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Gordy 7030 (B), March 1964
B-side of Midnight Johnny
(Written by Berry Gordy)
If the mean R&B shuffle of the A-side, Midnight Johnny, had somehow not been a crunching enough change of gears for fans of Liz Lands – a big-haired singer previously best-known for quasi-operatic gospel warbling – then this B-side would probably have muddied the waters even more. (If Liz Lands actually had any fans at the time, of course.)
This is a very pretty piece of piano-led balladry, aiming for the same beauty and power as Liz’ last foray into such territory, the staggering May What He Lived For Live. Motown boss Berry Gordy, who’d co-written that one and was solely responsible for this one, puts all the same ingredients together, right down to the simplistic, repetitive quasi-nursery rhyme structure. Liz and the band – and the Temptations, again pressed into service on backing vocals – get almost all of it right, too – but it’s too late.
Miss Lands’ Motown career was over almost before it had begun once her solitary jump into the forbidden country of the R&B charts turned out to be a dismal commercial flop. A shame, because she’s good here, there’s no denying it. Oh, she still swoops unexpectedly up the scale in a few places (most notably in the dying seconds of the fade out, when out of nowhere she suddenly belts right up to a glass-shattering high C), but the song’s airy, floaty feel absorbs most of the shock – and in any case she makes a real effort here to colour within the lines, staying with a soft, high delivery that has more than a shade of Diana Ross about it.
It’s a pretty, above-average pop ballad, and – compared to the blind avenue of the A-side – an interesting look at a possible Motown future Liz Lands never got to live out.
Instead, Liz had a completely unexpected career after her short time at Hitsville. This was her last Motown release as an artist (though watch this space, as we’re not quite done with her yet) – but she went on to rack up quite a catalogue of singles for various labels in the Sixties and Seventies, at one point ending up as lead singer on a bunch of Bohannon albums (following in the footsteps of fellow sometime Motown signing Carolyn Crawford). Here’s the strange thing: very few of those post-Motown Liz Lands records sound much like the Liz Lands we’ve heard here. Less pretensions to opera, less shrieking all over the register, just a bunch of restrained, slightly growly R&B and disco records. Youtube is quite poorly served in terms of examples, offering up only her sole One-der-ful! release, One Man’s Poison from 1967, and its B-side Don’t Shut Me Out which is more like the opera-ruined stuff we’ve looked at on this site).
But back to Keep Me, which is a nice note to bow out on. Repetitive, sure, almost cloyingly twee in places, but peppered with equally unforgettable moments – the in your loving arms, your loving arms around the one minute mark being my particular favourite, but there are plenty to pick from – and blessed with some excellent bluesy piano pinning the whole thing together.
If we were to disregard the astonishing heights of May What he Lived For Live, which is really a special case in a number of ways, then this would easily be the best record Liz Lands ever cut at Motown. As things stand, well, there are certainly much worse farewells in pop history.
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 “If You Were Mine” |
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Landini said:
The Originals redid this song in 1971. I saw them when they opened for Smokey & the Miracles & they introduced it as their latest single.
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The Nixon Administration said:
(aside) I’m so happy right now – WordPress have just (as of 1am last night UK time) fixed the links at the top of each post, so now they go to where I always logically wanted them to. Now, clicking the “posted in Liz Lands, Writing credit: Berry Gordy” links at the top of every post will take you to the Motown Junkies archive for that particular category. Happy times! Thank you, Jenia, for working on this, it’s really appreciated! (/aside)
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144man said:
Sometimes it’s impossible to divorce your opinions of a record from where you were when you first heard it. In this case it was one of the records being played in EMI House where members of the Tamla-Motown Appreciation Society were waiting to meet Marvin Gaye, who was on a short promotional visit to the UK. (Harvey Fuqua also gave an impromptu performance.)
Consequently, I like both sides of this record a lot, but I agree with your assessment that “Keep Me” is the stronger side.
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Damecia said:
I like this song maybe because her delivery does remind me of Miss Ross. Great sing on her part and excellent on The Temptations. The really make this song especially halfway when they get into their “oooooos.” Eddie really stands out and he sounds real smooth.
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Ben Shulman said:
This song has always reminded me of “To Know Him is to Love Him” by The Teddy Bears. Could it be another attempt by Gordy to recreate that infamous Phil Spector sound.
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Robb Klein said:
There’s a part of the chorus lines in “Keep Me” that resembles the melody in the first line of “To Know Him Is To Love Him”. But that’s all that I can hear. Otherwise, the two songs sound extremely different. “Keep Me”, with The Temptations chorus in the background is very “churchy”. “To Know Him Is To Love Him” is very poppish, sounding a lot like The Fleetwoods. They sound Worlds apart to me. If Berry Gordy wote that to sound like “To know Him Is To Love Him”, I think he failed, miserably. I think Berry wrote it to take advantage of Liz Lands’ wide range capability (especially on the high notes, and also her Gospelish sound.
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