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Motown M 1034 (B), November 1962
B-side of Let Me Go The Right Way
(Written by Brian Holland, Lamont Dozier and Janie Bradford)
Yet another track featured on the Supremes’ dĂ©but album Meet The Supremes, Time Changes Things was originally slated to be the A-side of the Supremes’ fourth single, before Berry Gordy intervened and chose his own composition Let Me Go The Right Way instead, relegating this to the flip.
If that hadn’t happened, this would have been the first Supremes single produced by Brian Holland and Lamont Dozier, the duo whose future Supremes productions would dominate the charts in the mid-Sixties. As it is, this is still the first time the Supremes sang a song written by Holland and Dozier; Brian Holland had had a hand in crafting the group’s dĂ©but, I Want A Guy, while the Holland/Dozier duo, along with Freddie Gorman, had turned in a clutch of fine new songs for the Marvelettes, including the single sides Someday, Someway, Strange I Know and Too Strong To Be Strung Along.
By the time the duo were given the chance to produce the Supremes, Freddie Gorman had been all but forced out of their songwriting team thanks to the rigours of his day job with the US Postal Service; his replacement as the team’s lyricist was Janie Bradford, sometime Hitsville receptionist and already a fine writer in her own right, having co-written Money (That’s What I Want) back in 1959.
This is a strange little artefact. Certainly a bigger step forward than the A-side, it actually reminds me a great deal of the early Beatles when they’d do ballad covers (I’m thinking in particular of Till There Was You); the music is hesitant, slightly wonky, but this is a guitar-led pop record in very much the same vein. It’s a million miles from the slick, lush, all-enveloping runaway-train perfect pop of the Supremes’ mid-Sixties heyday, but it’s something that they hadn’t tried before, and it’s a definite step forward in a direction, if not necessarily the right one.
All told, this is probably a better record than the track which replaced it. It’s a bit more fun, a midtempo, cod-calypso backing with a couple of pretty chord changes that instantly betray the Holland/Dozier connection – they’re not yet the masters, but they’re getting there, and there are musical hooks to be had here as with any record featuring their tunesmithery.
The best bits are towards the end of each “chorus” – although really there isn’t a chorus at all, just a pattern ending to each verse, a quick chord change for the girls to deliver a penultimate line before concluding each verse (Time changes things, it’s true / ‘Cos now I want you) followed by a repeated guitar riff. (The riff actually extends into a slightly botched, wince-inducingly amateurish guitar solo at 1:12, but we won’t dwell on that).
Flo and Mary’s mics are turned down too low, and their performances are still a bit off, alternating between unsure and diffident, and strident and shouty – check out the unreleased live version for the aborted Live, Live, Live LP which some kind soul has uploaded to Youtube to see how far they progressed in a very short time, and how good they sound mixed way up in the front – but on the single version, there’s still some attractive cooing and harmonising, especially the opening chant of “Funny!”. Meanwhile, Diana Ross is again on good form, even if (as on the A-side) she sounds very different to her later hits; she does well, delivering a strong and capable lead.
The problem with the song, really, is that it doesn’t ever come close to sounding like a hit single. (Which probably explains Gordy’s last-minute switcheroo). It’s a nice set-filler, a pretty bit of enjoyable “middle of Side Two” album padding, but it’s not catchy or instant enough to cut it as a hit record in its own right.
Plus, the lyrics are a bit poor – not just in terms of content, though written down they often come over a bit clunky (“When you wanted me, I didn’t want you / Yes, and time changes things, it’s true / ‘Cos now I want you”), but also in the way that they force Diana through a number of increasingly tortured hoops to fit the tune, giving her too little or too much time to get to the next word. It’s not really Janie Bradford’s fault – this sort of thing was often a problem for early Holland-Dozier tunes, and wouldn’t be satisfactorily solved until Eddie Holland joined the writing team full-time – but it does mean that the record lacks some of the charm and impact it could have had.
Still, even if it’s a slight let-down as a would-be foundation stone for a musical dynasty, and an underwhelming, underpowered affair as a would-be hit single, it’s nonetheless fun, and it’s definitely different, which counts for a lot in my book.
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 Supremes? Click for more.)
The Supremes “Let Me Go The Right Way” |
Bob Kayli “Hold On Pearl” |
Dave L said:
Nice review of a nice record đŸ™‚ We’re little more than 18 months away from the magic formula that would put this group at the top of the world.
I’ll never understand though why this was chosen again as a b-side in 1968 on the back of “Forever Came Today.” If they were going to reach back to 1962 for something that was tried once, why oh why, didn’t they stop at 1965 and pull the splendid “Mother Dear” out of More Hits for a much better shot at a double-sided hit…?
(For that matter, I’m perpetually baffled why Motown chose to use “Ask Any Girl” as the final track on the Where Did Our Love Go album, then again, less than a full year later as the opening track on More Hits, when, as we now know there were so many splendid goodies going dusty in the Motown vaults…?)
QUESTION FOR OUR HOST:
If the html code allows it, would you be interested in pictures of the labels of records you just reviewed, embedded in the comment section? Your review made me pull this one out of my collection, and it’s in remarkable condition for a record I bought 39 years ago when I was 17.
If no, that’s fine.
If yes, what would be the limit in horizontal pixel size you’d want me to go in this comments section to avoid any annoying horizontal scroll bars…?
đŸ™‚ – Dave
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The Nixon Administration said:
One of the more important reader comments in Motown Junkies history, that. Without Dave’s suggestion, this might have carried on being a little-read text-only site…
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Damecia said:
This is an alright tune, but I think Gordy was right to switch this with “Let Me Go the Right Way” as the lead single. This song is laid back and lacks the fun of “Let Me..”. Miss Ross gives a good but unsure lead and the Flo & Mary lack charisma in the back.
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bogart4017 said:
A lighthearted cha-cha. Not bad as background music. As you said—a little choppy lyrically. They have done a lot worse (I Want A Guy).
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Kevin Moore said:
“Yeah, I was writing songs with a couple guys named Holland & Dozier in the 60s, but then my luck changed and I got my big break … they gave me my own route at the Detroit post office … and the rest is history.”
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Robb Klein said:
This is a nice mid-tempo cha-cha that would have suited Mary Wells. “6” is a good score for it. It also sounds like a Marvelettes’ song,
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Slade Barker said:
Just a tiny note: It’s spelled “artifact.” Thanks…
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Robb Klein said:
As stated on other song threads, BOTH “artifact AND “artefact” are acceptable and proper in BOTH US and UK English. And you should realise that Most of The World still learns British English, as opposed to American English (at least when it comes to writing, spelling and grammar, and choice of words used in speech, if not accent). In any case this blog is about Motown songs, not language.
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Abbott Cooper said:
I’m settling this once and for all. From now on it’s artafact.
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nafalmat said:
Down here in Ascension island, we spell it artyfact!!
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Abbott Cooper said:
That’s it! Count me out of this discussion. Time to get back to what really counts, Stax…….Wait….Make that Motown. Almost lost track of matters.
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