Tags
Motown M 1001 (B), October 1959
(First pressing only)
Initial B-side of You Never Miss A Good Thing
(Written by Berry Gordy and Robert Bateman)
Eugene Remus’ only Motown single wasn’t a great success on any level, commercially or artistically. So little is known about Mr Remus that it’s hard to know what to make of his fleeting Motown career; considering the only quote about him I’ve ever read has the great Janie Bradford, no mean writer herself, referring to his writing abilities, it’s certainly a surprise he wasn’t given the opportunity to cut his own material. Instead, Motown gave him this.
The A-side, a competent but joyless rendering of Smokey’s You Never Miss A Good Thing, was hardly one of the great unknown Motown records, but it had been nice enough; this B-side, though, is genuinely atrocious. So atrocious, in fact, that the single was pulled from release after less than a month so that the record could be re-pressed and re-issued with a less terrible new B-side in its place.
The song is, for want of a better word, garbage. Based around a direct lift of the central riff from La Bamba, and sounding like the rest of it was written on the back of a fag packet five minutes before the session began, it’s tuneless, banal and eminently dislikeable.
Worse still, it’s bad material played badly. It’s no exaggeration to state that this is one of the very worst of all commercially-released Motown recordings. Almost every performance – lead vocals, drums, bass, horns, backing vocals, the works – is done in such a slapdash and desultory fashion that not only would the later Motown Quality Control meetings have refused to release this record, they might very well have ordered everyone responsible be shot.
Nobody on this record comes away with any credit, but Mr Remus is especially awful here; his tremulous, weak lead vocal has all the punch and verve of a bag of lettuce. Bearing in mind he can accept no blame or responsibility for writing this rubbish, we can only conclude he was just doing what he was told. Fundamentally unsuited to the song, he sounds like he’s doing a guide vocal which got released by mistake, or a particularly inept karaoke performance, and at no point does he ever even come close to accidentally wandering into tune with the off-time, off-key backing track.
The Rayber Voices, apparently having a spectacularly off day, provide one of the most godawful backing vocal performances ever committed to vinyl, shouting staccato interjections of HOLDTIGHT! HOLDTIGHT! LETMEGO! at seemingly spontaneous intervals.
The rhythm section, usually one of the best, most dependable features of any Motown record, sound half-asleep and drop out of time at least twice.
There are not one, not two, but three embarrassingly sloppy solos, firstly a piano solo which sounds like somebody accidentally leant on the keys during recording, then a perfunctory sax one which is almost inaudible in the mix, and finally an incongruous, massively loud vibraphone solo that sounds like a six-year-old did it, crashing gracelessly into the mix at least twice as loud as everything else.
One of the bottom five worst Motown records of all time, the best thing you can say about Hold Me Tight is that at least Gordy had the balls to admit his mistake in releasing it in the first place, and acted quickly to put this terrible record out of its misery.
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 Eugene Remus? Click for more.)
Eugene Remus “You Never Miss A Good Thing” |
Eugene Remus “Gotta Have Your Lovin’ “ |
moomoo said:
Hmm…the solos are indeed frightening, but this is a little histrionic. It’s utterly mediocre but not as terrible as you make it out to be.
LikeLike
nixonradio said:
Well, we’ll have to agree to disagree on this one! As always, the motto here is that dissent is encouraged, and I’m always more than happy to post up counterpoint opinions when people think I’ve wrongly praised or slagged something.
I must say, though, I honestly didn’t expect this one to have anyone fighting its corner. Different strokes and all that – but I’m genuinely intrigued to know what you’d class as a terrible record, if this doesn’t make the grade. Maybe we’re just calibrated very differently. Would be interested to hear your thoughts.
As for histrionics… I take issue with that much more than disagreeing over how rubbish this record is or isn’t. I’m guessing you meant I was being pretentious or indulging in hyperbole (which, yeah, fair cop, but that’s how I write; I’ve been ruder than this elsewhere on the blog!), and just picked out a word to indicate I’d gone over the top – but “histrionic” carries a connotation of artifice, of a kind of “staged” malice, as if I don’t really believe what I wrote, that I don’t really think it’s that bad. Well, I do, and I do.
The reason I’m so rude is because I believe life’s too short for rubbish records, and so I don’t pull punches when I encounter them, just as I won’t hold back from praising something to the rafters if it brings me out in goosebumps or makes me cry. Music is very important to me, it’s a big part of my life (I have well over 30,000 records, for any burglars reading), and I tend to feel very strongly (and wax exceedingly lyrical) about records I love, which I find also entails feeling equally strongly (and ranting exceedingly angrily) about records I loathe. I express these thoughts to an audience because that’s always been my favourite thing about the Internet – I’d much rather read someone really going for it, even if I disagree with every single sentiment being expresesd, and get riled up by it, than read a hundred bland platitudes that don’t say anything at all. (Though I’ve inadvertently written plenty of those too, no doubt.) Agree or disagree, call my parentage into question, it’s all good, just so long as y’all don’t be doubtin’ I’m 4 REAL (he said, in a jokey allusion to the title of the blog that nobody’s going to get.)
Anyway. I still think this is a dreadful record, I fail to find a single redeeming feature in it. I honestly do believe it’s one of the bottom five Motown records of all time, but people are more than welcome to submit other nominations for this dubious honour!
LikeLike
Snakepit said:
Can’t agree with you at all here.
Putting TCMS on shuffle, whilst reading Radio Times, this track, previously bypassed by me, actually made me ‘listen in’ as it has decent groove, with a vibe that stands out and carries this 45 along.So much so that I had to go and find this to play again.
Backing is ok, sax good, decent vocal
Don’t get your view here at all…….sorry
LikeLike
The Nixon Administration said:
It jumped out at me while listening to TCMS 1 on shuffle, too, years before the blog was born, but for quite different reasons. It sounds abysmal. I was listening on headphones, and I was already thinking “what in the name of…?!” when that bloody vibraphone solo came blundering in and I had to tear the headphones off for fear of damaging my hearing.
Once again, for the purposes of clarity, I’m not being histrionic here, I genuinely rank this among the worst records I’ve ever heard, never mind Motown records. I honestly, hand on heart don’t think there are five worse Motown records than this.
But it seems I’m in a distinct minority! I’m genuinely astonished, more so than with anything else I’ve written, that there are people coming forward to stick up for this one, I really didn’t see it coming. I suppose that’s the great thing about the Internet; there are people reading this blog right now who, if the last remaining copy in the universe of the Supremes’ I Want A Guy was about to be crushed in a trash compactor, would rush to press the “Start” button rather than tell anyone. De gustibus non est disputandum, and all that; dissent is encouraged here, and long may it continue.
LikeLike
The Nixon Administration said:
(Oh, and nobody needs to apologise for disagreeing with me!)
LikeLike
Steve Robbins said:
Never heard the song or met the chap. In fact, there are NO Eugene Remus songs on You Tube. That ought to tell you something!
LikeLike
Robb Klein said:
I disagree as well. Not that the overall effort is all that good. But, it’s a catchy tune, and not all that bad. The singing seems okay to me. But, I actually like the vibes very much. If I’m not mistaken, I believe Dave Hamilton was playing them. True, they are quite loud and upfront. But that is what attracts the ear. I think it is the contrast (juxtaposition against the rest of the song). It’s not one of my favourite Motown records, but not one of the worst, by far (check out Ray Oddis, The Stylers, Jack Haney & Nikiter Armstrong, etc.).
LikeLike
The Nixon Administration said:
“Ray Oddis” is the same person as “Nikiter Armstrong”, giving him a horrifically low batting average. I already named the Haney/Armstrong record as the worst Motown side of all time, but that one aside I can sort of see why people might not hate most of my 1/10 picks. This just rubs me up the wrong way, I think; to me, it’s horrible, but apparently I’m in a minority!
LikeLike
Damecia said:
Wow a 1! This has to be terrible tune. lol. Another song I can’t hear and probably won’t = )
LikeLike
The Nixon Administration said:
Oh dear – please don’t let me put you off digging around for it!
Now, I still think it’s terrible – there’s no point me being mealy-mouthed about it, that’s still how I feel. What I said up there apparently offended a few of Mr Remus’ surviving relatives, and that makes me feel bad, but I’m not going to start self-censoring for that reason or we’ll never get anywhere. No. To me, this is an almost archetypally awful record. If you offered me the choice between listening to this again or paying you a dollar, I’d happily hand over the dollar.
HOWEVER, it appears I’m pretty much the only person who thinks this way. (Which is not that unusual, as it happens). So I’d underline that all of the above is just my opinion, as one person out of seven billion, and certainly no more valid than anyone else’s just because it’s “above the line” or whatever; I’d wholeheartedly encourage everyone reading this, or any other negative review, to seek the record out for themselves and make their own minds up.
LikeLike
Damecia said:
No need to explain your reasoning, by now I know how you operate on here lol. I tried looking for it again, but still no results that offer sound.
Oh yeah just noticed at the bottom of the page you’ve been awarded so much deserved awards. CONGRATS!!!
I’ve been M.I.A. on your most recent posts. Will have to catch up & throw in my 2 cents soon = )
LikeLike
Landini said:
Hi Miss D. You’ve been missed. Hey, I didn’t know where to throw this one in but here goes … I was listening to a Cheryl Pepsi Riley CD the other day (it goes back to about 1993). I was very impressed. She is quite talented (much more so than most of the Chatty Cathy dolls out there today!) In listening to her music, underneath the Urban-Techno production, I hear a subtle girl group/Classic Motown vibe running throughout her songs. What do you think? I hear a similar vibe when I listen to Janet Jackson’s “Rhythm Nation” album.
LikeLike
Damecia said:
Hi Grandpa Landini!
I actually did not know Cheryl Pepsi Riley had a career before Tyler Perry lol. I’m only familar with the songs she sings in his plays. As of Rhythm Nation I definitely agree with girl group vibe. I think “Miss You Much,” “Alright,” and “Escapade”
LikeLike
Landini said:
Girlllllllllll!!!!!!!!! Come on. Doesn’t old Landini get some more coolness points for having a Cheryl Pepsi Riley CD???? LOL!!!!! Seriously, if you ever see her CD “All That” in a used or budget bin cheap you oughta pick it up. I have to confess I’m still not really into the whole rap thing (not that it is all bad – just not my cuppa tea) but I do appreciate a lot of the urban/quiet storm music – especially from the late 80s/early 90s.
LikeLike
Damecia said:
Of course YOU get cool points! LOL. I’m gonna have to Youtube her. Tell me Gramps what contemporary artist do you like if any?
I understand rap is not for everyone. Here’s one of my videos in which I kinda rap, I don’t think I say any swear words in this one, but if I do I hope you forgive me = )
Hope you like!
LikeLike
Landini said:
Damecia, That was cute! If all rap sounded like that I might give it a chance! Right now can’t think of any contemporary artists though I like a guy named Jonathan Butler. He has been around since the 80s. He does a kind of urban/r&b/smooth jazz/quiet storm thing. Great vocalist & guitarist! He has recently been doing some gospel as well.
LikeLike
Damecia said:
Well thank you = )
I can remember seeing a Jonathan Butler CD in my mom’s collectiion when I was little and I think he was a trumpet or some instrument on the cover. Did he have a song with the name Sara/Sarah in it?
LikeLike
Landini said:
That’s the one! You oughta borrow Mom’s CD!!!!
LikeLike
Damecia said:
Yay! LOL I love moments like these. IDK if she still has it (out with the CDs in with the mp3 files), but I’ll see.
LikeLike
144man said:
I find this track quite inoffensive. I quite like the vibes, but their volume when they appear at 1:20 is very disconcerting. As I can’t find anything to really dislike, “3” would be a fair mark.
LikeLike
Ben Shulman said:
Tried getting in touch with Remus a few years ago. Got in touch with his wife who claimed “I don’t really know anything about his recording days.” Apparantley he passed away in the early 90’s.
LikeLike
msongs said:
disagree wit ya … sort of. I think the backing track is the most rocking of all the singles on the list so far and should be turned way up. not much in the way of lyrics but let marvin gaye do this tune with the jacked up track (withe vibes solo turned down) and you’d have a great little track, inconsequential as it is. most of its the first track that sounds like MOTOWN Inc.
LikeLike
tomovox said:
“De gustibus non est disputandum”
Such a nice sentiment. Perhaps the less diplomatic would say it as: “there is no accounting for taste.”
I heard “Hold Me Tight” for the first time this week. I like the song. I’m chuckling as I type this because it’s such a crazy little trifle. A little ditty that ain’t trying to impress, ain’t aiming for greatness and knows exactly what it is: a filler-upper for the space on the flip side of a record. It’s so peppy that it should be irritating (and it IS to some!) It’s so twee that it should make my eyes cross in contempt (and I imagine some people do when this plays!)
There is a song by Bobby Rydell, “Swingin’ School” that synchs up perfectly with “Hold Me Tight”. It’s such an irritating, valueless, ridiculous so-called song and yet, for whatever reason, it just tickles me in a way that I actually like the darn thing.
There is no accounting for taste.
I won’t say “Hold Me Tight” is right up there with much of anything. In fact, the 30th retread/variation of “Do You Love Me” might be better than this- or maybe not- but I do enjoy this. I don’t “love” it, but I do like it. I can’t offer up an impassioned argument for why I like the song; this isn’t the type of tune you defend to the death. It’s a bit like people who loathe Gilligan’s Island vs. those who find it a pleasant, entertaining little show and never the twain shall meet.
I give it a 5. Not on merit or artistic brilliance, but for the unexpected smile it gives me.
“De gustibus non est disputandum”
LikeLike
Robb Klein said:
I’m not far off, at 4.5. 5 on a “good day”, and 4 on a “bad day”. A rating of “1” is reserved for songs that are like someone scratching on a chalkboard with their fingernails, or like one’s having to swallow a ladle full of cod liver oil, such as “Randy The Newspaper Boy”, or “Custer’s Last Man”. Even “I Comma Zimba Zio”, which is much worse than THIS song, rates a “2”.
LikeLike
Robb Klein said:
If this deadly rare record were REALLY worth only a “1” rating, I wouldn’t have provided a scan of its label, encouraging knowledge of it being brought to the attention of people who didn’t know of its existence, thus diminishing Motown’s reputation for excellence! 🙂
LikeLike
Ken said:
You really worked up a wonderful head of steam denouncing this particular ball of wax. I enjoyed reading every word. And I definitely believe this is exactly how you really really feel about the thing. Naturally I couldn’t resist a chance to examine the bloodied carcass on YouTube. And lo and behold. You can add me to the list of those who kinda like it. I was expecting nothing short of hellish cacophony. What I heard instead was 2 minutes and 13 seconds of pleasant – if unambitious – noodling. Musical running on the spot perhaps but no hardship at all to listen to. And guess what. I liked Mr. Remus’ voice. Sorry he didn’t stick around to apply it to some 60’s Motown material. Actually liked the record enough to download it from iTunes. And now it’s part of one of my Motown playlists (151 tracks arranged alphabetically). This one’s now nestled comfortably between the Marvelettes’ “Hey Baby” and Chris Clark’s “How About You”. Thanks for – well, I guess I can’t exactly call it a recommendation – but thanks for exhuming this one. You definitely played a part in giving “Hold Me Tight” an afterlife.
LikeLike
David Gostelow said:
Its not that bad! A 4 from me. Can’t get ‘Reet Petite’ out of my head when listening to this for some reason
LikeLike