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Gordy G 7020 (A), June 1963
b/w May I Have This Dance
(Written by Berry Gordy)
The Temptations in 1963 were best described as “directionless”. Their previous single, I Want A Love I Can See, written and produced by Smokey Robinson, had been the first tentative flowering of the R&B/pop direction that would lead the Tempts to conquer America – but it had bombed.
In a typical Motown knee-jerk reaction, Smokey was taken off the Temptations project, and the group was instead shoved back down the unique but increasingly poorly-selling “futuristic doo-wop” road they’d been on before Smokey got involved. Company boss Berry Gordy took up the reins personally, rushing this through from recording to release in less than a month.
It’s better than you might expect, dead end though it clearly is. There’s much to admire here; Paul Williams and Eddie Kendricks, unusually both used as leads, are both noticeably improving as singers, and Smokey’s ideas about how the rest of the group’s voices should be arranged have clearly been taken into account. The tune is pretty, too, even if it borrows heavily from Smokey’s Slow Down Heart, a previous Tempts B-side – well, if you’re going to borrow, borrow from something good. There’s a spoken-word interlude which tries to keep the listener’s attention, and at several points the tune threatens to break into something more interesting.
Still, Farewell My Love isn’t really a record I find myself going back to listen to all that often. A kind of intermission, a diversion from the Tempts’ path to fame and fortune, it’s a pleasant enough doo-wop pastiche, but it’s all just… okay, I guess is the word I’m looking for. The tune goes nowhere, lyrically I’d be hard pressed to quote any of it back to you right now apart from the title, and along with the pleasing stuff there’s also a lot of badly dated elements, not least the hugely cheesy ending, featuring a burst of buttery Forties harmonies followed by a third-rate Fifties doo-wop finish.
Really, more than anything else, it just goes to show how little Motown knew about what they had in their grasp with these guys. The single failed to chart, the American public reacting with complete indifference. This must have hurt Berry Gordy more than he let on; the boss wasn’t doing a lot of songwriting or producing these days, and he hadn’t had a significant hit for a while, so a total failure like this wasn’t really what the doctor ordered.
This could have been dangerous for the Temptations – supposedly, Motown was considering dropping the group after a lengthy and dispiriting (not to mention expensive!) run of non-charting singles. In that respect, paradoxically, it probably worked out for the best that this record didn’t chart; if it had been a minor success, Gordy might have taken more of an active interest and kept them firmly on the doo-wop path. Instead, he became disinterested and turned them loose, allowing Smokey Robinson to take up the challenge again and finish the job he’d started, with spectacular results.
This was also the last time Elbridge (Al) Bryant sang on a Temptations single; admired for his technical skill as a vocalist, he’d nonetheless exhausted the group’s patience with his antics, the final straw a full-on dressing-room punch-up after one particularly fractious show. Bryant’s replacement was one David Ruffin, a Southern singer who’d already joined the group on stage a few times (including at the aforementioned gig which ended with Bryant hospitalising Paul Williams after the show and losing his job); Ruffin brought similar amounts of baggage, but also considerable commercial appeal, the final piece of a jigsaw.
This record represents the end of the Temptations’ strange, fumbling, often frustrating, often extraordinary first phase. Though nobody knew it at the time, when America next heard from the Temptations, everything would have changed.
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.
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Mable John “Say You’ll Never Let Me Go” |
The Temptations “May I Have This Dance” |
DISCOVERING MOTOWN |
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michael landes said:
since there is no longer a general letters area, this is as good a place as any to speak for many and say, that the job you do in these reviews is so good that it transcends any trivial difference in taste.
Our tastes our very very different. My faves are not at all yours at all. Yet this doesn’t in any way mitigate my enjoyment of your absolutely wonderful reviews. I couldn’t imagine them being any better for my part. Matters of personal taste are just irrelevent in the face of this kind of quality writing.
thanks so much.
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Dave L said:
Couldn’t agree more, Michael. An at least small group of kindred spirits have found one another here thanks to our host, and I have every hope the group will continue to grow and more folks will speak up.
We’ve already had the gracious company of a genuine Vandella, Annette Helton. When I sent my Facebook friend request to Katherine Anderson it was also with Motown Junkies url included. As we all are, Ms. Anderson is no doubt in mourning over the passing of Gladys Horton, but perhaps after some time she will visit and comment also.
Nixon says that he encourages dissent, and that is good and more may yet come, but the quality of his own writing, seems to me, can only prompt the most gentlemanly behavior from any self-professed ‘Motown lover.’ The added possibility of my remarks being read by one of the surviving artists actually on a given recording itself, forbids anything but my most polite approach.
Frankly, since I’ve discovered this site I feel like I found a friend I wish I’d met 20 years ago. I sense you share the feeling.
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Robb Klein said:
Yes, it’s great to converse with other Motown fans who have never found Soulful Detroit Forum’s Motown Forum, and to also converse with Motown artists like Louvain Demps, Annette Helton, Cornell Blakely, Bert Haney and others (a few of whom had not found Soulful Detroit or other public fora known to me). And it is great to learn more about what happened at Motown during its classical era and the background to it. This blog has brought lots of enjoyment and entertainment to many people.
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bogart4017 said:
…and collect them alll together, throw in “The Way You Do The Things You Do” and call the Lp “Meet The Temptations’!
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Robb Klein said:
I would have given this song a “6”. It’s an excellent effort by Paul Williams, who could add lots of emotion to any “blah” song. The songwriting by Berry is very ordinary. But, Williams’ heartfelt and “emotionally involved” delivery (as if he were method acting, by reaching back onto his own personal experience), combined with the beautiful harmonies of the other group members, raises this one to above average Motown, and thus, above 5.
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John said:
Al’s high notes are very underrated in this song
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Abbott Cooper said:
Yes, it’s the harmonies that struck me too and a standout performance by Melvin Franklin that had me giving it a few extra replays. A “6” at least.
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yellosoul said:
Who does the spoken interlude on this one? Can’t work it out
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bogart 4017 said:
Paul Williams
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