The “Golden Hits Of The 70s” 

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HIGH INERGY

“YOU CAN’T TURN ME OFF

(IN THE MIDDLE OF TURNING ME ON)”

(P. Savvyer, M. Mcleod)

Gordy 7155

No. 12   December 24, 1977

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Linda Howard, Michelle Martin, and Barbara and Ver­nessa Mitchell were born and bred in Pasadena, Ca.

The Mitchell sisters began singing in church, writing songs when pre-teens, and joined choral groups and

theater productions.  In 1976, fresh out of Blair High School, the gals entered Pasadena’s Bicentennial

Performing Arts Program.  While rehearsing an act of original songs, skits, and dances in the program’s

auditorium, word reached the teen queens that Gwen Gordy, the sis­ter of Motown Berry Gordy, Jr., had

caught a glimpse of their act and wanted them to stop by to audition.  Gwen, who had helped shape the

Supremes, was immensely impressed with the newly named High lnergy, a packed act that one mag rag

would proclaim: “The Miss American Teenagers of Soul.”  Gwen and sidekick, Gwendolyn Joyce Fuller,

became the girls’ managers, molders, and stage door mamas.  Together they groomed the gals with tested

tips on hair care, makeup, and poise.

“We’re creating a young, fresh image for the girls,” Gordy told Circus’ Daisann Mclane.  “Nothing sexy,

just modest young ladies …  We build artists …  there’s more to being a star than just musical ability and

talent.  If their heads are in the right place, and they listen, they can go to the stars.”

Dinah Shore introduced them to the show business elite at a function at the Century Plaza Hotel.  And

soon, the suggestively titled “You Can’t Turn Me Off (in the Middle of Turning Me On)” was issued.  High

Iner­gy’s debut disk was to become their first and only major moment on the nation’s pop charts.

Inexplicably, only the group’s immediate follow-up–“Love Is All You Need”–placed well on Billboard’s R

& B listings (#89; R&B: #20).

Problems arose almost immediately.  Only months into their career, Gordy off-handedly referred to her

discovery as “the New Supremes.”  “I do think that the group can be even stronger than the Supremes,” J.

Rndy Taraborrelli reports her as saying in Motown: Hot Wax, City Cool & Solid Gold.  The author noted

that James Turko, Mary Wilson’s attorney, took exception to the line of promotion: “It doesn’t make any

sense to bring in a new group and push it like that unless that means you’re gonna move the old one out.”

After the release of their second LP (Steppin’ Out) in 1978, High Inergy became a trio when Vernessa, the

act’s lead vocalist, left the group–reportedly because she felt the material she was singing went against her

religious beliefs.  Seven of their remaining singles made the R & B listings.  None, however, made the Top

40.  After the release of Groove Patrol and their 1983 appearance on Motown’s 25th anniversary special,

High Inergy called it quits.  Shortly after, Barbara Mitchell signed a contract with Capitol Records.

Problems arose almost immediately. Only months into their career, Gordy off-handedly referred to her

discovery as “the New Supremes.” “I do think that the group can be even stronger than the Supremes;’ J.

Randy Taraborrelli reports her as saying in Motown: