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Tamla T 54056 (A), February 1962
b/w Request Of A Fool
(Written by Berry Gordy)
An interesting one, this, albeit less for the record itself and more for the people who made it. The Downbeats, here making their one and only appearance on a Motown record under that name, are the same guys who’d eventually become the Elgins, one of the best unheralded groups of the mid-Sixties Golden Age of Motown.
(I say “guys”, because the mid-Sixties Elgins’ focal point lead singer, Saundra Mallett (Edwards), hadn’t yet been added to the Downbeats mix; this is an all-male vocal group.)
The Downbeats, as they were, were the end product of a series of mergers and line-up changes from a number of local doo-wop groups (the Sensations, the Five Emeralds), and were well-known in Michigan both as a live act and as session backing singers. They’d done some session work for the Lu-Pine label, and at least cut demos with Marv Johnson at United Artists (whether they’re heard on any of Marv’s released UA sides is a matter of debate). This latter bit of hack work seems to have paid off, as it put the Downbeats in touch with Johnson’s regular producer at UA – none other than Motown owner Berry Gordy Jr., who was impressed enough to sign them to his own label, and write and produce this single to showcase their vocal talents.
In the absence of the recently-departed Satintones, Motown lacked a throwback doo-wop harmony group (the label’s other male vocal groups, the Temptations and the Contours, were never really in the same bag, Motown’s initial attempts to market them that way notwithstanding), and maybe Gordy thought the Downbeats could be the group to fill that vacancy. Accordingly, he provides them with a sparse, slow-burning bit of doo-wop balladry, in which band and backing vocals are stripped right back in order to showcase the splendid voice of lead singer Johnny Dawson.
Dawson does well enough (certainly more so than the rest of the Downbeats, who fare no better on backing vocals than the weaker moments of the Satintones before them), but the song – while certainly pretty – is dated and slight.
It’s quite a haunting little tune – a lot of minor chords, little instrumentation to speak of other than a plinky-plonky tack piano, a half-hearted vibes part which can’t seem to decide whether to join in properly or not, and some standard-issue metronomic drums and bass – and it’s appealing in its way, but it’s more of an album track, or an intimate, contemplative number for live shows; it’s never a hit single.
By 1962, doo-wop as a major commercial and cultural force was dying out, supplanted by R&B and rock and roll; any number of great Fifties vocal groups that didn’t move with the times would find themselves sidelined in the Sixties as yesterday’s news. The Downbeats themselves were also victims of this cultural sea-change; the single failed to chart. Berry Gordy Jr. was no mug, astutely spotting the way the wind was blowing, and so however well Johnny Dawson sang here, the Downbeats weren’t offered a follow-up. They’d have to undergo a complete metamorphosis before they emerged again as the toe-tapping R&B Elgins more than three years later.
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 the Elgins? Click for more.)
Mary Wells “I’m Gonna Stay” |
The Downbeats “Request Of A Fool” |
Robb Klein said:
Spot on analysis. Nice R&B ballad, but too dated to sell in 1962, especially in the Detroit market. The only group that could get away with that style was The Jive Five, who depended a lot on the localised New York and Philadelphia DooWop revivalist contingents in those cities. Some great DooWop records were made in Detroit and Chicago in 1962-63, but they couldn’t even chart.
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PJ Noce said:
I think it’s funny that as primarily a doo wop collector I find this to be one of Motown’s least appealing doo wop ballads and you rate this higher than the stuff that I like. Not that this is a bad song by any means.. I just always found it boring.
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Kevin Moore said:
PJ Noce: Since you identify as “primarily a doo wop collector”, I’d be very curious (as someone who knows very little about the genre) to read your comparisons of a handful of the doowop singles we’ve heard so far in this survey, explaining what factors a hard core doowopper listens for. The harmonic and rhythm palettes are quite similar across the board, so what, for you, separates a doo wop masterpiece from a professional but uninspired track? What’s a song we’ve covered that you’d give a 10/10 and what are your criticisms of this one we’re listening to now? [Of course, I realize I’m replying to a comment made back in 2011, but ….]
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Robb Klein said:
As far as the Motown “Doo Wop” (vocal group harmony), I like “I’ll Cry Tomorrow” by The Serenaders, “Angel” by The Satintones, “You’re My Desire” by The Equadors and “Bad Girl” by The Niracles, all much better than this song. They all have much more melodic and rich lead vocals, with leads with far greater voice range. In addition, they all have better group harmony backing. As far as Detroit “Doo Wop”, I like “It’s Been So Long” by The Leaping Flames (James Ingram lead), and “Grand Spanish Lady” by The Royal Ravens (both Mike Hanks productions) better than any of the Motown “D00-Wop”. The vocal group harmony I like most is manly from 1950-1954, by such groups as The Flamingos (“Golden Teardrops”, “If I Can’t Have You”, “September Song”, “Dream of A Lifetime”, “I’m Yours”), and The Five Keys (“The Glory of Love”, “Red Sails In The Sunset”, “My Saddest Hour”, “Ghost of A Chance”). A nice Motown-related “Doo Wop” song was sung by James Washington Lee (AKA Morris Chestnut) backed by The Vows (who then also worked for Motown’s Jobete Music Los Angeles office), and later recorded for Motown’s VIP Records.
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Ricky said:
I don’t know why people dislike the song because its a doowop song in 1962. Its a lovely song that lead Johnny Dawson excels, The Downbeats are great and this song is good. 7/10
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PJ Noce said:
I don’t dislike it at all because it’s doo wop. As a matter of fact, I’m a big Motown doo wop fan. I just think there are other Motown doo wops that are much better than this. It is a good record none the less.
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144man said:
I was in an Oldies record shop in the early 1970s. A guy was looking through the Motown tray and bought the only copy of this that the shop had, which put me in a bad mood for the rest of the week. Not only that, it took me about another twenty years before I was able to get myself a copy.
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Robb Klein said:
The Downbeats (from Detroit) had their first record released in 1954, as The Five Emeralds on SRC Records. As The Downbeats, produced in Detroit by Sonny Woods(of The Dominoes), they had 3 releases on Don Robey’s Peacock Records (out of Houston, Texas), from 1957-1959. In between those releases. the made regular club appearances in Detroit, and were regular recording session background singers in many of Detroit’s studios.
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