Herman Griffin

An acrobatic performer/recording artist who deserves a footnote for two occurrences. In 1958, he recorded the first tune ever published under <a href="spotify:artist:4xRLKAf96K6YdGDWjY6ra8">Berry Gordy</a>'s <a href="spotify:search:label%3A%22Jobete+Publishing%22">Jobete Publishing</a> company, "I Need You," on <a href="spotify:search:label%3A%22HOB+Records%22">HOB Records</a>. <a href="spotify:artist:4xRLKAf96K6YdGDWjY6ra8">Gordy</a> caught Herman's act at a club, liked his acrobatics, and vowed to record him. <a href="spotify:search:label%3A%22Jobete%22">Jobete</a> represented the first two letters of Berry's kids names: Joy, Berry, and Terry; <a href="spotify:search:label%3A%22HOB%22">HOB</a> was an acronym for the House of Beauty, a hair emporium that Berry's future wife Raynoma Liles frequented. The single also credited the Rayber Singers for the first time; Rayber was a combination of Raynoma and Berry. It was Berry's first and last involvement with Carla Murphy's <a href="spotify:search:label%3A%22HOB+Records%22">HOB Records</a>. His next record fell on <a href="spotify:search:label%3A%22Tamla+Records%22">Tamla Records</a> in October 1960, but "True Love"/"It's You" did nothing for Herman's career; it certainly didn't reflect his exciting performances where back flips, somersaults, and splits were as much a part of his act as his bluesy tenor. He amazed audiences in the Caucasian clubs he played; the same clubs' <a href="spotify:artist:3koiLjNrgRTNbOwViDipeA">Marvin Gaye</a> worked before breaking out, as opposed to the inner city clubs, where other R&B performers performed. His next release on <a href="spotify:search:label%3A%22Motown+Records%22">Motown Records</a> didn't drop until July 1962, but "Sleep (Little One)" b/w "Uptight," stiffed before the labels were affixed to the box of copies <a href="spotify:artist:4xRLKAf96K6YdGDWjY6ra8">Gordy</a> had pressed. It's ironic his records never did anything since he worked in promotions at <a href="spotify:search:label%3A%22Motown%22">Motown</a>. He befriended DJs in different cities, encouraging them to play <a href="spotify:search:label%3A%22Motown%22">Motown</a> releases. He's credited with greasing <a href="spotify:artist:1cjZk1xXn3YCToNg3uJpA7">Mary Wells'</a> exit from <a href="spotify:search:label%3A%22Motown%22">Motown</a>. Griffin was <a href="spotify:artist:25W55yzID8F5bRKG8Zg2IA">Mary</a>'s first husband and wanted total control, something he couldn't get at <a href="spotify:search:label%3A%22Motown%22">Motown</a>. After signing with <a href="spotify:search:label%3A%2220th+Century+Fox%22">20th Century Fox</a>, <a href="spotify:artist:25W55yzID8F5bRKG8Zg2IA">Mary</a>'s career descended faster than a pin-pricked balloon. Before she left, Griffin had already become a pain, he couldn't read or write music but conducted the band while <a href="spotify:artist:25W55yzID8F5bRKG8Zg2IA">Mary</a> performed, and did back flips while she sung ballads. After <a href="spotify:search:label%3A%22Motown%22">Motown</a>, he sang with the Boys in the Band. Britisher <a href="spotify:artist:6JjQdNViLxTyXWejSfNASK">Ian Levine</a> didn't overlook Griffin when he recorded 800 tracks by former <a href="spotify:search:label%3A%22Motown%22">Motown</a> artists, Levine resurrected Griffin with a few tracks, most notably "Not One Chance in a Million." ~ Andrew Hamilton