In the summer of 2020, the 79-year-old Linda Martell sat in her daughter’s home in Irmo, South Carolina, recounting a phase of life that had faded nearly five decades prior. She sounded at peace but, at times, still peeved over what could have been. “Don’t get me wrong, there were some beautiful people,” she told David Browne of Rolling Stone, “And some not that beautiful.” The occasion for this meeting was the 50th anniversary of Martell’s 1970 debut solo album, the groundbreaking Color Me Country, which, at the time of its release, was hailed as the harbinger of a new generation of Black women artists who would find commercial success in a genre that had long shut them out. But Martell’s legacy has been greatly overlooked, referenced only periodically in the longstanding criticism of the country music industry’s determination to remain as white and male as possible, regardless of how the nation’s demographics shift.
Martell’s journey began about 30 miles west of where she sat for the Rolling Stone interview, in the small town of Leesville, South Carolina. She was born Thelma Bynem, one of five children, and like many in the African American musical tradition, she nurtured her skills in the church choir. In her teens, she formed an R&B trio with her sister and cousin called the Anglos which, most notably, released a 1962 single with the New York label Fire Records that included songs “A Little Tear (Was Falling From My Eyes)” and “The Things I Do For You.” On the latter, a 21-year-old Martell sings sultrily about the lengths she’s willing to go for the man she loves. It’s the kind of song that could have been a substantial hit if luck had somehow been on their side.
The Anglos played a few shows but never got much traction and soon disbanded. Martell began gigging around the Carolinas as a solo R&B act, and, while performing covers of country songs at an Air Force base, she happened to meet a Nashville furniture store owner named William Rayner. Rayner had record industry aspirations, and when he saw a Black woman playing country tunes, a lightbulb went off. In 1969, he offered to pay for her to cut a demo. Soon after, he introduced Martell to Nashville industry player Shelby Singleton Jr., who had her record a cover of Washington, D.C. soul group the Winstons’ “Color Him Father” and immediately signed her to a one-year contract—with a label literally called Plantation Records.