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Tamla T 54098 (A), June 1964
b/w You’re So Fine And Sweet
(Written by Smokey Robinson and Marv Tarplin)
Stateside SS 324 (A), August 1964
b/w You’re So Fine And Sweet
(Released in the UK under license through EMI / Stateside Records)
Since we last caught up with Smokey Robinson and the Miracles on this blog, Marv Tarplin, the Miracles’ legendary guitarist and a largely unheralded songwriting talent, has sadly passed away. Motown Junkies extends its condolences to Marv’s family and friends.
It’s strangely appropriate that we pay tribute to Marv when discussing I Like It Like That, a very different proposition to the Miracles’ previous single, the rather underwhelming (You Can’t Let The Boy Overpower) The Man In You; not only did Mr Tarplin co-write this one, picking up the second Motown single songwriting credit of his career, but I Like It Like That also features Marv’s guitar more prominently than any Miracles record since You’ve Really Got A Hold On Me.
That’s evident right from the start; the record opens with a warm, melodious guitar riff courtesy of Mr Tarplin, the same few notes plucked out over and over, forming a rolling loop that runs throughout the song. For the first few bars, Marv’s left naked, his guitar work left to stand alone – a trick Smokey would remember when he next came to write a new single for the Temptations. Then, Robinson arrives at the same time as the drums – Clap your hands now, everybody / We’re gonna have some fun tonight – and a small crowd starts to whistle and cheer.
That’s right: Smokey the producer makes the interesting decision to reintroduce the faux-live “party” atmosphere featured in the Miracles’ two recent Holland-Dozier-Holland-crafted singles, the so-so Mickey’s Monkey and its superior follow-up I Gotta Dance To Keep From Crying. It has to be said, though, that in spite of the whoops, hollers and cheers that rise and fall throughout, this is far from a party record – or if it is, it’s a different kind of party than the one featured on those HDH-penned singles. This is no raucous hootenanny, it’s more of an after hours “everyone back to mine” affair: collars undone, shoes off, smoke in the air and people sat on window-ledges or lounging around in chairs.
That atmosphere is the most important thing about this record, which might otherwise have come across as too neatly-constructed. After Marv’s guitar, Smokey’s vocals and the drums, new musical elements are added one by one, almost mechanically, every eight bars. When it’s time for James Jamerson’s bass to make an appearance, Smokey hangs a bell on it by Now that the bass man starts to playing / He’s gonna come in right on time, just in case anyone hadn’t spotted the joins as each successive building block was pasted into place. The effect is still good – the driving horns, the bebop piano and the softly supportive backing vocals are all excellent – but it might have all come over as a touch precise, an inadvertent coldness diminishing the effect of Marv’s lovely, melodious guitar figure.
But Smokey wasn’t renowned as Motown’s best writer-producer for nothing. He knows exactly what the song needs: less precision, less clarity, more instinct, more fuzziness. The gentle, almost imperceptible hiss at the start of the record when Marv first starts picking, presumably a tape error that couldn’t be cleaned up, turns out to be a precursor for the rest of the song. To muss things up a little, Smokey not only has a cast of slightly drunken-sounding patrons murmur, whoop and cheer at opportune moments throughout, he confers that same air of mild but friendly intoxication upon the whole record, giving it a shuffling, almost (but not quite) stumbling gait.
Smokey’s narrator is a charming, avuncular host for this late-night gathering, the sort of guy who’ll put his arm round your shoulders after everyone’s had a couple of drinks – enough to lower some barriers – and give you some welcome reassurance before he shows you where the bathroom is.
He gives a meta-textual commentary on proceedings, including the band’s performance – the “that” he likes in the title begins as a mark of approval towards the record itself – but his words are never really about what’s happening at the party, instead using the evening’s events as a jumping-off point for a more general reflection on romance. His repeated insistence that Everything’s gonna be alright… Everything’s gonna work out fine is an early clue – he’s not talking about Marv’s fingerwork or the partygoers’ dancing. By the time of the final verse, he’s telling a personal story:
Now I know why my mama
Taught me to be true
She must have known one day
That you would come my way
And I would fall in love with you…
…and suddenly the narrator is Smokey, and he’s singing directly to Claudette, and everyone at this party smiles kindly as the host kisses his wife and tells us not to worry, we’ll all find the same happiness soon enough if we haven’t already. Cheers, Smokey. Can I borrow this book?
Not even the most die-hard Miracles fan would say this was the big-ticket hit single to return them to the top, but it’s a lovely, warm-hearted record, impossible to dislike, and it was a deserved if relatively small hit. Perhaps most importantly, it helped in bringing Smokey Robinson the songwriter – who’d been giving his best work of late to other people while neglecting his own group – back towards his best with the Miracles. All it took was a spark from Marv Tarplin.
A minor work in the Miracles canon, for sure, but a really enjoyable one all the same. You don’t have to aim for the stars every time; it’s sometimes enough just to have some friends round, have a few drinks, shoot the breeze, and enjoy the evening.
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 Smokey Robinson & the Miracles? Click for more.)
Marvin Gaye “If My Heart Could Sing” |
The Miracles “You’re So Fine And Sweet” |
DISCOVERING MOTOWN |
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Motown Junkies presents the finest Motown cuts, big hits and hard to find classics. Listen to all past episodes here. |
The Nixon Administration said:
I didn’t win at the Wales Blog Awards, incidentally. If anyone was wondering.
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Landini said:
What? This is an outrage!!! The voting must have been rigged. Mr Nixon of course you know we are all behind you sir!!!
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Michael said:
I can only say what a great injustice. This is definately the best, so much wonderful information you provide, so well written. Next year!
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Dave L said:
Yes, they’ll be other awards, this blog isn’t finished yet but when it is, at the rate it’s going, it is sure to prove to be one of the most informative and entertaining uses of the Internet since its invention.
I agree with the mark for this lighthearted outing. It was and still is a warm and inviting Miracles record.
My condolences also to Tarplin’s loved one. Marvin Tarplin, Nicholas Ashford, Esther Gordy Edwards, Gladys Horton, and they’re just from the start of this year. We have to face that some sad goodbyes to come will happen before the completion of this blog. Our stars and their fans are all mortal… 😦
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John Plant said:
A lovely column, fully worthy of this delightful song. Bravo! And this IS the best (and most addictive) blog I’ve ever encountered. Along with that of classical composer Nico Muhly – the only ones I feel impelled to return to. Almost as compulsive and tantalizing as waiting for the next Temptations or Miracles single back in the 60s!!
And a particularly pleasurable way of reliving that excitement, and re-experiencing that sense of discovery. Smokey’s Facebook page, by the way, has a link to his touching Roliing Stone tribute to his collaborator and friend – to whom we all owe a huge debt. Thank you, Marvin Tarplin!
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The Nixon Administration said:
Thanks indeed. And thank you, John, for the kind words – I always hoped that’s the sort of thing people would take from this project.
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mndean said:
This is one very charming laid-back dance tune that struck me as mildly influenced by The Impressions’ “It’s All Right”. It rates high on my Miracles list and is one that IMO is less of an answer/followup of those HDH Miracles dance songs than the later unfortunate “Come On Do The Jerk”. A wonderful review and nice mini-tribute to Marv Tarplin (whose passing I sadly was unaware of). Thanks, NIxon!
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Landini said:
So sorry about Mr. Tarplin’s passing. I didn’t know about it myself. When people make those greatest guitarist lists that invariably include Hendrix & Clapton they need to include Marv Tarplin & Ernie Isley for that matter!!!
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144man said:
If I wanted to describe the classic Motown sound, or even this blog, I could probably do no better than the couplet:
“That’s where it’s at
And I like it like that”.
Great guitar work. RIP Marv Tarplin.
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Topkat said:
CONGRATS to the Mighty MIRACLES for FINALLY GETTING INDUCTED INTO THE ROCK AND ROLL HALL OF FAME (2012) !!! Finally they get it right !! Kudos to BOBBY ROGERS , PETE MOORE, CLAUDETTE ROBINSON, SMOKEY ROBINSON, and to the memories of RONNIE WHITE and MARV TARPLIN.
“OTHER GROUPS may be COOL…BUT, THE MIRACLES RULE !!”
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MotownFan1962 said:
The Miracles do more than rule; they are superior in every way to modern-day groups, and one of Motown’s (and the world’s) greatest groups!
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Topkat said:
I agree about The Miracles….and HERE’S THE PROOF !!!
****MOTOWN GROUPS with songs in the GRAMMY HALL OF FAME:****
THE MIRACLES: FOUR.
1.Shop Around
2.The Tears Of A Clown
3.The Tracks Of My Tears
4.You’ve Really Got A Hold On Me
THE SUPREMES: THREE.
1.Stop In The Name Of Love
2.Where Did Our Love Go
3.You Keep Me Hanging On
THE TEMPTATIONS: TWO.
1.My Girl
2.Papa Was A Rolling Stone
THE FOUR TOPS: ONE.
1.Reach Out I’ll Be There
MARTHA & THE VANDELLAS: ONE
1.Dancing In The Street
GLADYS KNIGHT & THE PIPS: ONE
1.Midnight Train To Georgia*
THE JACKSON FIVE:ONE
1. I Want You Back
*Recorded after the group left the Motown label.
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Kevin Moore said:
Now that I’m finally hearing all these classics in chronological order, I’m leaning towards agreeing with your conclusion, but I’m less convinced by your Hall of Fame argument to support that conclusion. To keep the Hall o’ Fame voters honest, there are some rather conspicuous omissions in that list. Where’s Heat Wave? Ain’t No Mountain High Enough? Bernadette? What Does it Take?
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Landini said:
I gotta say that this song doesn’t do too much for me. I mean it’s kind of fun but wouldn’t be a desert island disc or anything. Of course, Smokey on a slightly off day is better than most artists on their best one!
FYI – I have a Bobby Vee album where he re-does this. It isn’t bad. That whole Vee album has a kind of light blue-eyed soul feel & is enjoyable.
By the way, we haven’t gotten to “That’s What Love is Made of” yet have we? I always thought these 2 songs sounded kind of similar.
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Landini said:
I just remembered that Mitch Ryder did a version of this one on his albums. He did a pretty good job on it. Of course, when I saw the title listed on Ryder’s album I was expecting the Chris Kenner song of the same name.
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Abbott Cooper said:
Just listened to the 2 versions you noted, and as for the one by the late Bobby Vee (we’ve lost so many good ones on 2016), I must say that I like it like that. The part where the bass man comes in is terrific. I never knew Bobby had it in him. A fine recording. As for the Mitch Ryder version I am guessing it’s the live, or pseudo live, performance. It wasn’t bad either, but Bobby Vee’s—WOW! Another reason to remember and miss him.
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Abbott Cooper said:
Forgot to say thanks, Landini for the heads up.
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Topkat said:
*****FLASH*****
THE MIRACLES will FINALLY BE INDUCTED INTO THE ROCK AND ROLL HALL OF FAME.
The announcement was made on Feb/09/2012, and the induction will occur on April 14th 2012
Group members to be inducted will be MARV TARPLIN, CLAUDETTE ROBINSON, PETE MOORE, BOBBY ROGERS, and RONNIE WHITE. TARPLIN and WHITE will be inducted posthumously. Their induction will be added to that of Miracles’ lead singer SMOKEY ROBINSON.
For more info, check out THE MIRACLES’ Rock and Roll Hall Of Fame site:
http://rockhall.com/inductees/the-miracles/
in addition , JEANNE SORENSEN of THE MIRACLES ORGANIZATION has just created a wonderful tribute site to departed Miracle MARV TARPLIN, which can be viewed HERE:
http://www.marvintarplin.com/index.html
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The Nixon Administration said:
Thanks Topkat – it’s great news. Just FYI, there’s no need to paste this same response on every Miracles article, the site will automatically show a new reply has been posted here for people to see.
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Topkat said:
Here is a YouTube tribute to departed Miracles member MARV TARPLIN, who passed away on 9/30/11…issued by Jeanne Sorensen of The Miracles Organization. Marv will be posthumously inducted with the rest of THE MIRACLES into the ROCK AND ROLL HALL OF FAME ON April 14th 2011
R.I.P. Marv.
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Topkat said:
***MARV TARPLIN of THE MIRACLES-1941-2011***
Marvin “Marv” Tarplin (June 13, 1941 – September 30, 2011) was an American guitarist and songwriter, best known as the guitarist for The Miracles from the 1950s through the early 1970s. He was one of the group’s original members and co-wrote several of their biggest hits, including the 2007 Grammy Hall Of Fame inducted “The Tracks of My Tears”. He is also a winner of the BMI Songwriter’s Award, and the ASCAP Award Of Merit.
http://en.wikipedia.org/wiki/Marv_Tarplin
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Topkat said:
http://rockhall.com/inductees/the-miracles/bio/
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Topkat said:
Condolences to Marv’s three Daughters: Talese, Eboney, and Lisa.
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I LOVE THE SUPREMES AND TEMPTATONS said:
Ok so i’m late…but this song is a underrated classic.The first time I heard it was actually last yr and I been hooked ever since…It just has as another reviewer said this laid back feel to it but still has this fun party vibe..that makes you wanna clap and dance
I have to say i’m glad this song didn’t get overplayed like their other songs(tears of a clown)
great song
8/10
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bogart4017 said:
There was more than one take issued apparently. The version of “I Like It Like That” that appears on the “Anthology” is a different vocal performance from the single that was issued in 1964. It fell between the cracks because it wasnt issued on any Lp unless its on “Greatest Hits From The Beginning” (I’m too lazy to check). By the time the next studio Lp was issued we were already into 1965.
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Landini said:
i am almost certain that this song is on “Greatest Hits from the Beginning”. I very foolishly got rid of a bunch of vinyl years ago & so now someone else is enjoying (I hope) that album. Oh well. I am enjoying your comments.
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bogart4017 said:
Thanx! i was hoping someone would. See i’ve only been on here for about three weeks so i’ve got a lot of catching up to do
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The Nixon Administration said:
Well I’m glad you’re here and I’ve been enjoying reading your opinions. Welcome.
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Kevin Moore said:
First Point: While Marvin Gaye had to choose to be either an R&B artist or a jazz singer, we see here that Smokey didn’t have to settle. “I know why my mama, taught me to be true” is a direct and undoubtedly intentional quote from the 1930s standard “Exactly Like You” (https://youtu.be/3w2BV_gQbMY?t=69). This is a textbook example of McCartney’s “nicking” technique, i.e., consciously referring to an existing hit and making from it a new one of equal or better, but indisputably unique, quality.
Second Point: Noting that I had never heard this song, my first reaction was “how could this be an 8/10, higher than Shop Around, Hitchhike, et al? But upon introspection, I realized that there are two types of motown junkies here: the lucky ones who heard most of these songs when they came out, and those, like myself, who know Hitch Hike, Shop Around, the HDH classics, and the songs covered by the early Beatles, but who are hearing many of the others for the first time in this survey. For a person like me, it’s incredibly difficult to be remotely objective. How can a new song recorded in 1964 compete with a song I’ve heard all my life and associated many emotions with? To test this, I listened to “I Like it Like That” over and over – then came back the next day and listened several more times.
CONCLUSION: I agree with the 8/10!
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