Dusty was by now a huge sensation in England. She had began her career as one-third of the group the Springfields with her brother Tom and a friend. In 1964 she launched a solo career, and was so successful that by 1965 she was offered her own English television special on ITV, produced by the innovative Vicki Wickham. Vicki, who later transformed Patti Labelle & the Blue-Belles into LaBelle, was one of the first TV producers to recognize the impact that Motown was about to have on the British record charts.

It was Dusty's idea to invite me and my group to England to be her special guest stars. What a fantastic idea, and what a lovely compliment from my new friend! Besides, Berry Gordy was already planning for a Motown Revue tour of England from March 20 to April 10. So this TV special was the frosting on the cake for our European kick-off. What this TV special did for us in England was comparable to what the Beatles' appearance on Ed Sullivan had done for them in America a year earlier.

Our Motown Revue British tour featured not only Martha & the Vandellas, but also the Miracles, the Temptations, Stevie Wonder, and the Supremes. We opened the twenty-one-day, twice-nightly tour at Finsbury Park in Astoria, London, on March 20, and concluded it on April 12 at the Guildhall in Portsmouth . . . I became chummy with British tour assistants John Reid and Michael Aldred, and my pal Dusty would pop in and out of the towns we played as her schedule allowed, and we had a great time. She would drive her American Cadillac with right-hand steering, and we'd go shopping and sightseeing expeditions of our own.

. . . I always looked forward to Dusty's visits. She was my devoted friend, and it made me feel special and loved to have a close friend like her. On one of her visits, she had been working in a different town and was not booked in our hotel. She was having problems in her personal life at the time that made her cry. We had a heart-to-heart talk, but I couldn't get her to go into it. She had been having trouble sleeping, although she was exhausted. She was so relaxed after tea service in my room that she curled up and went to sleep fully dressed, just like the baby doll that she was. She looked so peaceful, so I just let her sleep, and I covered her with a comforter like any friend would.

The next morning Mickey Stevenson came knocking at my door to tell me of some changes in the show scheduling for the day. As Mickey was standing in the doorway talking to me about some alterations in the show's lineup, he looked past me and spotted Dusty as she lay there with one of her big legs stuck out from under the comforter - fishnet stockings and all. For the rest of the day, all the men on the show kidded and teased me, as though something odd had transpired. I was amazed at just how others regarded our friendship, but I couldn't have cared less what anyone thought.

. . . Dusty's TV special became "Dusty Springfield Presents: The Sound of Motown," because she had expressed publicly that she loved the music of Detroit. However, Berry [Gordy] had the concept changed to also encompass the rest of the acts on the tour as well as Martha & the Vandellas. I was all right with this arrangement, and I still had the big production number duet with Dusty in the show. At first I didn't mind that my label-mates joined me as well.

Dusty allowed me to sing a duet with her on her big hit "wishin' and Hopin'" with the Vandellas singing background. I could see Diane [Ross] in the wings eating her heart out because she hadn't been chosen to do it. On another number ["Can't Hear You No More"] we also sang backup for Dusty.

As the show progressed, Berry took command, and some of the shots he called displeased me. I sensed that he was being "Supreme-minded" again. This special was to be produced by Vicki [Wickham] and Dusty, yet Berry was insisting that several changes be made to accommodate his wishes. I took offense when Berry began moving acts around until the Supremes were in a co-starring position.

The Supremes didn't even know Dusty, but suddenly they were incorporating a cover version of Sam Cooke's arrangement of "Shake" to supply them material for an additional spot.

This rearrangement especially rubbed me the wrong way since their records were just starting to sell in England. Martha & the Vandellas, on the other hand, had toured England once before and we were well known. If anything, we should have gotten the extra number. Then Berry took the Supremes shopping for new red dresses for their new spot in the show. We had to wear what we brought.

In the middle of the show's taping, Berry took me aside to explain to me that the Supremes - "his girls" - were on the top rung of the ladder and that my group was on the lower one. I was in shock. I felt totally betrayed and powerless. I still tried to do a good job as I watched them made up, groomed, and put in the co-star position on the show. Here we had just toured England with Georgie Fame, and after being personally invited by our host, we were pushed aside for Berry's new pet project. His plan was to make the Supremes known in England by placing them ahead of the rest of us.

Ron White of the Miracles saw me backstage with my mouth stuck out in disbelief. With sobering honesty he looked me in the eyes and said to me, "We all get a turn at the top. You had your turn." I appreciated his directness, and after telling me this, he was helpful in putting it all in perspective. Although the remark didn't lessen my hurt feelings, I now clearly saw what was happening to me.

My face was broken, along with my heart. My disappointment showed clearly on my face and in my voice. As we lined up for the finale, I was directed by the producers to a spot where the camera did not reach. Standing off to the sidelines for the finale, I must have looked real ugly because I was so sad and hurt. When the show was broadcast in England on April 21, I wouldn't even be seen on the show's grand finale. Whenever I view that special on videotape, to this day I feel the same betrayal of having been overlooked.

From Dancing in the Street: Confessions of a Motown Diva by Martha Reeves and Mark Bego,
Hyperion Books, New York, 1994.