Skip to content Skip to sidebar Skip to footer
Página inicial / Martha Reeves We Meet Again Rar

Martha Reeves We Meet Again Rar

Postar um comentário

American vocalist and former politician

Martha Reeves
Reeves in 1996

Reeves in 1996
Background information
Birth proper name Martha Rose Reeves
Too known equally Martha LaVaille
Built-in (1941-07-xviii) July 18, 1941 (age 80)
Eufaula, Alabama, U.S.
Origin Detroit, Michigan, U.S.
Genres
  • Popular
  • R&B
  • stone and ringlet
  • soul
Occupation(s)
  • Singer
  • actress
  • author
  • councilwoman
Instruments
  • Vocals
  • tambourine
  • piano
Years agile 1957–present
Labels
  • Motown
  • MCA
  • Arista
  • Fantasy
  • True Life Entertainment
  • Ideal Entertainment
Associated acts
  • The Sabre-Ettes
  • The Fascinations
  • The Delphis
  • The Vels
  • Martha and the Vandellas
Website Official website

Musical artist

Martha Rose Reeves (built-in July 18, 1941)[1] is an American R&B and pop singer and quondam politician. She is the atomic number 82 singer of the Motown daughter group Martha and the Vandellas which scored over a dozen striking singles, including "Come and Get These Memories", "Nowhere to Run", "Oestrus Wave", "Jimmy Mack", and their signature "Dancing In The Street". From 2005 until 2009, Reeves served as an elected council woman for the city of Detroit, Michigan.[2]

Early on life [edit]

Martha Rose Reeves was born in Eufaula, Alabama,[one] the first daughter of Elijah Joshua Reeves and Ruby Lee Gilmore Reeves, and the third of the couple's 11 children. She was a baby when the family unit moved from Eufaula to Detroit, Michigan, where her grandfather, Reverend Elijah Reeves, was a minister at Detroit's Metropolitan Church. The family was very active in the church and its choir. Elijah played guitar, and Ruby liked to sing; the children acquired their love of music from their parents.[3] [4] [5] [6] At Detroit'due south Northeastern High Schoolhouse, her vocal coach was Abraham Silver, who as well worked with Florence Ballard and Mary Wilson (of the Supremes) and Bobby Rogers (of the Miracles).[3] [4] [6] Raised on gospel, and inspired past singers like Lena Horne and Della Reese, Reeves became a fan of R&B and doo-wop music. She joined the Fascinations[iv] in 1959, but left the group before they became a recording act.

Career [edit]

1957 was her kickoff association with Rosalind Ashford, Gloria Williams and Annette Beard in a group and so known equally The Del-Phis, formed after a man named Edward "Pops" Larkins was starting a sister singing group to complement a male song group of his.[seven] The Del-Phis were popular local performers.[three] Reeves was reportedly an admirer of the group and was a friend of Gloria Williams, who hired Reeves to join the group in 1960.[ citation needed ]

Through 1960 and 1961, Reeves made ends meet working several jobs by day and worked as a singer in nighttime hours singing jazz and blues standards at some of Detroit's respected nightclubs. Singing at the 20 Chiliad, Reeves was spotted past Motown A&R director Mickey Stevenson, who recognized her talent, gave her his business concern card and invited her to audition.[iv] Reeves, who used the stage proper name Martha Lavaille showed up at Motown'south Hitsville U.s.a. studios the adjacent morning time, non knowing that she was to call to schedule an audition. Stevenson asked her to respond phones while he took care of other business. Using the skills she had learned in commercial courses in loftier schoolhouse, Reeves answered phones, took notes, administered payroll for Motown'south famed Funk Brothers, and fabricated herself invaluable. (Stevenson and Reeves give a unlike account of this in the 2019 documentary Hitsville: The Making of Motown. Directly quoting Stevenson: "She came to audition a few times. I would detect nice ways of saying, 'Martha, you know, come up dorsum later on.'" Reeves added, "And I must have looked like I was gonna cry or something, cos he said, 'Answer this telephone. I'll be right back.' This "right back" was iv hours."

As for the missed session by Mary Wells referenced in the following paragraph, according to Berry Gordy, Motown routinely recorded without a singer present, in violation of union rules: "We were recording sometimes tracks without the vocalist, and according to the Union, you lot had to have a singer singing information technology alive. You couldn't do tracks in those days." A Spousal relationship representative made a surprise visit, and Berry said, Everybody went crazy, proverb, "Well, you're doing a session in there and the Union guy is coming. We told Mickey, "Homo, nosotros've got to put somebody on the mic.' His secretary overheard it….So she grabbed the mic and started singing it, and she was Martha.")

Before long, Reeves was working several hours at Hitsville as Stevenson's right paw. (She also did A&R piece of work in addition to secretarial work for Motown.[3] [5] [8] [9]) By 1961, the Del-Phis had inverse their proper name to The Vels [4] [6] and recorded singles for Checker and Checkmate Records. One day, when Mary Wells could not attend a session, Reeves stepped up to the microphone and called in the Del-Phis. With "I'll Take to Allow Him Go", Martha and the Vandellas was born. Then, when the Andantes could not brand a session to back the Miracles' drummer on songs he was recording, Martha called her groupmates. The ladies (a trio after Williams' divergence) provided fill-in vocals for Marvin Gaye's "Stubborn Kind of Swain".[four] [10] The unmarried became a hit. Martha and the Vandellas backed Gaye on his first 3 singles, his first album, and on stage—fifty-fifty subsequently they had their own hits.

Martha and the Vandellas [edit]

Lois, Martha and Delphine

With her flippant and gospel-reared vocals, Martha Reeves helped Martha and the Vandellas ascend from background singers with early on songs such every bit "Come up and Get These Memories" and "Estrus Wave", distinguishing the group from contemporaries and labelmates the Marvelettes, who preceded them, and the Supremes, who followed them.

Afterward "Estrus Wave" became the group'due south first meg-seller, Martha and the Vandellas rapidly rose to become one of the label'due south top draws both every bit recording stars and equally a successful live act. Martha was the one consistent fellow member of the group staying throughout all the group'due south incarnations and lineups. Later the exits of original members Annette Beard[11] and Rosalind Ashford, members replacing them included Betty Kelly, Sandra Tilley (both formerly of the Velvelettes) and one of Martha'south sisters, Lois Reeves.[4] Amidst the singles released that became signature hits for the group are "Quicksand", "In My Lonely Room", "Alive Wire", "Nowhere to Run", "A Dearest Like Yours (Don't Come up Knocking Everyday)", "I'm Ready for Beloved", "Jimmy Mack", "Honey Chile" and the group's most popular single, "Dancing in the Street".[12] Their television appearances included The Mike Douglas Show, The Joey Bishop Show, American Bandstand, Where the Activity Is, Shindig, Swingin' Time, Soul Railroad train, The Ed Sullivan Show, and with Brit soul singer Dusty Springfield, on the Uk evidence Ready Steady Go! [thirteen] [fourteen]

The group was also featured in major magazine articles in Johnson Publishing Corp. publications including HEP, Ebony and JET, and in SOUL newspaper and SOUL Illustrated magazine. Reeves was likewise an early contributing author for SOUL.

With major success came challenges. They faced standard girl group struggles, struggling to accept personal lives while maintaining relentless recording and touring schedules. When original member Rosalind Ashford left in 1968, Martha recruited Sandra Tilley[v] and the lineup of Martha and Lois Reeves and Tilley connected until 1972 when the group disbanded before long after issuing the Blackness Magic anthology. In 1972, after Motown moved from Detroit to Los Angeles, Reeves negotiated out of her contract, ending her tenure with the characterization.[15] [16]

In 1989, Martha, Rosalind Ashford, and Annette Beard filed a lawsuit against Motown Records for royalties on the group's records non received since 1972. The visitor reached a settlement with the women in 1991. Drupe Gordy, Jr. apologized to Reeves for the length of time in reaching the agreement and the terms of the settlement were not made public.[four] [9]

Solo career [edit]

After leaving Motown and moving to Los Angeles, Reeves was signed past MCA by late 1973. Her first project, released in January 1974, was the soundtrack for the blaxploitation moving-picture show Willie Dynamite with jazz trombonist J. J. Johnson. In the summertime of the twelvemonth, MCA released her cocky-titled album, produced by Richard Perry. It was reportedly the most expensive album of that time, costing $250,000, and featuring other star musicians including Billy Preston, Joe Sample and James Taylor. Despite positive reviews, it failed to generate commercial success as did Reeves' subsequent follow-ups on other labels including Arista and Fantasy.[17] Reviewing in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau said, "This attempted masterpiece doesn't make it because Richard Perry has failed the fundamental test of the interpretive producer—matching performer and textile. To an extent, this is Reeves's fault—her gorgeous phonation has trouble gripping complicated ideas."[18]

In Los Angeles, Reeves took acting classes at the Lee Strasberg Plant. She appeared in the motion picture Fairy Tales and on the television series Quincy, ME. Reeves also appeared on TVgame shows such as Hollywood Squares. In 1977, with the help of[nineteen] former Motown producer Frank Wilson, Reeves became a built-in-over again Christian, joining the Mt. Zion Missionary Baptist Church, pastored past Rev. EV Hill. She released one album on Arista, working with Clive Davis, the Chairmen of the Board'south General Johnson and others, and two albums on the Fantasy label, working with other onetime Motown colleagues Hank Cosby and Holland, Dozier and Holland. In 1983, she performed solo on the famed Motown 25 special.[20] She then performed in a Broadway production of Ain't Misbehavin' and reunited with original members of the Vandellas in 1989 both on record (recording for the London-based Motorcity Records that year issuing the single "Footstep into My Shoes") and on bout. In 1995, Reeves and the Vandellas were inducted to the Rock & Ringlet Hall of Fame[21] [22] and were inducted to the Vocal Group Hall of Fame in 2003.[2] Martha performed as part of the halftime bear witness of Super Bowl XXXII in 1998, with her sisters (and Vandellas), Lois and Delphine Reeves.[23] In 2004, Reeves released her first album in 24 years, Home to Y'all, with songs she wrote and produced herself except for a Billie Holiday cover and an updated version of her large hit, "Jimmy Mack". Between leaving the Vandellas and her solo career, Martha served as an early contributor to the music paper, Soul, for which she was honored for by the Black Women in Publishing system.[24] She was besides honored for her acknowledged 1995 autobiography, Dancing in the Street.[25]

"Wild Dark" was featured on the soundtrack to the feature Thelma & Louise. The vocal tin can exist heard during one of the several crucial moments in the lead characters' lives.[26] Martha has sometimes opened her live performances with this number.[17] "Nowhere to Run" is the start record played by Robin Williams as manic DJ Adrian Cronauer in the movie Good Morn, Vietnam.

Her solo boob tube appearances include The Midnight Special (1974), Soul Train (1971 and 1974), Don Kirschner's Rock Concert (1972), The Dennis Miller Show (1987) (singing "Georgia On My Mind" with James Brown), VH-i's Divas Celebrate Soul, singing her 1965 hit "Nowhere To Run" backed by singers Marsha Ambrosius and Sharon Jones of the Dap-Kings; on Jimmy Kimmel Live! with the Crystal Method and a stellar grouping of rockers including Brain from Ix Inch Nails, Rob Fortus from Guns N' Roses and Darryl Jones from the Rolling Stones, and on Dancing With the Stars with the Temptations and Smokey Robinson. That same week she was back on the music charts with a recording entitled "I'm Non Leaving" with the Crystal Method. She appeared as a musical guest on the first season of Saturday Night Live (hosted by Candice Bergen) in December 1975, performing "Silver Bells" and "Higher and College".

In January 2012, Martha held court at London'due south Ronnie Scott's Jazz Order with a sold out six-show stand that drew celebrity friends like Phil Collins and Boy George. Other contempo appearances include Carnegie Hall, the Blue Annotation (Milan, Italy), the Howard Theater (Washington, DC), the Dakota Jazz Club (Minneapolis), BB Rex Blues Club (NYC), the Cheltenhem Jazz Festival and the Mouth of the Tyne Festival. In November 2015, simply weeks after the terrorist bombings in Brussels and Paris, Reeves and her co-horts embarked on a sold-out tour of clubs and theatres in the city of lights and throughout Belgium.

Reeves received an honorary PhD in Humanities on November 25, 2012, in Detroit. She was inducted every bit a solo artists into the Rhythm and Blues Hall of Fame on October iv, 2015. Reeves received the Sandy Hosey Lifetime Accomplishment Accolade at the Artists Music Gild's 2015 AMG Heritage Awards on Nov 14, 2015, in Monroe, Due north Carolina.[27] She is featured in Alabama's 2016 Black History calendar, sponsored by AT&T.

In Baronial 2016, Martha Reeves and the Vandellas were presented in concert at London'due south Hippodrome, where various Motown artists recorded live albums in the 1960s and 1970s.[28]

Current work [edit]

Subsequently serving on the Detroit City Quango from 2005 to 2009, Reeves returned to full-time performing with nearly 50 shows annually, including a major tour of Commonwealth of australia in 2010. She regularly appears at festivals in the UK during the summer, and for her performances was nominated for two U.k. Festival Awards, every bit "All-time Headliner" and "Feel Expert Human action of the Summer."[29]

Reeves is a board fellow member of SAG-AFTRA Detroit affiliate. In 2007, she testified before Congress on behalf of musicians, session singers and recording artists for meliorate wages and royalties. She was honored for her hard work and courage in 2007 past delegates and members of AFTRA. She is likewise on the board of SoundExchange, a non-profit performance rights organization that collects royalties on behalf of sound recording copyright owners and featured artists for non-interactive digital transmissions, including satellite and net radio.[thirty]

She fabricated a cameo appearance in the movie Tenacious D in The Pick of Destiny, as a passer-by listening to the duo on the boardwalk. This information was revealed in the film's DVD audio commentary by Kyle Gass.[ citation needed ]

Martha continues to perform concerts and lodge dates both solo and with her Vandellas—sisters Lois (Motown-era Vandella since 1967) and Delphine (since mid-1980s).[two]

In September 2019, Martha was one of the glory contestants taking function on the BBC One show Celebrity MasterChef in the UK.

Discography [edit]

Albums [edit]

  • 1973: Willie Dynamite Soundtrack (MCA Records)
  • 1974: Martha Reeves (MCA) - AUS #94[31]
  • 1975: Rainbow (Phonarama)
  • 1977: The Balance of My Life (Arista)
  • 1978: We Meet Once again (Fantasy)
  • 1980: Gotta Keep Moving (Fantasy)
  • 2004: Home To Yous (Itch/True Life Entertainment)

Singles [edit]

  1. "Power of Love" (1974) - U.s.a. #76
  2. "Wild Night" (1974) - AUS #95[31]
  3. "Love Blind" (1975)
  4. "I'm Not Leaving" with Crystal Method (2012)

References [edit]

  1. ^ a b Huey, Steve. "Martha Reeves Biography". AllMusic.com. Archived from the original on August 7, 2019. Retrieved August 7, 2019.
  2. ^ a b c Kroll, Vicki 50. (August 31, 2010). "Motown Legend to sing at Music Fest". University of Toledo. Archived from the original on October 8, 2010. Retrieved December xvi, 2010.
  3. ^ a b c d "Martha Reeves". TheSoulGuy.com. Archived from the original on 2008-05-x. Retrieved 16 Dec 2010.
  4. ^ a b c d east f k h "Martha and the Vandellas". HistoryofRock.com . Retrieved 16 Dec 2010.
  5. ^ a b c "Martha Reeves". GeneralEntertainment.com. Archived from the original on 24 Feb 2011. Retrieved xvi December 2010.
  6. ^ a b c "Martha Reeves". NNDB. Retrieved xvi December 2010.
  7. ^ Barnhill, John Herschel (2012-09-30), "Ashford-Holmes, Rosalind "Roz"", African American Studies Center, Oxford University Printing, doi:ten.1093/acref/9780195301731.013.39228, ISBN978-0-19-530173-1 , retrieved 2021-03-18
  8. ^ "Evidence 26 - The Soul Reformation: Phase two, the Motown story". UNT Digital Library. June 22, 1969. Retrieved December 17, 2010.
  9. ^ a b "Martha Reeves". Encyclopedia.com . Retrieved December 16, 2010.
  10. ^ "Martha and the Vandellas". Ebony. February 1968. Retrieved Dec 16, 2010.
  11. ^ Warner, Jay, ed. (2006). American Singing Groups: A History, From 1940 to Today . Hal Leonard. p. 584. ISBN0-634-09978-7 . Retrieved December 16, 2010.
  12. ^ "Martha Reeves Without the Vandellas". Ebony. February 1988. Retrieved Dec 16, 2010.
  13. ^ Randall, Annie J. (2005). "Dusty Springfield and the Motown Invasion". Institute for Studies In American Music. Archived from the original on June 25, 2012. Retrieved December 24, 2010.
  14. ^ "The Ed Sullivan Show Episode 19.13". IMDB. Retrieved Dec 16, 2010.
  15. ^ "Martha Reeves Quits Vandellas To Go Solo". Jet. February 15, 1973. Retrieved December 16, 2010.
  16. ^ "Vocalizer Martha Reeves Leaves Motown Records". Jet. March 29, 1973. Retrieved Dec 16, 2010.
  17. ^ a b "Martha Reeves". IMDB. Retrieved Dec 16, 2010.
  18. ^ Christgau, Robert (1981). "Consumer Guide '70s: R". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN089919026X . Retrieved March ten, 2019 – via robertchristgau.com.
  19. ^ "Fairy Tales". IMDB. Retrieved sixteen Dec 2010.
  20. ^ "Motown 25:Yesterday, Today, Forever". IMDB. Retrieved 16 Dec 2010.
  21. ^ "Martha and the Vandellas Biography". rockhall.org. Rock & Coil Hall of Fame. Retrieved December 16, 2010.
  22. ^ "Al Green, Martha and the Vandellas Inducted Into Rock and Roll Hall of Fame During Gala Ceremonies in New York City". Jet. January 30, 1995. Retrieved December 16, 2010.
  23. ^ Gregory, Andy, ed. (2002). International Who's Who in Popular Music. Europa Publications. p. 637. ISBN1-85743-161-viii . Retrieved December 16, 2010.
  24. ^ Reeves, Martha. ""The Honors"". Martha Reeves Website . Retrieved March xviii, 2021. {{cite spider web}}: CS1 maint: url-status (link)
  25. ^ Reeves, Martha; Bego, Mark, eds. (1995). Dancing in the Street. Hyperion. p. 286. ISBN0-7868-8094-5 . Retrieved Dec 16, 2010.
  26. ^ "Thelma and Louise". IMDB. Retrieved 16 December 2010.
  27. ^ Awards, 2015 AMG Heritage. "Martha Reeves takes abode honors at the 2015 AMG Heritage Awards". Artists Music Lodge. Artists Music Guild. Archived from the original on 22 December 2015. Retrieved 21 December 2015.
  28. ^ "MARTHA REEVES AND THE VANDELLAS". The Hippodrome Casino. The Hippodrome Casino. Retrieved 27 August 2020.
  29. ^ "Are y'all set up to become dancing in the street". OxfordMail . Retrieved 2021-03-18 .
  30. ^ "Digital Radio Providers". SoundExchange . Retrieved 2021-03-18 .
  31. ^ a b Kent, David (1993). Australian Chart Book 1970–1992 (illustrated ed.). St Ives, North.Southward.W.: Australian Chart Book. p. 249. ISBN0-646-11917-6.

External links [edit]

  • Official website
  • Martha Reeves at IMDb
  • Martha Reeves interviewed on the Pop Chronicles (1969)
  • Motown star Martha Reeves belongings 8th spot in Detroit council race
  • Motown's Reeves advances to Detroit City Council general election

garnerfolut1999.blogspot.com

Source: https://en.wikipedia.org/wiki/Martha_Reeves

Postar um comentário for "Martha Reeves We Meet Again Rar"