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Motown M 1086 (B), November 1965
B-side of I Can’t Believe You Love Me
(Written by Harvey Fuqua)
A nice little treat for fans of Marvin and Tammi’s late-Sixties duets, this is Tammi’s solo version of a song that became infinitely better known once half her vocals were removed (from what sounds like a different take to the one presented here) and Marvin Gaye dubbed over the top to create a pretend duet. (Indeed, we’ll be meeting that Marvin-and-Tammi version here on Motown Junkies in due time). Straight away, we’re thrown for a loop, when a gruff male voice – Harvey Fuqua’s, in fact, though this isn’t mentioned on the label – declares whoa, whoa in what later became Tammi’s place. What’s happening here?
It’s a good song, and it’s certainly interesting to hear it in this mix (or perhaps a couple of tape generations earlier than I’m used to?), where one of the song’s killer features – the organ line in the background – is clearer, crisper, less muffled than on the duet version. But this isn’t the original; even Tammi’s (spectaclular) lead vocal is a remake, Miss Terrell padding out her Motown début 45 by singing over a two-year-old, long-shelved band track.
Harvey Fuqua originally wrote and recorded the song back in 1963 for Ann Bogan, a singer from his Harvey/Tri-Phi days who came with him to Motown but found opportunities hard to come by until she was drafted into the Marvelettes. It went nowhere until Fuqua, needing material in a pinch, dusted it off here for use on this B-side. That organ riff – which, in Marvin and Tammi’s hands in 1967, seemed to have landed straight from Memphis, beguiling and fresh – was once seen as out of date, having been Fuqua’s mangled, very Harvey-ish attempt to write something in the mould of Chuck Jackson’s Any Day Now. Strange, because to my modern, 2014 ears, of all the Marvin and Tammi duets, this now sounds one of the least dated.
But that’s a story for another day. What of Tammi’s solo version? Having first heard this in its duet form, it’s impossible for me to listen to the Tammi version now without mentally expecting Marvin to appear on certain lines, and it’s a surprise to hear Tammi taking them instead. She does well, too, giving her best shot at dominating the track in Marvin’s absence, attempting to make up for the perfect Gaye/Terrell equilibrium by putting in a performance big enough for two. Her full-bore blasts on some of what became Marvin’s lines – When I’m alone / Alone and troubled / AND MY LIFE seems dark as night / Oh, I’ll ask / I’ll ask you, PUH-LEASE, yeah yeah… are a revelation, and while I can’t honestly say the song works better this way, it’s a highly creditable effort.
Of course, “solo” cut though this may be, she’s not alone here. Harvey Fuqua’s gruff, uncredited backing vocals from the duet version are already present – won’t you be-be my guiding light – and if anything, his presence actually makes more sense in Tammi’s version, the inexplicable (but highly memorable) moment from the duet when he chants “that the flame-flame will still be there!” turning out to be a response to Miss Terrell’s freewheeling off-the-cuff repetition in the previous line (tell me that the flame, that the flame, flame, flame… flame will still be there), a stylistic choice which Marvin didn’t replicate, leaving the duet version somehow more surreal than this one.
What’s the overall verdict? This works better as a duet – indeed, thanks to those grumpy Fuqua interjections, the original Ann Bogan version went through a phase of being credited to “Ann and Harvey” – but that’s hardly Tammi’s fault, and it’s still riveting in her (mostly) solo hands. Again, just like the A-side, Miss Terrell rolls the words around her tongue, channeling Diana Ross gone salacious, giving all sorts of deliveries that last in the memory. The way she sings “Now… all of my friends and my relations”, with perfect pause between “now” and “all”, is one of the best Motown moments of 1965. If the rest of the song is too slight and weird to really connect without Marvin Gaye and his chemistry balancing things out, this is still a fine record not easily forgotten.
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 Tammi Terrell? Click for more.)
Tammi Terrell “I Can’t Believe You Love Me” |
Barbara McNair “You’re Gonna Love My Baby” |
DISCOVERING MOTOWN |
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Landini said:
This is a great song in either version. Very early 60s-ish. I got used to the “duet” version having owned the UNITED album. The “duet” is so seamslessly done that you would think that both Marvin & Tammi were in the studio together. I also like Harvey Fuqua’s background vocals – especially the “flame flame” part. You may have mentioned this but Harvey & Marvin of course go waaaaaaaay back to their days in the Moonglows. Anyway, fine song & fine review!
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Mike C. said:
Oh wow. My post before the majors!
Perhaps a lesson in the duke of earl chord structure??
How do songwriter’s/melody writers do this over and over again?
Write a melody atop of that structure one more time?
Get that rhythm section going!!
The organ is such a funky little thing here. It is set back on the stereo version very nicely, letting Tammi’s voice sound so much more upfront. The single/mono version? Well…….
But when she sings ‘When I’m alone” and then those horns snap it in there. Whew. Wow. The musicianship/arrangement is stunning. So is her singing!
Listening to this track again and the “total” sound of it has made me go and listen to The Vip’s “You Pulled A Fast One”.
Is it the organ? The male background vocals? The chord structure? Who knows. I did it. I really like the VIP’s “You Pulled A Fast One”. I really like Tammi Terrell. I really like this song. I really like this “B” side. I love Tammi’s voice. Never let me go!
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The Nixon Administration said:
New entries being finished off as I type, but in the meantime, I wonder if I’ve mentioned my new radio show…?
The proper show is starting in February (expect rarities!), but in the meantime, I’ve recorded a fourth one-off special, this time telling the story of Motown’s greatest duets, from 1960 to the Eighties:
There’ll be 2 more specials first (it was meant to be one, on the songs of Smokey Robinson, but the sponsors have asked me to do one on Stevie Wonder as well – I’m happy to oblige!) before the actual show begins.
If anyone has any feedback, requests etc., I’d be very glad to hear from you! All episodes will be available to listen to online via Mixcloud here:
KTF
Steve
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bogart4017 said:
100 percent agreed on all points. This was one of those 45s i never got a chance to flip like i normally do. But when “You’re Precious Love” was issued the flip rang a bell and i did a fast backtrack to the stack of old 45s that took me straight to this one. Lyrically, it feels a little sparse without Marvin. A little like that small helping of peas that give you in the fancy restaurants with the HUGE plates. However it is quite enjoyable—what we use to call a real finger popper. With or without Marvin you will be headbobbin’.
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Landini said:
Have you all ever heard Tammi’s song “If You See Bill”? That is a fantastic performance!
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bogart4017 said:
oh yeah!!! Great record but it seems that only inside industry people remember it. I just got through reading a passage in some book where some of James Brown’s entourage recall always seeing Tammi perform this song with a black eye courtesy of JB.
But my favorite pre-Motown Tammi (Montgomery) record is “I Would Marry You”. Something about that tune always made me want to dance.
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Landini said:
Yeah, poor Tammi. I mentioned elsewhere that I read in the James Brown book that Bob Hope saw Tammi perform & wanted her to join his tour. Of course, we would have missed all of her great duets with Marvin, but something tells me Hope would have treated her well. He would have probably have gotten her top notch medical care when she got sick.
By the way, I really like Tammi’s version of “That’s What Boys Are Made For”. Kind of a cute song.
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bogart4017 said:
Yes, Harvey Fuqua is a recurring name in the Tammi Terrell catalog. He even sang with the Spinners on their version of the same song.
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Robb Klein said:
This song is a little boring to me. But, Tammi sings well, as always, which would bring it up to a “6” for me. I don’t like Harvey Fuqua’s solo-written songs all that much. Although the Harvey Fuqua-Johnny Bristol team is my nsecond favourite Motown writing team, right after Stevenson and Hunter (Yes, even above HDH, Bateman- Holland, Dean-Weatherspoon, Cosby-Moy-Wonder, Staunton-Walker, Holland-Dozier-Gorman, Whitfield-Strong, and the rest).
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