B-side of Someone To Call My Own
(Written by Mickey Stevenson and Rex Robertson Jr.)
One of the most obscure of all Motown’s many acts, the Equadors cut just this one single for the ill-fated Miracle label, and both sides of it are totally forgettable on an Olympic level.
The liner notes to The Complete Motown Singles: Volume 1 describe this as “street-corner doo-wop… following a tried and true formula”. I’m not so inclined to be charitable; I think this is utterly pedestrian doo-wop, to the point where it sounds like a million other Fifties doo-wop records based on the same tired chord progression. Now, if a record is going to set itself up as being very much in the mould of a great many other records in the same genre, it’s left needing to do something very special to stand out from the crowd. The Satintones’ remarkable Angel is a fine example of how to use that “plain vanilla” doo-wop structure to great effect by adding a few stylistic touches and a strong lead vocal performance; the Equadors’ You’re My Desire has none of those things going for it, and falls wholly flat.
This was the end of the mysterious Equadors’ Motown journey, although Mary Wells – then the label’s biggest star – did turn in a reasonably faithful cover of this song for her Top Ten second album, The One Who Really Loves You, in 1962, where it rubbed shoulders with her version of another failed Motown B-side, Barrett Strong’s Two Wrongs Don’t Make A Right.
MOTOWN JUNKIES VERDICT
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“Someone To Call My Own”