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Tamla T 54077 (AA), February 1963
b/w Locking Up My Heart
(Written by Brian Holland, Lamont Dozier and Freddie Gorman)
Oriole CBA 1817 (B) – April 1963
B-side of Locking Up My Heart
(Released in the UK under license through Oriole Records)
The Marvelettes’ magnificent third LP, Playboy, had been released to general acclaim in July 1962. When Motown struggled to push the newly-released follow-up, The Marvelous Marvelettes, the following February – the lead single, Strange I Know, hadn’t exactly set the world on fire, and Locking Up My Heart wasn’t looking like doing much better – they opted to go back to the Playboy album for the latter’s B-side.
It seems like a cautious, hedging-their-bets kind of move on Motown’s part, belying a conservatism that would crop up time and time again throughout the Sixties and Seventies, with singles from brand-new albums routinely paired with B-sides from two, three, four years previous if the company got cold feet over how the fans might react. In this instance, however, it’s a blessing that Motown chose to package Locking Up My Heart with Forever; this is one of the Marvelettes’ best records, and it deservedly hit the charts in its own right.
(It did so very possibly at the expense of the A-side, incidentally, DJs tiring of the strident screeching on the top side and flipping the record over to get to the dreamy ballad; both sides ended up within one place of each other on the R&B charts, this one going one better than the A-side by reaching number 24, although Forever stalled at number 78 pop while Locking Up My Heart limped up to 44. But I digress.)
One of a clutch of songs written for the Playboy LP back in the spring of 1962 by Brian Holland and Lamont Dozier with their then-lyricist Freddie Gorman, this is maybe the standout track on an exceptional album. Notably, it’s also the first truly great lead vocal ever laid down by Wanda Young, who would later go on to become the the group’s undisputed leader throughout the mid- to late-Sixties, but who usually played second fiddle to Gladys Horton at this point in time.
A lot of Wanda’s early vocals are shrill, screechy showcases for the very high falsetto she thought she could do, sometimes bordering on the unlistenable (Eddie Kendricks of the Temptations was suffering a similar fate over in the boys’ camp at the same time), but not this one. Here, she delivers a beautiful lyric with such grace and maturity that it’s almost impossible to remember she was sixteen at the time of recording.
(Indeed, quite honestly, in her lead outings up to this point she’d given no indication whatsoever that she even had a performance like this one in her – I don’t know if it was Holland and Dozier’s idea to coax her a few notches down the scale, or whether it was Wanda who surprised them by coming out with this, but it’s startling.)
Here, though, she’s amazing, delivering the lyrics in wholly convincing fashion, lyrics that are quite different from anything the Marvelettes had really tackled before now – an honest, soul-searching examination of what it means to really be in love with somebody:-
Darling, forever, forever / You can break my heart / I’ll play the part of a fool / Just to be with you, forever… You can torment me / Take my love for granted / But I’ll always be just a fool, if I could be with you… I’ll be your slave for the rest of my days… Just to be with you thrills me through and through…
It’s extraordinary, something you’d expect from the finer moments of Smokey Robinson, or his work for Mary Wells – but not from the Marvelettes, and certainly not from Wanda of all people. And yet here it is. Prior to the Playboy album, a lot of people would have underestimated her, and the group, as a bad singer and a thin, one-dimensional pop act; they wouldn’t be making that mistake again. Wanda is so good here mainly because she’s so restrained – Mary Wells, or Kim Weston, or Diana Ross, or (more pertinently) Gladys Horton, might have been tempted to really attack this, with a big-voiced approach, wearing their emotions on their sleeve; instead, Wanda gives this an almost eerie calmness, spelling out just what lengths she’ll go to in a completely matter-of-fact way that sends chills down the spine. It’s perfect.
The tune is quite, quite lovely, too, a slowly-rotating piano-led ballad, rooted in doo-wop, with tasteful brushed drums and barely-audible organ in the distance, while the hushed tones of the other Marvelettes are kept right down in the mix, giving the whole thing a delicate, almost dreamy atmosphere – the perfect vehicle for Wanda to lay her soul bare. The whole thing is really just beautifully done.
If anything, it’s actually a kick in the teeth for the A-side, because it sets an almost impossibly high standard that Locking Up My Heart, passable but ordinary, can’t hope to live up to.
It’s not a single, mind you, not by any stretch of the imagination, and certainly not a Marvelettes single. This would never hit the Top Ten; it’s too slow, too billowy, the lyrics are too disturbing. But to quibble over what this record is not is to miss the point. What this record is is quite, quite magnificent; the Marvelettes would never really revisit this kind of territory, and it would be years before Wanda managed anything on this level again, but it remains remarkable, and wholly excellent.
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!)
COVERWATCH
Motown Junkies has reviewed other Motown versions of this song:
- Marvin Gaye (November 1964)
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.)
The Marvelettes “Locking Up My Heart” |
Martha & the Vandellas “Come And Get These Memories” |
Dave L said:
[ Marvelettes biographer Marc Taylor states:
“…the only LP to feature photos of all five original Marvelettes. Although Motown’s Artist Development classes were still a few years away, the visual of Playboy reveals that some star grooming had taken place, as evidenced by the girls’ stylish black dresses, particularly Wanda’s low-cut outfit as she was quickly becoming the group’s sex kitten.
…
Playboy was one of the group’s finest efforts. In addition to the title song and ‘Beechwood 4-5789’ the LP contained two standouts penned by the team of Brian Holland, Lamont Dozier and Freddie Gorman: ‘Forever’ and ‘Someday, Someway.’ The former was perhaps the Marvelettes’ most memorable ballad. On ‘Forever,’ Wanda assumes the lead and delivers the lyrics in a sensual manner that was inarguably her finest vocal performance on vinyl up to that point; a complete departure from her somewhat annoying falsetto used on ‘So Long Baby.’ The song was produced by Brian Holland who, looking for an adult edge, kept the adolescent background vocals to a minimum, and allowed Wanda free reign to turn this piano-driven track into her own tour de force.” …
‘Wanda could make the men swoon with “Forever,”‘ claims Martha Reeves. ”
Aloiv Publishing, 2004]
No night of planned seduction using Motown sides could fail to be assisted by Forever and I’ll Try Something New. It is one of the purest love songs -in or out of Motown- ever made, with no attitudinizing or boasting, just a straightforward pledge of devotion stated with startling vulnerability. What’s sad, is that a song like this probably wouldn’t make the grade today without a lot of needless explicitness and raunch.
It was better to be young and suggestible back then, let me tell you. A ‘9’ is just fine for this one, but it’s a 9 that taps at its own ceiling. đŸ™‚
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144man said:
It is noteworthy how revolutionary the open melodic structure of Holland & Dozier’s next release “Come and Get These Memories” sounds when compared to the more conventional rigid form of “Forever”.
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Dave L said:
I was born and raised to 15 (1969) in Philadelphia, and all the golden age of Motown was introduced to me on two powerful AM radio stations there, WIBG (99), and WFIL (56).
In those days, DJ’s had immensely more clout about what they programmed and played and, Joe Niagra and Hy Lit especially, thought nothing of turning any Motown disc over and giving us the b-sides. Thus I got things like “Everything Is Good About You”, “Ask Any Girl,” “Put Yourself In My Place” by the Supremes, the Vandellas “There He Is At My Door,” and Walker’s “Tune Up” among others. These were the white stations too; WFIL was the first powerful station you came to at the left end of the AM dial.
As the sixties ended, WFIL ran a contest allowing listeners to vote on the 560 best records of all time. The DJ would play a side, then a challenger, and the first song would rank higher and higher till some challenger defeated it. At the end of things, two Motown b-sides placed in the Top Ten(!): “Forever,” and The Miracles’ “Would I Love You.” I think the eventual No. 1 was Robert Knight’s 1967 “Everlasting Love.”
No wonder I treasure my memories of growing up in Philadelphia, and all the music those DJs introduced that I’d love for the rest of my life. đŸ™‚
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Tom Griffiths said:
You have mostly correct information but it’s all running together. Both WIBG & WFIL had All Time surveys in 1968 & 1969 where listeners would send in their top 3 songs on a post card. There was no contest. WIBG was first with their all time top 300 in June 1968 where FOREVER by the Marvelettes finished at #73. WFIL followed that year with a Top 560 & FOREVER finished #55. Both had all time top 300’s in 1969 & FOREVER was #8 at WIBG & #9 at WFIL.
in 1971 WIBG had a weekly oldies Top 10 based on requests & FOREVER was always in that list. FOREVER was listed on a WFIL All Time 560 from 1984 when they were an oldies station at #135. Finally FOREVER finished at #185 in 1996 on the WOGL-FM All Time Top 500. FOREVER stood the test of time in Philly.
It’s interesting that FOREVER was never played on WIBG as it is not listed on any of their weekly music surveys from 1963 while Locking Up My Heart peaked in the 20’s. WFIL of course did not arrive on the Top 40 music seen until late 1966.
As far as pitting one song against another that was separate & had nothing to do with the all time surveys at either station. WIBG called it The Million Dollar Battle & after 5 wins a song was retired & brought back on the final day to compete against other 5 time champs until a winner was found.
Cherish & Hold Me, Thrill Me, Kiss Me by Mel Carter dominated the all time charts.
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Kurt Zimmerman said:
Forever is probably in my top five of all Motown songs. I got chills the first time I heard Harvey Holiday play it on the radio back when I was a teenager. Despite the easy four chord progression rooted in doo wop, the arrangement is sublime and is haunting. This is one I pull up on the CD player late at night.
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Landini said:
This is a great tune. I also like Marvin Gayes version which I actually heard first.
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Landini said:
Interesting. I was listening to tape last night (YES A TAPE!) where I have both the Marvelettes & Marvin’s versions back to back. Pretty cool to hear that.
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Damecia said:
Today’s Marvin Gaye post brought me here. I’ve never heard any version of this song before, so I felt that it was only right to check out the original before I listened to the remake.
Wanda is my favorite lead singer in The Marvelettes. Her deliverance was always so chill and sexy. Can’t believe she is 16 singing here! As a whole the girls sound great, but I just can’t get into this song. It is too slow and depressing. I think 9/10 is too high for this song. I would give it a 5 or 6.
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bogart4017 said:
16?! I saw The Marvelettes live in early-to-mid 1963 and thought i was looking at a grown woman, She was certainly built like a grown woman. Maybe it was the basic black and pearls with pumps that gave them that mature look.
Anyway i remember once a while ago a radio jock here in New York (it might have been Bobby Jay) played both Marvin and Wanda’s version side by side and cut between both versions seamlessly as if they had recorded a duet. It knocked me for a six and i wish i had recorded it.
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Robb Klein said:
I’ve always liked this song since it was out. They played both sides about equally in Chicago. I’d give it an “8”.
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(solo)diana-ross-don't-groove said:
super good
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