Martha Reeves says she loves being an ‘oldie but goodie’
Martha Reeves loves being an ‘oldie but goodie’
It’s not often a person is fully cognizant that they are witnessing or actually becoming a part of history as it is being made, but it does happen. Some historic events are more easily identifiable — athletes playing in a Super Bowl or World Series, for example, or soldiers in a major war. Some historic events require the benefit of hindsight.
Martha Reeves knew the minute she was told to stop by the Motown offices to apply for a job in the early 1960s that she would be part of history.
“I had a job, and I quit it the minute I was asked to audition,” she says.
“I felt that I had been discovered, and I guess I was.”
It wasn’t quite that simple, but she still never wavered.
Reeves has recounted the story many times about how she had been awarded three nights to perform at a Detroit club as a prize for winning a talent contest. The third night, Motown A&R director William “Mickey” Stevenson gave her his card and suggested she come down to Motown for an audition.
Berry Gordy founded Tamla Records in 1959 and the
Motown Record Corp. the following year. It became known as “Hitsville, U.S.A.” after it started churning out hits like “Money (That’s What I Want),” “Shop Around” and “Please Mr. Postman” on a regular basis.
Reeves arrived at Motown on a Tuesday unaware that auditions took place only on Thursdays. The place was crowded, and when Stevenson asked her to answer the phones while he attended to some business, she obliged.
“I didn’t hesitate when Willie asked me,” she says. “He said he would be right back. He had to finish writing a song for a drummer named Marvin Gaye.
“It was a music-making machine 24 hours a day. You could go into Berry’s house [it was actually a house that had been home to a photography studio when Gordy bought it] any time and there would be somebody making music or writing music or singing or dubbing a track. It was wonderful. It was like heaven to be there with so many talented artists, and it was always good with the best singers and best writers. ”
She continued to answer the phones and do some office work for Stevenson while also singing backing vocals when asked. A few months later, Mary Wells missed a recording session, and Reeves stepped forward. A career and history were made.
Martha Reeves and the Vandellas went on to record songs that helped define the ’60s and Motown. Songs like “Come and Get These Memories,” “Heat Wave,” “Quicksand,” “Nowhere To Run,” “Jimmy Mack,” “Bless You” and “Dancing in the Street.”
Reeves says Gordy deserves most, if not all, of the credit for creating an environment designed to not only turn out hits, but to change history. Motown music changed the sound of the ’60s, but also brought people of many demographics together.
“We were blessed to have had good music and a good producer like Berry Gordy who made good songs. It was like four years of school. They taught us music theory, basic psychology and choreography from [Charles] ‘Cholly’ Atkins from vaudeville. We had a Motown style and Motown look.
“We out-sang and out-danced just about everybody, and we did it with class and dignity.”
It was all part of Gordy’s master plan, and for Reeves, who continues to tour and perform around the world, performing continues to get better and more meaningful for her.
“Berry said he wanted to make music that would be the sound of young America, and it has become the sound of the world,” she says.
“It’s great being an ‘oldie but goodie.’ It’s music that has lasted.”
Again, she says that was all part of Gordy’s plan.
“It was because of Berry’s desire to have what’s in the groove that counts. The rhythms and the heartbeats were emulated and the songs were always happy and always brought love to whoever participated in them,” she says.
Contact Barry Courter at bcourter@ timesfreepress.com or 423-757-6354.