The label's second most-successful all-female singing group after The Supremes, Martha Reeves & The Vandellas were known for a churchier, more southern-styled soul than the Supremes, as typified in Motown hits such as "(Love Is Like A) Heat Wave", "Jimmy Mack", "I'm Ready For Love", "My Baby Loves Me", "Nowhere to Run", and, their signature song, "Dancing in the Street".
The group had its origins in Detroit, Michigan in 1957, and had initially gone by the name The Del-Phis. It originally was a quartet comprising childhood friends Martha Reeves, Rosalind Ashford, Annette Beard, and original lead singer Gloria Williams. Williams left after a failed single on the Checkmate label, leaving the quartet as a trio. They changed their name to The Vells signing a deal with Motown's Mel-o-dy label, and singing background for established Motown performers such as Mary Wells and Marvin Gaye before signing a new deal with Motown's Gordy label on September 21, 1962, after which the group changed its name to Martha and the Vandellas.
In 1964, the Vandellas' lineup changed with Betty Kelley replacing Sterling. In 1967, Kelley was fired and was replaced by Martha's younger sister, Sandra "Lois" Reeves. In 1969, Ashford was also fired and replaced by Sandra Tilley. The lineup of the Reeves sisters and Tilley continued after Martha's return from an institution after suffering a nervous breakdown. The group disbanded following a farewell concert, held at Detroit's Cobo Hall on December 21, 1972., however, Reeves still performs with sister Lois and another Reeves sister, Delphine.
Is There A Place
Martha Reeves & The Vandellas Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I just can't let him in
Because I know that's when
Heartaches will start again
He keeps on knockin' at my door
There he is
He just came back to hurt me some more
Cause I know he don't really care
Maybe this time he'll say
He's gonna see things my way
And he won't ever stray or ever go away
Maybe he'll stay
But I hate to take that chance
There he is
Of opening that door
Because if I see him again
I know my foolish heart will let him win
Baby, this time he'll say
He's gonna see things my way
So I'm gonna push my pride aside
Put on a great big smile
So he won't know
I've been crying all the while
Baby, baby, baby, walk on in
Baby, baby, baby, walk on in
Baby, baby, baby, walk on in
The song "There He Is" by Martha Reeves & The Vandellas talks about the dilemma of a woman who is faced with the return of an ex-lover who has previously caused her heartbreak. The lyrics highlight the emotional turmoil she is going through; while she wants to keep her ex-lover away, she also yearns for him to come back to her. The opening line "There he is at my door, I just can't let him in" portrays her struggle to keep her ex-lover from entering her life and causing her heartache once again. The repetition of the line "Maybe this time he'll say/He's gonna see things my way" shows her hope that he will understand her feelings and commit to a future with her.
However, the lines "And he won't ever stray or ever go away/Maybe he'll stay" highlight her fear of opening up herself to the possibility of being hurt again. She is trying to push aside her pride and smile, even though she has been crying the whole time. This portrays the emotional impact her ex-lover has had on her life. The song's concluding line "Baby, baby, baby, walk on in" indicates that while she is scared, she still wants him back in her life.
Line by Line Meaning
There he is at my door
He has arrived at my door.
I just can't let him in
I cannot afford to let him in.
Because I know that's when
This is the point at which.
Heartaches will start again
The time of pain and distress will commence once more.
He keeps on knockin' at my door
He repeatedly tries to gain entry.
There he is
He is still there.
He just came back to hurt me some more
His return is just to cause me further pain.
I'm tryin' so hard not to hear
I am attempting to avoid hearing him call.
Cause I know he don't really care
As I am aware, he is not truly concerned.
Maybe this time he'll say
Perhaps at present he will utter.
He's gonna see things my way
He will relent and understand my perspective.
And he won't ever stray or ever go away
He will never again act impulsively or depart.
Maybe he'll stay
Perhaps he will remain.
But I hate to take that chance
I loathe taking such a risk.
Of opening that door
Of allowing him entry.
Because if I see him again
Since in encountering him once more.
I know my foolish heart will let him win
I anticipate the shortcomings of my heart will lead to his triumph.
So I'm gonna push my pride aside
I am determined to disregard my pride.
Put on a great big smile
I shall pretend to be delighted to see him.
So he won't know
Consequently, he shall be unaware.
I've been crying all the while
That I have been in tears throughout.
Baby, this time he'll say
In all probability, he will articulate.
He's gonna see things my way
He shall be convinced of my point of view.
Baby, baby, baby, walk on in
Please come in.
Baby, baby, baby, walk on in
Please come in.
Baby, baby, baby, walk on in
Please come in.
Lyrics © Sony/ATV Music Publishing LLC
Written by: JR., EDWARD HOLLAND, EDWARD, JR. HOLLAND, FREDDIE GORMAN
Lyrics Licensed & Provided by LyricFind
@TheMotownjunkie
Martha and the Vandellas, Gladys Knight and the Pips, The Supremes, and Blinky all sung this
@waynebrasler
Motown recorded and recorded and recorded its artists, then charged them for the recording sessions! So many ended up not only with little money but in debt to the label! All of Martha's unreleased recordings were outstanding. She could sing ANY song and make it better! That's why all Motown producers wanted to work with her. The same could be said of Jean Terrell, who had similar qualities. Often Motown recorded the same songs with the Supremes, the Vandellas, the Marvelettes and the Velvelettes and sometimes, but not always, with the same tracks. The Velvelettes recorded two versions of "Honey Love," one with Cal Gill on lead and one with Sandra Tilley! Almost everything Barbara McNair recorded went unreleased and it's all simply outstanding. At bottom line, I think Motown tried to hit the mark every time out. There's not much that isn't at least interesting.
@joaquincastaneda6695
I know this video is old but can I get some info on who was the very first one who recorded this song? Gladys Knight and the Pips was released a year after the Supremes version (but could have been recorded the same year, 'cause the single from that album was released a year prior), but I can't seem to find any info of when this version was recorded, plus all three version has really different arrangement (yet sounds kinda similar)
@dundifer1
Also recorded by the Supremes and Gladys Knight.
@migueltomlinson6131
This is a bit faster being that Motown mostly released dance records on Martha.
@loveblind
This was a hit.... what happened? C’mon!!
@anthonypatterson6619
Is this the same backup track that is behind Jean?
@dchi2012
the Supremes did their own backing.
@VANDELLAS4U
no, it is busier and has more percussion and seems a bit faster...
@dchi2012
different backup