Biography
Formed during their high school days in Detroit, the Del Fi's consisted of lead vocalist Gloria Williamson together with Rosalyn Ashford, Annette Beard, and one unidentified participant. After their Cadette Records coupling of “No More” and “The Magic of Love” failed to register, the unknown member left the Motor City. Seeking a replacement, the trio brought in Martha Rose Reeves, who had previously belonged to the Fascinations, a Detroit female quartet whose recordings appeared exclusively on Chicago labels and which many listeners long assumed hailed from that city. Several years after Reeves’s departure, the Fascinations linked with Curtis Mayfield for a series of critically praised singles that nonetheless sold poorly.
Initially the Del Fi’s worked solely under Joe Hunter and Fred Brown, owners of Brohun Publishing and its affiliated production firm. Their backing vocals proved so integral that they routinely appeared in the label credits. The 1960 Kable single “Won’t You Let Me Know” backed with “My Love Came Tumbling Down” was issued as J. J. Barnes & the Del Fi’s, while another 1960 Kable release pairing “Silver and Gold” with “Together Just We Two” appeared as Leon Peterson & the Del Fi’s. Kable reissued the J. J. Barnes recording the same year, now credited to J. J. Barnes & the Del-Phis with altered spelling. In 1961 the same 45 was leased to Rich Records, yet despite generating some notice it failed to break through.
That year Billy Davis signed the group to his Checkmate imprint for a lone release under the Del-Phis name: “I’ll Let You Know,” penned by Joe Hunter and Martha Reeves, coupled with “It Takes Two,” a Hunter–Gloria Williamson composition. After Checkmate closed, Davis relocated to Chicago to join Chess Records. The women took day jobs yet continued session work; they supplied backing on two Mike Hanks singles—“The Hawk,” credited to Mike Hanks and the Del Fi’s, and the two-part “I Think About You,” credited to Mike Hanks and the Del-Phis—before issuing their own “Worthless Love” b/w “I Know It’s You,” written by Reeves and Williamson, and then disbanding. Reeves maintained daytime employment while performing weekends in clubs under the name Martha Lavalle.
Martha Reeves secured a secretarial post in Motown’s Artists and Repertoire department at an opportune moment. When Mary Wells failed to appear for a scheduled session, producer William “Mickey” Stevenson required a vocalist to satisfy musicians-union representatives; the resulting track, “I’ll Have to Let You Go,” was logged merely as a demo and set aside. Later in 1962 Stevenson needed background singers for a Marvin Gaye date. With the Andantes working in Chicago, Reeves summoned the Del Fi’s to 2648 West Grand Blvd. The resulting “Stubborn Kind of Fellow” became Gaye’s first major hit and introduced the Vandellas’ bright vocal style to listeners.
The group cut a single for Motown’s Melody subsidiary. Both sides—“You’ll Never Cherish a Love So True” and “There He Is at My Door”—were led by Gloria Williamson and appeared in October 1962 under the name the Vells, because Chess Records held rights to the Del Fi’s moniker. Williamson’s delivery reveals the clear source of Reeves’s approach: the two voices are nearly indistinguishable, Reeves’s soprano slightly thinner and Williamson’s marginally deeper in soul inflection. Whenever Williamson participated, Reeves assumed a supporting role, prompting speculation whether Reeves performed in her own voice or consciously mirrored the singer she revered.
Stevenson placed the Del Fi’s voices on “I’ll Have to Let Him Go,” transforming the earlier demo into Martha & the Vandellas’ first single. By the time of its release Williamson had already departed, leaving the trio of Martha Reeves, Rosalyn Ashford, and Annette Beard. The record made no impression, yet the follow-up “Come and Get These Memories” launched the group’s string of successes. Reeves later rejoined J. J. Barnes, who co-wrote “Show Me the Way” with Sylvia Moy and Richard Morris; issued as the B-side of “Honey Chile,” the track inspired numerous covers, among them Pattie & the Lovelites’ “My Conscious.”
Initially the Del Fi’s worked solely under Joe Hunter and Fred Brown, owners of Brohun Publishing and its affiliated production firm. Their backing vocals proved so integral that they routinely appeared in the label credits. The 1960 Kable single “Won’t You Let Me Know” backed with “My Love Came Tumbling Down” was issued as J. J. Barnes & the Del Fi’s, while another 1960 Kable release pairing “Silver and Gold” with “Together Just We Two” appeared as Leon Peterson & the Del Fi’s. Kable reissued the J. J. Barnes recording the same year, now credited to J. J. Barnes & the Del-Phis with altered spelling. In 1961 the same 45 was leased to Rich Records, yet despite generating some notice it failed to break through.
That year Billy Davis signed the group to his Checkmate imprint for a lone release under the Del-Phis name: “I’ll Let You Know,” penned by Joe Hunter and Martha Reeves, coupled with “It Takes Two,” a Hunter–Gloria Williamson composition. After Checkmate closed, Davis relocated to Chicago to join Chess Records. The women took day jobs yet continued session work; they supplied backing on two Mike Hanks singles—“The Hawk,” credited to Mike Hanks and the Del Fi’s, and the two-part “I Think About You,” credited to Mike Hanks and the Del-Phis—before issuing their own “Worthless Love” b/w “I Know It’s You,” written by Reeves and Williamson, and then disbanding. Reeves maintained daytime employment while performing weekends in clubs under the name Martha Lavalle.
Martha Reeves secured a secretarial post in Motown’s Artists and Repertoire department at an opportune moment. When Mary Wells failed to appear for a scheduled session, producer William “Mickey” Stevenson required a vocalist to satisfy musicians-union representatives; the resulting track, “I’ll Have to Let You Go,” was logged merely as a demo and set aside. Later in 1962 Stevenson needed background singers for a Marvin Gaye date. With the Andantes working in Chicago, Reeves summoned the Del Fi’s to 2648 West Grand Blvd. The resulting “Stubborn Kind of Fellow” became Gaye’s first major hit and introduced the Vandellas’ bright vocal style to listeners.
The group cut a single for Motown’s Melody subsidiary. Both sides—“You’ll Never Cherish a Love So True” and “There He Is at My Door”—were led by Gloria Williamson and appeared in October 1962 under the name the Vells, because Chess Records held rights to the Del Fi’s moniker. Williamson’s delivery reveals the clear source of Reeves’s approach: the two voices are nearly indistinguishable, Reeves’s soprano slightly thinner and Williamson’s marginally deeper in soul inflection. Whenever Williamson participated, Reeves assumed a supporting role, prompting speculation whether Reeves performed in her own voice or consciously mirrored the singer she revered.
Stevenson placed the Del Fi’s voices on “I’ll Have to Let Him Go,” transforming the earlier demo into Martha & the Vandellas’ first single. By the time of its release Williamson had already departed, leaving the trio of Martha Reeves, Rosalyn Ashford, and Annette Beard. The record made no impression, yet the follow-up “Come and Get These Memories” launched the group’s string of successes. Reeves later rejoined J. J. Barnes, who co-wrote “Show Me the Way” with Sylvia Moy and Richard Morris; issued as the B-side of “Honey Chile,” the track inspired numerous covers, among them Pattie & the Lovelites’ “My Conscious.”
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