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Tamla T 54088 (A), October 1963
b/w He Won’t Be True (Little Girl Blue)
(Written by Smokey Robinson)
Stateside SS 251 (A), January 1964
b/w He Won’t Be True (Little Girl Blue)
(Released in the UK under license through EMI / Stateside Records)
The commercial and artistic fortunes of the Marvelettes, Motown’s first chart-topping group, had been wavering as 1963 went on. As was so often the case, Motown’s response was to call in Smokey Robinson.
Somewhat unbelievably, this was only the second time Smokey had written a song for the Marvelettes (the first, I Think I Can Change You, had appeared on their 1962 LP Playboy and would be dusted off for use as a B-side more than four years later). He’d write and produce some of his best work for the group in the mid- and late-Sixties, but he’s on much shakier ground here, with what must surely be the most amateurish single by a major, big-name Motown act.
Oh, that’s not to say that it’s bad – no, no, not at all. The lyrics are very sweet, the tune – sketched out here in rudimentary form – has “hit single” written all over it, and the whole thing could probably have been a significant chart success given a fuller, more professional treatment.
Instead, it sounds like a demo, a first take; great yawning gaps open up like chasms all over the record, as if to mark out where a string or guitar part would go when everything was finished. It’s sparse, empty-sounding, and – in a very strange development for Smokey, of all people – badly produced. The Marvelettes’ backing vocals, always a hit-and-miss element on their records (when not being replaced wholesale by the Andantes) are left oddly exposed; their call-and-response parts sound awkward and cumbersome, as though the girls are being asked to fulfil parts that are outside their ranges, and the effect isn’t particularly nice.
That isn’t the worst of it. When the Marvelettes aren’t busy singing (sort of) in tune with the main vocal line (of which more later), they’re instead pumping out the nonsensical line Babaloo, babaloo / Babaloo, babaloo in a flat monotone, a recurring vocal tic which is clearly meant to both serve as the song’s killer hook and also to signify good-time girl group sassiness, but instead just comes across forced, embarrassing and lonely (most noticeably at 1:23 when only one of the girls remembers to do their first Babaloo on cue and is inexplicably left out to dry by the rest.) It’s not that it’s a bad idea, it just sounds like something a bunch of schoolfriends might have come up with while rehearsing in the cafeteria. Seriously, the first minute and a half of this record could easily have been a recording from that fabled Inkster high school talent contest when the group, then named the “Casinyets” – because they “couldn’t sing yet” – had originally won their Motown audition. Not because it’s rubbish (it isn’t), but because it sounds like a first draft.
Gladys Horton, so often the saving grace on so many early Marvelettes records, is left similarly isolated by the band for her lead vocals during the early part of the song, performing her verse lines almost acapella and the chorus lines augmented by the whole group in a primitive form of double-tracking that never quite comes off, whilst Wanda Young (who takes over towards the end) is given a more rounded, all-enveloping musical cloak in a failed attempt on Smokey’s part to bolster (or hide!) yet another shrill, grating lead. She’s getting better compared to the piercing falsetto stabs of early attempts like So Long Baby, but that’s only a relative improvement; this is certainly no Forever, and all those amazing late-Sixties Wanda-led records seem a very long way away. The listening public must have entertained similar doubts over the group’s future; although this scraped its way into the Top 50, the spectre of commercial irrelevance continued to loom large on the Marvelettes’ horizon.
It’s a real shame, because underneath it all, As Long As I Know He’s Mine is a good song done poorly, and not really done justice.
It all just sounds so unfinished. The instrumentation is minimal at best (handclaps and drums, upright bass, a slightly out-of-tune piano banging out extremely elementary two-note riffs), which could have been a devastatingly effective device, conveying a feeling of elegance and detached froideur, if this was that sort of song (Where Did Our Love Go being a perfect example). But it isn’t that sort of song at all – it’s very clearly meant to be a big girl group anthem. So instead of stately glamour, the sparseness of the rudimentary backing only conveys a feeling of a cheaply-done rush job; it’s just not ready.
Those astoundingly basic piano riffs (which frankly you, dear reader, could have played with equal proficiency), coming at the end of each chorus and seemingly only used to fill the dead air that otherwise serves as a bridge to the next verse, inadvertently highlight the song’s structure as well as bringing everything to a juddering halt. The worst moment, a terrible, jarring “truck driver’s key change” at 2:03, sucks the listener out of any reverie and right down to earth, its clunkingly mechanical nature calling attention away from the Marvelettes and on to the exposed underlying skeleton of the song. (Or vice versa; maybe the song’s undeveloped nature hangs a bell on that juddering key change which could have otherwise been artfully disguised).
Ach, it sounds like I’m savaging this. It’s not meant to come across that way; it is fundamentally a good song, such that the production and performances can’t ruin it, though not for want of trying. Even then, the musical backing gets better as the record comes towards its conclusion (fuller horns, more complex piano, lusher harmonies), and there’s a glimpse of how much better it could all have sounded. The lyrics – a sort of early riff on Mary Wells’ My Guy, also written by Smokey – see the narrator(s) expressing their undying devotion to their man, for richer for poorer, in sickness and in health, and it’s both romantic and charming. (He’s broke right now, but I don’t care / I try to make him feel like a millionaire / So what do I care if we don’t have a dime, as long as I know he’s mine? – that’s a lovely sentiment, beautifully expressed.) There’s a subtle subtext of defensiveness, perhaps in the face of her friends’ criticisms, a theme which will be explored in a very different way on the B-side. And there are hints of greatness scattered throughout – in particular, there’s a full-on Beach Boys bridge at 1:08 with all the girls singing in unison:
“Doesn’t matter if the wind don’t blow
Doesn’t matter if the snow don’t snow
As long as I know that he is mine
I ask you, what do I care if the sun don’t shine?”
…which reminds you just how great the Marvelettes could be when they were on their game. The stomping 4-bar repeated riff at the end of the final verse (Babaloo! Babaloo! Babaloo! Babaloo!, spat out like a recurring sample on a tape loop) is another excellent highlight.
The song is good, but the record isn’t. If they’d had another couple of weeks to work on this, it might have been spectacular; instead, it’s a missed opportunity, and showbiz never allows you too many of those.
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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Liz Lands “Trouble In This Land” |
The Marvelettes “He Won’t Be True (Little Girl Blue)” |
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144man said:
I liked this record well enough when it first came out. in view of the classic Motown records that came later, maybe time has diminished it by comparison. It has some nice touches and does build to an exciting climax; it’s just a pity it couldn’t have been as uniformly good along the way.
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John Plant said:
De gustibus again! – I LOVE this record (and I can see that you don’t really hate it) – but what you hear as ‘great yawning gaps’ I hear as a kind of airiness, a lack of stuffiness, which lets the lightness of the song through. It’s transparent and buoyant – dancing on air. (Songs like ‘Danger Hearbreak’ and ‘I’ll Keep On Holding On’, both of which I love, can sound a bit overstuffed and noisy by comparison.) No quarrel with your comments on the backup singing, but for me they present no obstacle to the sheer intoxication that listening to this record can induce…
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John Plant said:
Dear Nixon, if you want to moderate this one out of existence, I won’t be in the slightest offended – but I couldn’t resist sending it to you. It’s a poem I wrote in December 1968 :
I am lost in the intricate hieroglyph
of a Marvelette
Their voices curl forth like acanthus leaves
Cats are perched neatly on the crest of each vowel
Each song is a heraldic stamp
a city street emblazoned on a dark shield
The horns nudge the guitars like seals
Their song twists into the curve of their hips
Bop Bop sookey doo-wah
Bobaloo bobaloo
Weiala weaia
How long have I owed them this poem!
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The Nixon Administration said:
I’ll never align myself in any way against poetry. Bravo for having the stones to publish it after all these years.
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Matt W. said:
I think a 6 is extremely generous. This is terrible. The fact that there are some good lyrics and the skeleton of a good song just makes it that much more painful to hear the finished product. The singing is just awful. Even Gladys doesn’t sound good. This is one of those records in which she sound hoarse.
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michael landes said:
I agree that the song is good only insofar as it is good enough. That is to say, it’s good enough that I can imagine a great record being made out of it, if produced/arranged properly. However, in and of itself, I wouldn’t call this a good song. I only mention this because there are so so many legitimately good songs that came out of Motown. I don’t mean the records, I mean the songs themselves. I agree it’s a shame and a shock that Smokey didn’t do more with it, but I couldn’t really agree it’s more “grist for the mill” in the first place.
It’s such a falling-off for Smokey that all I could think of is that he had more pressing issues on his mind at the time, whether personal or professional. I find it hard to believe his heart was in this on any level.
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Steve Robbins said:
If the six don’t fit, you must acquit. Legalese for Mr Nixon.
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The Nixon Administration said:
š That’s not legalese, that’s just nonsense. (“Is there a difference, then? Ho ho ho!” – a playful wag, yesterday) Are you disagreeing with the mark because it’s too low, or too high? I never change them, but people are always free to voice dissent; there’s an Eddie Holland B-side somewhere in here that’s sitting on something like 0-12 “disagree” votes last time I checked.
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Dave L said:
This song and their next, “He’s A Good Guy Yes He Is” feel like holding-pattern records to me. “He’s my guy and I’m sticking with him despite all the clucking naysayers” is probably the most utilized message in girl group songs of this era. Motown itself, Smokey himself, has done better work dressing up the same message.
You’re right, it’s no terrible record, a ‘6’ is quite fair, and when one is listening to any Marvelettes compilation, it’s not a track you skip. But I confess my original 45 of it isn’t too worn because as a stand-alone selection there are other Marvelettes hits one reaches for first. The girls themselves deserve better than this considering what HDH is cranking out in this same period; their one chance at a Heat Wave-level smash authored by the hot new trio gets left in can for 23 years.
But Marvelettes A-sides would right themselves soon enough as Smokey finds his determination to make the voice of Wanda Young Rogers one of Motown’s most irresistible (and luscious) female sirens. Boy, is he gonna succeed. š
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John Plant said:
Alas, alas! Will no one defend this delightful song? Some Motown songs have faded with time (Back in My Arms Again, I Can’t Help Myself) but this one never fails to elicit a grin…I was looking for something else when I stumbled on that 1968 poem, but the babaloo gave it away – and the song still gives me as much pleasure today as it did 43 years ago. I agree with Dave L about ‘He’s a Good Guy’ (those dreadful echoes of Ach du lieber Augustin) – but for me, there’s an abyss between the two songs. Mr Nixon, at least you found the hints of greatness lurking in the song!
Recognizing the justice of some of your cavils, I hereby grant the song a 7 – but the pleasure that it gives me, despite all admitted shortcomings, raises it close to a 9.- For some reason, I’ve always tended to get a bit mystical about the Marvelettes – less mellifluous than the Temptations or the Supremes, less thrillingly metallic than Martha, they nonetheless convey some ineffable quality which or me is quintessential Motown.
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Steve Robbins said:
After further deliberation (!) I have reached a verdict of a 5 (average), plus one bonus point ’cause it’s those marvelous Marvelettes.
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The Nixon Administration said:
The bench thanks the foreman for reaching a verdict.
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The Nixon Administration said:
Some interesting new reading material, hot off the press:
http://www.charles-thomson.net/marvelettes.html
Discuss!
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Dave L said:
Like Mary Wilson’s first book, “Dreamgirl,” a good deal of Nelson George’s “Where Did Our Love Go,” parts of David Ritz’s “Divided Soul,” and a great deal of J. Randy Taraborelli’s “Call Her Miss Ross,” the statements by Katherine Schaffner in Charles Thomson’s article confirm a lot of suspicions young Motown fans were beginning to have by the end of the 1960s.
The souring, as I remember, started in the summer of 1967: Florence was suddenly gone with vague and unsatisfactory explanation, Ross got that stand-alone billing at exactly the same time, which was troubling to any hardcore fan who never needed help knowing who was who, HDH walked out and nasty lawsuits followed, the Vandellas faces started changing and their hits grew infrequent and then non-existent, David was out of the Temptations, Tammi got ill…
It got sad. The sense of all these stars being ‘family,’ a sense even perceived by us at the cash register end of the equation, was vanishing fast. When the small print on the back of Motown albums started reading a California address there was no pretending something hadn’t ‘died.’
If Motown hadn’t put the two-disc Marvelettes anthology out in June of 1975, a rock and roll novice could likely have gone that entire decade not knowing what record company the group had ever worked for. Grateful as I was to have the record, is a stretch too far to think it any ‘tribute’; just a record company repackaging old material to cash in on it again. I hope the Marvelettes got some coin out of it. If I’m not wrong, Motown went back to ignoring the group until it was time to release the same stuff again on the new compact disc format.
Maybe most heartbreaking in that article is Vaughn Thornton’s remarking how little his mother talked of her days at the head of the Marvelettes. Her Motown veteran status should have been something Gladys wore like a shiny badge, not something to be recalled with pain, disappointment and anger. Ditto for every other girl in that group, every other female singer at Motown who labored -largely thanklessly- under Gordy’s shortsighted “Diana has to open every door first” stance.
Gladys has been remarkably close to mind for me these last two months, but with at least once piece of comfort that is unassailable: whatever happiness there was in the world the day Gladys Horton was born, she added immeasurably more, and of the sort that keeps on giving. At the end of any of our lives, what finer legacy is to be wished?
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Robb Klein said:
I agree with John Plant, This is a great song. It’s one of my favourite Marvelettes’ songs. I loved it when it came out, and I still do. It’s a nice and bouncy girls’ groupy song. Clearly, it could have been made better. But, I think it is also just fine the way it is.
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Eddie Scott said:
I’ve always loved “As Long I Know He’s Mine”. To me, it’s like a companion piece to The Crystals’ “He’s Sure The Boy I Love” with the same “I’m sticking with my man no matter what the other girls say” message in the lyrics. And the laid back production of the song gives it an attractive “girls next door” that the early Marvelettes songs specialized in. I give it an 8!
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Landini said:
Okay fellas. I used to dislike this but it has a certain clumsy charm to it. Never knew this was a Smoky production. Re those babloos … Did I miss the Tribute to Uncle Desi album ? LOL
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Andrew said:
Maybe it’s just because I live in the Detroit area, but as a kid I always thought the backing vocals said “Bob-Lo, Bob-Lo.” Bob-Lo Island was the name of an amusement park located at the south end of the Detroit River, and it was quite popular in the era the song was recorded. It made sense to my early adolescent ears that the somewhat unusual-sounding name (a corruption of the island’s actual name Boisblanc) would be adapted for a song by a group recording in Detroit!
Incidentally, this song seems to have been a big hit in Detroit; it appears to have been number one for two weeks on radio station WKNR, the “hot” station at the time, and was frequently played on area Oldies stations around the time I began getting into Motown, etc., in the early 1980s…
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Robb Klein said:
That’s Babalu (as in “Babalu’s Wedding Day” by The Eternals on Hollywood Records) or Bab-a-loo as by Desi Arnaz. Huh???How do they get “Bob-Lo” out of Bois Blanc (Bwa-Blahn)? They don’t even sound remotely alike (even with a very nasal Ontario French-Canadien accent). I’m one of the few Anglophone Manitobans who took French in school (rather than Russian or German, because I wanted to be able to communicate with that certain 30% of my countrymen).
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Andrew said:
I, too, have often wondered how they got “Bob Lo” out of Bois Blanc, but that was always the recieved knowledge. Maybe the Detroit-area permutation of the Michigan accent has something to do with it–remember, Detroit is a place where the word “crayon” is pronounced “cran!”
Anyway, I like the record a lot, and find its shortcomings somehow endearing. It’s just a fun little song; no musical bombast, no pretense at topping anybody else’s work. Of course, it could be argued whether or not this was the correct approach at this point in the career of the Marvelettes…
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Abbott Cooper said:
Desi’s Bab-a-loo is a reference and exhortation to Babalu-Aye, one of the 16 Orishas (Gods), of the Santaria religion brought to the new world, including Cuba, by African slaves.
As for the song, I believe that all the flaws reviewed by Mr. Nixon pale in comparison with the positive vibes I feel when listening to to this bouncy tune, a tune that gets bouncier as the record moves along. Like “Speedoo” by the Cadallacs, this one changes the tempo (unintentionally?) in the second and third verses by speeding them up, compared to the tempo in the first verse. In contrast, “Speedoo” slows the tempo in final verse.
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Tony in NYC said:
That was Gladys doing the lone “Babaloo” at 1:23!!!
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bogart4017 said:
The Marvelettes still in their “teen” phase. Just a few years short of their sophisticated soul era, this is one i always enjoyed even though it wasnt first on the list.
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