Mary Wells

Mary Esther Wells was born near Detroit's Wayne State University on May 13, 1943, to a mother who worked as a domestic, and an absentee father. One of three children, she contracted spinal meningitis at the age of two and struggled with partial blindness, deafness in one ear and temporary paralysis. At age 10, Wells contracted tuberculosis. During her early years, Wells lived in Black Bottom and struggled with poverty. By age 12, she was helping her mother with house cleaning work. She described the ordeal years later:

Wells used singing as her comfort from her pain and by age 10 had graduated from church choirs to performing at local nightclubs in the Detroit area. Wells graduated from Detroit's Northwestern High School at the age of 17 and set her sights on becoming a scientist, but after hearing about the success of Detroit musicians such as Jackie Wilson and the Miracles, she decided to try her hand at music as a singer-songwriter.

In 1960, 17-year-old Wells approached Tamla Records founder Berry Gordy at Detroit's Twenty Grand club, with a song she had intended for Jackie Wilson to record, since Wells knew of Gordy's collaboration with Wilson.[3] However, a tired Gordy insisted Wells sing the song in front of him. Impressed, Gordy had Wells enter Detroit's United Sound Systems to record the single, titled "Bye Bye Baby".[1] After a reported 22 takes, Gordy signed Wells to the Motown subsidiary of his expanding record label and released the song as a single in September 1960; it peaked at number 8 on the US Billboard R&B chart in 1961,[4] and later crossed over to the pop singles chart, where it peaked at number 45.[5]

Wells' early Motown recordings reflected a rougher R&B sound than the smoother style of her biggest hits. Wells became the first Motown female artist to have a Top 40 pop single after the Mickey Stevenson-penned doo-wop song "I Don't Want to Take a Chance" hit number 33 in June 1961.[5] In the fall of that year, Motown issued her first album and released a third single, the bluesy ballad "Strange Love". When that record bombed, Gordy set Wells up with the Miracles' lead singer Smokey Robinson. Though she was hailed as "the first lady of Motown", Wells was technically Motown's third female signed act: Claudette Rogers, of Motown's first star group the Miracles, has been referred to by Berry Gordy as "the first lady of Motown Records" due to her being signed as a member of the group, and in late 1959 Detroit blues-gospel singer Mable John had signed to the then-fledgling label a year prior to Wells' arrival. Nevertheless, Wells' early hits as one of the label's few female solo acts did make her the label's first female star and its first fully successful solo artist.

Wells's teaming with Robinson led to a succession of hit singles over the following two years. Their first collaboration, 1962's "The One Who Really Loves You", was Wells's first hit,[1] peaking at number 2 on the R&B chart and number 8 on the Hot 100. The song featured a calypso-styled soul production that defined Wells's early hits. Motown released the similar-sounding "You Beat Me to the Punch" a few months later.[1] The song became her first R&B number 1 single and peaked at number 9 on the pop chart. The success of "You Beat Me to the Punch" helped to make Wells the first Motown star to be nominated for a Grammy Award when the song was nominated for Best Rock & Roll Recording in 1963.[6][7]

In late 1962, "Two Lovers"[8] became Wells's third consecutive single to hit the Top 10 of Billboard's Hot 100, peaking at number 7 and becoming her second number 1 hit on the R&B chart. This helped to make Wells the first female solo artist to have three consecutive Top 10 singles on the pop chart. The track sold over one million copies, and was awarded a gold disc.[9] Wells's success at the label was recognized when she became a headliner during the first string of Motortown Revue concerts, starting in the fall of 1962. The singer showcased a rawer stage presence that contrasted with her softer R&B recordings.

Wells's success continued in 1963 when she hit the Top 20 with the doo-wop ballad "Laughing Boy" and scored three additional Top 40 singles, "Your Old Standby", "You Lost the Sweetest Boy", and its B-side, "What's Easy for Two Is So Hard for One".[1] "You Lost the Sweetest Boy" was one of the first hit singles composed by Holland–Dozier–Holland, the songwriting and producing team, though Robinson remained Wells's primary producer.

Also in 1963, Wells recorded a session of successful B-sides that arguably became as well known as her hits, including "Operator", "What Love Has Joined Together", "Two Wrongs Don't Make a Right" and "Old Love (Let's Try It Again)". Wells and Robinson also recorded a duet titled "I Want You 'Round", which would be re-recorded by Marvin Gaye and Kim Weston.

In 1964, Wells recorded "My Guy".[1] The Smokey Robinson song became her trademark single, reaching number 1 on the Cashbox R&B chart for seven weeks and becoming the number 1 R&B single of the year. The song successfully crossed over to the Billboard Hot 100, where it eventually replaced Louis Armstrong's "Hello, Dolly!" at number 1, remaining there for two weeks. The song became Wells's second million-selling single.[9]

To build on the song's success, Motown released a duet album recorded with fellow Motown singing star Marvin Gaye, Together.[1] The album peaked at number 1 on the R&B album chart and number 42 on the pop album chart, and yielded the double-sided hits "Once Upon a Time" and "What's the Matter With You Baby".

"My Guy" was one of the first Motown songs to break on the other side of the Atlantic, eventually peaking at number 5 on the UK chart and making Wells an international star. Around this time, the Beatles stated that Wells was their favorite American singer, and soon she was given an invitation to open for the group during their tour of the United Kingdom, thus making her the first Motown star to perform in the UK. Wells was only one of three female singers to open for the Beatles, the others being Brenda Holloway and Jackie DeShannon. Danny Tyrell accompanied her in live shows in Detroit. Wells made friends with all four Beatles and later released a tribute album, Love Songs to the Beatles, in mid-decade.

Former Motown sales chief Barney Ales described Wells's landmark success in 1964:

In 1964, Mary Wells was our big, big artist, I don't think there's any audience with an age of 30 through 50 that doesn't know the words to My Guy.[2]

— 1992

Ironically during her most successful year, Wells was having problems with Motown over her original recording contract, which she had signed at the age of 17. She was also reportedly angry that the money made from "My Guy" was being used to promote The Supremes, who had found success with "Where Did Our Love Go", just as "My Guy" was promoted, using the profits from another, earlier hit Motown song. Though Gordy reportedly attempted to renegotiate with Wells, the singer still asked to be freed from her contract with Motown.

A pending lawsuit kept Wells away from the studio for several months, as she and Gordy brokered the contract details, with Wells fighting to gain a larger share of the royalties she had earned during her tenure with Motown. Finally, Wells invoked a clause that allowed her to leave the label, advising the court that her original contract was invalid, as she had signed while she was still a minor. Wells won her lawsuit and was awarded a settlement, leaving Motown officially in early 1965, whereupon she accepted a lucrative ($200,000) contract with 20th Century Fox Records.[1]

Part of the terms of the agreement of her release was that she could not receive any royalties from her past works with the label, including use of her likeness to promote herself.

Wells worked on material for her new record label while dealing with other issues, including being bedridden for weeks suffering from tuberculosis. Wells's eponymous first 20th Century Fox release included the first single "Ain't It The Truth", its B-side "Stop Taking Me for Granted", the lone top 40 hit, "Use Your Head" and "Never, Never Leave Me". However, the album flopped, as did the Beatles tribute album she released not too long afterwards. Rumors have hinted Motown may have threatened to sue radio stations for playing Wells's post-Motown music during this time.[10] After a stressful period in which Wells and the label battled over multiple issues after her records failed to chart successfully, the singer asked to be let go in 1965 and left with a small settlement.[1]

In 1966, Wells signed with Atlantic Records' subsidiary Atco.[1] Working with producer Carl Davis, she scored her final Top 10 R&B hit with "Dear Lover",[1] which also became a modestly successful pop hit, peaking at number 51. However, much like her tenure with 20th Century Fox, the singer struggled to come up with a follow-up hit, and in 1968, she left the label for Jubilee Records, where she scored her final pop hit, "The Doctor", a song she co-wrote with then-husband Cecil Womack.[1] Meanwhile, she had attempted to develop a film career, but only managed a guest starring role in 1967's Catalina Caper (1967). In 1970, Wells left Jubilee for a short-lived deal with Warner Music subsidiary Reprise Records and released two Bobby Womack-produced singles. In 1972, Wells scored a UK hit with a re-issue of "My Guy", which was released on the Tamla-Motown label and climbed to number 14.[11] Though a re-issue, Wells promoted the single heavily and appeared on the British TV show Top of the Pops for the first time. Despite this mini-revival, she decided to retire from music in 1974 to raise her family.

In 1977, Wells divorced Cecil Womack and returned to performing.[12] She was spotted by CBS Urban president Larkin Arnold in 1978 and offered a contract with the CBS subsidiary Epic Records, which released In and Out of Love in October 1981. The album, which had been recorded in 1979, yielded Wells's biggest hit in years, the funky disco single, "Gigolo".

"Gigolo" became a smash at dance clubs across the country. A six-minute mix hit number 13 on Billboard's Hot Dance/Club Singles chart and number 2 on the Hot Disco Songs chart.[13] A four-minute radio version released to R&B stations in January 1982 achieved a modest showing at number 69. It turned out to be Wells's final chart single.

After the parent album failed to chart or produce successful follow-ups, the Motown-styled These Arms was released, but it flopped and was quickly withdrawn, and Wells's Epic contract fizzled. The album's failure may have been due to light promotion. She still had one more album in her CBS contract, and in 1982, released an album of cover songs, Easy Touch, which aimed for the adult contemporary radio format.

Leaving CBS in 1983, she continued recording for smaller labels, gaining new success as a touring performer.

On the April 21, 1984 edition of American Top 40, Casey Kasem reported that Wells was attempting to establish a hot dog chain.[14]

In 1989, Wells was celebrated with a Pioneer Award from the Rhythm and Blues Foundation during its inaugural year.[15]

In 1990, Wells recorded an album for Ian Levine's Motorcity Records,[1] but her voice began to fail, causing the singer to visit a local hospital. Doctors diagnosed Wells with laryngeal cancer. Treatments for the disease ravaged her voice, forcing her to quit her music career. Since she had no health insurance, her illness wiped out her finances, forcing her to sell her home. As she struggled to continue treatment, old Motown friends, including Diana Ross, Mary Wilson, members of the Temptations and Martha Reeves, made donations to support her, along with the help of admirers such as Dionne Warwick, Rod Stewart, Bruce Springsteen, Aretha Franklin and Bonnie Raitt.[16] That same year, a benefit concert was held by fellow fan and Detroit R&B singer Anita Baker. Wells was also given a tribute by friends such as Stevie Wonder and Little Richard on The Joan Rivers Show.

In 1991, Wells brought a multimillion-dollar lawsuit against Motown for royalties she felt she had not received upon leaving Motown Records in 1964 and for loss of royalties for not promoting her songs as the company should have. Motown eventually settled the lawsuit by giving her a six-figure sum. That same year, she testified before the United States Congress to encourage government funding for cancer research:[17]

I'm here today to urge you to keep the faith. I can't cheer you on with all my voice, but I can encourage, and I pray to motivate you with all my heart and soul and whispers.

— Mary Wells[10]