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Along with the Supremes, Martha & the Vandellas defined the distaff side of the Motown sound in the 1960s; their biggest hits, including “Heat Wave,” “Dancing in the Street,” and “Nowhere to Run,” remain among the most potent and enduring dance records of the era
They are progressive gospel singers, although Fontella is better known for her R&B hit “Rescue Me” ~ Michael G Nastos, All Music Guide
During the 1950s, Martha Carson’s rock & roll-flavored gospel tunes had a strong influence on her country peers, most notably Elvis Presley She was also one of the first country artists to deliberately seek and find popularity on the pop charts
Martha Copeland had a prolific recording career during the ’20s as a classic blues singer Although she had lots of competition, her manager, Joe Davis, helped her make more money than many of her competitors, and his thick involvement with the publishing and songwriting business also ensured that a steady stream of material would come her way
The promise shown by pianist Martha Davis when she recorded three Top Ten hits in 1948 failed to carry over into the 1950s Performing in a duo, Martha Davis & Spouse, which she shared with her bass player and husband, Calvin Ponder, she continued to tour through the 1950s
Martha Davis and her sister Amber Davis record together and alone in the gospel genre, their specialty being harmony singing The pair recorded with Ralph Stanley of Appalachian music fame in 2005
James Brown’s longest running female vocalist, Martha High (aka Martha Harvin), began her career in Washington, DC She attended the same high school (Roosevelt) and sang in the same church (Trinity AME Zion) as Sandra Bears, Carrie Mingo, Grace Ruffin, and Margie Clark, the Four Jewels, but didn’t join until Carrie Mingo quit
Award-winning gospel performer Martha Munizzi was born in central Florida to a religious musical family who had Martha and her twin sister, Mary, touring the country with them singing by the age of eight
Motown’s brightest female star after Diana Ross, Martha Reeves was the earthy, gospel-infused counterpart to her rival Ross’ uptown sophistication With her backing group, the Vandellas, Reeves cut some of the brightest, most infectiously danceable R&B of her time
Martin Circus was a short-lived studio outfit responsible for one of the most enduring late-disco epics of the late ’70s: the 14-minute-long “Disco Circus” The song originated on a 1979 album and was edited down to eight minutes by disco/house vet François Kevorkian