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Motown M 1002 (A), August 1960
b/w Shimmy Gully
(Written by Richard “Popcorn” Wylie, Berry Gordy and Smokey Robinson)
Richard Wylie, known universally as “Popcorn”, was an interesting bloke; a strong pianist, he played with the Funk Brothers on several early Motown hits before leaving in 1962 to further his own recording and songwriting career with various labels. He returned to Motown as an artist in 1971. He was also responsible for bringing his schoolmates James Jamerson and Norman Whitfield and jobbing session guitarist Eddie Willis to Hitsville as part of his band, the Mohawks; Jamerson and Willis were among the earliest Funk Brothers and would play on literally thousands of Motown recordings, while Whitfield became one of the company’s greatest producers and songwriters.
Before any of that, there was this novelty comedy record, an unabashed attempt to cash in on the success of Larry Verne’s Mr Custer, which had been a number one pop hit a month or so previously.
The line between parody and outright rip-off is teetered on dangerously throughout this record. It sounds almost exactly like Mr Custer – the reworded cowboy movie chant intro is almost identical, the repetitious bass/guitar/drum backing – which plays the same riff throughout the length of the record – is very similar (although well played, and much superior to Verne’s), and at one point the similarity is explicitly acknowledged with a direct lift of Verne’s line “Please Mr Custer – I don’t want to go”, sung in exactly the same fashion, in case anyone hadn’t got the joke by then.
This is a long record – almost four minutes, although the pitiful “comedy” drags so much it actually feels even longer – and it tells the story of a modern army patrol touring the battlefield site at the Little Bighorn and coming across an apparent survivor of the battle, still alive, digging a gigantic hole in the ground. The entire record is a dialogue between the modern soldiers and the old man in the hole, identified early on as the same guy as in Mr Custer with all his lines sung in the same comic voice.
The song is effectively a novelty “cut-up”/”break-in” record, a bizarre Fifties/Sixties phenomenon whereby a story – usually narrated by a straight man – would be punctuated by snippets from hit records, often supposedly in response to the narrator’s questions, either providing an incongruous or surprisingly appropriate answer and thereby deriving painfully weak comedy. This one is a bit different in that it doesn’t actually use real bits of other records, instead just referring to the songs, having the snippets be sung by the “old man”.
The songs referred to are, in order (deep breath): Mr Custer itself; Etta James’ All I Could Do Was Cry (written, not coincidentally, by Motown boss Berry Gordy who also co-wrote this nonsense); Brian Hyland’s terrible Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini; one of the two then-current hit versions of Tell Laura I Love Her; Yogi by the Ivy Three; and finally Move Two Mountains by Motown alumnus Marv Johnson, another Berry Gordy composition.
(And relax.)
Actually, the last of these adds a surprising note of poignancy to this otherwise totally throwaway novelty artefact, whereby it is revealed the old man is still alive because he is toiling under a curse placed on him by a Native American shaman, allowed to live but condemned to spend eternity trying to literally move two mountains, and he begs the soldiers to leave him alone to keep digging his hole and complete his task – a strangely deep, contemplative, Sisyphean note on which to end this outstandingly stupid comedy record.
Obviously, the record sold very poorly (obviously), though there was some modicum of success in the fact that those involved don’t appear to have been sued. Listen once, let it raise a faint smile or two, be bemused by the surprisingly downbeat ending, and then forget all about it.
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 Richard “Popcorn” Wylie? Click for more.)
Barrett Strong “You Knows What To Do” |
Popcorn & The Mohawks “Shimmy Gully” |
mary magaldo said:
If there is one thing that this song proves is that there is an essence of truth in comedy. In this song the remaining solider is a victim of a curse, allowed to live but must dig
perhaps through eternity. No one was a greater victim of the
country’s Manifest Destiny than the Native Americans and
they still labor under that curse as do we. Historians say that Custer died for our sins but the effects of that sin still lingers. There is truth in comedy!
mary magaldo
marymagaldo@basicisp.net
s
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144man said:
Does anyone ever play comedy records more than a couple of times before they tire of them?
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nixonradio said:
If they do, I don’t want to meet them.
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144man said:
There’s always the exception to prove the rule. Stan Freberg’s “The Old Payola Roll Blues (Part 1)”, which I heard again recently, is just as funny as when it first came out in 1960.
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Steve Robbins said:
Is anybody getting tired of seeing Berry Gordys name as the lead author on most Motown records. What a rip-off.
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The Nixon Administration said:
Which ones are contentious? Depending on who you listen to, Berry Gordy may have been an extremely dodgy operator in a number of areas, but I hadn’t heard anyone seriously claim he wasn’t the label’s top writer and producer in those shaky first two years. (others have fought to get their names on those records, but not to have Berry’s taken off). His challengers in terms of experience and rep would have been the likes of Harvey Fuqua or Roquel Davis; otherwise, it’s entirely plausible to me that he either came up with all those songs, or tidied up younger writers’ draft sketches enough to earn a legitimate credit. Smokey, Brian Holland, Popcorn, Janie Bradford, Robert Bateman – legends all, but in 1959, a few guys who’d been on the periphery a while and a cadre of callow kids.
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Steve Robbins said:
There was am almost embarrassing pattern of B. Gordy, followed by a co-writer throughout the early catalog. It started early with Got A Job credited to Gordy and Carlo (Davis), has the Smokey sound throughout, and Smokey actually stated in his biography it was his composition. I understand how a young company would have an ambitious, talented owner who “takes over” the process cause it’s his neck that’s at risk, but give credit where credit is due. Berry is notorious for being a strict authoritarian, I’m wondering if future royalties for song authorship got the best of him.
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Stewart Bloor said:
Just listened to this song funnily enough. I agree with the commentary on it. I must admit that if I wasn’t such a Motown junkie I’d probably delete it from my Spotify playlist (the big advantage of Spotify). But somehow I can’t get myself to do that. It’s Motown and I’m a sucker.
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Damecia said:
Wow this record leaves me speechless lol. Was there quality control back in those days??? If so how did this past inspection??? Knowing that Gordy is a business man I assume that hit though he hit the jackpot with this. Rome wasn’t built in a day and Motown wasn’t a success overnight!
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Ricky said:
Child this song sounds ridiculous and they should have kept this and put it somewhere else…the only bright spots of the song is Yogi Bear thing and the yellow polka dot song. Sometimes that’s annoying!!
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funkyrocky said:
Hello,
the funny thing for me is that I appreciate this song a lot. The groove is good and the lyrics are silly. I love references from others songs.
Good Site, I keep it
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The Nixon Administration said:
🙂 Thanks funkyrocky – glad you’re enjoying! And Popcorn must be happy, up in that piano bar in heaven, that someone loves this record.
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richie1250 said:
haha, I love it too! but I love all those buchanan and goodman break in records too. The essence of Stoopid has a great appeal to me…
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Slade Barker said:
I agree with your review — except that I LOVE “singing janitor” Larry Verne’s original “Mr. Custer” — and think it’s VERY well played. This is awful. For a MUCH BETTER rip-off, look for the Scouts’ “Mr. Custer Stomp,” which anticipates hip-hop sampling by 20-something years & is really a gas.
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