Tags
Tamla T 54053 (A), December 1961
b/w I’ve Been Good To You
(Written by Smokey Robinson)
Fontana H 384 (A), February 1962
b/w I’ve Been Good To You
(Released in the UK under license through Fontana Records)
The Miracles were nothing if not prolific. This was the group’s eighth Motown single, and their fourth in 1961 alone – and that’s only counting the double A-side Broken Hearted / Mighty Good Lovin’ as one. For added measure, they’d also managed to get two studio albums (Hi! We’re the Miracles and Cookin’ with the Miracles) under their belts by the end of the year; this single was the first appearance of material featured on what would become their third LP, I’ll Try Something New, the following summer.
Perhaps unexpectedly, following a lengthy series of Miracles singles which had performed respectably on the charts but failed to emulate the massive million-selling success of breakthrough hit Shop Around, What’s So Good About Good Bye was their biggest hit since then, striking a chord with fans and landing in the Pop Top 40 and R&B Top 20.
Smokey and the group had been making strides with each successive new LP, and this record certainly sounds like a(nother) step forward from their previous material. For a start, Smokey had never sounded as good as this; confident, playful and immediately likeable, and now with an added vibrato on almost every note, he gives a quite splendid vocal performance, underlining his status as both Motown’s most distinctive male vocalist and also its most promising. (Check out his totally-unexpected, takes-it-in-his-stride break into a falsetto semi-yodel at 1:38. He’s a star.)
This was also the first Motown Miracles A-side to prominently feature their guitarist, sounding board and sometime songwriter Marv Tarplin, an essential part of the Miracles mix since Smokey stole his services from friends and neighbours the Primettes (later Supremes). Marv takes his cues with panache, providing two front-and-centre guitar parts – an ominous opening plucking bit played in tandem with the bass, and then starting at 0:38 a series of twangs at the end of each line of each verse, almost country & western in their effect but totally necessary for the success of the record as a whole, slotting in as effortlessly in the foreground as he previously had in the background.
Plus, like the previous effort Everybody’s Gotta Pay Some Dues, it’s swathed in a lavish string arrangement orchestrated by Riley C. Hampton, giving the whole thing a stately, confident vibe.
It sounds great.
As well as the guitar parts and some neat harmony touches throughout the song, it also features an extended intro – like …Dues – which marks out the first few lines before a change of rhythm and tempo brings us into the song proper. Unlike that previous effort, though, the “intro” metre comes back in for a closing coda, effectively bookending the song with a kind of framing device. Again, Smokey the songwriter was developing his craft at a rate of knots, and this development would really bear fruit in 1962.
I say that because it doesn’t necessarily bear fruit here in December 1961. I’ve always found this song slightly unsatisfying, for reasons I find it difficult to put my finger on precisely; for sure it’s far less affecting than some of their best work to this point, and it certainly comes off worst when put up against the lovely …Dues.
For a start, compared to the heartfelt paternal message in its predecessor, the lyrics to this one are far more obtuse, Smokey putting a lot of faith in the listener finding the song’s best lyrical idea, the semi-pun in the title, to be witty and charming (the same semi-pun which you’ve already got bored of by the time you put the record on the turntable, that is). If you don’t find the central notion – that “goodbye” is ironic because being separated isn’t “good” – to be tremendously clever and worthy of applause, things start to unravel pretty quickly.
(Smokey breezily admits in the liner notes to The Complete Motown Singles: Volume 1 that that central conceit wasn’t even his idea, having been lifted wholesale from some film dialogue he happened to watch while working on the song.)
As a confirmed die-hard fan of Smokey’s lyrics, it comes as a surprise to discover that the rest of this song, a much-vaunted supposed early example of Smokey’s sublime skills with wordplay, isn’t actually up to much on the lyrics front – either in terms of either emotional content or clever wordsmithery. (Perhaps it’s some form of category error in the brain; this is Smokey Robinson, he sounds amazing, I’ve heard this is one of his most playful, poetic early lyrics, I hear a lot of quick-draw half-rhymes… this must be great!)
It isn’t great, though. On closer investigation, it’s actually a series of rhyming-dictionary platitudes with all the emotional wallop of a Hallmark card congratulating you on your new job. (No, really, listen to the words. “What’s so good about goodbye? / All it does is make you cry / Well, if leaving causes grieving / And to part can break your heart / Tell me what’s so good about it / I could have done without it… / Well if everything goes wrong / When lovers say so long / Tell me what’s so good about it / I could have done without it.” C’mon, Smokey, where’s your game?)
Apart from the lyrics, the other problem with this record is that it’s all surface and no feeling – a collection of neat musical ideas, smart touches, great performances, but no killer tune underneath, no moment of inspiration to build on.
Case in point: when we get to the chorus, the Miracles sing “What’s so good about it…? and a string flourish strikes up, and it sounds as though it’s going to feature the group doing a repeated melody line on backing vocals in harmony with the band (“What’s so good about… goodbye? What’s so good about… goodbye?” or something), while Smokey sings counter to the tune, much in the style of early masterpiece Way Over There, where such a trick had been employed to devastating effect – but it doesn’t. No, instead, the Miracles do sing What’s so good about goodbye?, but perfunctorily, as a second line apparently solely there to end the chorus at really high speed and get us back to middle C so Smokey can start the verses from where he needs to be. As a result, the chorus just sort of peters out, leading inescapably to the conclusion – something of a shock, too – that Smokey may have been running short on ideas when writing this particular song.
Indeed, the song has probably the weakest tune of any Miracles single since Ain’t It Baby, which is perhaps the real root of my dissatisfaction, I guess: it’s a thin, minimal number at heart, something which might have worked as a sparse, acoustic torch song for someone to strum out for an intimate audience, but absolutely doesn’t have the guts to justify such a gorgeous, full-on anthemic epic single treatment by Smokey Robinson and the Miracles.
So, yeah. It sounds really good, but stripping away the quality of the performances, it soon becomes clear it’s really not one of Smokey’s best songs. He probably knew it, too; he’d done better before and would do (substantially) better in the future. Meanwhile, there’s still plenty to be said in its favour: it was the Miracles’ ticket back into the Top 40 and back into hitmaking commercial relevance; it showed Smokey the songwriter pushing his boundaries ever further (even if there wasn’t a killer tune at the core this time); it sounds superb. It just isn’t as good as it first appears, or as it manifestly might have been, which is… Well, let’s stick with unsatisfying.
VERDICT
* * * * * * * * * *
6 / 10
(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 Smokey Robinson & the Miracles? Click for more.)
The Marvelettes “I Want A Guy” |
The Miracles “I’ve Been Good To You” |
144man said:
At last Smokey redeems himself after the disastrous lyrics of “Broken Hearted” with some clever wordplay:
“And another thing I
Would like to clarify
Is how can farewell be fair”.
Brilliant.
There are great lyrics here, a great vocal performance, a great melody, great strings and a killer bass riff.
This is the record that first turned me on to the Motown Sound.
LikeLike
nixonradio said:
See, this is why I love the Internet. To me, I’d say I feel the exact opposite about these two songs – I think “Broken Hearted” is a sweet C&W pastiche, obvious rhymes and all, and I find “What’s So Good About Goodbye” lyrically clunky. I’d hate, though, for anyone to be put off a song by my put-downs, so it’s nice to have some alternate viewpoints presented, and indeed I find it a lot more fun when people disagree. Dissent, as always, is encouraged.
I agree it sounds fantastic, though; Smokey and the Miracles are on top form vocally, and as for the band, the bass alone deserves a medal.
LikeLike
Steve Robbins said:
You are so right in all your points, except I still favored the driving earlier songs…I learned to adapt.
LikeLike
rr said:
… but if smokey hadn’t written this then eddie kendricks could never have covered it so deliciously on “the temptations sing smokey”! … and i am waiting to see what you think of mr. kendricks …
i love you huge project. it is to bad you can’t throw in great songs that were never singles. ah, but then you might never finish this. keep up this great project, so you can publish it. i find it much more interesting, informative, and opinionated than the notes on “the complete singles” sets.
LikeLike
Kevin Moore said:
I’d love to see your list of Motown’s greatest album-only tracks. Maybe an album track section could be made with ratings only going from 6 to 10 and those that would be too low left off. As much as The Beatles got from Motown, the influence went in the other direction when it came to making cohesive albums with no filler tracks. There’s another list to be made – aside from the obvious What’s Goin’ On, what are the greatest non-compilation Motown albums? I bet over 90% of total Motown album sales are greatest hits packages.
I’m (obviously) finding this current singles collection far more compelling than that “7 Classic Albums” box with supposedly the first 7 Motown LPs: Mary Wells/Bye Bye, Baby, Twistin’ Kings/Twistin’ The World Around, The Miracles/Hi We’re the Miracles and Cookin’ With The Miracles, Marvin Gaye/The Soulful Moods Of Marvin Gaye, Marvelettes/Please Mr. Postman And The Great Gospel Stars.
LikeLike
The Nixon Administration said:
If you have a listen to my radio shows (linked in the sidebar or on their own page), I play lots of spiffing album tracks. My favourite Motown albums not packed with familiar radio hits include the Marvelettes’ Playboy and Pink Album, and Marvin Gaye’s Here My Dear.
LikeLike
Robb Klein said:
I think “What’s So Good About Goodbye” has a brilliant melody, instrumentation, lyrics. It is virtually perfect for me. I’d give it 10 out of 10. It was certainly one of the very best Motown releases, especially of those before 1963. I was buying almost every Motown release I saw until this one. This song convinced me that I should listen carefully to every Motown release (including all those on Miracle Records), and maybe make an effort to collect them all.
LikeLike
Tom Zsenyuk said:
Tarplin’s twangy fills reminiscent of Duane Eddy.
LikeLike
nafalmat said:
Has anyone else noticed that the version of this recording on the stereo mix of the US album “THE MIRACLES GREATEST HITS FROM THE BEGINNING” and the stereo mix of the UK album “SMOKEY ROBNSON & MIRACLES GREATEST HITS” STML 11072 is longer than other versions? On these albums the middle break and last verse are repeated taking the song to a full 3 minutes plus. This does appear to be exactly the same recording as the mono mixes apart from the fact they are shorter. It would appear that the original recording was the longer one and was edited for single release and mono mixes on albums.
I fail to see how the reviewer thinks this is lacking in melody, to my ears it has a very distinctive and melodic tune.
LikeLike
Topkat said:
This is NOT the first Miracles record to prominently feature Marv Tarplin. Apparently you haven’t these late ’50’s gems:
“ALL I WANT IS YOU”
“I NEED A CHANGE”
(YOU CAN) DEPEND ON ME
All of these songs are on “The MIRACLES GREATEST HITS FROM THE BEGINNING”…and ALL of them feature Marv Tarplin.
(By the way, Marv WAS inducted with the rest of the original Miracles into the ROCK AND ROLL HALL OF FAME in 2012.)
https://rockhall.com/inductees/the-miracles/
LikeLike
The Nixon Administration said:
You’re wandering into soshe territory here, Topkat. I love your enthusiasm, but you’re arguing about things I either never said or never meant to say. In terms of the quote you’ve highlighted, I just meant “record” in the sense of “A-side we’ve covered on this blog”, in an instance of lazily ambiguous phrasing (I’ve now amended it, thanks!) which nobody picked up on for four and a half years.
Just to put your mind at ease, I do actually own a copy of that Miracles CD; I’ve also listened to You Can Depend On Me, hence my already reviewing two different versions of it; and absolutely no slight was meant against the great Marv Tarplin (I’ve no idea how I gave that impression in the first place, but I sincerely apologise if I did, it was entirely unintentional).
I also don’t get the comment about the Hall of Fame – why the shouting, who was claiming otherwise? If you just meant that my somehow not mentioning his induction along with the other Miracles was a diss, please note he was inducted more than two years after this entry was actually written 🙂
In short: yeah, we love Marv Tarplin!
LikeLike
krispepa said:
Re: the stereo mixes, there was also a new, slightly-longer stereo mix of ‘What’s So Good About Goodbye’ on 2002’s “Ooo Baby Baby” which has more of the ending string break. Love the extra verses in them!
LikeLike
msongs said:
if leaving causes grieving and depart can break your heart
tell me what so good about it, I coulda done without it
what’s so good about goodbye
not like any greeting card I read in those days lol. witty word play IMO
and I love this track because it is so….elegant
LikeLike
trebori said:
Hi Nixon – thought I’d comment on an old entry while waiting for an update.
I forgot you were so lukewarm to this one. I never heard it when it was out. I was too young (9 years) and radio in upstate New York was still pretty “white” and one barely heard black music on the air outside of the big cities. Even rock was hard to come by, except for the Frankies and Bobbies. (Bobbys?). And that stuff didn’t do it for me.
Only first heard it when I got Miracles Greatest Hits double set (ca. 66?) and this song really stood out to me. I disagree with your assessment regarding the lyrics. Sure some of the rhymes are obvious but stacked up against most of what was out there at the time, they’re way above. And as for melody, Smokey’s melody and his singing of it is so seductive to these ears especially with its lithe curving lines. The harmonies are lovely. Everything about this track clicked with me when I first heard it. I’d still give it an 8 or even a 9.
But your writing in the early part of this entry is spot on. You obviously can hear a lot of what’s good about the track.
But the main reason I decided to post is to say hello and hope you can find the time to continue with this. These pauses are understandable. Life has a way of interfering with the best of intentions. I’ll keep waiting patiently and wallow in the earlier entries whenever I need my Motown “read” fix.
LikeLike
Robb Klein said:
I forgot to express my shock at seeing you rate this at a lowly “6”, when I think it is a perfect “10”
LikeLike