Video& amp amp amp amp lt /div& amp amp amp amp gt & amp amp amp amp lt div& amp amp amp amp gt Please enable Javascript to watch this (Below: Martha Wash Sings Some of Her Most Famous Hooks) A lot of gospel-based singers have come and gone in dance music, but she is the one.” The timbre of her voice is so distinctive and beautiful. “She merged a gospel voice into pop and dance music seamlessly,” says RuPaul, who collaborated with Wash on 1998’s “It’s Raining Men… the Sequel.” “Her voice speaks to both the church and a pop ear and was built to cut through the bass of a dance club. At one point in 1991, Wash battled herself on the Billboard Hot Dance Club Songs, as “Gonna Make You Sweat” and Black Box’s “I Don’t Know Anybody Else” both bounced around the Top 5 for weeks on end. Wash is very likely the most famous unknown singer of the Nineties a powerful, gospel-weaned belter who first earned fame as a backup singer for disco king Sylvester before forming the disco-pop duo the Weather Girls and recording the camp classic “It’s Raining Men.” In the early Nineties, however, Wash’s booming, powerhouse vocals could be heard on the world’s most ubiquitous dance songs, from Seduction’s “(You’re My One and Only) True Love” to Black Box’s “Strike It Up” and “Fantasy” to C+C Music Factory’s aforementioned Number One hit. MARTHA WASH ‘MERGED A GOSPEL VOICE INTO POP AND DANCE MUSIC SEAMLESSLY,’ SAYS RUPAUL “Again” is the operative word, as just a few months prior, Wash heard her ostensible demo vocals being lip-synced by singer Zelma Davis in the video for C+C Music Factory’s monstrous club hit “Gonna Make You Sweat (Everybody Dance Now).” A frustrating cultural conundrum had taken effect: Martha Wash’s voice was famous, but she wasn’t. “I called my manager and said, ‘I just heard myself on TV in a video.'” “I said to myself, ‘I don’t believe this shit is happening again,” says the now 60-year-old Wash. When the song’s vocals kicked in, she was shocked to see French model Katrin Quinol, the ex-girlfriend of founding member Daniele Davoli, bending over and crouching in a unitard, lip-syncing Wash’s vocals to the eventual hit “Everybody Everybody.” It was late 1990 and the singer, relaxing before a show that night, had decided to unwind with some channel surfing. She stumbled upon a new music video by Italian house group Black Box, whose synth lines, horn stabs and pulsating, club-tailored drum patterns had already made them dance music stars. Martha Wash was sitting in a Los Angeles hotel room, furious and confused.
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