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    Gladys Horton of The Marvellettes Interview


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    Wow she really doesnt like Smokey and seems real angry with him may she RIP.

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    Interesting about her book..................

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    Quote Originally Posted by captainjames View Post
    Interesting about her book..................
    was it ever published CaptainJames?

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    Whoa. They included DeBarge in the Motown Museum?! THEY NEVER RECORDED IN DETROIT!!! And while the Jacksons did record initially in Detroit after they signed, they made all of their hits/albums in LOS ANGELES as did DeBarge. An insult on The Marvelettes and other Detroiters who helped to make MOTOWN.

    EDIT: DID THEY SLOW DOWN I SECOND THAT EMOTION?! LMFAO!!!
    Last edited by midnightman; 02-17-2019 at 11:04 PM.

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    I do not think Gladys found a publisher. I would love to know whose hands the manuscript is in.

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    Quote Originally Posted by captainjames View Post
    I do not think Gladys found a publisher. I would love to know whose hands the manuscript is in.
    I hope one of her sons do.

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    From my understanding, Gladys' manuscript was the basis of the Marvelettes book that came out a few years ago.

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    Quote Originally Posted by midnightman View Post
    Whoa. They included DeBarge in the Motown Museum?! THEY NEVER RECORDED IN DETROIT!!! And while the Jacksons did record initially in Detroit after they signed, they made all of their hits/albums in LOS ANGELES as did DeBarge. An insult on The Marvelettes and other Detroiters who helped to make MOTOWN.

    EDIT: DID THEY SLOW DOWN I SECOND THAT EMOTION?! LMFAO!!!
    Yeah. I was working or rather volunteering there around that time. A bunch of stuff came in from LA and they just decided to use it on display. It was a mess back then. Gladys came to visit in 1989 and believe it or not the place was in much better shape than it was in 1986 when I first stepped inside. LOL!
    Last edited by marv2; 02-18-2019 at 12:07 AM.

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    Quote Originally Posted by midnightman View Post
    Whoa. They included DeBarge in the Motown Museum?! THEY NEVER RECORDED IN DETROIT!!! And while the Jacksons did record initially in Detroit after they signed, they made all of their hits/albums in LOS ANGELES as did DeBarge. An insult on The Marvelettes and other Detroiters who helped to make MOTOWN.

    EDIT: DID THEY SLOW DOWN I SECOND THAT EMOTION?! LMFAO!!!
    Oh they completely dogged the Marvelettes and some of the other early acts like the Contours. Just threw them away......

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    Quote Originally Posted by marv2 View Post
    Yeah. I was working or rather volunteering there around that time. A bunch of stuff came in from LA and they just decided to use it on display. It was a mess back then. Gladys came to visit in 1989 and believe it or not the place was in much better shape than it was in 1986 when I first stepped inside. LOL!
    I can imagine. What was Motown THINKING in the '80s?!?!

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    Quote Originally Posted by marv2 View Post
    Oh they completely dogged the Marvelettes and some of the other early acts like the Contours. Just threw them away......
    If they discarded the Marvelettes like yesterday's news, the Contours were put out like leftover food for dogs. Like that was just COLD. The Marvelettes and Contours were proof Motown had as much grit as the other black labels that became mainstream successes like Stax. Sad smh

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    Quote Originally Posted by midnightman View Post
    I can imagine. What was Motown THINKING in the '80s?!?!
    Motown had nothing to do with the Museum. They provided no real funding. It was all Mrs. Edwards initiative and responsibility. She started the Museum with zero help from Mr. Gordy and Motown.

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    Quote Originally Posted by midnightman View Post
    If they discarded the Marvelettes like yesterday's news, the Contours were put out like leftover food for dogs. Like that was just COLD. The Marvelettes and Contours were proof Motown had as much grit as the other black labels that became mainstream successes like Stax. Sad smh
    I agree because it was proven that both of these groups could still sing and peform very well for many years after Motown kicked them to the curb. Motown actually picked up less talent artists in my opinion when they moved to LA.

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    Quote Originally Posted by marv2 View Post
    Motown had nothing to do with the Museum. They provided no real funding. It was all Mrs. Edwards initiative and responsibility. She started the Museum with zero help from Mr. Gordy and Motown.
    Ohhh OK, I get it now. Esther was just working with what she had at the time. Ugh... I'm glad her brother and nem eventually helped out!

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    Quote Originally Posted by marv2 View Post
    I agree because it was proven that both of these groups could still sing and peform very well for many years after Motown kicked them to the curb. Motown actually picked up less talent artists in my opinion when they moved to LA.
    The heart and soul of Motown's sound and spirit was always in Detroit... always. Marvin almost never left Detroit because of that reason.

    While L.A. era Motown was good, it wasn't great. The Jackson 5, as awesome as they were, were never gonna be the Temptations or the Four Tops.

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    I found it odd that Gladys never mentioned that Wanda was doing the leads on many of the songs that were played.

    It's sad that she was so bitter, although of course she had every reason to be. The only time I met her was probably a bit before the time of this interview, and she had nothing good to say about anyone at Hitsville other than Mary Wells [[who was terminally ill at the time) and Florence Ballard. She told me she was finishing up her memoir, but when we spoke on the phone a couple of times after that she had put it aside and was occupied instead with doing some projects for the school where her son Sammie was enrolled. I never heard anything from her after that. She never found a publisher, and might not have even known how to go about it. I suppose she didn't have a literary agent either, and she seemed not to have a clear focus for the project.

    To her credit, she was very welcoming and loved chatting, but I was concerned that she was really spilling way too many beans, making comments which seemed to almost border on being libelous, considering she had never met me. I could have been anybody after all.

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    Quote Originally Posted by midnightman View Post
    The heart and soul of Motown's sound and spirit was always in Detroit... always. Marvin almost never left Detroit because of that reason.

    While L.A. era Motown was good, it wasn't great. The Jackson 5, as awesome as they were, were never gonna be the Temptations or the Four Tops.
    Marvin probably would have been better off and lasted longer if he had never left Detroit for LA. You know his story. His big problems with drugs and everything did not start until he moved out to LA. The Four Tops never left Detroit and they also never missed a beat because of it.

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    Quote Originally Posted by BigAl View Post
    I found it odd that Gladys never mentioned that Wanda was doing the leads on many of the songs that were played.

    It's sad that she was so bitter, although of course she had every reason to be. The only time I met her was probably a bit before the time of this interview, and she had nothing good to say about anyone at Hitsville other than Mary Wells [[who was terminally ill at the time) and Florence Ballard. She told me she was finishing up her memoir, but when we spoke on the phone a couple of times after that she had put it aside and was occupied instead with doing some projects for the school where her son Sammie was enrolled. I never heard anything from her after that. She never found a publisher, and might not have even known how to go about it. I suppose she didn't have a literary agent either, and she seemed not to have a clear focus for the project.

    To her credit, she was very welcoming and loved chatting, but I was concerned that she was really spilling way too many beans, making comments which seemed to almost border on being libelous, considering she had never met me. I could have been anybody after all.
    That's just the half of it! Gladys Horton became a very angry woman through no fault of her own. She, like many of the early Motown artists were used and then thrown away. She was treated like crap. Some of the things she said in that interview and in others were the result of years of neglect from Motown. She and Smokey despised one another since the sixties. A while back I mentioned here that he has said some truly rude things about her....to her face! I can't get into all of that here, but he was one of her least favorite persons. Luckily for some, her book never came out just like the one Florence Ballard was writing never saw the light of day.

  20. #20
    One of her sons now has the manuscript and it's alleged that it's been considerably altered since her death. He's been trying to get it published for years but it seems that no one will touch it. I think that it would be very controversial as Gladys had a big axe to grind! I'm also assuming that there is little interest in a forgotten '60's girl group so no money for a publisher. I would buy it as would many of us on here but that's about as far as it goes! Marc Taylor's book was mostly based on recollections by Kat & Gladys but he actually did not directly interview either! It's the only book about them but to be honest it told me very little that I didn't already know!

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    Quote Originally Posted by marv2 View Post
    Motown had nothing to do with the Museum. They provided no real funding. It was all Mrs. Edwards initiative and responsibility. She started the Museum with zero help from Mr. Gordy and Motown.
    Marv I used to take customers there in the early days. Pretty rustic to say the least! I volunteered a few times in the mid to late 80’s. Do you remember the name of the real classy lady that helped Mrs. Gordy. She took my business card and eventually got a hold of my boss for a character reference!!! It wasn’t Edna. Driving me crazy.

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    Quote Originally Posted by detmotownguy View Post
    Marv I used to take customers there in the early days. Pretty rustic to say the least! I volunteered a few times in the mid to late 80’s. Do you remember the name of the real classy lady that helped Mrs. Gordy. She took my business card and eventually got a hold of my boss for a character reference!!! It wasn’t Edna. Driving me crazy.
    Was it Doris Holland? She was Mrs. Edward's right hand person then. Her husband Lincoln also worked at the museum. Unfortunately Doris is no longer with us.

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    There was a song that was played in the interview. The best title I could draw from the song was Secret Love Affair, but the www.dftmc.info has no record of it. Does anyone who listened to the whole interview recall this song or can you come up with a better title?

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    Quote Originally Posted by woodward View Post
    There was a song that was played in the interview. The best title I could draw from the song was Secret Love Affair, but the www.dftmc.info has no record of it. Does anyone who listened to the whole interview recall this song or can you come up with a better title?
    She recorded a song called SECRET LOVE AFFAIR for Motorcity Records in 1990.

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    That’s it man she was a beautiful woman

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    I had the displeasure of going to one of those shows that had the Fake-a-lettes on the bill. I remember saying to myself when they hit the stage, "Wow, they have aged well!!"

  27. #27
    I didnt think much of it back in the summer of '94 when I went, not that I am dogging anyone. I just wish there would have been more to purchase like original albums on vinyl or cd, posters. But i can say I went and I am proud to say that I have been in there/Motown Records.

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    Quote Originally Posted by marv2 View Post
    Motown had nothing to do with the Museum. They provided no real funding. It was all Mrs. Edwards initiative and responsibility. She started the Museum with zero help from Mr. Gordy and Motown.
    sorry to hear that of Berry Gordy.

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    Quote Originally Posted by luckyluckyme View Post
    Thanks for uploading this song. It really isn't a bad song IMO. This was the first I had heard the song.

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    Quote Originally Posted by woodward View Post
    Thanks for uploading this song. It really isn't a bad song IMO. This was the first I had heard the song.
    Never cared much for the Levine material, but Gladys' voice was true and strong and instantly recognizable on this and the other Motorcity tracks. It's a shame she wasn't able to record more prior to her passing. I guess we should be grateful that Levine made such an effort and certainly many of these artists such as Wanda would never have been back in the recording studio otherwise, but I think his music suffered from too much quantity and not enough quality.

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    Talented lady but bitter as a pill; has been in any interview I've ever read/heard. I was waiting for 'How Insulting to ME!' but I guess she did not want to do another cover version.
    Last edited by PeaceNHarmony; 02-19-2019 at 09:19 PM.

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    Quote Originally Posted by kenneth View Post
    Never cared much for the Levine material, but Gladys' voice was true and strong and instantly recognizable on this and the other Motorcity tracks. It's a shame she wasn't able to record more prior to her passing. I guess we should be grateful that Levine made such an effort and certainly many of these artists such as Wanda would never have been back in the recording studio otherwise, but I think his music suffered from too much quantity and not enough quality.
    It was astounding how many Hitsville acts Levine coaxed back into the studio, and how many tracks were recorded. We're talking in the hundreds. When I met Gladys a couple of years later and asked her about the project she said that most of the artists never even got paid, so of course that was another reason for her to be bitter. Later I saw an interview with Bobby Taylor on some TV show and he said some very disparaging things about Levine as well. I suppose Levine meant well at the outset and hoped for the best, but most of the recordings sounded contrived, due to so many synthesized instrumentals and somewhat cheesy production. It was, at the same time, Motown but Not-Motown. I suppose he was banking on extensive distribution, and on there being more of a demand. Neither happened. He even offered a membership, costing a great deal, which would send members some or all of the recordings, but it was way out of my price range. Still, nearly all the singers were still in good voice. [[Even Wanda even turned in a couple of good numbers, thanks to Kim Weston's coaching her, and multiple takes in the studio which were cobbled together.) But back to Gladys, it was a just another huge disappointment to her and could only have served to further fuel her resentments. She certainly deserved better, and I hope she found some happiness eventually.

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    Quote Originally Posted by BigAl View Post
    It was astounding how many Hitsville acts Levine coaxed back into the studio, and how many tracks were recorded. We're talking in the hundreds. When I met Gladys a couple of years later and asked her about the project she said that most of the artists never even got paid, so of course that was another reason for her to be bitter. Later I saw an interview with Bobby Taylor on some TV show and he said some very disparaging things about Levine as well. I suppose Levine meant well at the outset and hoped for the best, but most of the recordings sounded contrived, due to so many synthesized instrumentals and somewhat cheesy production. It was, at the same time, Motown but Not-Motown. I suppose he was banking on extensive distribution, and on there being more of a demand. Neither happened. He even offered a membership, costing a great deal, which would send members some or all of the recordings, but it was way out of my price range. Still, nearly all the singers were still in good voice. [[Even Wanda even turned in a couple of good numbers, thanks to Kim Weston's coaching her, and multiple takes in the studio which were cobbled together.) But back to Gladys, it was a just another huge disappointment to her and could only have served to further fuel her resentments. She certainly deserved better, and I hope she found some happiness eventually.
    I asked Ian Levine one night in Detroit what were his plans for all the video taped performances from a two night concert Motorcity Records held in Detroit. He did not seem to sure as to what to do. All he said was that the videos would not be made available in the U.S. and were strictly for foreign markets.

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    Thanks for finding this

    The sad side of the dream and I guess she was just one of many disappointed

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    Quote Originally Posted by BigAl View Post
    It was astounding how many Hitsville acts Levine coaxed back into the studio, and how many tracks were recorded. We're talking in the hundreds. When I met Gladys a couple of years later and asked her about the project she said that most of the artists never even got paid, so of course that was another reason for her to be bitter. Later I saw an interview with Bobby Taylor on some TV show and he said some very disparaging things about Levine as well. I suppose Levine meant well at the outset and hoped for the best, but most of the recordings sounded contrived, due to so many synthesized instrumentals and somewhat cheesy production. It was, at the same time, Motown but Not-Motown. I suppose he was banking on extensive distribution, and on there being more of a demand. Neither happened. He even offered a membership, costing a great deal, which would send members some or all of the recordings, but it was way out of my price range. Still, nearly all the singers were still in good voice. [[Even Wanda even turned in a couple of good numbers, thanks to Kim Weston's coaching her, and multiple takes in the studio which were cobbled together.) But back to Gladys, it was a just another huge disappointment to her and could only have served to further fuel her resentments. She certainly deserved better, and I hope she found some happiness eventually.
    That is all so interesting! I didn't know that all happened or about the membership marketing. Most of what I learned about the Motorcity productions was from Raynoma's book "Berry, Me and Motown." It was excellent though and she did relate the story about Kim Weston coaching Wanda. I agree with you; it was wonderful to hear Wanda sing again. I thought one of the tracks Motown-worthy, "Holding on With Both Hands," clearing evoking [[and not badly) "I'll Keep Holding On."

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    I admit I did not listen to the entire interview - the dairy products in my fridge were starting to curdle - but if Gladys H was the lead singer on the first Motown #1, doesn't that make her the First Lady of Motown?

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    Quote Originally Posted by kenneth View Post
    I thought one of the tracks Motown-worthy, "Holding on With Both Hands," clearing evoking [[and not badly) "I'll Keep Holding On."
    That was one of my favorite Motorcity tracks. Wanda's voice cracks a little here and there but, considering that she had not sung in years and had stayed up most of the night before while Kim put her through the paces, this number is amazing and is a fitting "swan song" for Wanda.


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    IMO, the one negative thing about the Motorcity project is the production values on most of the tracks. In particular, the drum machine, which needed an overdub of tambourine, and more echo.

    Most could have been vastly improved at the time, given more attention. Many have since been rearranged, and made available.

    All the talent was there....and if all the instrumental sounds were removed, there still remains the glorious voices.

    On the subject of Gladys and Wanda...there is a different version from 'Secret Love Affair' posted above, where the drum sound is mixed right down....and leaves a lovely, mellow groove.

    And check out 'Just In The Nick Of Time'...to me, it largely captures the 'old' Wanda.

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    I think the riff between Gladys & Smokey is from the early 60's when Gladys was on Claudettes' side in a marital tiff Claudette & Smokey were having.

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    Quote Originally Posted by motony View Post
    I think the riff between Gladys & Smokey is from the early 60's when Gladys was on Claudettes' side in a marital tiff Claudette & Smokey were having.
    Would make complete sense. And also why Smokey always picked Wanda instead of her for the songs he worked on with them.

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    Gladys and Wanda sounded just a bit similar, so each could cover for the other when necessary, which was an asset to the group at the time.

    Wanda’s voice had that bitter-sweet edge where Gladys always sang full-out and sometimes a little gravelly. Thus, Wanda’s voice was better suited to Smokey’s writing style, plus she was married to Bobby Rogers, one of Smokey’s Miracles, so it just stood to reason. When I asked Gladys how she had felt when the lead was shifted to Wanda, surprisingly and without a trace of bitterness, she said she hadn't really cared; it was that much less for her to do in performance! She was very much the realist [[with good reason).
    Last edited by BigAl; 02-22-2019 at 06:04 PM.

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    Yeah they did sound alike. When I first heard their version of I Want a Guy [[I prefer their version too btw), I thought Gladys was sounding real sultry until I read it was Wanda, then I heard it again and I was like "you sho are right, it is Wanda!" Lol

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    Other than their singing and their shows, the best part about the Marvelettes is that they were all just very good women. Down to Earth and was doing what they enjoyed.

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    I listened to this earlier today. It was a great listen. Although Gladys was still walking around with the belief that Smokey sold the rights to the name. He didn't have the right to do it, Motown never gave anyone permission to do that, and this is why Marshak lost his case to keep the name because it was never legally his. I wish Gladys had known that at the time.

    I love that her book was going to be not just about the Marvelettes but her own origins and how she hoped to inspire other orphans. I also want to know what the letters in her book to the other Motowners was going to say. At this point, many of the Motown stories are probably only financially feasible if the writers or estates released them as self published.

  46. #46
    If anyone is hearing bitterness in this interview, take notice that it ain't all for herself or the Marvelettes. This is what I love about Gladys; her complaints are for the fact that Motown wasn't acknowledging the ones who made it happen meaning all the acts that came onboard in the early days. When it came to the Motown Museum and the photographs that were displayed when she went, she was angry, not just that the Marvelettes weren't included, but also all her other label mates like Martha & The Vandellas and she even mentioned that Berry Gordy, of all people didn't have a proper display. I don't hear bitterness. I hear someone who is rightfully questioning why her group and others didn't get the recognition they deserved for all they did for Motown.

    If you gave a record company it's FIRST major across-the-board #1, the one that kept the lights on and gave you a bit more clout with distributors, I'd say you have EVERY DAMN RIGHT to be bitter- but I don't hear that in Gladys. I only hear frustration that people didn't get their dues.

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    Quote Originally Posted by WaitingWatchingLookingForAChance View Post
    If anyone is hearing bitterness in this interview, take notice that it ain't all for herself or the Marvelettes. This is what I love about Gladys; her complaints are for the fact that Motown wasn't acknowledging the ones who made it happen meaning all the acts that came onboard in the early days. When it came to the Motown Museum and the photographs that were displayed when she went, she was angry, not just that the Marvelettes weren't included, but also all her other label mates like Martha & The Vandellas and she even mentioned that Berry Gordy, of all people didn't have a proper display. I don't hear bitterness. I hear someone who is rightfully questioning why her group and others didn't get the recognition they deserved for all they did for Motown.

    If you gave a record company it's FIRST major across-the-board #1, the one that kept the lights on and gave you a bit more clout with distributors, I'd say you have EVERY DAMN RIGHT to be bitter- but I don't hear that in Gladys. I only hear frustration that people didn't get their dues.
    What made matters worse in regards to the Marvelettes is that they were not just a one hit wonder. They produced multiple hits for Motown. They were even one of the headlining acts on the early Motortown Revues that allowed Motown/Hitsville to tour and become popular across the country!

  48. #48
    Quote Originally Posted by marv2 View Post
    Other than their singing and their shows, the best part about the Marvelettes is that they were all just very good women. Down to Earth and was doing what they enjoyed.
    So True. They came across as people who were having fun doing what they did and appreciated that they were doing it. Never seemed hung up on being Stars.

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    Quote Originally Posted by WaitingWatchingLookingForAChance View Post
    If anyone is hearing bitterness in this interview, take notice that it ain't all for herself or the Marvelettes. This is what I love about Gladys; her complaints are for the fact that Motown wasn't acknowledging the ones who made it happen meaning all the acts that came onboard in the early days. When it came to the Motown Museum and the photographs that were displayed when she went, she was angry, not just that the Marvelettes weren't included, but also all her other label mates like Martha & The Vandellas and she even mentioned that Berry Gordy, of all people didn't have a proper display. I don't hear bitterness. I hear someone who is rightfully questioning why her group and others didn't get the recognition they deserved for all they did for Motown.

    If you gave a record company it's FIRST major across-the-board #1, the one that kept the lights on and gave you a bit more clout with distributors, I'd say you have EVERY DAMN RIGHT to be bitter- but I don't hear that in Gladys. I only hear frustration that people didn't get their dues.
    I agree, she did sound more frustrated than bitter.

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    Quote Originally Posted by midnightman View Post
    I agree, she did sound more frustrated than bitter.
    If you ever heard the taped interviews Florence Ballard did with Peter Benjaminson, you will see a very similar tone, attitude about her Motown experience as Gladys. The same thing I heard from Eddie Kendricks in an extensive interview he did several years before he passed.

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Welcome to Soulful Detroit! Kindly Consider Turning Off Your Ad BlockingX
Soulful Detroit is a free service that relies on revenue from ad display [regrettably] and donations. We notice that you are using an ad-blocking program that prevents us from earning revenue during your visit.
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