If you are a regular listener of Good Black News’ Music Monday playlists, we’re sure you’ve noticed by now that we’ve got some serious Stevie Wonder fans in the house. In 2020, we even celebrated his 70th birthday with a whole month of fantastic playlists (some links below).
And now that Mr. Wonder’s birthday week again (on this Friday the 13th), we’ve got a new playlist to share – this one built around songs that he composed for other artists – it’s called “Written By Wonder, First Sung By Another”:
This playlist is comprised of over 90 songs spanning from the mid-60s when he was still just a teenage songwriter, up through the list’s most recent composition, a 2011 release from smooth jazz vocalist Maysa called “Have Sweet Dreams.”
Many people already know of the hits Stevie wrote for others – classics such as The Spinners’ “It’s A Shame,” Jermaine Jackson’s “Let’s Get Serious,” Third World’s “Try Jah Love,” Rufus feat. Chaka Khan’s “Tell Me Something Good,” and of course, Smokey Robinson & The Miracles’ “The Tears of a Clown.”
But his writing legacy goes so much deeper than that.
On this week’s Music Monday playlist, “Sarah Dash: Nightbird, Fly,” we take a closer look at the musical career of the late Sarah Dash, most known as one third of the pioneering rock/soul trio LaBelle. Sarah passed away early last week at the age of 76.
Six decades ago, at a time when young musical acts still formed from local friends getting together instead of backstage at the Disney Channel, Sarah and Nona Hendryx were two members of the Trenton, NJ-based Del-Capris. They soon paired up with Patricia Holte and Cindy Birdsong from across the river, who were part of the Philly-based Ordettes. And Patti LaBelle and the Bluebelles were soon born.
This traditional 1960s girl group survived the decade touring the chitlin circuit, becoming favorite live performers (nicknamed The Sweethearts of the Apollo) even if their string of mid-60s Atlantic Records singles was commercially unremarkable amid competition backed by powerhouses like Motown, Stax, and Phil Spector.
When Birdsong left the group to take Florence Ballard’s spot in The Supremes, and as Aretha Franklin took up residence as Atlantic’s reigning diva, it’s a wonder the group survived.
But the remaining trio’s inescapable singing talents were recognized in the United Kingdom – where the British rock music community often championed the Black artists and sounds that had provided rock’s roots. They connected with British music manager Vicki Wickham (known for her work with Dusty Springfield), and were soon re-invented as LaBelle.
As if to symbolically transition from their ‘60s sound to their new world, among their first projects was a 1971 collaboration with legendary folk rock singer/songwriter Laura Nyro on the album Gonna Take A Miracle. On it they offered prominent backing vocals for Nyro’s tribute to the hits of ‘60s soul, kissing goodbye the sounds of their past.
Way ahead of their time, Labelle were by the early ‘70s three Black women performing funk-infused rock music, trading their matching dresses and wigs first for jeans and afros, but later for futuristic space outfits of silver and feathers. (Costume designer Larry Legaspi later went on to design the costumes for the group KISS.)
They were no longer playing the chitlin’ circuit – now they were opening for The Who (The Who’s manager Kit Lambert actually produced Labelle’s first album as a trio). They even became the first Black female group on the cover of Rolling Stone. They were Afro-punk – decades before that phrase existed.
As part of Good Black News’ celebration of African-American Music Appreciation Month (#AAMAM), we are taking some time to honor quality artists whose music has nevertheless remained unappreciated. Last week, we brought you a playlist from Ronnie Dyson.
This week we’d like to introduce/re-introduce you to Merry Clayton.
Back in March 2014, as she was experiencing 50 years in the music business, legendary session singer Merry Clayton got one more chance at stardom when the documentary 20 Feet From Stardom, about the world’s most renowned backup singers, won the Best Documentary Oscar.
The doc brought renewed attention to performers such as Lisa Fischer, Judith Hill, Gloria Jones, and Clayton – whose voices you’ve undoubtedly heard, but whose names are a little less than familiar.
In the early ‘60s, Merry (who got her name because she was born on Christmas day) launched into a music career as a young teen, cutting a few one-off soul singles, and singing duet “Who Can I Count On?” with then 26 year-old pop hitmaker Bobby Darin when she was just a 14 year-old girl with a commanding voice.
Merry Clayton
By the late ‘60s, Merry Clayton’s role as a star backup singer hit its stride on The Rolling Stones’ “Gimme Shelter” opposite Mick Jagger. Her cries of “Rape, Murder/It’s just a shot away” are known to any classic rock fan. The story goes that she got the random session call late at night from one of the song’s producers during an all-night mixing session – and showed up in curlers, heavily pregnant, belting out the iconic vocals in just a few takes before heading back home (where she subsequently suffered a miscarriage).
During that same era, Merry Clayton was also one of the backup crew on countless legendary records by Carole King, Joe Cocker, Barbra Streisand, Lynyrd Skynyrd, Linda Ronstadt, Billy Preston, Tori Amos, and, as recently as 2015, Coldplay.
Her prominent rock backup turns earned the attention of rock music producer/impresario Lou Adler, who signed her to his Ode Records label (most famous for Carole King’s Tapestry LP). In 1972, she further cemented her rock bonafides by appearing as The Acid Queen in the first London stage production of The Who’s rock opera, Tommy.
The very enjoyable 20 Feet (you can check it out on Netflix right now) essentially argued that if only these women had gotten the chance, they could have been big stars.
Of course, it would take a superstar group of powerful Black women to sell and make a movie about The Clark Sisters, the pioneering Detroit siblings who are now in their fifth decade of rocking the gospel music world.
Tonight’s “The Clark Sisters: First Ladies of Gospel” (airing on Lifetime at 8PM) comes from executive producers Queen Latifah, Mary J. Blige and Missy Elliott, co-executive producer Holly Davis Carter, writer Camille Tucker and director Christine Swanson.
I had my own Clark Sisters experience while working as an executive at TV One back in 2007-08, where The Clark Sisters were the subjects of one of the very first episodes of network’s successful biography series “UnSung,” a show I developed and initially oversaw.
At the time, I generally knew enough about The Clark Sisters to recognize their breakthroughs in transforming the gospel music sound – and I felt that the world had not generally afforded them enough credit for that. But I didn’t know much else about their personal story and ended up fascinated by the conflicts and struggle, and of course, all the music. It’s not a surprise to me that producer Carter said she’s been trying to make this movie for 15 years – it is a worthy story to tell.
In honor of this movie accomplishment, Good Black News offers a career-spanning Spotify playlist below to allow you to keep enjoying the patented Clark Sister Sound all weekend long.
The Clark Sisters Playlist was crafted to include most of the key hits from The Clark Sisters – as well as highlights from the solo careers of Karen Clark Sheard, Dorinda Clark-Cole, Twinkie Clark, and even from next generation Clark family gospel superstar Kierra Sheard (who plays her mom Karen in the movie). For good measure, there’s also a rare solo track from Jacky Clark-Chisholm (a duet with movie exec producer Blige), and a coda from Dr. Mattie Moss Clark herself.
Jacky, Denise, Elbernita (Twinkie), Dorinda, and Karen were the five daughters of Mattie Moss Clark, a pioneering gospel music figure herself, who while raising her daughters also served as a minister of music for the Church of God In Christ, first at the local level in Michigan, but eventually at the national level.
