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Motown M 1021 (A), October 1961
b/w Take A Chance On Me
(Written by Barrett Strong and Mickey Stevenson)
Fontana H 387 (A), March 1962
b/w Take A Chance On Me
(Released in the UK under license through Fontana Records)
The prodigal brother returns. Edward Holland, Jr., older brother of Motown songwriter Brian Holland and a former soundalike demo vocalist for Motown boss Berry Gordy’s songs for Jackie Wilson, had recorded the second ever single for the Tamla label (Merry-Go-Round, all the way back in February 1959) before being signed up to United Artists, together with Marv Johnson. The money for those deals provided Motown with the financial stability to survive its shaky early days, but while Johnson had gone on to rack up a string of decent-sized hits at UA, Eddie’s career had failed to take off; the older Holland brother found himself dropped after a run of four straight flop singles, and made his way back to Motown to resume his singing career.
Luckily for Eddie, he came back into the Hitsville fold just at the same time as another early Motown vocalist, Barrett Strong, was departing. Holland thus ended up inheriting a song and track which Strong had been working on as part of his endless, doomed quest for a follow-up hit to Money (That’s What I Want). Strong had missed the charts with all four of his subsequent singles, but gave up and left the company before releasing this, which would have been his fifth such attempt – and after Eddie Holland had recorded his lead vocals over the top of the pre-recorded track, the returnee promptly scored a Top 30 pop hit. Penny for Strong’s thoughts at this point.
Or not, as the case may be. Strong has certainly been magnanimous enough about it in the intervening years (the liner notes to The Complete Motown Singles: Volume 1 have him almost disaffected, quoting him as saying “by Eddie singing on it, it was my hit too”). Neither man’s future was really behind a microphone, both disdained live performance, and both would go on to far greater successes as Motown songwriters than performers, so it’s hard to guess how upset or otherwise Barrett Strong might really have been watching someone else take “his” song up the charts.
Although, in point of fact, this song isn’t actually all that good. Opening with a distinctive series of orchestral string flourishes building to a crescendo, it peters out very quickly into a jaunty, slightly cheesy string-led romp through Sixties MOR radio territory.
Holland is on good form, though, gamely opening the song with a comedy “Shhh!”. His voice has lost nothing since his first Motown forays two and a half years previously; no great shakes technically, he sings with an audible smile on his face which immediately warms the listener. The effect is initially highly engaging, even as he winds his way through the verses, which are little more than an extended build-up to what sounds like it’s going to be a great chorus. With the help of some cracking female backing vocals, the song rises inexorably to meet that chorus, and you’re bracing yourself in anticipation – but when it gets there it’s a tremendous disappointment, a damp squib which just never gets out of first gear.
“Jamie / Talkin’ about Jamie / talkin’ bout Jamie / That’s my girl.”
And that’s it. It doesn’t scan, it doesn’t flow, it does nothing.
A stupendous middle eight at 1:15 (the “She comforts me when I am sad, now” bit) suggests flashes of the brilliance to come later in Holland’s career, on both sides of the microphone; but it can’t last, and we’re quickly sucked back to earth and that pedestrian chorus.
Of course, Holland had no part in writing this one. Tempting, though, to wonder whether he was making mental notes, hearing the poor scansion of Strong and Stevenson’s song, thinking of lyrical improvements along the way. Perhaps.
Anyway, so, the material isn’t stellar. What it is is up-to-the-minute; it sounds like an early Sixties radio-friendly R&B/pop hit, which of course is what it was. Eddie Holland, though, has to take some of the credit for turning it into a hit record, which perhaps wouldn’t have happened had Barrett Strong kept hold of it (witness Strong’s underwhelming delivery of a stronger (no pun intended) song in Two Wrongs Don’t Make A Right a few months previously, for example). Jamie certainly suits Holland’s voice much better than it would have Strong’s, calling as it does for a lot of high notes and a harmonious, good-natured, almost throwaway delivery. Additionally, Holland was still only 21 and (crucially) doing pretty darn well in the looks department; there was still a job opening at Motown for a teen idol, and Eddie had the looks and the voice to make it happen.
(Compare and contrast with what was happening to the similarly-handsome Marvin Gaye at the same time, caught in a battle between schlocky standards and exciting pop/R&B crossover records. It would be almost another year before Gaye’s pop chart popularity outmatched Holland’s, and another year again before it finally became clear which of the two would be the star performer and which the world-beating songwriter.)
The songwriting career of Edward Holland Jr. has long since eclipsed the recording career of Eddie Holland, but even as a singer there was considerably better to come in Holland’s future. Still, while this early hit isn’t much to listen to today (thanks to that weedy, underpowered chorus too small for the song), it played its part in keeping him at Motown, thus helping set the stage for the glory days of the mid-Sixties.
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 Eddie Holland? Click for more.)
The Satintones “Faded Letter” |
Eddie Holland “Take A Chance On Me” |
tamlaman said:
LOVE YOUR SITE
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The Nixon Administration said:
Thanks Tamlaman, much appreciated!
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Landini said:
Always loved this song. He really had the Jackie Wilson thing down. Speaking of… Why couldn’t Jackie have recorded for Motown? Love him but many of his records sound awfully dated. He did better when he hooked up with Carl Davis. In Jackies early days that faux opera shtick really got old fast.
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The Nixon Administration said:
I’m sure if Brunswick/Decca and their lawyers had been willing to play ball, Berry Gordy would have signed Jackie in a heartbeat. Sadly, it never came to be, though many of Jackie’s late-Sixties “renaissance” recordings were cut with the moonlighting Funk Brothers and Andantes, giving a pretty exact picture of what e.g. a Motown The Return of Mr Excitement LP might have sounded like.
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Robb Klein said:
I disagree strongly that Carl Davis’ using The Funk Brothers to play on the instrumental backgrounds and using The Andantes to sing vocal backgrounds for Jackie Wilson’s later Brunswick cuts gave a “pretty exact (audio) picture of how a Motown “Return of Mr. Excitement” might have sounded. The songs Wilson sang (“Higher and Higher”, “Since You Showed Me How To Be Happy”, “I’ve Lost You”, etc.) sound like typical Carl Davis Jalynne Music songs, and the production features sound like pure Chicago, rather than “The Motown Sound”. They all sound VERY “Chicagish”, not even slightly like Detroit/Motown cuts.
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Robb Klein said:
Jackie tried to (or wanted to) return to Motown when his first Brunswick contract was up. But his manager, Nat Tarnopol, was a VERY powerful man in the music industry (and it was said by some, that he had some “influential” friends (of the “persuasive” type-if you know to what I’m hinting, but dare not write). Tarnopol made sure that Jackie didn’t return to the Gordy fold. After several years of “schmaltzy” material, he finally got Jackie over to Carl Davis (who, ironically used the moonlighting Funk Brothers on some of his later hit recordings).
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Mick said:
This is a great vocal, catchy yet still R n B.
I would have put my mortgage on the singer being Jackie Wilson.
I can see why it was a hit.
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BillyGTexas said:
Totally disagree here, I’d give it a solid 7, one of the best early Motown recordings.
The chorus is nothing special, but this song always grabs me because of whats going on behind Eddie. The Funk brothers keeping it tight yet light, the Andantes and the nifty string fills keep me listening.
Too bad a stereo mix doesn’t exist of this minor classic.
Great blog btw. I didn’t know Motown released a lot of flops before their golden period. That always gets glossed over or written out by revisionists.
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The Nixon Administration said:
As I said in the review, I think it sounds great, and it seems to be building to something amazing until that complete damp squib of a chorus sucks all the energy out of it. But I’m happy to be a lone voice in the wilderness on this one 🙂
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Robb Klein said:
I disagree. This song is Eddie’s best, and deserves an “8”. The chorus (all females, so NOT The Rayber Voices (probably The Andantes) is NOT weak enough to lower it to a “7”. Giving it a “5” is doing it great injustice. But, I am from the 1940s, so I appreciate the sound of early Motown more than most of the youngsters, who first heard the Motown hits from 1965 -1970. So, I can understand that you rate the later, “classic sound” much Higher than their earlier recordings.
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The Nixon Administration said:
Incidentally, BillyGTexas, it turns out there is a stereo mix of “Jamie” – it’s on the recent It Moves Me compilation, if you don’t have that yet!
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Michelle Kirkendall said:
I thought maybe the Rayber Voices did background vocals!
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Ricky said:
I always loved Jamie ever since I first heard it. Eddie sounded very confident singing and it’s surprising to learn he had stage fright. SO I guess a full blown singing career wasn’t meant to be. But the brother can sing. 7/10
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John Winstanley said:
I always loved this record but couldn’t put my finger on what made it special until I read your brilliant essay and the following comments. I think it’s the sweeping string arrangement that makes the record stand out and yes, Eddie’s voice really suits the song. In fact this, and “I’m on the outside lookning in” are two of my favourite early Motown songs and at least “Jamie” got a deserved British release.
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MotownFan1962 said:
Who does the background vocals on this song? I think it’s either The Andantes or The Vandellas. Whoever they are, they do great job, and so does Eddie. I’d give it a 8 out of 10.
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Landini said:
Welcome MotownFan1962. I think you are new here. Agree this is a very nice record. Never thought about the background singers. You are right, though, they do a wonderful job. Now I am wondering who they are.
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Robb Klein said:
Martha and The Vandellas were working for Joe Hunter and Fred Brown at Kable Records in 1961, when “Jamie Was recorded. They were not yet at Motown. Martha was not yet Mickey Stevenson’s secretary. But, Joe Hunter was working at Motown, and only moonlighting at Kable Records. So, Martha’s Del-Fi’s COULD conceivably have sung these backgrounds. However, I don’t hear any of their (very distinct) voices in “Jamie”. Furthermore, The Supremes would have been the other likely group. And, I don’t hear THEIR (very distinct) voices in this song, either. Neither do I hear the distinctive voices of The Andantes. It’s a big mystery to me.
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MotownFan1962 said:
The soprano sounds like she’s either Louvain Demps (of The Andantes) or Rosalind Ashford (of The Vandellas). I also think I hear a faint male vocal (on the “Jamie!”), which opens up another possibility; it could perhaps be The Rayber Voices (Louvain was in that group for it’s later recordings, and it was around until 1962; this could have been one of their final recordings). Of course, it could just be a woman singing a really deep contralto. Jackie Hicks (of The Andantes) could reach the really low notes. If you want proof, just listen to “Love Child”. The backing vocalists probably were The Andantes.
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Robb Klein said:
The Andantes or the catch all (anyone who was in the building at the time) “RayBer Voices” were probably the best bets. Louvain told us that The Paulettes, who recorded some backgrounds for Marv Johnson recordings in 1961-62, were actually The Andantes, rather than a group mentored by Clarence Paul.
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MotownFan1962 said:
Do you think Ms. Demps might remember recording “Jamie”, and if the other Andantes were recording with her? Could you please ask her?
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Robb Klein said:
I’m SURE that she’d remember if she and her group, or if she and “ad hoc” singers backed Eddie on “Jamie”. She remembers virtually every song on which she sang background (even when background tracks they sang weren’t used).
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MotownFan1962 said:
Could you please ask her? I’m just dying to find out who the mystery girls (and possibly guys) are!
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The Nixon Administration said:
She actually reads (and posts on) this site from time to time, so you’re asking her now!
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MotownFan1962 said:
Cool! Do you think I could ask for her autograph, too?
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Landini said:
To Ms. Demps… If you are out there & reading this … Thank you for blessing us with so much great music!
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MotownFan1962 said:
If I might add, Motown wouldn’t have been as successful as it was without you and the other Andantes. Ask any Motown fan and they would agree.
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Slade Barker said:
OH, NO! This ranks up there with “Money,” “Shop Around,” “Please Mr. Postman” and the GREAT original “Who’s Lovin’ You” as one of the stone Motown classics of the early years.
Please, Mr. President, give it a few more spins. It’s exciting & fun, the closest thing to a great Jackie Wilson Motown ever produced. And MUCH better than the flip.
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