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Gordy G 7015 (A), March 1963
b/w The Further You Look, The Less You See
(Written by Smokey Robinson)
Smokey Robinson was a busy man in the spring of 1963; this is the fifth of six straight entries on Motown Junkies written or co-written by him, and the most important of the bunch.
The Temptations had spent 1961 and early 1962 honing their skills, developing an advanced, daring brand of doo-wop tinged R&B that was all their own – see the likes of Check Yourself, almost bewildering in its inventiveness, which didn’t sell, and Dream Come True, strange and brilliant, which (hearteningly) did – but then hit a brick wall, Motown apparently struggling to find them suitable material.
A big-drawing live act – especially in Detroit, where people had been paying good money to see the Temptations or their predecessor groups, the Primes and the Distants, doing their superb stage shows for years now – the group was seemingly in danger of becoming irrelevant as a recording act. Their most recent single, Paradise, a shoddily-executed Frankie Valli pastiche, had been a huge step backwards, and its commercial failure had temporarily dampened label owner Berry Gordy Jr.’s enthusiasm for writing and producing for the Temptations. Coupled with an almost concurrent, similarly non-charting release under the name “the Pirates” (Mind Over Matter), it looked a distinct possibility that the Temptations had missed their chance, and were now falling aimlessly down the Motown pecking order.
Luckily, the B-side to Paradise, Slow Down Heart, had paired the group with Smokey Robinson as writer and producer for the first time, to intriguing if not earth-shattering effect. For the follow-up, Smokey was granted the A-side, for the first time on a Temptations record.
If he wasn’t quite yet in a position to write them a proper hit – and, therefore, not a candidate for the job on a full-time basis – then, on the evidence of both Slow Down Heart and I Want A Love I Can See, Smokey at least understood what the Tempts had going on, saw what distinguished them from a million former doo-wop outfits who’d struggle for acceptance as the Sixties progressed and the rules of the game changed.
While this record isn’t a masterpiece or anything – a thin but pleasant enough guïro-driven R&B romp, featuring some excellent harmonies but a predictable, obvious tune that doesn’t go anywhere – it’s notable as a concerted attempt on Smokey’s part to drag the group out of the doo-wop milieu and towards a more contemporary sound, tougher and slicker, but still keeping their individuality, avoiding anything that might smooth out their most endearing rough edges.
It didn’t sell, missing the charts completely and thus delaying the obvious permanent Smokey/Temptations alliance by almost a year while Motown chased dead ends, but it’s pretty much the first “modern” Temptations record, marking a boundary between their prehistoric “space age doo-wop” phase and their mid-Sixties Golden Age. Accordingly, it’s by some distance the tightest, most “professional” record the group had cut to date.
Much of that has to do with the rapid development during 1963 of the Motown house band, the Funk Brothers, their playing getting more and more advanced and moving further and further away from the jazz, blues, rock & roll and gospel “feel” of the earliest Motown recordings as the year progressed. Certainly they sound great here, and the recent improvements in recording technology at Hitsville have an audible effect too, allowing for more and more complex arrangements and productions (check out the horn section here, which sounds 20 years removed from the stuff Motown had been doing just a year before.) But that’s not the story; the story is the Temptations, and the real start of their rise to power.
It’s no coincidence that, on all of the pre-’64 Temptations records, every last one, Eddie Kendricks and Paul Williams are the key ingredients as to whether those records work, every time. The rest of the line-up (at this point consisting of Melvin, Otis and Elbridge (“Al”) Bryant) do their best to keep it all together, usually used in unison with Melvin’s bass and Al’s slightly unnerving altering-pitch tenor to provide an eerie “sandwich” effect around Otis’ steady main line, but their efforts are either raised to a higher plateau, or smashed to bits on the cobblestones, by how Paul and Eddie are used. Seriously, every single time, no exceptions.
On all the worst ones, Paul is hemmed in, sung over or mixed down, pushed too close to the other three while Eddie is given free rein to swoop and shriek all over the place, the two men’s voices forming a discord so complete you’d often swear it was intentional. Conversely, on all the best ones, it’s Paul who’s given a long leash on lead, while Eddie stays restrained and in tune, the two men locking into pretty much perfect harmony. Which is what happens here. It’s not a question of Paul being “good” and Eddie being “bad”, it’s just a question of two excellent voices and whether they’re being used properly or not. Whatever else Smokey might go on to do with the group, I Want A Love I Can See is significant because he almost instantly understood how to use them.
(I’m tempted to refer to Charlton Heston in Ben-Hur rearranging the chariot horses and turning them into a winning team, because it seems like a perfect analogy; when the Temptations were allowed to do whatever they felt like, it could become rampantly uncommercial very quickly, and often sounded horrible. When someone who really knew what they were doing came in and corraled the group’s voices – which already naturally complemented each other – and put them in the right order, knowing they could easily handle whatever complicated timing changes a producer threw at them… well, it nearly always sounded awesome. And Smokey most certainly knew what he was doing. There’s a quote in the liner notes to The Complete Motown Singles: Volume 3 from Otis Williams describing Smokey’s working methods with the group; instead of turning up at the studio and trying things out, experimenting with ideas, learning as he went along, Smokey would arrive early “with all of the vocal and instrumental parts worked out on paper down to the last detail”. You can totally believe it: the Temptations weren’t the kind of group you could just set loose in the studio, telling them to recreate their live show on tape, and instead their writers and producers had to do their homework, but there were big rewards to be had.)
So. I Want A Love I Can See. As a song, it’s okay; danceable, likeable, but rather flat and ultimately uninteresting, hardly one of its writer’s all-time greats. As a Temptations record, it’s almost a new start, a rebirth, and worth visiting. As an arrangement, a vocal showcase, a calling card for future greatness, it’s nothing short of remarkable.
The overall effect is pleasing, but more promising than really satisfying in its own right; soon enough, we’d see what happened when Smokey was able to marry a great song to a great group – a great group who’d been in danger of being overlooked because previous producers had been playing them out of position so many times. In the meantime, as a first tentative step towards the big time, this would do just fine.
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 Temptations? Click for more.)
The Miracles “I Can Take A Hint” |
The Temptations “The Further You Look, The Less You See” |
DISCOVERING MOTOWN |
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michael Landes said:
I’m starting to get an overall feeling of your approach to the review process. One approach is as good as another, of course. Please tell me if this is innaccurate.
My sense is that If you really like a cut, but feel it has certain technical flaws, you will downgrade appropriately. That’s perfectly reasonable. For me personally, my grade would depend strictly how much I enjoyed listening to it. The question of why I liked it so much, perhaps in spite of serious technical flaws, would for me be another issue entirely, divorced from the grade.
But you know, six of one, half a dozen of …………….. :=)
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The Nixon Administration said:
It’s an interesting experience having my thoughtful critiques thoughtfully critiqued 🙂
I honestly haven’t really thought about my approach before, but I think it’s less cut and dried than that; some Motown material is technically impressive but leaves me cold, some is faintly inept but has me rapt. My “approach”, insofar as I have one, is probably very similar to yours, but if something strikes me as being glaringly wrong in an otherwise superb record, I find it hard to fully enjoy it, finding myself wishing “Oh, I wish that bit wasn’t there” or what have you. Mostly, though, it’s a pure gut instinct thing, and I’ll come up with the mark right at the end as a summing up of whatever I felt at the time; really, the marks, though they’re fun and a great starting point for debate (which was what I hoped when I started doing them) are just an addition to the text, an underscore to make sure people know where I stand (or at least stood on the day).
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Dave L said:
Our host, Nixon, has encouraged dissent, and I’m grateful for that.
Most of the true hits on this site are very old to me, and either did or didn’t plug into me emotionally long ago, and that’s personally how I rate them. I don’t expect this site to ever talk me down or out of love with a given record, but Nixon has already astonished me with ’10s’ for things like “I Want A Guy,” “Strange I Know” and “Dream Come True,” which invites me to investigate my own copies of them again, and maybe find more to love myself.
After all these years, anything that makes old Motown, in any way, feel new again is the most welcome of gifts. Motown Junkies is doing exactly that. I’m getting the increasing instinct, that by the time Nixon gets done with his monumental project here, I’ll be convinced we were separated at birth!
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Matt W. said:
For me, the obnoxious slide whistle (I think that’s what it’s called) ruins the track. It’s WAY too far forward in the mix and starting with the slide whistle alone was a bad idea and makes me feel annoyed from the very start of the track. Take that slide whistle out, and it’s actually not a bad song.
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Matt W. said:
Oops… I heard a slide whistle at a live show and it definitely isn’t that on the Tempts’ record. A washboard maybe?
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The Nixon Administration said:
A guiro, I think.
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Matt W. said:
OK I think I’ve got it now. It’s a guiro! Sorry for the excessive number of posts.
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The Nixon Administration said:
Jinx!
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Steve Robbins said:
It’s a joy to hear Paul go at it, what a pro, I think he makes it. I understand this was a regional hit, I assume Detroit-centered.
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Landini said:
This is a real favorite of mine. Love Pauls voice on it. I actually like the guiro thing. Didn’t know this was a Smoky production. Do I hear a faint Drifters influence here?
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Kpitt said:
Now I just love this song. Paul is pleading so badly and singing for blood on this to me. It definitely is a Philly (as in PA) staple here. It plays quite frequently at oldies dances. I can listen to this over and over.
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bogart4017 said:
Guiro or not it MAKES the record. As soon as i hear it i go into Paul Williams attack mode. He has this certain dance he would do (you could see it in TV appearances about 2 yrs after this was released. Its a hard dance to describe except to say he would extend both elbows out and then cock one high and one low and alternate to the beat while shifting his heels in and out (almost like doing the Freak in the late 70’s). Anyway if you’ve ever seen them perform “Don’t Look Back” on TV you will catch Paul doing that dance.
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Robb Klein said:
This is one of my favourite Temptations cuts. A super job done by Paul Williams on lead. I’d give this an “8”.
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Michael Gray-Jordan said:
This was an interesting essay for me because “I Want a Love I Can See” is my favorite Temptations song of all-time! In my (Detroit) circle we were crazy about it and I remember if a party was slow getting off the ground “I Want a Love I Can See” got people on their feet and dancing! I’m gonna give it a 10/10! (Another country heard from!)
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Bruce said:
I have to totally disagree with you here. To me this is the best Motown record ever. An incredibly strong hook. Shocking that it was not a hit. That’s they way the people at the label felt then too. This record got huge high marks in the production meeting. Nobody could believe that it was not a hit.
Here’s my 50 favorite Motown records:
1. I Want A Love I Can See – Temptations
2. Shotgun – Jr. Walker and the All-Stars
3. Get Ready – Rare Earth
4. Ain’t Too Proud To Beg – Temptations
5. What’s Going On – Marvin Gaye
6. I Heard It Through The Grapevine – Gladys Knight and the Pips
7. Beauty Is Only Skin Deep – Temptations
8. It’s A Shame – Spinners
9. What Does It Take (To Win Your Love) – Jr. Walker and the All-Stars
10. I’ll Turn To Stone – Four Tops
11. I’m Gonna Make You Love Me – Supremes and Temptations
12. Come And Get These Memories – Martha and the Vandellas
13. The One Who Really Loves You – Mary Wells
14. Give It To Me, Baby – Rick James
15. Cloud Nine – Temptations
16. Just My Imagination – Temptations
17. Ooo Baby Baby – Miracles
18. The Tracks of My Tears – Miracles
19. You’ve Really Got A Hold On Me – Miracles
20. When The Lovelight Starts Shining Through His Eyes – Supremes
21. Tears of a Clown – Miracles
22. Would I Love You – Miracles
23. Baby I Need Your Lovin’ – Four Tops
24. Didn’t You Know (You’d Have To Cry Sometime) – Gladys Knight & Pips
25. Twenty-Five Miles – Edwin Starr
26. The Girl’s Alright With Me – Temptations
27. What Love Has Joined Together – Temptations
28. Mercy Mercy Me – Marvin Gaye
29. A Place In The Sun (LP Version) – Stevie Wonder
30. Pride And Joy – Marvin Gaye
31. Do You Love Me – Contours
32. You’ll Lose A Precious Love – Temptations
33. My Girl – Temptations
34. Come See About Me – Supremes
35. Uptight (Everything Is All Right) – Stevie Wonder
36. Two Lovers – Mary Wells
37. Ain’t That Peculiar – Marvin Gaye
38. Your Precious Love – Marvin Gaye & Tammi Terrell
39. Don’t Look Back – Temptations
40. I Can’t Get Next To You – Temptations
41. How Sweet It Is (To Be Loved By You) – Marvin Gaye
43. Shop Around – Miracles
44. My Whole World Ended – David Ruffin
45. It’s The Same Old Song ¦ Four Tops
46. Nowhere To Run ¦ Martha & Vandellas
47. Back In My Arms Again ¦ Supremes
48. Do I Love You (Indeed I Do) ¦ Frank Wilson
49. I Want You Back – Jackson 5
50. Where Did Our Love Go – Supremes
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The Nixon Administration said:
Thanks so much for sharing your list – I always love reading other people’s canons of greatness! 🙂
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Bruce said:
I’d like to get a top 50 from everybody here. I am running a survey of the “Best Motown Songs.” Please send me from 10 to 50 of your Motown favorites ranked in order Any record that was originally released on one of the Motown labels is eligible. Send it to
me at SavoyBG@aol.com
Anybody who sends a list will get the results in a countdown via email.
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John Plant said:
I’ve done this before, but will probably succumb to the temptation (to the Temptations) of doing it again… always with interesting variants. In the meantime I want to applaud your list, and particularly because of the inclusion of #6, 13, 17, 24, 32. Am I the only one waiting with baited breath for Nixon’s take on Get Ready, one of my favourite bursts of musical adrenalin?
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treborij said:
In a word…no
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The Nixon Administration said:
No pressure, then 🙂
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Ken said:
Well, as a confirmed Motown lover and an inveterate list maker, I won’t even try to resist. Here’s a personal list of Motown favorites – two lists actually. One of my 25 favorite singles (North American release) and one of my 15 favorite non-singles i.e. album tracks and vault discoveries. Both lists are female-heavy, with Mary and Martha holding the #1 and #2 spots on each
SINGLES
1. MY GUY-Mary Wells 1964
2. COME AND GET THESE MEMORIES-Martha & the Vandellas 1963
3. MY BABY LOVES ME-Martha & the Vandellas 1966
4. LAUGHING BOY-Mary Wells 1963
5. YOU BEAT ME TO THE PUNCH-Mary Wells 1962
6. WALK AWAY FROM LOVE-David Ruffin 1975
7. I’LL KEEP HOLDING ON-The Marvelettes 1964
8. A THRILL A MOMENT-Kim Weston 1965
9. OLD LOVE (LET’S TRY IT AGAIN)-Mary Wells 1962
10. THE ONE WHO REALLY LOVES YOU-Mary Wells 1962
11. YOU’RE GONNA LOVE MY BABY-Barbara McNair 1965
12. ALL THIS LOVE-DeBarge 1982
13. I WOULDN’T CHANGE THE MAN HE IS-Blinky 1968
14. HE WAS REALLY SAYIN’ SOMETHING-The Velvelettes 1964
15. WHAT DOES IT TAKE (TO WIN YOUR LOVE)-Junior Walker & the All Stars 1969
16. BABY I NEED YOUR LOVIN’-The Four Tops 1964
17. YOU’RE ALL I NEED TO GET BY-Marvin Gaye & Tammi Terrell 1968
18. QUICKSAND-Martha & the Vandellas 1963
19. I’ll TRY SOMETHING NEW-The Miracles 1962
20. BABY DON’T YOU DO IT-Marvin Gaye 1964
21. I’ll BE DOGGONE-Marvin Gaye 1965
22. SAD SOUVENIRS-The Four Tops 1965
23. IN MY LONELY ROOM-Martha & the Vandellas 1964
24. LEAVING HERE-Eddie Holland 1963
25. JUST BE YOURSELF-LaBrenda Ben 1963
NON-SINGLES
1. DOES HE LOVE ME-Mary Wells 1964 – album track
2. NO ONE THERE-Martha & the Vandellas-1970 – album track
3. THIS IS GOODBYE-The Headliners 1965 – unissued at the time
4. IF YOU LOVE ME, REALLY LOVE ME-Mary Wells 1964 – album track
5. COME ON BOY-The Supremes 1963 – unissued at the time
6. DO LIKE I DO-Chris Clark 1965 – unissued at the time
7. STEAL AWAY TONIGHT-Barbara McNair 1966 – album track
8. CAN YOU LOVE A POOR BOY-Smokey Robinson & the Miracles 1965 – album track
9. MY BABY CHANGES LIKE THE WEATHER-Smokey Robinson & the Miracles 1965 – album track
10. WHISPER YOU LOVE ME BOY-Mary Wells 1964 – album track
11. DON’T LET ME DOWN-Kim Weston 1965 – unissued at the time
12. SHAKE ME (WAKE ME WHEN IT’S OVER)-The Supremes 1966 – album track
13. SO I CAN LOVE YOU-The Marvelettes 1970 – album track
14. SPELLBOUND-Brenda Holloway 1966 – unissued at the time
15. PROVE IT-Mary Wells 1963 – unissued at the time
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Bruce said:
Ken, I am counting your top 25 singles towards my survey. If you can get me your email address I will send you the countdown of the results.
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