Category Archives: female vocal group

“The Supremes-I Hear A Symphony”

“I Hear a Symphony” is a 1965 song recorded by The Supremes for the Motown label.

Written and produced by Motown’s main production team, Holland–Dozier–Holland, the song became their sixth number-one pop hit on Billboard Hot 100 pop singles chart in the United States for two weeks from November 14, 1965 through November 27, 1965.[1][2] On the UK pop chart, the single peaked at number thirty-nine.

History /Overview 

The Supremes enjoyed a run of hits through 1964 and 1965 under the guidance of writer/producers Holland–Dozier–Holland. In mid-1965, the producers came to realize they had fallen into a rut when the Supremes’ “Nothing but Heartaches” failed to make it to the Top Ten, missing it by just one position and breaking the string of number-one Supremes hits initiated with “Where Did Our Love Go.” Motown chief Berry Gordy was displeased with the performance of “Nothing but Heartaches,” and circulated a memo around the Motown offices that read as follows:

“ We will release nothing less than Top Ten product on any artist; and because the Supremes’ world-wide acceptance is greater than the other artists, on them we will only release number-one records. ”

Holland-Dozier-Holland therefore set about breaking their formula and trying something new. The result was “I Hear a Symphony,” a song with a more complex musical structure than previous Supremes releases. “Symphony” was released as a single in place of another Holland-Dozier-Holland Supremes song, “Mother Dear”, which had been recorded in the same style as their earlier hits.

In a 1968 interview,[3] Diana Ross said that this was one of her favorite songs to perform, even though its key posed some challenges.[4]

“I Hear a Symphony”, later issued on an album of the same name, became the Supremes’ sixth number-one hit in the United States. After the number-five hit “My World Is Empty Without You” and the number-nine hit “Love Is Like an Itching in My Heart,” the Supremes began a run of four more number-one hits: “You Can’t Hurry Love,” “You Keep Me Hangin’ On,” “Love Is Here and Now You’re Gone,” and “The Happening.” The group performed the hit song on The Mike Douglas Show on November 3, 1965.[5] Stevie Wonder recorded the song in 1966.[6]

Michael Jackson recorded the song with the Jackson 5 in 1970 at the Motown Recording Studios, Los Angeles, California.

Canadian pop singer Eria Fachin covered the song on her 1988 album My Name Is Eria Fachin. Her version, titled “Eria’s Aria/I Hear a Symphony” on the album but just “I Hear a Symphony” as a single, charted on RPM’s dance charts in 1989[7] and received some dance club play internationally, but was not a mainstream chart hit.


“Sister Sledge – We Are Family”

“Sister Sledge – We Are Family”

Sister Sledge is an American musical vocal group from Philadelphia, Pennsylvania. Formed in 1971, the group consisted of sisters Debbie, Joni, Kim and Kathy Sledge. Symbolizing strong family values, the siblings achieved international success at the height of the disco era. The year 1979 saw the release of their breakthrough album We Are Family, which peaked at number three on the US Album Chart and went Platinum. The album included the 1979 single “We Are Family” which reached number two on the US Billboard Hot 100 and earned them a Grammy Award nomination, together with two other 1979 top 20 international hits “He’s the Greatest Dancer” and “Lost in Music“.
Their other US hits include a 1982 remake of Mary Wells’ 1964 hit, “My Guy“, and other international hits include “Mama Never Told Me” (1973), “Thinking of You” (1984), before reaching number one on the UK Singles Chartwith the song “Frankie” in 1985. Remixed versions of three of their singles in 1993 returned them to the UK Top 20. Although Kathy embarked on a solo career in 1989, she continued to tour with the group (with Kathy occasionally re-joining for one-off performances and several releases in the 1990s). In 2015, Sister Sledge performed for Pope Francis at the World Festival of Familiesin Philadelphia.


Posted by on March 1, 2018 in female vocal group, music, r&b


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“Gloria Estefan – Turn The Beat Around lyrics”


Career In Singing
Mid-1970s through the 1980s

Gloria Estefan

Starting in 1977, Miami Sound Machine began recording and releasing various albums and 45s on the Audiofon Records label in Miami. The first album from 1977 was entitled Live Again/Renacer and was released with two different covers. After several more releases on the Audiofon label as well as the RCA Victor label and Miami Sound Machine’s own label MSM Records, the band was signed to Discos CBS International and released several albums, 45s, and 12″s beginning with the 1978 self-titled album Miami Sound Machine. Growing in popularity in both the U.S. and around the world, the group would continue recording and issuing various works for Discos CBS International through 1985.


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Emotions – Best Of My Love


“Best of My Love” is a disco song by the band The Emotions released as a single from their album Rejoice (1977). The song was composed by Maurice White and Al McKay of Earth, Wind & Fire. Earth, Wind & Fire would later team up with the Emotions for the 1979 hit “Boogie Wonderland”. “Best of My Love” won a Grammy for Best R&B Performance By A Duo Or Group With Vocal and also won an American Music Award for Favourite Soul/R&B Single.[1][2]

The song was listed at #87 on The Billboard Hot 100 All-Time Top Songs.[3] and it was the third biggest Pop song of 1977 and the fifth biggest R&B song of 1977.[4][5] “Best of My Love” has been certified platinum in the US by the (RIAA) and silver in the UK by the British Phonographic Industry.[6] Recent reviews have been largely positive, and the song continues to appear on “Best of the ’70s” lists.[7][8]



“My Baby Loves Me” Martha & the Vandellas 

My Baby Loves Me” is a 1966 soulstandard by Martha Reeves but released under Martha and The Vandellas. None of the Vandellas are featured in this song. Instead, the background is sung by Motown’s session group, The Andantes, and another legendary Motown group, The Four Tops. Co-written (with Sylvia Moy) and co-produced by William “Mickey” StevensonIvy Jo Hunter, the song rose to #22 on Billboard Hot 100 singles chart and #3 on Billboard’s Hot R&B singles chart.[1][2]

The song has the narrator sing of her lover and how much he loves and needs her. Reeves often refers to it as her favorite of all of her recordings. While it didn’t appear on her group’s regular studio albums, it would be put on their Greatest Hits album.[3]

Cover versions

Fellow Chicago-based, ’60s-era girl group The Lovelites covered the song in the late 1960s. In 1973, Barry Manilowrecorded a version on Barry Manilow II. Los Angeles-based singer Leda Grace did a sound-alike version, produced by Randy Jackson. San Francisco-based gospel group The Stovall Sisters did a gospel version, and Aretha Franklin has performed it in concert.



“MY BABY MUST BE A MAGiCIAN- The Marvelettes’


A Motown Sound
“My Baby Must Be a Magician” is the title of a 1967 single release by the Marvelettes which was written and produced by Smokey Robinson.

Original Marvelette Wanda Rogers was the lead vocalist on the track; the background vocals were provided by the Andantes rather than official Marvelettes Ann Bogan and Katherine Anderson. Melvin Franklin of The Temptations is the male voice speaking the song’s intro and the track features guitar licks from Miracles guitarist Marv Tarplin.

The narrator of the song likens her lover to a magician admitting his lack of the expected paraphernalia (e.g. “No rabbits in his hat/ No pigeons up his sleeve…No special gear like Aladdin’s lamp and such”) but maintaining “My baby must be a magician ’cause he’s sure got the magic touch”.

Released in November 1967, “My Baby Must Be a Magician” reached #17 on the Billboard Hot 100 in February 1968, also peaking at #8 on the R&B chart. As the Marvelettes’ third consecutive Top Thirty single, “My Baby Must Be a Magician” set a new level of prolonged Pop chart success for the group; it would also mark their last appearance in the Top 40 and be their final R&B Top Ten hit.

“My Baby Must Be a Magician” has never had a high profile remake; Stiff Records act Sylvia and the Sapphires had a 1983 UK single release produced by Peter Collins. On the title track of Teena Marie’s 1981 album It Must Be Magic – her last for Motown – Teena Marie repeats the hookline from “My Baby Must Be a Magician”: “My baby must be a magician ’cause he’s sure got the magic touch”, as her song’s outro. (Melvin Franklin’s original intro is also included in this song.)

A Motown Sound

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Posted by on February 14, 2018 in entertainment, female vocal group



“I Love You For So Many Reasons”


The Fuzz (band)

The Fuzz was an American female vocal trio from Washington, D.C.. They started out in 1970 as The Passionettes, but changed their name when they signed to Calla Records in 1971.[1] Their self-titled debut album, which came out that year, was significant in that it was one of the first “concept” albums by a female artists and interspersed monologues (then referred to as “raps”) and musical selections, built around a theme comparing love to the four seasons. Further, most of the songs were written by a group member (Shelia Young). The group had a great influence on the style Love Unlimited would later popularize under the tutelage of Barry White. The single “I Love You for All Seasons” went Top 10 on the US Billboard R&B chart and peaked at #21 on the US Billboard Hot 100.[2] The follow-up single, “Like an Open Door”, hit #14 on the R&B chart, and after releasing two more singles with little no success, they disbanded in 1972.[3] The group reunited in the 1990s and performed at the Art Lebow Concert Hall in California with a new member following the death of Barbara Gilliam on September 11, 2010.




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