Fronted by vocal powerhouse Joyce Kennedy, Mother’s Finest were simply too ahead of the game: black musicians playing rock. If they’d arrived a decade later they could have been huge.

Words: Paul Elliott

Lemmy named his band Bastard before he decided on Motörhead. Lars Ulrich thought Thunderfuck was the way to go, before taking the name of his friend’s fanzine titled Metallica. And as Joyce ‘Baby Jean’ Kennedy recalls, the greatest of all funk rock bands once considered calling themselves The Motherfuckers.

“We wanted to say that,” she says, laughing, “but we couldn’t have gotten away with it. So we just took the ‘MF’ and became Mother’s Finest.”

With a multi-racial line-up and a sound described as ‘Sly And The Family Stone-meets-Led Zeppelin’ – acombustible mix of soul power and hard-rock muscle – Mother’s Finest emerged in the early 70s as a band on a mission. As Kennedy puts it: “We wanted to make music that anybody could enjoy. We wanted to entertain and to be provocative, to give people food for thought. It was soulful, spiritual rock’n’roll, sexy and heavy with guitar. We were encompassing all of those things.”

There were multi-racial groups and black rock stars before them – Sly And The Family Stone and Jimi Hendrix being the most significant. But “our band was predominately black”, Kennedy says. In the definitive Mother’s Finest line-up, fronted by Kennedy and her husband Glenn ‘Doc’ Murdock, and featuring Jerry ‘Wyzard’ Seay on bass and Mike Keck on keyboards, the white members were drummer Barry ‘B.B. Queen’ Borden and guitarist Gary Moore, whose nickname ‘Moses Mo’, would distinguish him from the Irish guitar hero.

It was with this line-up that the band made their reputation as a fearsome live act, and reached a creative peak between ’76 and ’77 with two albums produced by Tom Werman, who was then working with Ted Nugent and Cheap Trick, and would later make hit records for Mötley Crüe, Twisted Sister, Poison and others. But for Mother’s Finest the big breakthrough never came. Which, Kennedy says, was a mystery to Werman. “Tom always wondered why this was one band he produced where it never happened on a huge level.” She says that from the band’s perspective, with a mixture of pride and fatalism: “We had all the things that would make it work, but for some reason the spheres didn’t see it that way.”