MotownвЂ™s most famous film, Lady Sings the Blues (1972), starred Ross and was loosely based on the career of jazz singer Billie Holiday.Tammi, IMHO, wasn't allowed to demonstrate how talented she truly was. So was Blinky but I think her range was quite limiting and she sounded more home doing gospel than secular music.Shadows of the 60s pays tribute to the tremendous legacy of Motowns Super Groups, in a salute to the legendary stars of Motown such as The Supremes.In the late 1960s Detroit was wracked with violent race riots, and in the early вЂ™70s the company relocated to Los Angeles, where its move into filmmaking was generally fruitful. LaVern Baker Connie Francis Brenda Lee Dinah Washington Della Reese Aretha Franklin Etta JamesMary Wells was close. Below is a list (in no particular order) of popular and talented female rock 'n roll, pop, country, R&B, jazz and soul music solo artists who forged their own way in the music world and are considered to be among the greats of the '50s, '60s, and '70s.

Those ladies gave us arguably the best Motown stompers, which to me is the epitome of the Motown sound. Flo was a great vocal but I felt they never let her find her voice, either on Motown or ABC.Therefore, Gladys probably had more freedom to explore more than the others since her voice was able to attack anything, from gospel-emulated soul shouters to country-influenced pop ballads to stone rockers to those quiet storm type love songs.When I first read that question, I took it to mean 'who had the voice that most clearly demonstrated the style, intensity, and power of the Motown sound?' If that really was the intention, then for me it would come down to a virtual tie between Gladys [[Knight not Horton), Cal, and Martha. Mary Wilson is right in that she was the strongest vocalist of the original Supremes and I think she said Flo was like Aretha compared to them, not necessarily in general. 37 6/28/86 23 12 Polydor 829297 EMOTIONS , The Black female trio from Chicago.Flo was more on par with Etta James than Aretha when it came to R&B music, but I can see her doing opera, pop and jazz very well with the high soprano voice she had but honestly it's hard to tell if Motown underused her talent considering I felt like Kim and Tammi, she really wasn't allowed the freedom to explore.

But I am not as familiar with the breadth of talent at the label in the 60s. I loved me some Marvelettes back in the day, but their two lead singers just don't come to mind the way I interpreted this particular question.Which Motown female performer of the 1960s had the most formidable vocal instrument? In terms of power, range and versatility?I suppose most would consider it a showdown between Gladys Knight and Mary Wells. But that is mainly because HMHSY is one of the top five all time quintessential Motown songs.one that I could listen to all day.One final point to make is that just because I clarified Knight over Horton above does not mean that I find any kind of fault at all with Gladys H and certainly not with her co-lead, the wonderful Wanda Rogers. So I would put her more in the category of the sweeter side of the Motown sound.Another singer that I think belongs in this discussion that none of you have mentioned so far is Saundra Edwards. For example, be fair now, is it really her voice that grabs you in the first ten seconds of Itching or Third Time? I don't think so.

What Mary didn't say about Flo is that her big chance, her solo spotlight, her giant splash fresh from The Supremes was a disaster, she was dropped for lack of interest and ability and no one picked her up. It worked in that it put her name on the map after a decade of solo struggle, but still couldn't generate interest in a record deal or any kind of viable, continuing employment away from The Supremes. Mary created this Aretha-esque myth to formulate martyrdom for both Flo and herself. This is why no one at Motown used her at the label or after.

Great thread!!I think it's Gladys hands down. Play her tracks - you be the judge. I loved Flo in the group, and loved People when she did it because it was my dear Flo singing her solo - not because it was going to make Streisand slit her wrists.

Even Aretha held her in high esteem.Last edited by marv2 01-26-2016 at 03:37 PM.It really is hard to say given the framework in which the question is asked. This includes Otis Williams, Marvin Gaye, Obie Benson, members of the Marvelettes, etc.,etc. Many others have said the Florence Ballard had the best voice in the Supremes and one of the best around at that time. It was not the best material, but her weak, awful vocals on most songs made them worse. Flo Ballard had a loud trilling vibrato but her vocalizing was generally wretched as you can see by her solo CD. Martha has a 5 octave range.

Her performance is gutsy and deliciously soulful, but with a power so controlled that the power and soul in her voice managed to move even the most timid of white audiences. In true gospel fashion, Martha grabs you instantaneously with a commanding herald and emphatic energy that swept a nation. This would be my list, in no order:1) Mary Wells - One listen to 'My Guy,' particularly the end, and you can hear Mary's masterful control over each phrase, turning a soul number into a rather jazz-inspired performance with the little hiccups and subtle swing in her phrasing.2) Martha Reeves - It has been said that Martha's performance on 'Dancing in the Street' was a result of frustration for having to re-do her take when the engineers forgot to record. Because these records were meant to cross over, vocal prowress almost had to be calculated in order to avoid being considered 'racy.'However, I think the artists that did display prowess did so not only in vocal strength, but phrasing, control, and in an ability to capture one's ear immediately. In very rare cases were artists permitted to 'command' too much. They were making in some cases catchy Pop & Soul tunes that were heavily produced.That is an excellent point.

Rather than belting out a song in traditional soul fashion, Jean would bring the song in, subtly shaping phrases in a hushed coo that brought audiences forward. Her greatest ability as a singer was her ability to command a song with great intimacy. On record, however, that energy and presence is just as palpable.5) Jean Terrell - Although Jean possessed a gospel-influenced ability to flourish a melody with spirited improvisation. Even on fiery performances like 'I Heard it Through the Grapevine,' Knight was tasteful in how she 'brought the church.' In performance, her command of the song - and of the audience - is penetrating. Early on, Knight proved to be a vocal triple threat - soulful, emotive, and controlled.

1960S Motown Female Singers