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"Quicksand" was built around a similar gospel-inspired delivery of the Martha and the Vandellas' breakout hit "Heat Wave", but with a slightly slower tempo and a harder edge. Like "Heat Wave", it features an analogy to a natural phenomenon, with the narrator comparing falling in love to sinking in quicksand . [ 1 ]
In 1983, Reeves successfully sued for royalties from her Motown hits and the label agreed to have the songs credited as Martha Reeves and the Vandellas from then on. [5] That year, Reeves performed solo at Motown 25 , [ 16 ] which alongside some of their songs being placed on the Big Chill soundtrack, helped Reeves and the Vandellas gain a new ...
Come and Get These Memories is the debut album by the American girl group Martha and the Vandellas, released in 1963. [4] Put out by Gordy after the success of the trio's hit of the same name, the album also contains the group's debut single, "I'll Have to Let Him Go", which was originally intended for Mary Wells, and "A Love Like Yours (Don't Come Knocking Everyday)".
"Quicksand / Darling, I Hum Our Song" Released: November 4, 1963 ... Greatest Hits is a greatest hits album by Martha and the Vandellas, ...
Martha Rose Reeves was born in Eufaula, Alabama, [1] 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 moved from Eufaula to Detroit, Michigan, where her grandfather, Reverend Elijah Reeves, was a minister at Detroit's Metropolitan Church.
Chris Roe’s goal is to collect at least $55,000 before the nomination window expires in June. The current manager of The post Manager of Motown legend Martha Reeves asks fans to help raise funds ...
Also featured is Quicksand’s first new song in three years, “Supercollider,” and “Undertow,” a previously unreleased Hot Water Music track from sessions for their 2024 album Vows. The EP ...
Heat Wave is the second studio album released by American Motown girl group Martha and the Vandellas.Released in 1963 on Motown's Gordy imprint, intended to capitalize on the success of the title track, which rose to number four on the pop singles chart and number one on the R&B singles chart.