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Motown M 1050 (B), October 1963
B-side of Forget About Me
(Written by Robert Gordy)
Unbelievably, Carolyn Crawford hadn’t long turned fourteen when she cut this. Fourteen. Seriously.
Carolyn had arrived at Motown as a Tip Top Bread contest winner, given an audition just to humour her, but the label quickly became convinced of her worth. She’d cut the A-side, Forget About Me, a song she’d written herself, just a few hours after midnight on her 14th birthday; this B-side was laid down a couple of months later, but the development is nothing short of remarkable.
More restrained vocally than the barrelling, uncontrollable massive chest trauma of the A-side, Carolyn is on excellent form here; the producers (none other than Motown boss Berry Gordy himself, together with his brother Robert, hitherto best-known as awful Motown recording artist Bob Kayli, who wrote this song) take some of the burden away from Carolyn by throwing just about everything else in the studio at the listener.
The 4/4 tempo may be slow and steady rather than frantically excited, but its relentless march (military pun definitely intended) gets right into your head, the drummers hitting the beat (or trying to, anyhow) in a fashion Holland-Dozier-Holland were sure to notice. Otherwise, despite that relatively sedate rhythm, this is just about the noisiest record Motown had released to date; the hiss and crash of cymbals and tambourine flood every channel, the rolling barrage of handclaps pound out that steady beat, the onslaught of what feels like layers upon layers upon LAYERS of horns, the heady mix of backing vocals which barely let up even for a second, female voices enveloping Carolyn and the musicians, male voices heard in the far distance with a cry of “Hey!”… talk about your Wall of Sound, this feels like an actual wall made out of sound, and it’s only Carolyn Crawford keeping it from collapsing in on all of us.
The decision to scale her back – or to encourage her to scale herself back, in the face of stiff competition from what sounds like just about every musician on Motown’s books – works wonders. Dialled down a bit, the emotional intensity of the lyric really comes across, Carolyn delivering a cracking tale of love gone bad.
The extra couple of months’ development in her voice compared to the A-side leave her sounding worldly-wise and heartbroken here, working on some level far removed from the unbearable angst of teenage love; but the story (lamenting her fate in falling for a cad) is a good one and she sells it with total sincerity. When she describes his idea of fun – Collecting poor lonely souls like me, and tearing them apart – we’re in the kind of bleak territory where even country music stars of the era usually feared to tread. It’s remarkable.
Everything about this is far better than it has any right to be, from the ominous, piercing horn riff that runs right through the song to the just-keep-adding-stuff production that somehow balances out. Not for the first time, Motown seem to have chosen the wrong side of a single to plug: an excellent record through and through.
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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| Carolyn Crawford “Forget About Me” |
The Supremes “When The Lovelight Starts Shining Through His Eyes” |
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Motown Junkies 
Tamla Motown UK must have agreed that “Devil In His Heart” was the stronger, as this was the side included in the 1965 Various Artists EP, Hitsville USA.
Much confusion has been caused over the years because the Beatles had recorded a cover of a different song with the same title on their “With the Beatles” album. That song was originally recorded in the US by girl group, the Donays on the Brent label. The lead singer was Yvonne Vernee Allen who eventually replaced Saundra Mallett Edwards in the Elgins. The song was composed by Richard Drapkin, who went on to write “Together We Can Make Such Sweet Music” for Motown.
The confusion was compounded because, by a strange coincidence, the Donays’ single had been released in the UK in 1962 on the Oriole American label.
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Indeed, I was expecting the Beatles song the first time I played this one. I think on balance Carolyn’s is much the stronger of the two, though.
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The Donays’ record has yet another tie-in to Motown. In Spring, 1962, Wilbur Golden, a successful African-American Detroit businessman, wanted to get in on the success Motown was starting to develop. He decided to go directly to the source to staff his new operation. He made a tentative deal with Mickey Stevenson to “jump ship” from Motown, to his new record company, and operate as his A & R man, and, basically, run the operation. Mickey convinced some of his colleagues, including Robert Bateman and the rest of The Satintones, and also Popcorn Wylie to come over to his new, Correc-Tone Records. Before they started up, Stevenson had second thoughts (probably a raise in salary from Berry Gordy as well as an expansion of duties and title as “Chief A & R Man”-placing him as #2 man in Motown’s recording operations-ahead of Brian Holland). Stevenson stayed at Motown. But, it was too late for the others, who had quit Motown, and, apparently, Gordy didn’t want to offer them guaranteed salaries (high enough to compete with Golden’s offer). Golden then made Robert Bateman head of Correc-Tone’s music operations. He and Wiley were producers. Sonny Sanders was an assistant producer, and helped in arrangements. With Bateman and Sanders working in production, The remaining Satintones reformed as The Pyramids, and Vernon Williams became the new lead. Sammy Mack also remained, and two new members were added. Golden also hired piano player, Willie Harbert, as an arranger and session player. Herman Griffin (also moving over from Motown), William Weatherspoon, Don Juan Mancha, were producer songwriters. Ron Davis, Louise Thrasher, and Janie Bradford (moonlighting from Motown under the name Nikki Todd) were major songwriters. Correc-Tone operated from early 1962-1966, producing Motown-like music, played by moonlighting Motown musicians, just as did Don Davis and Robert Coleman’s Thelma Records, Ed Wingate’s Golden World/Ric Tic records, and Don Davis and Lebaron Taylor’s Solid Hitbound Productions (Revilot/Groovesville/Solid Hit Records).
But, back to the main thread: Popcorn Wylie brought in The Donays to record Richie Drapkin’s song. Wylie produced and arranged it. It was a Correc-Tone production. But, Golden, at that time, was short of cash needed to press up the records. So, he leased those masters, along with those of Marva Josie and Laura Johnson, to Brent/Time Records in New York.
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Hey Pal, I think I recall seeing Drapkin’s name on some later Motown releases as composer. Would that be correct? By the way, friend, I’m just curious. I think you said you worked for Motown. What did you do there? That must have been fascinating. If for any privacy reasons you are keeping that info under wraps I completely understand. My only “connection” to anyone involved with Motown is that I know people who know Frank Wilson (in non-music circles). Oh yeah, I don’t know if this really counts… When I was 10 in 1969, I was in a line of kids who got to give Diana Ross our names (long story-details are boring). Cheers!
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I was a consultant at Motown on their various vault release projects throughout most of the 1970s. I worked with Tom DePierro on “From The Vaults” project, which, originally, was supposed to release up to 10 LPs of previously unreleased Motown Vault material (such as is currently being released on CD as “Cellarful of Motown” and “Motown Treasures”). Unfortunately, sales of the first release of “From The Vaults” on Motown’s budget label, Natural Resources, in 1979, were so poor, that the whole project was dumped. It had also suffered many delays from 1974-1979. In 1982 and 1984 a couple other Vault LPs were released, using songs we had originally scheduled, and also many of those songs we had selected were released on The Motown 25th Anniversary albums. Currently, I am a consultant to Ace/Kent on their R&B and Soul oldies release projects. I was also co-owner of Airwave/Altair Records from 1980-1984. We recorded Freddie Gorman, Carl Bean, Scherrie Payne, Art Posey, Delia Renee, and several ex-Motowners. Even Stevie Wonder played harmonica on one of Freddie Gorman’s cuts.
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Cool! I think it is a shame that Miss Payne didn’t have more commercial success. She could sing circles around most of the so called singers today. I made a comment earlier about many excellent soul/r&b records not crossing over because they were too soulful. One example though non Motown is this. “Reunited” by Peaches & Herb was a huge hit because it had a lot of pop appeal. The followup “My Pledge of Love” didn’t do as well though I like it more. To me it had a more soulful sound which hurt it’s pop appeal. What do you think?
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You are probably right. I suspect that music that sounded “Too Black” wouldn’t do well in the Pop market.
But I have no idea about the Pop market or Top 40 stations. I never listened to them, and heard very little Pop music. I listened to the radio from about 1952-1969 or so, not all that much after 1966. I ALWAYS listened only to “Race Music” stations (R&B/BluesJazz?Gospel) programmes only on stations before the “Black music stations), and then only Black music stations after they came in (WGES, WVON in Chicago), KGFJ in L.A. and KDIA in San Francisco. It’s hard for me to understand why hits made it on the Pop stations. A lot of Black group and duet novelty songs made it, and really beautiful songs didn’t. I have met a lot of so called “normal” Caucasians in USA over the years, who wouldn’t listen to music if it sounded “too Black”. I once told a guy I knew in high school that The Crests were a mixed Black and White group (I think they had an Italian lead (Johnny Maestro) and three African-Americans at the time. When I told him that, he told me he didn’t know that, and had he known it, “Sixteen Candles” would not have become his favourite song.
USA is STILL quite racist, but not nearly as bad as it was in the ’40s, ’50s and ’60s. Being a Canadian (and also having lived half of my life(mostly half to 2/3 of most years), I have a different view of things from that of most Americans.
When I first visited USA near the beginning of the 1950s there were signs on Indiana beaches that stated “No Nig_ _ _ _ or Jews” allowed on this beach”. So, I was not allowed on an American beach. That reminds me of the signs in Nazi-occupied Europe: “No dogs or Jews allowed”.
Based on your posting times, I’m guessing that you are an American (we have mostly Brits posting on this site, so far). So, I hope I haven’t offended you in calling USA a racist country.
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Hey my buddy. No offense whatsoever taken. As you might have surmised I am white and have loved soul music most of my life. I started buying records at the age of 9. I remember listening to records with one of my fourth grade buddies who looked thru my collection and said “why do you buy records by Negroes?”. Also remember some of my brothers friends coming over and laughing at my record collection. I grew up outside of Wash DC and listened to Top 40 but would sometimes listen to the soul stations. Not to brag but I know more about soul music than some of my black buddies. Peace.
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Thank you sir
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Hey Robb,
You mentioned The Crests awhile back. I saw one of those PBS Doo Wop shows on TV ;last weekend. They showed an old clip of Johnny Maestro performng with them & yes there were 3 black guys backing him up. They were singing “Step by Step”. I guess it was from some old TV show or something. I figure that back then a white guy singing with black guys on TV would have caused a national incident or something! By the way, I heard that Johnny M died awhile back. Sad.
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I forgot to answer your question about Richie Drapkin. As far as I know, he wasn’t a Motown writer (per sé). I can only remember his name on one song Motown released, later, in the ’60s, by a couple of artists/groups. That was “Together We Can Make Such Sweet Music”, which was released on The Spinners (VIP), and, I believe that The Monitors also recorded it. But, it was written for Joe Towns (who had the original release), on Detroit’s Top Dog Records, one of Artie Fields’ labels. Can you remember any more songs he wrote recorded by Motown artists?
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According to my singles database, the Rustix’ “We All End Up In Boxes” was one of his, too, but this isn’t mentioned on his BMI writer page. Anyone recognise any of those other titles?
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Hey Fellas
I must have been thinking about “Together…” when I was thinking about R Drapkin. I love the Supremes version on “New Ways but…”. The Supremes also did a version with the 4 Tops. Spinners version is also nice. Thanks guys!
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I recognise a few of those songs as songs he wrote for artists on small, independent Detroit labels before The Donays, but didn’t notice any that were used by Motown artists.
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Hi Robb,
This is unrelated to this post, but if you speak with your friend, Bob Pruter, would you please tell him how much I enjoyed his Chicago Soul book? A few years ago I gave it a good review on Amazon.
Also, I am very sorry for the racism you encountered in the US per your earlier post.
Isn’t it great how things like music can bring people together?
Peace!
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I will tell him. It’s a great book. One of the very best about Soul music. He also has written an excellent book about Chicago ’50s R&B music. I recommend it highly.
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That last post was me.
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There was a good chapter in Chicago Soul about Soul Radio in the 50s-60s. It would be great if someone would write an entire book about Soul Radio (50s-70s) – maybe include some Top 30 lists from various stations, etc. I personally would enjoy a book like that.
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I’d love that, too. But I know only about Soul radio where I lived WVON in Chicago(’63-’72), KGFJ in L.A.(’65-70), KDIA in San Francisco(65-72), KSOUL in Oakland(65-72), XERB on the San Diego/Mexican border (1966-72)”The Soul Show” Radio Nederland 3 in Hilversum, The Netherlands(’70s), and a little about Soul radio in Detroit(’63-70). I know nothing about Soul radio in The East or The South. I lived in Winnipeg, Seattle/Vancouver a bit, but there were no Soul stations in those places. I do know that WDIA in Memphis was a sister station to KDIA, and so, may have had a similar format or even play lists or recorded shows. But, in the ’60s, I think most, if not all, shows were live.
I do remember DJs bouncing from station to station. Magnificent Montague was with me in Chicago, was also in New York, and followed me out to L.A. I moved to The Netherlands in 1972, but really stopped listening regularly to radio in 1967, when Funk started creeping in. By 1970, I wasn’t really listening to radio, anymore-just buying records.
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This is my favorite song of Carolyn Crawford’s. I wonder if anyone’s noticed the different sound of this track. I am not sure if Benny Benjamin is the drummer here. The style doesn’t seem to be quite him, but possibly. It sounds as though they got a local high school marching band drummer to come in and record at the Greystone Ballroom. But if you have access to two other songs recorded about the same time as this track, take a close listen and you’ll find the songs sound very similar, especially the drums. This song was the last one of these recorded having been recorded September 18, 1963. The other two, “Bye Baby” by the Supremes and “Monkey (Hoky Poky)” by the Velvelettes, were recorded on the same day at the Greystone Ballroom, September 10, 1963. These three songs sound alike and not like anything recorded in Studio A.
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This has got to be one of the best Motown songs ever!!! Carolyn is great (even better than Diana Ross), The Andantes are great, the Funk Brothers are great; EVERYTHING is great about this record! I’d give it 11 out of 10 (if you’ll allow me to).
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A small question. A 14-year-old in a record session after midnight? Wasnt school in session the next day. Were child labor laws nonexistent in 1963
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I think school was out for summer at the time, or not far from it – the famous midnight session would have been towards the end of July 1963.
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School certainly would have been out in Detroit ANY time in July of ANY year.
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Really? In Britain, school only generally breaks up during the final week or so of July, and the kids are normally back again by the first week of September. The more you know, etc.
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Back in the late 1940s, 1950s and 1960s in Canada, we had 12 weeks (3 months-June through August) off. It was the same in USA at that time (but started one week later, and ended on week later). During summers my family always visited our family in The Netherlands. School vacations their lasted only 6 weeks (similar to Britain), so, I joined my cousins in school there for 6 weeks each year. I find it hard to believe Motown put Carolyn through a midnight session even if it was during summer. Her parents wouldn’t have liked that, just as they didn’t want her to go out on tour at that young age.
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Hey Robb – Since you’re actively posting, do you know what’s up with the continuation of the series? It seems to have stalled out almost 6 months ago.
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Hi Kevin
I’ve replied to you several times on various posts, but I’m guessing you either haven’t seen them or didn’t realise it was me. So, um, hi. I’m Nixon, and this is my blog. The site’s been on a sort of hold for a little while now because work and life have just completely swamped me (though oddly enough the viewing figures are still pretty much as good as ever), but I’m planning to get posting again before Christmas and carry on through to 1988! There have only been 2 or 3 entries in 2015; it will just be our lost year… there are quite a few almost-finished draft entries which will be polished & posted over the holiday period.
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Fantastic! I’ve been navigating by looking at the “recent comments” list. So if you’re Nixon, but not Paul Nixon, then who’s Stevie D? In any case, I’ll be checking daily for your next masterpiece!
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To me, this one sounds like 1,000 other songs I’ve listened to through the years, with nothing to distinguish itself from the other 999. This is the first time I am recommending a score that is below a Nixon rating, but it is a “4” in my book and, indecipherable lyrics notwithstanding, well below my mark for the A-side.
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