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Motown M 1026 (A), April 1962
b/w Last Night I Had A Vision
(Written by Brian Holland, Mickey Stevenson and Edward Holland Jr.)
The third Motown single for Edward Holland Jr., and probably the best of the crop so far. After the superb B-side Take A Chance On Me, the first time Eddie sang a song written by his younger brother Brian, this A-side marks Eddie’s first Motown songwriting credit, as well as the first release of any songwriting collaboration between the Holland brothers. The pieces were starting to fall into place.
They still weren’t quite in place, of course. Mickey Stevenson, one of the hottest Motown producers and an excellent songwriter in his own right, co-wrote and co-produced this – but he wasn’t the writing partner the Holland brothers needed. Indeed, for around a year or so, it wasn’t clear that that the Holland brothers were going to be any kind of songwriting partnership at all. After a baby-faced, frizzy-haired genius named Lamont Dozier entered the Motown story a little over a month later, Brian instantly gravitated towards him, recognising a kindred spirit with a similar talent for melodies; together with the “singing mailman” Freddie Gorman, the three of them formed a superb songwriting trio which initially shut Eddie out altogether. Even when Gorman’s postal job started interfering with his ability to work with Brian and Lamont, right into late 1963 it was still entirely possible that Hitsville receptionist Janie Bradford (another great writer in her own right) might have taken up the vacant spot. Eddie, for another year and a half, would be considered an artist first, a songwriter second.
Eddie Holland ended up having a total of eleven Motown singles as an artist, making him one of the label’s more prolific acts in the early years and putting him ahead (in numbers at least) of artists like Kim Weston, the Velvelettes, Chris Clark or the Elgins. He also had a smattering of R&B and pop chart hits, none of them hugely substantial but certainly respectable, and he had the looks and the voice to ensure himself a comfortable career as a solo star, equal parts Jackie Wilson and Marvin Gaye. Yet, like Barrett Strong – another early Motown solo turn who became better known as a songwriter – he had an acute dislike for live performance (some sources describe it as out-and-out stage fright), and disdained his undeniable gifts as a singer in favour of his unbelievable gifts as a songwriter. He seems to have endured his solo career (which lasted well into 1964) as a sort of grim self-appointed task, his comments at the time – “I don’t like to give up on something without finishing it properly” – are most illuminating.
Indeed, when the H-D-H triumvirate and Motown went their separate ways after 1967, once the legal wrangles over the split had died down a little, Lamont Dozier (who had the voice for it) and Brian Holland (who didn’t) both took up arms again as singers for their Hot Wax/Invictus labels – but Eddie, the one-time teen heartthrob, the one who actually had a viable solo career in his past life, steadfastly refused to do likewise. The inescapable conclusion is that Eddie Holland never really wanted to be a solo singer. Not really.
It’s a shame in a lot of ways, because while his decision eventually helped give the world some of the best pop songs ever written by human beings, it closed the door on a promising recording career in its own right. This, for instance, while not quite as loveable as the oompah charms of Take A Chance On Me, is a fine little pop record.
A midtempo R&B/pop ballad, drenched in strings courtesy of arranger Riley C. Hampton, it’s reminiscent of Eddie’s previous single (and biggest solo hit) Jamie, in that it never quite reaches the anthemic chorus it seems to spend its time building up to. Still, it’s sweetly done all the same, and the beguiling, slightly-unexpected tune – full of interesting little chord changes and inventive backing patterns in those string parts – has Brian’s fingerprints all over it. Combined with Stevenson’s pop smarts, it should have come out with more of a chart-bound sound, but ends up settling for “rather pretty”. Hardly a crime.
As noted on Jamie, Eddie’s voice isn’t the greatest in the world, but it’s at once both distinctive and strongly redolent of Jackie Wilson, and he delivers the lines with his trademark precise diction and with a customary, audible smile on his face. “Winning” is the term, I think. Extremely difficult to dislike. And the song’s primary “hook”, the chorus-ending repetition of You deserve what you got / Yeah / Yeah / You deserve what you got, yeah, is pleasingly catchy, even if you’d be hard pressed to make the case for it fitting into even the top hundred hooks the Holland brothers have ever had a hand in.
The biggest problem with it, really, apart from the nondescript chorus, is that lyrically it’s rather dubious. Firstly, in a technical sense – where most H-D-H records went for killer tunes and simple lyrics with perfect scansion, letting the listener absorb both the melody and the story without either overwhelming the other, this early effort is wordy and indistinct, Eddie struggling to fit the words into the insufficient spaces allotted for them, and the tune completely dominates the lyrics, to the point that after a first listen, I found it difficult to recall a single line of the song apart from the title.
Secondly, once you do start paying attention to them, the lyrics turn out to be surprisingly bitter and twisted, the narrator’s whining – “Don’t you come to me crying telling me the way he mistreated you / Cos girl, when I gave my love to you, you mistreated me the same way too” – coming across childish and spiteful, completely in contrast to Eddie’s cheerful, chipper delivery and threatening to spoil proceedings.
It’s all part of the learning experience, I suppose. When Eddie Holland, the singer, became more famous as Edward Holland Jr., the songwriter, his forté was lyrics. It’s hard not to wonder whether he was dissatisfied with this song once it was finished (whether he wrote these words or not); certainly the “bitter” card wasn’t played too many more times in Eddie’s songwriting career.
Those gripes notwithstanding, this is still probably the best of Eddie’s three Motown singles to date, and the writing credit means it’s a Historically Significant record to boot. A commercial failure on release (in fact most sources have it being withdrawn almost immediately after release, Motown changing their minds about this single once Eddie cut a fast-tracked follow-up/replacement, (If) Cleopatra Took A Chance, and it’s unlikely any stock copies of the record made it too far outside Detroit), it shows plenty of promise and development, and it’s a good little record, but there was still significantly better to come from Edward Holland Jr. as both a singer and as a writer.
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 Temptations “Isn’t She Pretty” |
Eddie Holland “Last Night I Had A Vision” |
Mary Magaldo said:
Personally I love this record! I will conceed it’s lyrical flaws
but the string arrangement makes up for it. A string arrangement that forshadows the next release “I’ll Try Something New” by the Miracles. Granted the string arrangement on “Something New “is much better, but, it is a harbinger of what is to come, nevertheless. As for the bittterness, it may be immature, but, many wounded lovers do act that way! Love has been known to make people crazy so it does not surprise me.
Mary Magaldo
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nixonradio said:
I don’t think it’s bad, not by any means – I just think there’s a disconnect between the beautiful melody and the slightly snarky lyrics (the same thing happens, the other way round, with Gino Parks’ For This I Thank You later in the year – that’s a properly earnest love song that sounds like a bitter tale of revenge), and I find it a little difficult to reconcile the two. I still stand by the assertion that it was the best of Eddie’s solo singles up to that point, though.
The string arrangement foreshadowing I’ll Try Something New is a good call – they were both written at the same time by the same arranger, Riley C. Hampton.
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Mary Magaldo said:
I appreciate, your imput to my e-mail. I was thinking of two other examples of lover’s bitterness. Lionel Ritchie’s b-side “Serves you right” and Frankie l
Lymon’s “Goody, Goody” a Johnny Mercer composition. I thank you for this web site. There are so many Motown fans and it is nice they can share info and commentary.
Thanks again.
Mary magaldo
Thanks again.
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nixonradio said:
Thanks Mary, I’m really glad people seem to be enjoying it.
I quite agree there’s plenty of scope for embittered lovers in song – an extreme example (and one of my favourite examples of the genre) is a duet cut by 90s indie rock band Lush and Jarvis Cocker called Ciao!, which is kind of the exact opposite of Marvin and Tammi’s You’re All I Need To Get By.
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Robb Klein said:
Yes, the record was definitely pulled almost as soon as it got to distributors. I don’t think any commercial copies were sold in record shops outside Detroit. I knew a lot of big-time Motown collectors in the ’60s, and NONE of them had this one in his collection. I do have a copy of it. But the only other copies I’ve seen were in The Motown Record Corp. Record file, and the Jobete Music Record File.
It was probably a good move for them to pull this one, so that “Cleopatra” could have a chance to sell. That sold moderately. But, it didn’t matter a lot. Eddie was on his way out as an artist, and in as a writer/producer. The interesting fact is that he recorded a fair amount of cuts in 1964-65, after Motown decided not to bother with releases on him. They may have been “demos” to show other artists how to sing his songs. But, strangely, they all were multi-tracked, finished recordings.
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nixonradio said:
It’s one of the stranger aspects of the Motown story – Eddie was one of the all-time great songwriters, but he was no slouch as a vocalist, and some of his deliveries take no prisoners. So I’ve never really understood why he apparently chose to walk away from that life in favour of songwriting – Smokey Robinson managed to combine his very prolific writer/producer duties with performing, after all.
If indeed it was his choice, of course. If I had more time and bottle, I’d write and ask him.
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Robb Klein said:
As I remember other Motowners describing him, Eddie was a little shy of star-type attention. Given that, he wasn’t well suited to be a professional performer. He loved singing, but not really all that comes with being a well-known performing artist. I think he made the right choice. It’s lousy for us fans of his singing, as we’d have had a LOT more of his recordings to listen to, had he continued his singing career. He was a “slightly poorer man’s Jackie Wilson”. So, I’d have liked to have a LOT more recordings by him. His late 1964 and early 1965 Motown recordings were quite good. So, he would have adapted nicely to the new style.
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Steve Robbins said:
Let’s cut to the chase…there’s a reason it didn’t sell and you know what it is.
Also, I’m hearing shades of EVERYBODYS GOT TO PAY SOME DUES in there.
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The Nixon Administration said:
Other than the fact Motown pulled it, you mean? Enlighten me.
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Steve Robbins said:
I had a lapse and forgot they pulled it. My point was it wasn’t very good.
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The Nixon Administration said:
Aw, I was hoping for some exciting trivia, a scandal or some Motown politics or something…! Disagree, obviously, though 6 feels slightly generous now. Don’t provoke the Eddie fans, though – they don’t like it 🙂
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Kevin Moore said:
Is it just me, or does this really sound like it was written by Smokey Robinson?
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Kevin Moore said:
QUESTION: Before I found this site, I always complained that there were no great books on Motown (except the Jamerson bass instructional book) and only a few decent ones. This ongoing series addresses that brilliantly – I’ve been studying it full time for over a week and I’m only up to 1962 – but I’m curious how you did your own research – how did you LEARN all this stuff? Especially from across the pond in co.uk-land. A great addition to this site would be a page where you list and review all the existing literature, websites, liner notes, et al.
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Kevin Moore said:
And the same question to any of the learned commenters – if you’re still out there.
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Robb Klein said:
Most of what I learned was from collecting Detroit R&B records since 1953, driving from Chicago to Detroit two Saturdays per month from 1962-1967 to stop at Hitsville and ask for DJ copies of records, stop in Detroit’s record shops to ask for new Motown releases, look in their bargain bins for rare and cut-out Detroit Soul records, look in the thrift and junk stores for rare and cut-out Detroit Soul and Motown records and DJ issues, as well as working at Motown for much of the 1970s on the “From The Vaults” previously vinyl unreleased LP projects, which also fed Motown’s 25 year anniversary LP series, and also talking to people who worked in Detroit in the 1950s and 1960s and 1970s (Robert Bateman, Robert Gordy Mickey Stevenson (who was our Airwave Records’ next office neighbour for 5 years), Ron Murphy (Detroit label owner, record producer/masterer), Mike McLean (Motown’s first official sound engineer), and also having e-mail andforum conversations with SoulfulDetroit Forum members from 2001-today, including: Ralph Terrana (Motown Engineer), Russ Terrana (Motown Sound Engineer) Bob Ohlsson (Motown sound Engineer), Motown songwriters/producers Clay MacMurray, and musicians, Joe Hunter, Jack Ashford, Ray Monette, Bob Babbitt, Dennis Coffey, singers who worked with Airwave and Motown (Freddie Gorman) and Motown (Louvain Demps, Frances Nero), other Detroit artists (Spyder Turner), record shop owners (Bob Mays, Jack & Devora Brown (Fortune Records), working with Motown on re-issue CD projects (Keith Hughes, Harry Weinger), working with Ace/Kent Records on research on their Motown CD re-issue projects, talking and sharing or trading information with long-time Motown collectors (Reg Bartlette, Bob Cattaneo, Cub Koda, Lars Nilsson, Tom DePierro, etc. and looking at original sources at Motown (recording logs, lists of scheduled and slated releases, lists of people who worked on recording sessions, etc.
In other words, I learned what I learned, not in a disciplined structured effort to research Motown, but over 56 years of being a Motown record fan and collector, 10 years of access inside the company, collaboration and communication with other people working on Motown projects, talking to people who worked at Motown in the late ’50s and through the ’60s and ’70s, talking with people who worked in the Detroit music industry in the ’50s, ’60s and ’70s, and seeing scores thousands of Motown records over those 50+ years.
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Robb Klein said:
There were also MANY other former Motown and Detroit Soul and R&B people with whom I had e-mail correspondence and conversations on Soulful Detroit Forum (from 2001-2010) who I failed to list above (like Harry Balk), I have no time to sit and think of all of them. We had many of the musicians, songwriters, arrangers, producers, sound engineers who contributed to our posts over the years. Unfortunately, ALL those most interesting threads from 2001-2004 were lost when our website was upgraded to a larger platform. Only a few classic threads were saved in the “classic threads” section of Soulful Detroit Archives. Kevin (and others)-, you might want to take a look at that section of The SDF Archives. You could learn a LOT about what went on in R&B and Soul music in the late ’50s and early ’60s.
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Kevin Moore said:
Wow – you didn’t need a great book – you were there! SDH looks like another treasure chest. I may not get up from this computer for a couple years at this rate.
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Robb Klein said:
Kevin- Be sure to check out the SDF Archives thread titled “Gordy Pre-Motown Productions”. We have virtually all of them discussed, and label scans of the released records, with insight from people who were around at that time. Also, check out the two threads titled: “Jobete Music Co. New York Office” and “Jobete Music Co. L.A. Office” to learn about the histories of each, and how they operated, and the people involved.
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The Nixon Administration said:
An agglomeration of books, liner notes and the Internet! There’s no bibliography as such, as I always try to attribute observations and quotes in the essays themselves.
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