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Tamla T 54098 (B), June 1964
B-side of I Like It Like That
(Written by Smokey Robinson, Donald Whited, Ronnie White, Pete Moore, Marv Tarplin and Bobby Rogers)
Stateside SS 324 (B), August 1964
B-side of I Like It Like That
(Released in the UK under license through EMI / Stateside Records)
Rather a different kettle of fish from the slinky, soft-shuffling A-side I Like It Like That, which actually is “fine and sweet”. Instead, this one is a straightforward, pounding uptempo dancer – and for the first time on any Miracles single going back to the Fifties, the lead vocalist isn’t Smokey Robinson.
It’s hard to believe a lot of thought went into this one; recorded the same day as the A-side, but not subjected to the repeated overdubs that Smokey lavished on I Like It Like That, You’re So Fine And Sweet comes across more like an afterthought than anything else.
Check out the writing credits for this one on the label up there: “Miracles-Marv-Spike”. Which is to say: every singer in the Miracles (with the apparent notable exception of Claudette, who doesn’t appear in the expanded credits featured in The Complete Motown Singles: Volume 4), plus their legendary guitarist Marv Tarplin, and their sometime drummer Donald “Spike” Whited. Everyone in the room. Coupled with the sound of the thing, which is as carefree, careless and energetic as the increasingly-polished Miracles ever got these days, it’s very tempting to think of this as the product of an extended jam session, the group letting their hair down after a hard day working on I Like It Like That by cobbling together a semi-improvised rock-out.
(Which isn’t to say that as if it were a bad thing – it’s often good to have a bit of spontaneity, some spark of energy – but it doesn’t really sound much like the Miracles any more. In fact, what it really sounds like, to me anyway, is the Contours.)
The Miracles had recorded a few cuts with people who weren’t Smokey Robinson singing lead – there are a whole bunch of them on the group’s 1962 LP I’ll Try Something New – but while Bobby Rogers, who takes the lead on this, does a decent enough job here, these Robinson-less cuts are the best available reminder of how much Smokey the vocalist brought to the Miracles, quite apart from his songwriting and production duties.
Bobby’s deep, slightly rough-edged delivery is a world away from Smokey’s high, tender singing voice, and the lead gives the record a more raucous, almost bluesy flavour compared to the stylistically-similar likes of Mickey’s Monkey, for instance. That flavour permeates the whole track – the blistering gutbucket horns and belting drums are the best part of this, rather than anything the Miracles themselves do. Bobby’s vocal eschews the smoothness, the beauty of Smokey’s contributions – yes, even on stuff like Mickey’s Monkey – for a grittier, harder-edged sound, but it ends up pushing all the Miracles’ usual best points (like the group’s wonderful harmonies, say, or Smokey’s clever, intricate lyrics, or the inexpressible wit in the timing and phrasing of the backing vocals) to the back to make room for all the energy that’s crackling around the place. Even Marv’s deftly-plucked guitar – which makes a prominent early appearance right at the start, displaying the same richness of tone as on the A-side – ends up getting absorbed into the background compared to the drums and horns.
For all of that, it’s not by any means a bad record. As a throwaway attempt by the Miracles to try their hand at making a loud and hearty dance record, it’s arguably more successful than some of their more considered attempts. But it’s got its sights set pretty low, and it’s almost defiantly dumb. Would I rate this higher if it actually were by the Contours, or the early Temptations? I don’t think so – it’s just not that strong a song.
For a start, the lyrics are completely forgettable (in the truest sense of the word, i.e. I have forgotten them, apart from the lines Neat neat neat neat / From your head down to your feet / Charm charm charm charm / Like to hold you in my arms, and the great first line which rhymes Fine and dandy with Sweeter than candy and so fine with cherry wine… which gives you a good picture of what we’re dealing with here, I suppose.) The tune is pretty generic, driven along almost entirely by Whited’s kicking drumbeat and those horns (the Funk Brothers letting off steam), rather than anything I suspect was actually written on the charts. If there actually were charts for this thing.
Plenty of fun as far as it goes, but that only really lasts for as long as it’s playing – you wouldn’t dig it out on purpose for repeated listening, and it fades from the memory literally ten seconds after it’s done. Still, it is fun, and as an example of the Miracles’ little-seen raucous side, it makes a welcome little change of pace. I just rather hope they don’t do this again.
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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The Miracles “I Like It Like That” |
The Marvelettes “You’re My Remedy” |
DISCOVERING MOTOWN |
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The Nixon Administration said:
This was a tough one to grade – and as is often the case when I’m dithering over a mark, that “4” feels at once too harsh and too generous. It’s made me smile a few times, but I can’t in good conscience give it a higher mark.
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Dave L said:
Claudette, who contributed greatly to the accompanying booklet to the group’s 35th Anniversary CD set says there was never any slighted feelings about Smokey as the lead singer, and “we were all very proud of his voice.” But Smokey is an extremely generous man too, not only in assigning co-song writing credit, but trying out other voices.
More than one Motown book refers to Smokey’s sense of “sleeping giants” in different singing groups, and that’s what got him writing with Wanda Young and David Ruffin in mind, and great results are just around the corner 🙂
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Ed Pauli said:
The Picture Sleeve is the same from the Fabulous Miracles LP–the one issued when Pete Moore was in the Army—was he still soldiering by this time?? –if not why did Motown use this two year old photo??
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Dave L said:
To save money. The “Baby Love” sleeve uses the picture from the Where Did Our Love Go album, “Back In My Arms Again” & “Nothing But Heartaches” use More Hits By The Supremes, “You Can’t Hurry Love” uses the I Hear A Symphony cover, “Beauty Is Only Skin Deep” uses a color version of the liner photo from Gettin’ Ready. For the sleeves of Mary Wells’ “I Don’t Want To Take A Chance,” “Strange Love” and “The One Who Really Loves You” the identical photo was used every time.
I’ve read that the Supremes are wearing exactly the same tops on the covers of the (revised) Meet The Supremes, Where Did Our Love Go and Sing Country Western & Pop, with simply different colored spotlights shining on them. I’m convinced also that the necklaces The Supremes wear on the “Your Heart Belongs To Me” sleeve I’ve also seen on The Marvelettes.
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benjaminblue said:
And “Stop! In The Name Of Love” used the new Meet The Supremes cover photo.
I, too, have heard that the outfits were the same and just the lighting was changed — but when the group re-situated themselves for The Meet The Supremes photo, Florence seems to have changed her wig; the bangs shown on the other photos are no longer down to her eyebrows, and the wig on the other photos looks too stiff to have allowed her to simply brush the bangs off her forehead.
The green and blue impressions are superb and became the first high-quality, high-gloss covers on Motown albums; earlier Motown covers, except for the ‘glamour’ shot on the Mary Wells’ My Guy album, seemed chintzy and cheap, for the most part, often showing just simplistic cartoon drawings that did little to enhance Motown’s image as a wanna-be major player.
The yellow version is the least flattering photo, but it probably created a synergy and increased album sales since it was so reminiscent of the Where Did Our Love Go pose.
As for the necklaces on the Your Heart Belongs To Me cover, Diana’s is a three-strand, while Mary and Florence’s are two-strands, which is rather curious. The Marvelettes seem to be wearing similar necklaces with either two-strand or one-strand sets of beads in several small, grainy photos I’ve seen. Since most of the photos are in black-and-white and not terribly clear, it is difficult to say if they are the same necklaces. Since Diana was so style-conscious, though, it seems unlikely that she would have agreed to wear something the less-chic Marvelettes might wear.
Did Motown use the same photographer and stylists (in-house or in the neighborhood) for all its early promotional photos?
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tricky59 said:
Well, you encouraged it. As the old saying goes, yer pays yer money and takes yer choice. I paid my money when this came out in ’64, 6s 8d, and preferred this to the more languid A side. A real good foot stomper.
It’s the overall effect which works for me, don’t over complicate things with so much attention to detail that does not matter.
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144man said:
There’s a previously unreleased (and I think superior) version of this cut in 1966 by the Monitors which can be found on their Kent CD – “Say You! The Motown Anthology 1963-1968”.
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bogart4017 said:
Caqn’t argue a 4 on this one. Bobby was always considered the comedian in the group so it makes sense to have him deliver a lyric fo ridiculous that the average singer would fall out laughing.
I remember hearing it back in 64 and thinking that some was “off” in the way the band came in together, you know. Kinda like the Kingsmen recorded it. Okay i think we have a new genre—garage soul.
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Topkat said:
NAHH !!! you guys are all wrong. This song ROCKS …and Bobby TEARS IT UP !!!
A SOLID “7” . EASILY.
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nafalmat said:
Absolutely, it rocks like crazy, and the guy on the saxophone is bloody amazing. I’ll bid one higher and go 8.
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Abbott Cooper said:
Agreed. Who says every song has to sound like Smokey? I really enjoy the marked contrast between the 2 sides.. I have to believe a fella called Nixon would have despised the Drifters’ B-sides. I, too, give it an “8.”
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Robb Klein said:
This songs sounds pretty good. I think 4 is a bit harsh. I’d give it “5.5”, 6 on a good day, – 5 on a bad.
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