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Tamla T 54026 (A), July 1959
b/w Motor City
(Written by Berry Gordy and Charles Leverett)
After Charles “Chico” Leverett’s somewhat underwhelming solo single Solid Sender came out on Tamla, he returned to his day job as a member of the Satintones, the first vocal group to be signed to Motown, and co-wrote this, their first group single release. (Satintones Robert Bateman and Sonny Sanders had already sung backup to Leverett on his solo record as members of the “Rayber Voices”, so only lead singer Jim Ellis was actually making his Motown bow here, but this was the first time the Satintones were credited as such on a Motown 45).
Anyway, this is probably stronger than Solid Sender. It’s certainly more likeable; this one is a light-hearted, uptempo doo-wop number with a nice intricate harmony arrangement, and mildly funny lyrics about the band’s knackered old car breaking down on the way to a show. The comedy isn’t as corny or forced as on Ron & Bill’s execrable It, instead coming over as sweetly self-deprecating. There’s also a surprisingly fresh twangy surf guitar solo at the halfway mark, which calls to mind the early work of the Beach Boys a couple of years later.
It’s a nice enough little song, if still not exactly remarkable. It has to be said, though – and I apologise in advance to any surviving Satintones who happen to come across this – that on this evidence, for a vocal harmony group, they just aren’t very good singers.
(Actually, considering the company would go on to forge a reputation for studio perfection, the amount of off-key or clashing backing vocals and outright bum notes on these early sides is a kind of testament to how effective Motown’s Sixties studio backing singers, the Andantes and the Originals, were in crafting that atmosphere. You may not notice backing vocals when they’re done with a perfect lightness of touch, but it’s very noticeable whenever they go wrong, as they do here.)
Furthermore it’s massively dated; apart from that guitar solo, the record just screams “mid-Fifties”, and the overall impression is light years away from both the “Motown Sound” and even the label’s early Sixties efforts.
It went on to sell few copies, and remained a local Detroit-area release; still, as the first Motown vocal group single, this one has its place in history.
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 Satintones? Click for more.)
Ron & Bill “Don’t Say Bye Bye” |
The Satintones “Motor City” |
Steve Robbins said:
Just heard for the first time on You Tube. I thought it kinda fun, enough fun that you never know, this could be the one! Worse records have made it to number one!
I keep looking for that point in history that Berry, while sipping a scotch and soda, decides to move from RnB Detroit sounds over to “the Sound of Young America”. This may be it…. cause the NSF slips are coming from the bank daily.
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Damecia said:
I agree with this verdict all the way. This song is terribly dated. When I hear certain doo-wop songs I wonder how did people actually like them. The swift changes in music are remarkable though. Just like when films went from being silent to talkies music went from doo-wop to R & B. I imagine just like films there were a whole generation of doo-wop artist that were not able to make it in R & B.
It also amazes me how it seemed as though Mr. Gordy thought that gimmicky records were going to put Motown on the map.
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Landini said:
Haven’t heard this one yet, but can only imagine it. You know, it was probably the fact that Mr G was willing to experiment with so many styles that eventually led to Motown’s success. What I have found by listening to Motown is that they were always willing to be influenced by the sounds around them while also creating very unique music. I have noticed that when a particular formula stopped working (especially in the work of Holland-D H) they would modify or elaborate on the sound. ie (the Heat Wave-Quicksand-Live Wire trilogy). After Live Wire didn’t chart as well as the others, they went back to the drawing board.
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Damecia said:
I completely understand what you’re saying about the formula. Like “Where Did Our Love Go” & “Baby Love” “I Want You Back” & “ABC”
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Robb Klein said:
Music that sounds good to you never gets “dated”. This song is a novelty song, that depends more on its lyrics than its sound. I don’t generally like novelty songs, unless they sound great. I like “happy-sounding” major key melodies, and group harmony. This song doesn’t fill that bill. I’d give it a “3”. But, regarding “dated” songs, – I could listen to 1951-54 Five Keys’, Flamingos’, Hollywood Flames’, greasy ballads for hours, day after day, and never have a problem that they are singing in a style that seems “dated” to the general public. Take a listen to “Red Sails In The Sunset” by The Five Keys (from 1951), “Golden Teardrops” by The Flamingos (1953), “My Saddest Hour” by The Five Keys (1953), “”Over The Rainbow” by the Moroccos (1955), “Can’t Help Loving That Girl of Mine” by The Hide-a-ways (1954), “Close Your Eyes” by The Five Keys (1955).
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Ricky said:
This song is very bouncy and had me into it. The Satintones are an interesting group to me. I guess because they were Motown first singing group release and had no hits. But anyway the song sounds like something id hear in a Betty Boop cartoon. Dated? Yes. 4/10
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Damecia said:
(LOL) Yeah it does sound like something you’d hear in the Betty Boop cartoon.
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