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Tamla T 54077 (A), February 1963
b/w Forever
(Written by Brian Holland, Lamont Dozier and Edward Holland Jr.)
Oriole CBA 1817 (A) – April 1963
b/w Forever
(Released in the UK under license through Oriole Records)
Going into 1963, the Marvelettes were still just about Motown’s top group – challenged for that crown by their Tamla labelmates the Miracles – but the relative commercial failure of the Marvelettes’ previous single, the incredible Strange I Know, had Berry Gordy and the Hitsville top brass more than a little spooked.
All of the new material for the fourth Marvelettes LP, The Marvelous Marvelettes, had been recorded in September 1962 – the new songs almost all written and produced by William “Mickey” Stevenson and up-and-coming new face Norman Whitfield – and these were augmented by a couple of tracks held over from the sessions for the group’s previous album, Playboy. Strange I Know, one of those holdover tracks, was chosen as the album’s opening track and lead-off single (because, I like to think, of its obvious quality). When it limped to number 49 pop, it looks very much as though Motown panicked.
To my mind, there’s simply no comparison between Playboy and The Marvelous Marvelettes, which is a manifestly weaker album than its predecessor; it seems someone at Motown shared my opinion, needing a hit to plug the new LP but not seeing another single among the new Stevenson/Whitfield songs (most of which are fun, if thin, generic girl-group stomps, with frothy tunes and a dearth of truly memorable hooks). In terms of potential hits, pickings were somewhat slim. There was a clone of Strange I Know, a Whitfield/Strong number called Why Must You Go, possibly intended as a “soundalike sequel” single but now rendered commercially non-viable by its predecessor’s failure. There was the boss’ contribution, Berry Gordy having penned an asinine Loco-Motion-like ditty called My Daddy Knows Best – but apparently that didn’t enthuse the marketing people (at least not now anyway. Watch this space).
The most promising thing on the LP was a Whitfield/Stevenson Side 2 cut, Smart Aleck, which isn’t quite right for a single, but which does contain some really good bits, a jolly, danceable midtempo groove, and a fun bombom-bombom-bombom horns-and-drums attack for its intro. This seemed to point the way forward, and so – in an apparent act of desperation – Motown called in the two men who’d done so much to make Playboy a great album, and who’d co-written Strange I Know, Brian Holland and Lamont Dozier, to write the Marvelettes a hit single in that mould.
So it came to pass that some four months after the rest of the LP was in the can, finished and ready to go, Holland and Dozier ended up cutting an extra track to be shoehorned onto the album, a rollicking, uptempo number conceived as a bespoke hit single and released on 45 at the same time as the LP appeared in stores. Their original lyricist from the Playboy days, Freddie Gorman, had drifted away from Motown thanks to the pressures of his work with the postal service, and so Brian’s older brother Edward, better known as the Motown recording artist Eddie Holland, was working with them intermittently instead.
The Marvelettes project was the highest-profile assignment so far for the trio who’d go on to become synonymous with Motown’s mid-Sixties Golden Age, and it yielded “HDH” their first chart hit – but Motown clearly still weren’t convinced about the song, hedging their bets by pairing it with one of the better tracks from Playboy, the lovely ballad Forever, and promoting both sides depending on the market. The result was two decent enough, mid-sized hits, both sides hitting the R&B Top 30, but neither doing much business on the pop charts (this side #44, Forever #78); and with that, coupled with the simultaneous rise to prominence of Martha & the Vandellas, the game was up for the Marvelettes as Motown’s number one girl group, just as this record’s writers and producers were becoming superstars.
(Ironically, Holland-Dozier-Holland would go on to draw something incredibly special from the Marvelettes – a new track, intended to become a one-off single, entitled Knock On My Door (10), recorded in December 1963, which is what Martha and the Vandellas’ Heat Wave would have sounded like if Phil Spector had produced it, and which should probably have been Number One for six months – only to see it go unreleased for 25 years, inexplicably rejected by Quality Control, who were apparently having a particularly stupid day or something. Look me in the eye and tell me that’s not fantastic, though.)
But I digress. What of this record, the made-to-order would-be smash hit single that Holland-Dozier-Holland assembled on spec? It’s good fun, in its way, but it’s also thin and flawed. Certainly anyone looking for the genesis of the trio’s run of mid-Sixties masterpieces will come away a little disappointed; this is still very much the sound of young writers learning their craft (and, indeed, of young singers failing to develop theirs).
“Fun” is the operative word, I guess, and it’s here that one of the key ingredients in the HDH future blueprint for success is most noticeable: the combination of lovelorn, hurt, even anguished lyrics, with a bouncy, irrestistably danceable tune and beat, crafted with an eye to live audiences (who apparently lapped this song up when the Marvelettes used it as their set closer). It’s all here in full flow. So, while the music romps along in its jaunty way, Gladys Horton and Wanda Young take a unique two-handed vocal delivery – Gladys on the the verses, Wanda on the choruses, the latter appearing for the first time on lead on a Marvelettes A-side – of some really “down” lyrics:-
I’m putting up my guard / I’m locking up my heart / Telling the Cupid to pass by me / ‘Cos all love ever brought me was misery / Hello loneliness, goodbye love / I’m tired of being abused / And being mis-used / I’ve had my share of romance, no more for me / I’m locking up my heart, and throwing away the key!
That’s Gladys’ bit, and it’s excellent. Wanda, who takes the choruses, is rather less excellent. For all her brilliant performances later in the Sixties (and her brilliant performance on the B-side, come to that), she was still a bit raw and unschooled at this point, and her shrieking lead here bears comparison with Eddie Kendricks’ efforts for the Temptations around the same time: shrill, grating, uncontrolled, nasty. You can see what HDH were trying to do, giving Wanda and her high falsetto free rein to swoop all over the place while the band, Wyanetta, Katherine and Georgeanna all kept things anchored, rolling along smoothly, but it really doesn’t work; it’s almost painful in places.
In later years, HDH would have smoothed this out in the studio, ordered retakes, even full-on remakes; but this was the start of 1963, and they didn’t have the “clout” to demand that sort of thing just yet. Instead, a second pressing of the record appeared two months later, featuring a remixed version of Locking Up My Heart altering some of the instrumentation and paring Wanda back a little bit; the effect, though, is pretty negligible.
It’s been described as the start of a downturn, “the beginning of the end” for the Marvelettes, which is overly dramatic – there were plenty of amazing Marvelettes records to come in the future, and even in purely commercial terms, they’d remain a viable Motown act, live and on record, for years yet. Still, after a startling run of great Marvelettes hits which had each been better than the last (Playboy, Beechwood 4-5789, Someday, Someway, Strange I Know – and of course, that’s ignoring their stellar début Please Mr Postman), Locking Up My Heart can’t help but be something of a disappointment. Neither a travesty nor a masterpiece, it’s a decent pop single with a somewhat irritating lead in the choruses; for a pop group who’d so recently specialised in the extraordinary, this just doesn’t hit the spot.
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 Marvelettes? Click for more.)
Kim Weston “Love Me All The Way” |
The Marvelettes “Forever” |
David Bell said:
Although this isn’t a great song, I love this Marvelettes’ track very much. I’ve seen a DVD of the group doing this song “live” (but can’t remember which DVD, which is frustrating) and everything came to life when the Marvelettes performed it on stage. I have a friend in New York who saw them perform “Locking Up My Heart” several times at the Apollo and it went down a storm every time, especially with the routine they had worked out for it. Ah well, you can’t please everyone all the time….
And as for Smart Aleck, I have to agree that it’s the best song on the album, especially since a friend of mine helped to sing back ups on it. Wanda was indisposed for several tracks on the album and so Rosalind Ashford replaced her in the studio and her high soprano can be heard above almost everything else. I sent her an mp3 and she was amazed to hear it, as she hadn’t done since it was recorded and she didn’t have a copy of it.
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The Nixon Administration said:
It definitely works better live – the version on Recorded Live On Stage is probably better than this one (it’s certainly more energetic!) and you can tell how much the crowd love it (and especially when the group were in the middle of their “lots of props” phase during live shows, as your friend mentioned – apparently they did this one using “light-up mechanical hearts that pulsed to the beat”, I wish I could have seen that!
Didn’t know that about Rosalind Ashford being on that album, especially in Wanda’s place – the things you learn! Hopefully she’ll be happy with my upcoming piece on “Come And Get These Memories”, anyway.
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Dave L said:
In his biography of the group in 2004, author Marc Taylor acknowledges the song’s weakness, but he too states that, on stage, it was a crowd pleaser, Wanda ‘wearing out’ the ending and ‘working’ the front row ‘scatting and adlibbing like a woman possessed.’ You can sample exactly some of this on YouTube with their seven minute, 1963 appearance at the Apollo.
Further on, Taylor points out two other Marvelettes numbers that were weak sales-wise, “Tie A String Around Your Finger” and “Danger Heartbreak Dead Ahead” were nevertheless so creatively presented by the group when on the stage they became consistent crowd favorites. Their high-energy stage act is saluted by several of the surviving Vandellas too, stating “They were twirlers and the spinners. The Marvelettes were The Temptations of the girls.”
A hundred roses tossed to your feet, Nixon, for that 10 next to “Knock On My Door.” I had bought the Motown’s Brightest Stars – The 1960s album in 1986, mostly eager for the Supremes and Vandellas work I’d never heard before, but it was “Knock On My Door” (and Jr. Walker’s ultra-funky hidden nugget “Break It Up”) that had me repeatedly pulling the record out ever since 🙂
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144man said:
It’s hard to explain how exciting and different this record sounded at the time. It had a catchy and unforgettable melody that I couldn’t resist singing along to, and the idea that you might want to lock up your heart and throw away the key was a novel concept. The shared lead of Gladys and Wanda suited the song perfectly.
I had been given a record-player for my birthday, and this was the first release that I bought with my own money. Although it was issued in the UK on the Oriole American label, it had been mastered in Nashville, and one of the things that was noticeable was how loud it sounded compared to British recordings.
To me , it’s a classic, and remains one of my all-time favorite Motown recordings which I still play regularly.
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John Plant said:
I’m with 144man. This delightful song deserves more than a 5, despite the admittedly bizarre banshee yowling in the choruses. There’s a sort of Nietzchean fatalistic insouciance in the face of despair, a Carmen-like sassiness, which I find irresistible. And the song’s infectious bounce makes it akin to ‘As Long as I Know He’s Mine’ – which I do hope you will be kinder to! – And I find the yowling to be bracingly brazen and full of attitude, though admittedly hard on the eardrums. That said, I take great pleasure in your thoughtful analysis even when I can’t say Amen to it – and I’m waiting for your Heat Wave chapter with particular impatience… as that was the song which blasted the walls of my resistance to smithereens. By the way, thanks for sending me back to Strange I Know – a song I’d never thought much of till reading your very fine essay.
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The Nixon Administration said:
If I’ve managed to send one person back to Strange I Know, all my work has been worthwhile.
Meanwhile, on the subject of this record, I don’t dislike “Locking Up My Heart” (hence the mark, which round these parts actually means something’s doing reasonably well), it’s just a bit of a mess; very obviously written and recorded at almost exactly the same time as the Vandellas’ “Come And Get These Memories”, it’s very much the poor relation of the two. To me, anyway.
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michael landes said:
I’m not at home at the moment and literally can’t recall Knock On My Door at the moment, so perhaps it’s on the Hip-O singles compilation and perhaps not. But, if not, I’m hoping you just stick it in as an unreleased single.
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The Nixon Administration said:
🙂 It isn’t, I’m afraid – the best way to own it today is to either buy the Marvelettes’ recent “Forever” box set, or download it as a single track from a site selling that set, but you can hear it just by clicking on the Youtube link within the text above. I can’t cover it as an unreleased single, because it didn’t even manage get that far – Quality Control, possibly after a long day hitting themselves in the face with shovels, rejected it in favour of (I think) As Long As I Know He’s Mine, and it was then somehow dropped altogether, not even appearing as a future B-side or album cut (as was often the case with rejected Motown would-be A-sides).
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Dave L said:
The first opportunity to buy “Knock On My Door,” in any form came in February 1986 on the album “Never Before Released Master From Motown’s Brightest Stars: The 1960’s” (Motown 5030ML ).
See this page
http://www.bsnpubs.com/motown/moto5000.html
I had it by December. The liner information lists “12/30/63” as the song’s recording date. If we can presume that means the finished mix, then the first chance of candidacy for it as a single would have been lost to “He’s A Good Guy Yes He Is.” (“As Long As I Know He’s Mine” was already on the market in October 1963). On this same album, and almost equal in ‘lost treasure’-worth, is a funky as all get out Jr. Walker number, “Break It Up.” 🙂
With diligent window shopping, I have encountered the album again on eBay, though with all of this classic stuff, the price escalates the longer one waits.
The next chance at “Knock On My Door” came when Motown (briefly) released the group’s 1963 album, “Marvelous Marvelettes” in CD form in the early 1990s. I was fast enough to get that snapped up too. Then, the track was added on as a bonus, but of course it does not exist on the original vinyl (Tamla 237). It now seems rarer to find on eBay today than the “Brightest Stars” LP, and costlier when you do.
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The Nixon Administration said:
Luckily for modern listeners, the Forever box set collects the first 4 LPs, the stereo Greatest Hits, the Recorded Live album, and pretty much everything unclassified from the first half of the Sixties, and it’s less than 10 pounds most places – a genuine bargain. Hopefully Motown will get round to issuing the second volume soon.
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Dave L said:
It’s been less than an hour since I learned Gladys died today. Here in Virginia USA there’s a fresh snow on the ground that came all night last night. It is sedate and it is quiet and feels appropriate to absorb the knowledge that I’ve lost another friend that, even though we’ve never spoken, I’m very indebted to her for so much happiness over so many years.
When Marc Taylor was writing his biography of the group he stated that Gladys offered ‘limited’ participation because she was working on a book of her own. I have no idea how much of that got done, but I hope we one day get to read the stories only Gladys could tell from her perspective. They will now be the last things she could say to us.
That’s later though. Today we can only send our thoughts and wishes of solace to her brokenhearted family and surviving singing partners.
😦
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Dave L said:
I think what I resent most about “Knock On My Door” not being released in its own time is that it was denied its rightful ability to evoke my carefree memories of fourth grade at Saint Joachim parish school in Philadelphia, as reliably as “Quicksand,” “You’re A Wonderful One,” and “My Guy” do.
Instead, it conjures a year that began with Rick Nelson’s plane crash, the Challenger explosion and Chernobyl.
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Damecia said:
Wow this record is considered the beginning of the end for the Marvelettes?!? Funny I like much of their later material better.
IMO “Locking Up My Heart” is one of those songs that is so ignoring it gives you a headache! It was so hard for me to listen to this song that I can’t even judge anyone’s performance. I just can’t listen to it again. Definitely a mistake to release this as a single. This gets a 1/10 in my book. Love the Marvelettes, but hate this song.
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bogart4017 said:
One of the releases that kept them in the “teenage” category.
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Robb Klein said:
I like this song quite a bit. I’d give it a solid “7”. With “Forever” on the flip, it was a nice two-sided hit.
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