would have made for a great single.

BTW, I loved "I Should Be Proud" -- both musically and for lyrical content. Heaven knows, it was a song that far too many American families, wives, and lovers could identify with.

[daviddesper]

Gary: You are picking all my favorites from those later albums. Any chance I could get you to come on board with Tell Me I'll Never Be Alone from the Watchout album? I have been trying for years to find a soulmate on here for that amazing song!

[WaitingWatchingLookingForAChance]

Gary: You are picking all my favorites from those later albums. Any chance I could get you to come on board with Tell Me I'll Never Be Alone from the Watchout album? I have been trying for years to find a soulmate on here for that amazing song!

David, I think I remember this song being discussed here before and I brought up the differences between the mono and stereo mixes. Then a video for the mono mix somehow just suddenly appeared on YouTube.

Soulmate

[Philles/Motown Gary]

Gary: You are picking all my favorites from those later albums. Any chance I could get you to come on board with Tell Me I'll Never Be Alone from the Watchout album? I have been trying for years to find a soulmate on here for that amazing song!

David, I'm ready if you are! Let's go! HaHa! I, too, love "Tell Me I'll Never Be Alone". It would have made for an ear-catching single. To this day, the part where Martha sings the words, "I need you by my side" still grabs me and makes me think "Wow! There's that Motown magic again!" I had also hoped that "Happiness Is Guaranteed" might see a single release, but it didn't. Heck, David, "One Way Out" and "Let This Day Be" may have also fared well as 45s. It's no wonder that Martha & The Vandellas' "Watchout" album is still considered among Motown's finest.

[daviddesper]

Thanks for these last two posts. I somehow missed them yesterday. I will have to check out that Youtube video.