This was due to the fact her grandparents were Masons, which allowed the family to own their own property, grow their own produce, and keep away from the racial tensions of the time.

Mother's Finest was initially signed with RCA but eventually landed at Epic Records, where their third, fourth, and fifth albums were certified gold.

The band would go on to sign with Atlantic Records, taking a break after their 1981 album Iron Age while Joyce pursued a solo career.

The band reunited in 1989 for Looks Could Kill at Capitol/EMI, with Joyce and Glenn's son Dion taking over drums from original member Barry Borden.

Their style came through in songs like Baby Love, where they drew from black gospel roots with a choir-like sound and the pattern of call-response between Joyce and her back-up singers.

Not unlike Nat King Cole at some points in his career, Mother's Finest struggled to establish a strong connection with black fans.

This album touched on many social issues – The Wall talked about the growing separation and segregation in terms of religion, and how it is dividing the world.

Mother's Finest tours in Europe more frequently due to audiences being more open to bands that break grounds musically and racially.

She released her second song with Ran Dee records entitled Can't Take a Chance, but it failed to succeed like her first hit.