KCRW’s acclaimed music documentary podcast, Lost Notes, returns for its fourth season. Co-hosts Novena Carmel (KCRW) and Michael Barnes (KCRW / KPFK / Artform Radio) guide you through eight wildly different and deeply human stories, each set against the kaleidoscopic backdrop of LA’s soul and R&B scene of the 1950s-1970s. Support KCRW’s original programming like Lost Notes by donating or becoming a member.
Portrait of Gloria Jones after a Joe Cocker concert where she was one of the backing vocalists, Crystal Palace Bowl, London, 3 June 1972. Photo by Gijsbert Hanekroot/Redferns.
This season of Lost Notes kicked off with the story of “Tainted Love” – and, more specifically, the story of its original singer, Gloria Jones. Despite a fascinating and wide-ranging career that stretched over decades, Gloria largely suffered the indignity of being a one-hit wonder who never even enjoyed having that one hit for herself. But as anyone who heard our episode knows, Gloria Jones was responsible for so much amazing music … with a life story to match.
Now, we conclude our season by hearing it all from Gloria herself, from the original recording of “Tainted Love” to her songwriting career at Motown and her life with Marc Bolan of T. Rex – as well as the 60th anniversary of that legendary and iconic song. Gloria sat down with Michael Barnes at KCRW in July of 2024.
Michael Barnes
Miss Gloria Jones, thank you so much for coming in.
Gloria Jones
Thank you for having me. I'm just honored to be here, and I'm ready to go!
Michael Barnes
Okay! So, let's start more or less at the beginning of your singing career. Growing up in LA and being in the church, the first moment where anybody might have heard the voice of Gloria Jones was when you were working with the COGIC Singers. And when you hear those performances, you can lose track of the fact that all of you are basically teenagers, because your voice on those first recordings is stunning when you hear it. Where did you find all that power in your voice?
Gloria Jones
When I started working with Ed Cobb. Ed Cobb was the writer of “Love Letters” for Ketty Lester, and [Brenda Holloway’s] “Every Little Bit Hurts.” And he was from Oklahoma, so he wasn't afraid of gospel or power, same as with Marc. Marc Bolan was the same way. He wanted me to express and to bring that power out in my voice. But I would say when I started actually recording in the record industry, I was able to find my highs, my lows, going into my soul. By that time, you're experiencing life. And so when I started in the industry, I was able to find that style.
Michael Barnes
So when we hear those first recordings, it's all just raw talent, more or less, right?
Gloria Jones
Yes, yes.
Michael Barnes
How did you actually meet [“Tainted Love” songwriter] Ed Cobb?
Gloria Jones
Brenda [and] Patrice Holloway were singing backup for Jesse Belvin. They had their own singing careers coming out of Watts. So [Motown’s] Hal Davis suggested, “Why don't you bring Gloria Jones into your group for background work?” Brenda and Patrice accepted Hal’s advice, and I started singing background with them. At that time, Barry White was only about 19 years old, and he didn't have any money, so he would call Brenda and say, “Hey, I really need some girls to come and help me.” And she says, “Don't worry, just buy us a hamburger and a Coke.” So there we are, singing with Barry White. But that experience led to a lot of confusion.
I met Ed in Motown's office, because he was a writer. He said he wanted me to do a vocal on an instrumental. That instrumental was “Heartbeat,” but he didn't tell me that the instrumental had been [written by] Billy Preston. I had no idea that Ed changed the title [and decided] to put [on] a vocal. To this day, Billy never says, “Gloria, that was my song.” He never told me. Ed says, “Listen, I'm really interested in signing a contract with you so that you can sing my songs.” [And] I felt I was signing with Motown. All of a sudden, my dad has to sign the contract because I'm not old enough. We were at this beautiful lawyer's office in Beverly Hills. And my dad says, “Did you know you were signing to Greengrass Productions?” I said, “No, I thought I was signing to Motown.” So that's how I met Ed.
Michael Barnes
When you did the session for “Heartbeat,” was that the only song, or was that also the same session that you recorded “Tainted Love?”
Gloria Jones
Yes, that was the same session.
Michael Barnes
Okay, so all those early singles, exact same session.
Gloria Jones
Yes, yes.
Michael Barnes
Can you tell me what that experience was like?
Gloria Jones
Armin Steiner had a garage that he turned into a studio on the top floor, and I recorded the song called “My Bad Boy’s Coming Home.” So after we recorded it, then we recorded “Tainted Love.” Ed says, “Oh…”, because I guess we must have gotten some money, or we must have signed with a company or something. So we end up going into Nashville West [at 5505 Melrose Ave.], and that's where we had the session with Glen Campbell on lead guitar, Bobby Womack on rhythm, Hal Blaine on drums, Carol Kaye on bass, and that was the Wrecking Crew.
Michael Barnes
The classic Wrecking Crew.
Gloria Jones
Yes. But that was the sound that was in [in] Los Angeles.
Michael Barnes
And with those songs, was the session the first time you had seen those songs? Were you learning the songs more or less at that time, or had you had some time to work with them?
Gloria Jones
No, just given to you. But it just felt normal.
Michael Barnes
That’s the way it was.
Gloria Jones
That's the way it was.
Michael Barnes
You get to the studio, 15 years old, right? What do you think when you're looking at these lyrics for a song called “Tainted Love?”
Gloria Jones
I was frightened. Because for one, I was like, “This word doesn't sound correct, and what is ‘tainted?’” You know, we’d never heard of “tainted.” And so Ed brings the song, and I said, “Well, you know, Ed, I'm not sure if I can sing this song,” because I don't know if my parents would understand. I felt it was a curse word for some reason.
Michael Barnes
If the love is tainted, that does not sound like a love you want. Even at 15, you know that.
Gloria Jones
It wasn't right, Michael, and that's all I can say. But Ed, when he brought the song, the melody did not fit my style, so I said, “Ed, I'll sing the song, but you have to let me change it up” – not knowing that I had changed it to fit my style, where I should have been given 5% or 10%. But what do I know? At that time, they were only giving a half a cent a record. No, I mean, it was about two cents a record or something. I go into the studio and I make that song my baby. I had no idea what I was singing, no idea that it was “Tainted Love you're giving, I gave you all the love a girl can give you.” What do I know about tainted love?
But that song has something mystical about it. And when a young lad was over in Liverpool, the ship had just docked. There was a sailor, and he wanted a cigarette. So he saw this kid coming. He said, “Hey, I've got this 45, Gloria Jones.” And so he said, “Let me just have a cigarette.” He said, “Okay.” And the guy takes the 45 and he goes to the social club. During that time, they were playing all of Motown's songs. When this young guy brings “Tainted Love” and they put it on the floor, they said the people went crazy. And they still go crazy over this song [for] 60 years. I was just in northern England, and it's still the same momentum.
Michael Barnes
I've been a DJ and collector, but also a dancer, at soul kinda nights for most of my adult life. This is now 30 years of hearing that in one form or another in multiple places around the country. And any time that song comes on, it's magic. And the story you told is one of the many stories of the legend of how “Tainted Love” was brought into the Northern Soul scene. We'll come to that a little bit later. But given your feeling – given what seems obvious to anybody who hears that song – how is it that “Tainted Love” ended up as the B side to “My Bad Boy’s Coming Home?”
Gloria Jones
No one had faith in this song, but they needed a B side. Because at that time, we had not recorded “Heartbeat.” So “My Bad Boy’s Coming Home” [and] “Tainted Love,” I feel, gave us the leverage to be able to have a record deal. And I think that's how that came about, because no one really believed in the song, no one liked the song. Only Ed was interested in the song because he wrote the original part. But when I was singing the song, I was singing it with, really, a lot of resentment, because I didn't like what I was singing. And maybe that's what it is on there. You can feel the edge.
Michael Barnes
There’s a tension.
Gloria Jones
Yeah, the tension.
Michael Barnes
Back then, one of the things that we speculated about – just because of the way the industry was at that time – “My Bad Boy’s Coming Home” is in the line of a lot of the girl-group pop songs of that era: the Ronettes, that kind of thing.
Gloria Jones
Yes.
Michael Barnes
I would imagine that song would have been, as the A side, sent to pop stations, as opposed to R&B stations.
Gloria Jones
Exactly.
Michael Barnes
And do you think that's also part of the reason why it never became a hit?
Gloria Jones
I believe that. I do. Because I was doing shows with the Toys, with Dorothy Moore, those type of singers who were on TV at that time. So that's why “Bad Boy” was safe. And I think, the way that Ed and Greengrass Productions were guiding my career, I was accepted in the pop world. But because of the rules of the industry at that time, I had to go, like you say, into the R and B, where “Tainted Love” would have taken me on the other side. It would have taken me into more of the Tina Turner, Betty Everett … Because, you know, Betty Everett, she was sort of a crossover. And it was those rules. I always call them rules because they were. There were so many rules. Some rules, you weren't even allowed to have a studio in your home. A singer that was also a songwriter could not be both. I mean, there was just so many rules, you know. And just think, “Tainted Love” has survived all of those things.
Michael Barnes
Yeah. And on some level, I do not want to excuse this historical mistake of making “Tainted Love” a B side on a pop record that didn't make it to the right stations. But on some level, I can understand how “Heartbeat” fit the mindset more. Because you have the vocal version, you have the instrumental version. And that is the way things often were done, especially [with an] R&B, emerging soul kind of sound. So this first single does not go anywhere. But “Heartbeat” comes out, and that does kinda give you this moment in the sun. What was that experience like? Because you were on all these shows, you were on Shindig multiple times.
Gloria Jones
I'm gonna tell you the truth.
Michael Barnes
Please do.
Gloria Jones
At that time, you could only have one Black artist on a show. So I just happened to be at the right place at the right time: Los Angeles, California…
Michael Barnes
…where these shows were recorded.
Gloria Jones
So I would ride the Western Avenue bus from Morningside to ABC Studios, and I would ask the bus driver to let me off one block before I got to the studio. Because I'm going in with my little wardrobe, my makeup kit, and I don't want the people to know I'm riding the bus to do Shindig [or] Where The Action Is, and I'm always on the bus. I think, Michael, that I've really taken this career as very humble and very realistic. I had agents who happened to be the number-one agents at the time, and whenever someone needed a singer, an R&B singer, Gloria Jones was automatically called. I was lucky there. Because I know people [are] surprised when you're always on TV. Never with a hit song, but you're on TV.
Michael Barnes
You put out a record, Come Go With Me, out of these singles building towards that. But again, kind of a fateful mistake: “Heartbeat” is on there, but “Tainted Love” is not. Do you have any idea how the songs were chosen? Because, again, it's insane looking back on it. It's like, “How could you not put this song on the record?!”
Gloria Jones
A lot of deals were made, friends helping friends. I remember one producer said, “Listen, you've got to sing this one particular song.” I said, “Why?” He said, “Because my friend is going with a girl, and he told her that he was gonna have the song recorded.” And so I was constantly in all of these things, but I never lost my cool. I think I just kept everything easy because I had to take care of my family, which was important. And I promised myself at the age of seven that I would always be responsible for my family. And no one ever said no. So I think basically I just took everything as a job.
Michael Barnes
It's really understandable, in thinking about your career, that you would have … not necessarily given up on being a singer, but definitely this is the period of time that you moved to different areas. Catch My Soul was your first experience onstage, but you were also in a production of Hair as well.
Gloria Jones
Yes. From Catch My Soul, I went to the Mark Taper with Revolution, and that was Eric Monte, who did [The Jeffersons] and all of those shows. And from there, they invited me to come to Hair, where I would start as a swing. And the swing meant that whenever somebody didn't show up, you had to know all the parts. So when Dick Osario said to me, “Gloria, we want you in Hair, but you're gonna have to be a swing,” quite naturally I was like, “Oh no, no, no, no. I don't think I can do that.” He said, “No, trust me.” So I signed as a swing, and then in two weeks, I was a regular. From that I was the first Black Sheila to sing “Easy To Be Hard.” Standing ovation every night. Jim Rado, the writer of the play, comes to me. And he says, “That part is not for you.” I said, “But I get a standing ovation every night.” He says, “No. Sheila is [an] all-American white girl with blue eyes and blonde hair. You are Abie Baby.” So I was Abraham Lincoln with a wig and a top hat: “Four score and seven years ago, our great…” But it never discouraged me, Michael, because the whole thing for me was: Get as much exposure as you can.
Now, while I'm doing theater, I'm still working as a background singer and a songwriter for Motown, and a background singer for Wayne Newton in Las Vegas. So all of it was going to finally come to a head. I had the Four Tops’ “Just Seven Numbers” that was rising on the charts. And I was told by Motown, if you don't give up Wayne Newton, we're going to take the record off the charts. Next thing I know, the next week, the Four Tops are off the charts. So I had to make a decision. I went with Motown.
Michael Barnes
There's a couple of different things about your time at Motown that I wanted to get into. But I was wondering how you found your way there, and whether or not you'd already met your writing partner at Motown, Pam Sawyer, before you got there, or was that after?
Gloria Jones
I did a demonstration record for Hal Davis for “Ooh, Baby Baby” that they sent to Linda Ronstadt. And if you listen to Linda Ronstadt’s version, you hear Gloria Jones. So I had gone up to the office to hear the demo, and Pam Sawyer heard me playing the piano in the piano room. And she said, “I really like the way you play.” I said, “Oh, no, I'm just playing around.” She said, “No, I want to talk to you. I'm a songwriter. Do you write any songs?” I said, “Well, I wrote ‘Teenage Symphony’ for the Jacksons, but I don't really know if I'm a songwriter or not.” To make a long story short, she and I met, and we wrote “If I Were Your Woman” in 30 minutes.
Michael Barnes
I almost don't believe you.
Gloria Jones
30 minutes! And she says, “Oh, I think you're good.” So I was like, “Oh, okay.” So then we started writing. A great team. Well, you know, she's a wonderful lyricist.
Michael Barnes
Yeah. What was that process like when you guys were writing together?
Gloria Jones
Okay, because I like you so much, Michael, I'll tell you our secret.
Michael Barnes
Well, thank you.
Gloria Jones
She said, “Glo” – she's British, now – she says, “Glo, let's go and let's pick up a bottle of that … I don't know what it's called exactly, but it's a bottle, and it's not champagne. It's not real champagne.” So I said, “You mean Cold Duck?” She said, “That's it. Let's pick up a bottle of Cold Duck.” So she had the Cold Duck. And then I said, “Well, if you're going to pick up a bottle of Cold Duck, we've got to go buy some barbecue.” So we had our barbecue, we had our Cold Duck, and that was always our little ritual. And we’d write our songs. It was fun. But what was really exciting was for Mr. Gordy to tell you, “Don't just write a song for today, but write a standard.” And why I'm sharing this with you is because Gladys didn't like “If I Were Your Woman.” A lot of people didn't like the story. So she didn't really like that song. And it just goes to show you that after 50 years, she's still performing the song at her shows.
Michael Barnes
I mean, that song is one of the greatest soul songs of that era.
Gloria Jones
Thank you.
Michael Barnes
And in thinking about all this work that you did at Motown, a lot of people may not even be aware that you were doing this work, because at that time you were using the name LaVerne Ware. So Gloria Jones's name is not as a songwriter on these songs. Where did LaVerne Ware come from, and why did you use that name?
Gloria Jones
Well, because Pam and I were really coming up with some great compositions, she says, “You have to sign a contract with Jobete.” And I was like, “Oh no.”
Michael Barnes
That's connected to Motown, right?
Gloria Jones
Yes. Because I'm still with Greengrass Productions, so I have to make a choice. You have Greengrass over here. You have Pam Sawyer/Motown here. What are you going to do? I said, “Well, you're gonna have to become another person.” So I came up with the name.
Michael Barnes
How did you come up with the name?
Gloria Jones
My mother's name. And my mother, to the day that she passed away, she would tell people, “You know, I'm the real LaVerne Ware. I wrote all of those songs.” And I was like, “Mom, you have to stop doing that, because people, they're going to believe you.” And she was doing it all the time, Michael. And at first, I was like, “Ha ha ha ha,” you know. Then I said, “This is serious.” Because she was like, “I'm the one writing all of those songs.” But, to make a long story short, I used my mom's name. So when I was in Detroit, they would call me LaVerne. And I was walking down the hall one day, and they were like, “LaVerne, LaVerne.” Then I said, “Oh, that's me.” So finally, Greengrass Productions, they hear “If I Were Your Woman.” Big lawsuit. I said, “Well, how did you know that I wrote that song?” They said, “Because she sounds just like you.” But they were really kind. They didn't sue me for a lot of money. You know, they could have, but they said they wanted to teach me my lesson. I said, “Well, how can you teach me a lesson, and you're holding my life over here? None of my recordings are out, I don't have anything out. People are interested in Gloria Jones and you're holding me over here, I get an opportunity here.” So I just didn't let those experiences hurt me.
Michael Barnes
Was that lawsuit, though, part of the reason why you were able to release your own album on Motown in 1973 under your name?
Gloria Jones
Yes.
Michael Barnes
So it freed you, in a weird way.
Gloria Jones
Yes, because I felt that I owed Motown something. You know, for a young person – because, once again, we're doing all of this while we're young – to have the opportunity to have productions of $65,000, $70,000 to produce acts. And this was brought by Tony Jones and Suzanne de Passe, who believed in my talent. And they would go to Mr. Gordy and say, “Let's give this girl a chance.” And that's where Pam and I were the first producers of the Commodores, first producers of Sweet James. We were given a great opportunity there, so I wanted to give them something back. But you know what happened there.
Michael Barnes
That’s what we're getting ready to get into. Because this record, Share My Love, is a lovely record. But virtually nothing happens with this record when it comes out. Why don't you tell us the story of why that is? Because I could see something being connected to Motown, but it also seems to be related to what you were doing, and particularly who you were involved with, by the time the record actually came out.
Gloria Jones
Yes. I had gone on tour with Joe Cocker, the European tour, and I saw a whole other world. That was my first time in Europe. At that time, I get a phone call: “Gloria should be in the studio recording her album.” So I said, “Well, let me finish the tour, and then I'll come and record the album.” So when I return [from] having that experience in Europe, that's why, if you hear Share My Love, I tried to add the reggae, I tried to add the rock, I tried to add all of those experiences that I had over in Europe and being exposed to working with Joe with four LA girls, singing to 80,000 people. I mean, where would we ever experience anything like this?
So I come back and I'm recording the album, and I get a phone call [from Warner Bros.’ Bob Regehr], and he said, “T. Rex. They're looking for background singers.” And so I said, “Well, Bob, you know, I'm supposed to be recording the album from Motown.” He said, “No, no, no, you've got to put this together.” So I got Stephanie Spruill, Julia Waters, and Oma Drake, and myself. So we went to meet with Marc [Bolan] at the Beverly Hills Hotel. And when we walked in, my nephew said that when Marc saw me, he said there was such a connection. I never know in these types of situations if he knew me or didn't know me. I never asked, until one day, he asked me if I was the girl singing “Tainted Love.” And I said, “I think so.”
So I'm recording the album, I'm trying to do the tours, and then Motown puts a billboard at Doheny and Sunset. And I'm like, “Uh oh.” Marc says, “I need the singers to go up to Winterland in San Francisco.” So we go up. He falls in love with our sound. He invites us to come to Germany. So then, I'm still in the studio. I'm in Germany. We're still not an item, we're just friends. And I return, he returns to England, and I'm recording the album. And then he calls and he says, “My phone bill is too high.” I said, “Well, what do you mean?” He says, “I'm calling you every day, calling you every day. It's too high. You need to come to London.” I said, “But I'm trying to finish the album.” And he's like, “Don't worry about the album. Just come, come.” So I would go to London. And he's coming up with new ideas for his music. I returned to America. By this time, Motown says, “We want to book you into the Continental Baths.” I mean, they were getting ready to make me a star. I had the blessings of Mr. Gordy. So then I had to choose. Because I had Marc saying, “But I need you to come here.” And I was like, “I have to give up my career” … which didn't mean too much anyway, because I've been trying a long time. And here's someone saying, “Hey, I really can use your help and support right now with where I want to go with my music.” So I made the decision.
Michael Barnes
And that decision then has you touring with T. Rex and with Marc Bolan while he's searching for a different sound, a little bit more soulful sound. And recordings of that period of time are … you know, it's T. Rex, and it's Marc Bolan, so it sounds like T. Rex, but it's definitely different when you think from The Slider versus Light of Love to later recordings. And that period is a really special sound, and a special period of time. I would imagine that collaboration is part of what actually brought you guys together on a closer level, moving from professional and platonic into something else. I've always been curious what that experience was like, realizing that you're falling in love with Marc Bolan of T. Rex.
Gloria Jones
Well, I'll use the word … it was very organic. I never realized that he was attracted to me, and I was basically working with him as a professional background singer. And then he started asking me to play the Clavinet. So this is all leading up to joining the band, but I think it was the night in Tampa, Florida. We were on tour with Three Dog Night. So he says, “Glo, what would you like for dinner tonight?” So I said, “Oh, maybe some seafood.” So the limousine comes back to the hotel, and the valet is taking out all of these boxes of seafood. So I said, “Marc, that's a lot of seafood.” He said,”No, it's about $129. I just ordered everything on the menu.” So I fell in love.
Michael Barnes
I’m trying to think about how much that would be in the present day. That probably was something like $1,500.
Gloria Jones
Oh, definitely. But I thought, “How romantic.” And we were still just friends, but he was really pursuing me, which I thought was very wonderful. But I didn't want to disrespect him in any way. So we had to make some personal decisions ourselves.
Michael Barnes
Because technically, he was still married.
Gloria Jones
I was married and he was married. We felt that we had some things to do, we had some music to make. And we had fun, we had laughter, we had understanding [of] each other, and we actually became soulmates.
Michael Barnes
And as this moment is happening, the two of you are deepening both this musical partnership and the romantic partnership. This is the moment when “Tainted Love” is discovered in the north of England.
Gloria Jones
Yes.
Michael Barnes
And I think you mentioned that Marc might have mentioned it to you, and that made you aware. Was there ever a moment back then – 1973-1974, at the beginnings of Northern Soul, when it really started to pop off in the north of England – Was there a moment where you ever went to the clubs? Did you ever go to Blackpool Mecca or Wigan Casino and see people dancing to your song back then?
Gloria Jones
I didn't know until one day, Marc said, “I'm reading here and I see this ‘Tainted Love.’ And it's been on the charts for months and months. Is that you?” And that's when I said, “Maybe.”
Michael Barnes
By then there had already probably been two or three other people recording it, because of the popularity in Northern Soul.
Gloria Jones
And the thing, Michael, was that Marc signed me to EMI. And the secretary there, Sharon Davis, who was very historical with soul music, said, “You need to go to Wigan.” And I was like, “Wigan, where? What is Wigan? What do I do in Wigan?” And she's like, “No, you need to go so the people can meet you and you can hear ‘Tainted Love.’” I said, “‘Tainted Love?’” She said, “Yeah.” So “Tainted Love” was, once again, starting all over.
Michael Barnes
You told the story about the sailor trading a cigarette for the 45. The story we use in the episode was about the DJ [Richard Searling] on a trip to the US and getting as many records as he could [and] basically just noticed one on the floor. [He] was like, “All right, throw that in the box.” And it turned out to be that. I think there are three or four other stories. There's whole legends connected to that. And that song is one of the anthems of Northern Soul as a community, as a subculture, as a movement. And again, Northern Soul was about the music, but it was especially about the connection of the music to the dancers, and dancing all night into the morning. It's fascinating to me just how they connected to it. And that's part of what then changes its trajectory and eventually ends up as the Soft Cell version. But that also then led you, with the album that you recorded with Marc, Vixen, to re-record a version of “Tainted Love.” But why did you not release a single for “Tainted Love” out of those Vixen sessions? Because there were four other singles.
Gloria Jones
No one ever wants to give me a chance with this record. I don't know. I mean, I don't know why it goes on.
Michael Barnes
Now, after Marc's death – that tragic accident in 1977 –- you were living in the UK. But especially because of the legal situations [with] you and your son, Rolan, there wasn't really any inheritance, any legacy, directly for you guys. One of the things we talked about as a story that we heard was that, during this period of time, David Bowie actually came to your assistance. And I was curious if you could say anything about that?
Gloria Jones
Well, David and Marc were very close. And David came to see Rolan and I when Rolan was maybe going on three. So David came to the house and he offered assistance. And in that, he was always sort of in the background. But I told Rolan, “Your father wanted one thing, and that was for you to be educated. Because he felt that if he had been educated, he would have been able to understand more of the things [like] embezzlement,” you know, just the …
Michael Barnes
…the business side of things, and not being taken advantage of.
Gloria Jones
Yes, and he wanted Rolan to really have the education. So David understood that as well. But we were fortunate that, through time, we were able to lift ourselves up.
Michael Barnes
Part of that ‘picking yourselves up’ moment was also the fact that you came back into recording [with] the album Windstorm. And that accident not only robbed us of all the things that Marc could have given to us. But it was an accident in which you were horribly injured as well, and hospitalized for quite a long time. And as far as I understand, it also affected your vocal cords. How did you find the strength to record this album, Windstorm, so soon after all this tragedy?
Gloria Jones
I had to pull myself together. And I think what happened there is that Marc would come to me spiritually. And the only time that I became a little skeptical about re-recording it was when he came to me and he says, “I'm gonna have to go now.” And I was like, “No, you can't leave me.” But I I had to release him so that he wouldn't be in limbo. And that was very, very hard, because I think I was in shock for 14 years. I just could not imagine that I was living. And having my sons -- my oldest son and Rolan, my youngest son - having my sons encouraged me to make me go forward. But I was in shock. Iwas living, but I was in shock. And then finally, after about 14 years, my body just said, “Boom.” And I said, “Whoa.” I didn't know if I was having a heart attack or anything. Everything came back together. And then I started seeing the growth, and Rolan growing up and maturing with my family, and understanding that I didn't have the means of making a living because my voice was gone. And so what do you do? I had several people come, they wanted to write books. They’d write a book and disappear. Once again, a lot of disappointments. But I can't give this business up. I love it. I just love it, Michael.
Michael Barnes
Yeah. And I mean, it's an emotional experience hearing that record dedicated to Marc. And kind of like a final statement, in a way, of this recording career, from a teenager to this moment. And then it's just a couple years [before the] Soft Cell version of “Tainted Love” comes out. Do you remember when you heard it the first time, or when somebody brought it to your attention?
Gloria Jones
I think I was in London. And when I heard it, I knew. I said, “This is going to be big.” I just knew, you know. The timing was perfect. And it goes to show you about life. Everyone is so funny. They know Soft Cell. But then I meet people that are familiar with the original, which is very surprising for me.
Michael Barnes
And I guarantee you, those people who know the original are … With all due respect to Soft Cell, I love that version. And I heard that version before I heard the original.
Gloria Jones
Really?
Michael Barnes
Oh yeah. I mean, I heard it as a kid, MTV and all the rest. But when I discovered that it was a cover and discovered the original, I don't know if I've heard the Soft Cell version –- like, a full version of it – ever again, Maybe when I'm at an 80s night and people are playing it. But [the 1965 version] almost erased part of that memory. Just because that original version is so powerful. And again, part of why I wanted to tell this story, on a personal note, was to dig into, “How could this have happened?” That this amazing song that, when anybody hears it, it jumps out of the speakers, and you cannot help but move to it. And hearing, from 1973, the dancers and all that soul clap, that energy, a little bit of it comes into the Soft Cell slower version. Their success is all related to what you created all those years ago. And it's just amazing to hear all these twists and turns your career has gone. When we think about the moment right now, especially after you fully grieved and came back to yourself, and you've been able to over the years, perform for Northern Soul folks, and make new versions of Tainted Love. You know, there’s this anniversary version coming up. I was just curious if you could talk a little bit about some of the things that you've been up to, and especially some of the things you've been doing with your son, Rolan.
Gloria Jones
I was fortunate 20 years ago that my management asked my son Rolan Bolan to take me into the studio. I never thought I could sing this song again. And they did. They recorded this new version. And I was fortunate to have the children from the Marc Bolan School of Music and Film in Sierra Leone…
Michael Barnes
…that you guys founded …
Gloria Jones
Yes, that my son and I founded in honor of his dad. And he invited our children to participate in the new upcoming documentary, Angel-Headed Hipster: Words and Music of Marc Bolan. So I've been living in Africa for over 30 years, and my vision was to go there and to help the poor and to help the children. And I made that decision at the age of 10. So I remembered that decision. I never remember the recording of “Tainted Love” and “Heartbeat” and all of that. You know, that's just a blessing that came. But I can't do this, Michael, if I don't have people such as yourself and your team. I don't care about the haters. I don't care about the disrespect. It means nothing, because my heart is clean. My heart is right. I was fortunate to have love in my life. I was fortunate to have my soulmate, and I was fortunate to have someone that I know really loved my music and my worth, and was willing to put me out there as an interracial couple. And for this man to share that platform with me, that's why this story, this movie, will come to life, because he deserves that.
Michael Barnes
It was also a joy to see you in the documentary, Twenty Feet from Stardom, talking about all these amazing background vocalists. I hope that somebody makes a documentary about your life, focused on you, because it's just extraordinary. Thank you for all that you've created, all you've done, and it's been an exceptional pleasure to spend this time with you.
Gloria Jones
Thank you so much.
Michael Barnes
Is there anything else that you would have liked to have said?
Gloria Jones
Are you kidding?
Michael Barnes
I try to be thorough! I try to hit all the notes.
Gloria Jones
You know Gloria Jones.
Michael Barnes
Thank you.
Gloria Jones
You know Gloria Jones. I'm so honored. Thank you.
Lost Notes is a KCRW Original Production. It’s made by Michael Barnes, Ashlea Brown, Novena Carmel, Melissa Dueñas, and Myke Dodge Weiskopf. Thanks to Gina Delvac, Jennifer Ferro, Nathalie Hill, Nick Lampone, Anne Litt, Phil Richards, Arnie Seipel, and Anthony Valadez. Special thanks to Christoph Berger. Extra-special thanks to Gloria Jones and Rolan Bolan for their time and generosity.
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Lost Notes S4 - Ep. 8: Do What You Want To Do: The Legacy of Reggie Andrews
Lost Notes S4 - Ep 7: Dear Ruth: How Ruth Dolphin (Re-)Built A Musical Empire
Lost Notes S4 - Ep. 6: Go with the Flow: Community, Virality, and the Politics of Dancing
Lost Notes S4 - Ep. 5: Places & Spaces: The Mizell Brothers’ LA Alchemy
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Lost Notes S4 - Ep. 3: My Lady’s Frustration: How Fela Kuti Found Afrobeat in LA
Lost Notes S4 - Ep. 2: Mojo on Trial: The Seedy, Greedy World of Ruth Christie
Lost Notes S4 - Ep. 1: Tainted Love: Gloria Jones and the Half-Life of a Hit