Part 2–Mable & Susaye, Two Raelette Perspectives
Despite the many stories of Ray Charles’s promiscuity and escapades with various Raelettes, the unparalleled greatness of their performances remains undeniable. For Raelette Susaye Greene, being on stage with an 18-piece band was a matter of respect and an environment to thrive. She recalls, “I was respected as a musician. I could sing and learn a song before going on stage and I could remember everybody’s part. I can hum all of the arrangements. Talent is a thing that is so abstract. What you have is what you have. I would always present what I had to the best of my ability and put my whole soul in, and that was recognized.”
Susaye Greene. Illustration by J.D. Humphreys
• TO BE A (SUCCESSFUL) RAELETTE •
Greene, who considered herself “a bit of a teacher’s pet,” was afforded opportunities to shine as a Raelette. “So, my job basically was to remember everybody’s part when they went off, and somehow, get them back on really quickly. I always had a solo, several solos that he would play the piano. That was my deal: I’d go out and sing solo and Ray would play for me.”
Charles echoed Greene’s sentiment. While his female performers had to possess both beauty and talent, they also needed to sustain and enhance their skills. To have the opportunity to perform alongside Charles, they had to exhibit excellence and, crucially, keep pace with him. “The name of the game, if you’re a singer or a drummer or a pianist, the main thing is to practice. Never forget to practice. As long as you have your health and strength and your mind is active, you go ahead and do what you do until the day you’re rung up by the man upstairs. While you’re here, you do what you can.”
“It was about your level of talent and whether or not you’re a trooper and could stand being on the road for nine months out of the year.”
- Susaye Greene
Over thirty women were Raelettes at some point throughout the sixties alone. “It was about your level of talent and whether or not you’re a trooper and could stand being on the road for nine months out of the year,” Greene said. The grueling travel schedule was one factor in elimination or departure from the group.
Due to Charles’s soaring popularity, he required flexibility in travel arrangement, frequently utilizing his private Learjet, which could accommodate the large orchestra and even featured a suite in the rear. “The great fun was we would always be in these little private airports and we’d see James Brown,” Greene recalls with her school-girlish laughter. “James had a Lear jet before any other Black performer. They’d make fun of each other’s plane and Ray would say ‘That itty bitty thing, whatcha gonna do?’ They’d go back and forth and it was tremendous fun.”
Despite the constant travel, accompanying Charles on tour was an invaluable learning opportunity. “It was a tremendous opportunity for me,” Greene said. “I’d stand backstage and watch Ray Charles every night sing the same songs over and over again and putting his full soul and passion into them and see the rewards of it. I did a lot of recording with him and he was my great and dear friend and mentor.”
For many years, Greene sat beside Charles on the piano stool, soaking in his wisdom and guidance. Charles confided in Greene and expressed his love of craft regularly to her. “He told me, ‘I’d do this for free’ and asked that I not say anything until after he was gone,” Greene recalled with a laugh.
• MABLE JOHN FINDS HER HOME WITH THE RAELETTES •
Not all Raelettes were newcomers to the music scene upon joining the group. Some had already established themselves in the industry. Mable John made history as the first female artist signed to Motown’s Tamla label by Berry Gordy in 1959. Alongside other on the new label’s roster, she anticipated embarking on a musical journey. Despite releasing a blues single titled “Who Wouldn’t Love a Man Like That?” in 1960, which didn’t achieve success, she continued to hone her craft as a live performer. After a slew of subsequent singles with disappointing sales, she gained acclaim for those live performances and often selling out at venues like the Apollo Theater in New York and the Howard Theatre in Washington, D.C. As Motown shifted its focus towards pop music, John found herself relegated to a background singer role for many artists, despite being in the foreground herself. Recognizing the changing landscape at Motown, she knew her time with the label had come to an end.
LISTEN TO “WHO WOULDN’T LOVE A MAN LIKE THAT?” BY MABLE JOHN
Mable John. Illustration by J.D. Humphreys
“When the company started to change from blues to pop, I knew I was lost,” John said. “So, I asked Mr. Gordy to allow me to leave the company and go to another company. He agreed. He asked why because I was with him before the beginning of Motown. And I said, ‘because I don’t think there’s a place for me and my kind of music here.’ He didn’t want me to leave but he understood what I was saying to him. I did not believe at that time that I could ever sing anything but gospel and the blues.”
In 1965, Stax Records signed her with another chance to go solo and she remarked, “it felt like home because I could do all the stuff that I could do,” she said. Her first single, “Your Good Thing Is About to End” had charted at number 6 on the R&B chart but stalled out at number 95 on the pop chart. John released six more singles with Stax with little success.
LISTEN TO “YOUR GOOD THING IS ABOUT TO END” BY MABLE JOHN
John started getting phone calls from Charles, who was asking her to find a lead singer for the Raelettes. She confided in her mother in Detroit, explaining that she had no one in mind to suggest to him and that if had someone in mind and they didn’t work out, her “name would be mud with him.” She begged her mother to let Charles know that she wasn’t available if he called again.
“Do you know the man called me one morning early, I was asleep,” John recalled. “She brought the phone in the bedroom to me and put the receiver to my ear and said, ‘Mable, Mable wake up, telephone.’ And, before I opened my eyes to see the phone, she said, ‘It's Ray Charles on the phone.’ And, I opened my eyes and I said, ‘Didn't I tell you..." And, he finished my sentence. He said, ‘I'm sorry darling, I know you told her you didn't wanna talk to me. But I got to talk to you.’”
It became evident that Charles wasn’t merely seeking a recommendation from John but was actuallyl inviting her to join the Raelettes. Despite John’s strong reservations about fitting into a group dynamic and her belief that she couldn’t achieve the harmony that Charles desired, he continued to push. Eventually, at the age of 37, John relented and joined the Raelettes in 1968, remaining with them for several years.
“Ray Charles carried me to another level,” John said. “Because he was blues, and he crossed over. And he would always say to me, ‘Now, John, if I can do this, you can do this.’”
“Ray Charles carried me to another level.”
- Mable John
• THE LEGACY OF THE RAELETTES •
The Raelettes frequently toured separate from Charles, with John taking on lead vocals. After their time with Charles, several members of the Raelettes went on to collaborate with various artists and groups, showcasing their talent and versatility in the music industry. While some pursued solo careers, others continued to lend their powerful vocals to different projects and musical endeavors.
Former Raelette Merry Clayton gained further recognition for her collaboration with the Rolling Stones. Her powerful vocals were featured prominently on their iconic song “Gimme Shelter.” She also worked with artists such as Lynyrd Skynyrd (“Sweet Home Alabama” along with Raelette Clydie King), Joe Cocker, and Neil Young.
LISTEN TO “GIMME SHELTER” BY THE ROLLING STONES
LISTEN TO “SWEET HOME ALABAMA” BY LYNYRD SKYNYRD
Minnie Riperton briefly joined the Raelettes before making her mark with the iconic number one hit “Lovin’ You” in 1975, a song that highlighted her remarkable five-octave vocal range. Riperton was beloved as a singer for her immense talent. She tragically passed away from breast cancer at the young age of 31 in 1979.
LISTEN TO “LOVIN’ YOU” BY MINNIE RIPERTON
Mable John went solo after her tenure with Ray Charles. She recorded several albums and worked with artists like Isaac Hayes and Elton John. Her soulful voice and dynamic stage presence continued to captivate audiences. During her tenure with Charles, she co-wrote over fifty songs before devoting her life to humanitarian and religious causes. She consistently returned to provide backup vocals for Charles, a commitment that lasted until his passing in 2004. John passed away in 2022.
Alexandra Brown, who joined the Raelettes in the later years, pursued a successful career as a background vocalist, working with renowned artists such as Michael Jackson, Whitney Houston, and Stevie Wonder.
Edna Wright, renowned as a Raelette and celebrated for her extensive background work, joined the group Honey Cone in 1969. Their hit song “Want Ads” soared to the top of both charts, securing a number one spot. Wright, also known as the sister of Darlene Love, passed away in 2020.
LISTEN TO “WANT ADS” BY HONEY CONE
Susaye Greene would go on to join Stevie Wonder in Wonderlove before she became the last member to join the Supremes in 1976. In addition, Greene co-wrote the track “I Can’t Help It” for Michael Jackson’s Off the Wall album.
LISTEN TO “I’M GONNA LET MY HEART DO THE WALKING” BY THE SUPREMES (SUSAYE GREENE LEAD)