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Motown M 1064 (B), February 1965
B-side of Stop! In The Name Of Love
(Written by Brian Holland, Lamont Dozier and Edward Holland Jr.)
Tamla Motown TMG 501 (B), March 1965
B-side of Stop! In The Name Of Love
(Released in the UK under license through EMI / Tamla Motown)
When talking about the mid-Sixties Supremes and their run of astonishing hit singles, it’s easy to forget they were also a great albums act.
This seems to have gone largely unnoticed at the time – back in 1965, the album itself was relatively new, only really beginning to emerge as an artistic statement, rather than a different format of single which happened to feature eleven B-sides instead of one. Also, of course, the fact that the Supremes were (a) black and (b) women didn’t exactly have critics falling over themselves to praise, or even seriously consider, their latest LP; not until Touch in 1971 would Rolling Stone deign to give America’s biggest-selling pop group a good album review.
And yet listening back today, their “proper” mid-Sixties studio LPs (Where Did Our Love Go, More Hits By The Supremes, I Hear A Symphony, Supremes A’ Go-Go, The Supremes Sing Holland-Dozier-Holland), all make for excellent listening. The innate popcraft of the Supremes and writer-producers Holland-Dozier-Holland resulted in five long-playing platters packed with catchy, hook-filled, three-minute moments, the kind of “all killer, no filler” approach to albums only matched at the time by the far more critically-acclaimed likes of the Beatles or Beach Boys – white boys with guitars who wrote their own songs, who in the late Sixties began to experiment with the concept of the LP as grand artistic statement, all the easier for the critics who’d originally turned up their noses to admit defeat – and which wouldn’t really be seen again until the rise of Abba in the mid-Seventies.
This approach – which rewards occasional “pick and mix” sampling of individual delights, rather than end-to-end plays on heavy rotation (like a dessert rather than a main course, as I’ve often said) – is a gift that keeps giving for the discerning pop fan. It bears dividends not just for the iPod generation, but also for readers of Motown Junkies – the group were so successful that Motown began to mine those albums relentlessly for material, often slating various album cuts for B-sides and even A-sides (with scant regard to whether the songs in question were new or old) in order to get as much highly-profitable Supremes product into the stores. The Brits got in on the act, too, Tamla Motown skimming already-released albums for potential 45s; the upshot is that, over the next three years, we’ll be meeting almost as many Supremes LP tracks here on Motown Junkies as we’ll be forced to skip.
Case in point: I’m In Love Again, the strange, symphonic semi-ballad which would end up closing out More Hits by the Supremes, is one of an astonishing 17 – that’s seventeen – Supremes tracks we’ll cover during 1965, with another twenty to go before we reach the beginning of 1968 and the end of Motown’s Golden Age. It’s not an obvious choice for use on a single, given that the Supremes had had three straight Number One hits, and that the peerless pop of the A-side was about to make it four in a row, meaning there was little call for the traditional ballad flip to “show a different side” of a group who’d just sold something like three million records in six months… but it’s remarkable all the same, and I’m glad we get to hear it.
It’s a very unusual record, this. It bears strong resemblance to the kind of material the group had specialised in earlier in their musical lives, when they were the awkward, slightly shambling “no-hit Supremes” derided throughout Hitsville. In fact, what this sounds like is an out-take from the girls’ patchy but fascinating curate’s egg of a début LP, Meet The Supremes, remade three years later when those same girls were on top of the world in both skill and confidence.
The melody is haunting, and I mean that literally – it’s the sort of thing that doesn’t just get stuck in your head, but rather creeps up on you in unexpected ways, a really pretty tune full of bold, startling choices, backed up by some absolutely lovely harmonies. Some of the chord changes are enough to make the hairs on your neck stand up, reminiscent of the strange, eerie moonlight and shadows of the Temptations’ space age doo-wop days; meanwhile, the rhythm bed is surprisingly bouncy, like the Funk Brothers running through an early proof-of-concept test for What Becomes Of The Brokenhearted the following year.
The lyrics are remarkable, the opposite of most of the Supremes’ best tracks to date: whereas they’d always find their greatest success marrying downbeat sentiments with upbeat tunes, this one is a celebration wrapped in a lament, the narrator scarcely able to believe her good fortune as a lifetime of loneliness and misery is suddenly brushed aside.
Plus, there’s a splendid lead vocal from Diana Ross to cap it all off; the lyrics are full of flashbacks to earlier, sadder times, Diana’s narrator describing what a wreck she used to be in order to highlight how happy she is now. In less-skilled hands, this could fall very flat, but as always, Miss Ross can be relied upon to deliver the emotional connection the song needs, able to turn on a sixpence between sentiments like:
Once in heartbreak, I believed
Always in heartache
Lost in sorrow
With little hope for tomorrow
…and then, scarcely a few seconds later:
When you smiled at me
My heart stood still
All the emptiness I had inside
You lovingly fulfilled
I then felt born again
And it feels so grand!
If the central hook isn’t quite there, meaning the chorus is left grasping for greatness, bumping into the bar rather than sailing over it as on the A-side, this still remains a surprising and surprisingly subtle record; forget all the novelty Broadway, British Invasion or country & western albums Motown forced them to record, this right here is the true showcase for the Supremes’ versatility, and they nail it. The group’s best B-side since Never Again all those years ago, this is excellent, and it’s no surprise Motown made sure it found a place in history closing out a splendid album.
MOTOWN JUNKIES VERDICT
(I’ve had MY say, now it’s your turn. Agree? Disagree? Leave a comment, or click the thumbs at the bottom there. Dissent is encouraged!)
You’re reading Motown Junkies, an attempt to review every Motown A- and B-side ever released. Click on the “previous” and “next” buttons below to go back and forth through the catalogue, or visit the Master Index for a full list of reviews so far.
(Or maybe you’re only interested in The Supremes? Click for more.)
The Supremes “Stop! In The Name Of Love” |
Brenda Holloway “When I’m Gone” |
DISCOVERING MOTOWN |
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Dave L said:
More Hits spent “only” 37 weeks on the Billboard Pop album chart compared with Where Did Our Love Go‘s 89, and it is of course a very close call, but I like More Hits better of the two.
I’ve read in more than one place “Mother Dear” would have next single out of it if “Nothing But Heartaches” hadn’t stalled at No. 11 Pop, breaking the royal streak of No. 1’s. “I’m So Glad Heartaches Don’t Last Always” sounds muscularly good to me too. Any unused track from this album would have been a more welcome single in 1969 when one considers “The Composer” and “No Matter What Sign You Are,” but I guess by then it was too late. And by 1968, I don’t suppose anyone inside Motown wanted to actively add to HDH’s fortune, which was then starting to be spent on lawyers.
I wonder now how many times I played “Stop” the first day I had it before I was even tempted to turn it over. By this time, Supremes items like “Lovelight” and “A Breath Taking Guy” were starting to show up in three-for-a-dollar, drill-holed returns, and those were getting bought too. It was easy to wear out your Motown stuff quickly. You like this one a little better than I, but I’d never drop it under a 7. 🙂
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Damecia said:
Hi Dave L!
I can’t wait til we get to “No Matter What Sign You Are”. I used to hate it, but after seeing it on my Ed Sullivan DVD I love it. More explanation when we get to it in about 3 or 4 yrs lol.
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Mickey The Twistin' Playboy said:
I don’t know about the comparison to “Never Again,” but it is a nice B-side ballad. Rating: 7/10. Better earlier b-side ballad though is “I’m Giving You Your Freedom”
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The Nixon Administration said:
Thanks Mickey! Just FYI, we’ve already met I’m Giving You Your Freedom here on Motown Junkies, but comments remain open forever, so do be sure and have your say!
(I gave it a 5, incidentally, which feels a tad harsh now.)
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david h said:
always thought this was a highlight from the MORE HITS album, absolutely one of the best b-sides.of the Supremems albums,it is hard for me to choose a favorite, for the longest time WHERE DID OUR LOVE GO was it for me but ,MORE HITS ,SING HDH ,and LOVE CHILD and standouts for me…not to mention SUPREMES SING ROGERS AND HART.
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Damecia said:
What are your thoughts on Cream of the Crop?
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david h said:
like it alot.very lush
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John Plant said:
There was, alas, a slow attrition of my Motown albums during my lean years – once I had the Supremes’ Greatest Hits, I blush to say that one by one all my other Supremes albums (except Where Did Our Love Go) made the sad journey to Cheap Thrills, Montreal’s most generous (and best) second-hand record store – in exchange for vittles & beer. (I was probably broke in the first place because I hadn’t been able to resist a 5-LP opera set which couldn’t wait until the next paycheck). I never inflicted that on the Temptations, whose albums (at least through With a Lot O’ Soul) all seemed to me sacrosanct. That said, the Supremes non-singles in general seemed rather fluffy and insubstantial to me, like cotton candy – with some notable exceptions – once again, Nixon’s advocacy of a second listen is most persuasive – and I never pawned an LP which didn’t come back to haunt me with melodious regret. David H mentions the Love Child album: I recently downloaded ‘How Long Has that Evening Train Been Gone’ – a song which came back repeatedly to haunt me years after that album made the Sad Trek to the Secondhand Shop….
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Dave L said:
Yeah, I agree on the Love Child album, especially side one: “Evening Train,” “Does Your Mama Know About Me?” and the wonderfully paranoid “Keep An Eye.” Not as uniformly good as their best HDH stuff, but a better album than history has treated it. I might have two copies now, but I know I still have my first from Christams ’68. Plenty of the Supremes on the Christmas list that year: Love Child, Join the Temptations, Funny Girl, Talk of the Town and T.C.B.
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Landini said:
Hi Dave L. Yes I agree. “Love Child” is quite a good album despite the hodge podge of writers/producers. I imagine it was probably Diana Ross backed by studio singers. Nice selection of songs.
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I LOVE THE SUPREMES AND TEMPTATONS said:
The emotion in Diana’s voice brings this song home to me….
It makes you optimistic that you too could find a love of your own
and is it me or does this song sound like something the four tops could pull off?….
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Damecia said:
Yes! Absouletly agree about this song being right up the tops alley.
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Dave L said:
Despite Berry’s assurances, I wonder if Ross, privately, felt any sense of panic with the HDH walkout in 1968? After all, by then she’d seen what happened to Mary Wells, no longer with the writer/producer who understood her best.
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ExGuyParis said:
Lovely! (song and review)
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Damecia said:
The way Miss Ross sings “suddenly” in verse 1 should get an 8 alone lol. Steve D I must say that I am surprised by your verdict. For some reason I thought that you wouldn’t feel this track, but am I so ever glad that you do!
Steve D you are absolutely right about the “haunting” aspect and appeal that this song has. It all starts with those erie “ooos” Flo & Mary provide in the background. I must point out to all those who complain about the girls being mixed down in the mixes that this is not one of those songs. The echoes of the girls “ooo” compliment Diana’s crystal clear vocals perfectly in what sounds like the No Man’s Land of Love.
“Love came through my window/And right out the door/Leaving me/Alone and hurt forever more” are my favorite lines of the song. Oddly enough it doesn’t bother me that there isn’t a formal chorus. But when you have a winning team that features The Supremes, HDH and the Funk Brothers that doesn’t matter and honestly the chrous is just fine. 9/10 I think is acurate, but I’ll take Steve D’s 8/10 = )
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Landini said:
I just heard this song about a week ago when I was feeling a bit down & it really lifted up my spirits.
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David L. said:
Your review of “Stop” is so stunning I don’t know if there’s anything to add — except, maybe, the origin of The Supremes glamour and image started around this time and it became as important to their popularity as the songs they recorded. I was a bartender working my way through college in 1979 and the bar had a great juke box with songs from every genre imaginable. The song “I’m In Love Again ” got play whenever a slow song was required. It got much more play than “Stop”, partly because it was less common than the “A” side and partly because it was a great slow dance song. I can still imagine couples leaning into each other as they moved around the dance floor to that fantastic Motown beat. I’m looking forward to more great reviews. Thanks.
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david h said:
i also like the CREAM OF THE CROP lp, thought it was very lush…my only complaint was it seemed a song short with just 11 tracks
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david h said:
i do also find it strange that as good of an album as MORE HITS was, it only spent 37 weeks on the charts? i am guessing that because it was released so late….two of the singles STOP and BACK were already hits and this album was released only two weeks after HEARTACHES.
i also assume that with the release of 4 other albums it hindered some of the sales.perhaps it made the fans choose between one or the other.motown seemd to have a bad habit of flooding the market with two many albums at one time.
also maybe IF MOTHER DEAR had been released as single,it may have kept the album on the charts a bit longer. i am sure that over time the lp sold well. it seems to be considered a classic now
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Damecia said:
I agree if Mother Dear was a single album would’ve had longer chart life.
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Mack said:
The Very BEST of the Original Supremes. This song is is unmatched when it comes sheer harmony and talent of all three. Diana is At her very very best. She had never sounded better and to this day can not Match the vocals she, Mary and Flo provided for I am in Love Again. The oooews take me to another place. There is Only one song that can compete with this song when it comes to the ooooews and Diana’s voice. That would be Any Girl In Love knows what I am going through. That did it for me when I heard it back in 1966. Any Girl In love..oooooewwwwww..Any Girl in Love oooooewww oooooooew. Two of my favorite with the exception of My World is Empty Without you. But only Diana’s voice stand out on My World is Empty. On Any Girl in Love and I am in love again. You hear the harmony of all three voices. EXCELLENT. No girl group came close to beating the Supremes when it came to Harmony on those songs. I am in Love. and Any Girl In Love. NO ONE Could touch them!
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Kevin Moore said:
I’m with you on the 8/10, but what this really sounds like is a 10/10 that never got finished. No intro, no bridge, no outro – only two verse/choruses. But gorgeous. If they’d had a little more time they could have added an equally gorgeous bridge right where the current version starts to vamp on the doowoppish tag. Sigh.
When you hear a song for the very first time – as I am with so many of these – there’s an almost distorted sense of the similarities to familiar songs. That said …
It starts on the famous so-called “Brian Wilson chord”. Play the first chord of this track, then quickly hit pause, then sing “I may not always love you …” from “God Only Knows”. It’s that “5th in the bass” triad that Paul McCartney talks about in several interviews where he discusses the influence of Wilson on him. Note, of course, that this is well before “Pet Sounds” (although Wilson used inverted chords earlier than that). The Fmi with Ab in the bass (“now no more … BY MYSELF”) is also very sweet. If any of your insiders ever get a chance to interview HDH, my requested question would be “how and when did the idea come up of writing songs where the main bass note is something other than the root of the chord?” Because it’s really starting to look like they were knee deep in this before Wilson and McCartney. It could be as simple as taking a gospel voicing and using it in a more complex pop context, but I’d sure like to hear their thoughts on it – and I’d sure like to know whether it was B. Holland or Dozier who had the epiphany, and why they seemed to do it a whole lot less in their post-Motown period.
But, aside from funny chords, the connection that really strikes me is to Joni Mitchell’s “A Case of You” from “Blue” (1971). Compare “all the emptiness I had inside” at 1:33 to “constant in the darkness, if you want me I’ll be in the bar”. How was Motown’s distribution in Canada in 1965? It’s nowhere near a copyright infringement, but it’s the kind of “good nicking” or more likely subconscious nicking that really makes me think old Joni bought this single before she left Canada and played the B-side a few times.
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Ian Phillips said:
Hi there. Always thoroughly enjoy reading your reviews on here and you summed up this little delight from The Supremes perfectly and word things so beautifully. Best Wishes, Ian Phillips – Author of Diana Ross Reflections
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therealdavesing said:
I like this better than the A side. I think this could have been a huge hit as an A side. Maybe even #1 on the right week. Definitely sounds like Dean and Weatherspoon were listening to this and coming up with a squeal or something. hmmmm
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