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Tamla T 54097 (A), June 1964
b/w A Little Bit Of Sympathy, A Little Bit Of Love
(Written by Smokey Robinson)
Stateside SS 334 (A), September 1964
b/w A Little Bit Of Sympathy, A Little Bit Of Love
(Released in the UK under license through EMI / Stateside Records)
A first single in six long months for the Marvelettes, once Motown’s premier girl group but now struggling for both direction and hits. The main thing working in the girls’ favour as 1964 progressed was that Smokey Robinson was now firmly in their corner – this was Smokey’s third straight single as writer and producer for the group – but neither of the last two (As Long As I Know He’s Mine and He’s A Good Guy (Yes He Is)) had achieved much in the way of either sales or critical reception. Listening to them side-by-side with this new effort, it’s clearer than ever that Smokey didn’t really know where he was going with the Marvelettes project.
It’s widely claimed that the Marvelettes never really developed a unique identity, and that – coupled with their lack of a confirmed “focal point” lead singer – this led to them spending most of the mid to late Sixties as Motown also-rans, occasionally troubling the higher reaches of the charts but never again scaling them with a bona fide, all-over-the-radio hit single. I’ve never wholly gone along with that theory; for a start, the Marvelettes had some particular readily-identifiable traits, most notably the use of complex interlocking vocal lines with the lead singer and backing vocalists swapping back and forth (something successive writers and producers made use of), and two great lead singers – plus, it’s hardly as though Motown ever threw their promotional weight behind the group as with some of their labelmates, and so the girls weren’t marketed anywhere near as aggressively as some other Motown acts. But I can see what people mean when they say stuff like that; after 1962, the Marvelettes were never forgotten, but they were never stars.
A few days ago, when I sat down with You’re My Remedy, something suddenly struck me. This is probably obvious to most of you, but it had honestly never occurred to me before, and now it seems like one of those “well, duh” moments. Are you ready? Here goes: …the Marvelettes were the female equivalent of the Temptations.
I don’t know why I’d never thought of that before. Motown’s marketing machine always tried to equate the Tempts with the Supremes, resulting in a string of stodgy LPs at the end of the decade; Motown’s producers preferred (quite correctly) to compare the post-Diana Supremes with the Four Tops, resulting in a string of considerably better LPs at the start of the following decade. But if that’s the case, what of the Temptations? A slightly rough-edged, sometimes shambolic, sometimes angelic five-piece with no properly defined lead singer, equally adept at uptempo stormers and thoughtful, personal ballads, occasionally prone to nasty vocal clashes but capable of remarkable sweetness when they did get into the groove? Where have we heard that before?
But the Marvelettes had had the misfortune to peak, commercially if not creatively, in 1961 with their very first single, before they’d had a chance to struggle and develop together. Their status as Motown’s first Number One pop act was enough, for a time, to blind both the group and their label to the increasingly poor sales figures, the gradual but ever more noticeable tailing-off of numbers at Marvelettes shows, the reviews getting steadily less glowing. Almost three years since Please Mr Postman, their career was on an irreversible downswing, having never received the equivalent of a shot in the arm like The Way You Do The Things You Do.
(Though not for want of trying – Motown had paired them with the hotshot Holland-Dozier-Holland team, only for the partnership to turn sour, the group perhaps understandably miffed at being given the so-so Locking Up My Heart by the trio the same week that HDH turned in the considerably better, and better-received, Come And Get These Memories for Martha and the Vandellas. Then, for reasons never satisfactorily explained to this day, Motown rejected another mooted HDH/Marvelettes single, the rousing, brilliant Knock On My Door. Even when Smokey arrived (and started giving the group what surely must be considered second-rate material by both his and their standards), HDH still tried to keep their hand in, and wrote them a song called Where Did Our Love Go, which – in a superlative stroke of self-destructive face-spiting, though they weren’t to know it at the time – the Marvelettes rather haughtily turned down due to its poor quality, essentially demanding HDH either take the job seriously and provide them with better songs or stop wasting their time. D’oh, etc.)
This one starts out in most unpromising fashion, a clunky, unlovely piano riff strongly reminiscent of the similarly unvarnished As Long As I Know He’s Mine, altogether too heavy and ugly for a group capable of such delightful magic. Then a harsh, strident Wanda Young – who Smokey was using on more and more Marvelettes cuts as lead singer in place of Gladys Horton – appears, and barks out the first couplets in blaring, charmless fashion:
Don’t you give me no headache powders
They don’t do no good for me-e-e
There’s nothing I can take when my head starts to ache
‘Cos you’re my remedy, oh baby…
…and I’m thinking, ychh, what is this? It sounds as shoddy and unfinished as As Long As I Know He’s Mine ever did, and the tune doesn’t sound as strong, and the lyrical metaphor (boyfriend is better than any medicine) isn’t promising. It’s not horrible, but it’s a mess, and what’s worse it’s not even an original mess – it’s a retread of an earlier, more interesting mess. This review’s likely to end in a big orange number, isn’t it?
But wait! Hold the phone, Marvelettes fans! Here comes a gallant cavalry charge of horns, a bevy of handclaps, a sea of well-judged call-and-response backing vocals, a proper groove… This group really are the female Temptations!
I can’t remember a turnaround like this, not from a big-ticket single by a top Motown act. The chorus, swept along by those horns, is reminiscent of a harder-edged Miracles record (i.e. exactly the sort of thing the Temptations would use throughout the next two years to earn everlasting fame), and it’s intoxicating, a dizzying sugar rush, as confident and composed as the verses are clumsy and shaky – it’s as though the chorus is the hit, and the verses are the subsequent crash. But knowing that chorus is always just around the corner:
You’re my remedy!
(You’re my remedy!)
Oh, how you soothe me!
(Oh, how you soothe me!)
You can call my name, and soothe all my pain –
Oh, pretty baby…!
…the subsequent verses, which all have the horns and handclaps and thudding bass backing them up, feel much more accomplished. By the time we get to the first vocal break (Don’t call a doctor / A nurse is worse), which ends with a Muscle Shoals-style barrage of short horn attacks and a piano gliss that someone seems to have ad-libbed just because it felt like a good idea, I’m positively loving this.
The longer the record goes on, the better it gets. The entire final half-minute of the record is made up entirely of that chorus on a seemingly-endless loop, getting louder and more boisterous each time. Smokey and the Funk Brothers throw more and more things into the pot that weren’t there before – coruscating saxophone (with a very Supremes-esque instrumental middle eight), a jangling guitar part Robinson was smart enough to reclaim (to lesser effect) for use on the Miracles’ next single That’s What Love Is Made Of, great towering waves of organ.
Meanwhile the Marvelettes, and especially Wanda, sound like a different group than the one which began proceedings with such trepidation, so confident by the end that Wanda can give an impromptu-sounding shout of “One more time, now!” and drag the band into a well-deserved encore (during which, true to form, they keep on adding new stuff – this time a new counterpoint horn line). If this had been made in 1968, the coda might easily have been dragged out for another couple of minutes, perhaps descending into a series of na-na-na-nas; as it stands, the record runs for almost exactly three minutes, and when it fades out it’s a real disappointment. Or at least it is until you inevitably put it straight back on again, wince at that awkward, stumbling first verse, and then slip right back into the groove.
And yet as good as it is – and it really, really is, eventually at least – I never get the feeling that any of it was intentional, that Smokey knew it would come out sounding anything like this at all. It’s enough to make one retrospectively reappraise As Long As I Know He’s Mine, because that record now sounds like an early demo for this record, as though this was the sound the group, the band and Robinson were all aiming for all along – except I don’t think it was. I think this ended up as a freewheeling experiment that got out of hand with pleasing results, rather than something carefully crafted to come out this way. Stranger still, I don’t get the feeling any great lessons were learned in the making of it; perhaps spooked by the indifference with which the American public greeted this single (only scraping a pop Top 50 place), none of Smokey’s subsequent work with the Marvelettes really sounds anything like this. (Although Ivy Jo Hunter and Mickey Stevenson certainly seem to have liked the sound of Wanda and the girls swimming against a tide of horns and drums).
Not that it matters, really – a pleasing accident is still pleasing, at the end of the day – but it does give this a weird feel that I can’t quite put my finger on. Of course, all this could just be the effect of the disconnect in my mind between the lumpen opening and the storming ending, so perhaps you should ignore what I’m saying and stick the record on again.
Probably the Marvelettes’ best single in two years, even if I’m not sure quite how it managed to be so (and I’m not convinced they did either). If Motown’s first great group were to end up largely isolated from the label’s imminent mid-Sixties Golden Age, it’s still hard to argue with results like these.
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 The Marvelettes? Click for more.)
The Miracles “You’re So Fine And Sweet” |
The Marvelettes “A Little Bit Of Sympathy, A Little Bit Of Love” |
DISCOVERING MOTOWN |
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Dave L said:
This past July 22nd, at 2:55 in the afternoon, in my neck of Virginia USA, we hit a record heat index of 129. Keeping things memorable, on Tuesday Aug. 23rd, we are 55 miles northeast from the strongest east-coast earthquake since WWII, with Hurricane Irene not a week later. The prospect of reliving the summer of ’64 here on Motown Junkies is a lot pleasanter. If I could relive any 10 happy days of my life, one of them must be from my 10-year-old summer.
As kids, we knew nothing about Billboard or chart positions or anything like that. We just knew what we heard on the radio, what we liked and what we bought. And the group I was with that summer snapped up “You’re My Remedy,” –and its gorgeous picture sleeve- every bit as quickly as “Where Did Our Love Go.” It’s wasn’t all Motown, either. The Beatles, the Beach Boys and the 4 Seasons, all added to their own piles of signature hits with, respectively, “A Hard Days Night,” “I Get Around,” and “Rag Doll.” We also loved Millie Small’s “My Boy Lollipop” (none other than Rod Stewart on the harmonica parts), “Under The Boardwalk,” and Bobby Freeman’s “C’mon and Swim.” As I am with “You’re My Remedy,” I’m no less enchanted today with the Dave Clark Five’s in-your-face “Can’t You See That She’s Mine,” and devoted “Because.”
Is Wanda Young the most voluptuous woman ever to sing at Motown? Take at look as some pictures from the very middle 1960s, as she’s just coming to her 20s, and try to change my mind. She sings the same way too, and the work she and Smokey came up with, I don’t rate any less than what Smokey did with Mary Wells and David Ruffin.
On “You’re My Remedy” he has Wanda belting and sassy, and she’s very good, but he’s not done tinkering with his own formula yet. Once he does, and Wanda turns relaxed and breathy, coupled with that Mae West-figure, no red-blooded male of any age could resist. Taking absolutely nothing away from the boundless talent of Gladys Horton, once Smokey makes a cause of Wanda, the sex appeal of The Marvelettes shoots through the stratosphere.
Again, forming my own comments ahead of Nixon’s posting, “You’re My Remedy” is never less than a solid ‘8’ with me.
🙂
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Landini said:
Hey Pal, I think my other comments got messed up. I must have hit a wrong button or something. Forgive me if this is a repeat. Hey, I felt the east coast earthquake too here in Annapolis, MD. So you are in Virginia? I grew up in Fairfax, VA. Am enjoying meeting all my new friends here & reading everyone’s comments. All the best to ya. Enjoy this nice weather today!
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Nick Duretta said:
As often happens with your reviews, I’m reading and totally agreeing, remembering the first time I heard this disc. (It was never a hit in Los Angeles, so I didn’t discover it until I purchased the Marvelettes collection of hits on CD.) I wasn’t encouraged by the first few bars, but ended up falling in love with it by the end. Later I heard Helen Shapiro’s faithful rendition and realized how good a song this was, although Gladys Horton really nails it. As I neared the end of your review, I thought, “I’d give this an 8” and was pleased to see you reached the same conclusion!
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John Plant said:
I won’t quarrel with the 8 for this delightful record, only with your assessment of its opening moments – I love the brash peremptory command ‘Don’t give me no headache powders, they don’t do no good for me….’ For me the rest of the song kicks off logically and delightfully from that point. My pleasure in what you call the ‘lumpen’ aspect of Wanda’s singing probably also accounts for our strong differences as to the value of ‘As Long As I Know He’s Mine’ . You’re My Remedy combines the Marvelettes’ unique kind of sexiness (far more seductive to these ears than the languid purring of Miss Ross) with Smokey’s inimitable kind of logic. This logic could lead him to extremes – two of my favorite examples are in the rejected Miracles song ‘Stuck On You’ – where he invites us to contemplate wallpaper, and then tells his beloved: Soak me, I’ll take a bet/I won’t be free, I’ll just be wet…’ and the other, from the postRoss Supremes, where he tells his beloved that she’s the ‘stopper in life’s tub when I’m going down the drain.’ Nothing as absurd as that here, but I love the splendid confidence with which he moves from the inefficacy of headache powders to the particular futility of calling a nurse… – By the way, Dave’s nostalgic comments above remind me that 1963/1964 were my first real car radio summers, I was looking after my grandparents in their summer house while working in the family hardware warehouse, 20 miles away – so the summers were filled with the songs he mentions, plus ‘How Sweet It Is’ , Chuck Berry’s ‘No particular place to go’ – and my favorite Beach Boys song ever: Don’t Worry Baby, the flip side of I Get Around.- all of these discovered in the seductive early morning hours before breakfast in Elmira’s finest greasy spoon…. – I also recall that the liner notes of The Marvelettes Greatest Hits assured us that ‘You’re My Remedy’ made no. 1 in Singapore!
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Dave L said:
Singapore and the Philippines, I heard. Strange that Asian areas would take to the song so profoundly, but I’m glad for its success. To read much later that it stopped climbing Billboard in the states at No. 48 on August 8 was a shock.
Like our host, the group’s biographer, Marc Taylor, also notes the diminished promotion of the Marvelettes that sets in around this time. By the spring of ’65, it had been two full years since any studio album had been released on the group. Taylor posits that “Remedy,” “Too Many Fish,” and “I’ll Keep Holding On,” (not to mention “As Long As I Know He’s Mine” and “He’s A Good Guy”) were well enough known to form the spine of a contemporary Marvelettes LP “even if all the rest were filler.” And when one imagines “filler” such as “Knock On My Door”(!), that’s lookin’ like a damn good album. Taylor says, by 1965, the Marvelettes were considered “a good live group, with an occasional hit record.”
But Taylor further notes, by then the Supremes had raised the bar much higher and -never mind the black charts- if your record wasn’t the scaling the upper reaches of the Pop chart, the thinking inside Motown was that your record wasn’t a hit, period. That discounts many a little white kid like me, by then thoroughly mesmerized by Motown, Tamla and Gordy labels no matter who was singing what on them.
Nixon, I wish I could send my guardian angel to sit on your shoulder. The task you’ve taken on now seems almost frightening. Coming up with verbal justice for the musical monuments laying straight ahead is a task no one could envy. I hope I don’t babble like an idiot in my own comments. Our eyes are greedy for this reading material, but we’ll try not to rush you. 🙂
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144man said:
As I first heard the Marvelettes’ “You’re My Remedy” on exactly the same day as the Supremes’ “Where Did Our Love Go”, I find it impossible to think of one without the other. To me “You’re My Remedy” is a great song well sung, and stronger than “Where Did Our Love Go” in every department. Yet the Marvelettes ended up as only a minor hit, while the Supremes became an international smash.
I just don’t get it…and I probably never will.
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Kevin Moore said:
For me, the above comment is one of the most fascinating I’ve read on this whole site. I’m obsessed with the psychology of how songs affect a person over time and this provides a perfect test case: 144man, amazingly, heard both songs on the same day, while I heard Where Did Our Love Go many times in the 60s, and off and on again ever since, but I’m hearing You’re My Remedy for the very first time in my life today.
After going back and for between the two songs about ten times, it’s impossible for me to hear Where Did Our Love Go as anything other than a timeless classic. My brain tells me that it uses the same five chords over and over and has no bridge while You’re My Remedy is much more varied, with three distinct sections – all of them good, but none (so far) that stands out to me like the hook “please don’t leave me” from Where Did Our Love Go. My only rational explanation is that the progression accompanying that line, going backwards around the circle of 5ths from V to ii minor, is the most unusual part of either song. Even though You’re My Remedy is about 4 times more varied, nothing in it is as unique or modern sounding as that one harmonic movement. The extreme repetition of an entire track that never departs from a four-bar, five-chord progression SHOULD get very tiring, but it hasn’t. Groovewise, they’re both shuffles and almost the same tempo, but while Remedy’s feel wouldn’t seem out of place in 1960, Where Did Our Love Go has that slick “HDH Shuffle” feel – each beat is still subdivided into thirds, but it drives more than it “shuffles” with everyone right on the leading edge of the beat, while the older groove is more laid back. Can anyone come up with a more concise way to describe this new type of triplet groove? This is about the 10th HDH song so far with this feel. Obviously the piano playing block chords on each beat has a lot to do with it, but there’s more to it than that.
But I don’t trust my brain! Where Did Our Love Go is so intertwined with the emotions, places and memories of my life that I can’t be objective. I have to listen to You’re My Remedy over a period of years and see how my emotional reaction to it grows and changes over time.
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144man said:
Eleven years later and I still haven’t changed my opinion.
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Edward Walczykowski said:
The first Marvelettes song I actually heard on the radio. In NYC. Always loved it. Thought it deserved to be a much bigger hit, certainly top 20, or better.
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Randy Brown said:
Minor quibble: this would probably been a better record overall without the ocean of reverb – it sounds like Robinson somehow used the stairwell echo chamber at Columbia’s NYC studio rather than the one on West Grand. The stereo LP mix, which first appeared in 1966 on “Greatest Hits,” has less echo and sounds cleaner, with many of the elements more audible. Otherwise, I agree that it’s a great song.
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treborij said:
Never saw the picture sleeve on this one before and it’s a nice one. When I got it, it was in the black bicycle Tamla sleeve. Nice record, not great. It’s actually one of my favorite pictures of the group.
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Landini said:
This is a fun song. Does anyone else think it sounds a bit like Elvis’ “Good Luck Charm?”
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144man said:
Yes, there is a similarity; and of course, they had already recorded “Good Luck Charm” on their Marvelettes Sing [Smash Hits of ’62] LP.
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Landini said:
Interesting that in a few years the Marvelettes would re-visit the whole “love as medicine” theme via Ashford & Simpson’s “Only Your Love Can Save Me”. Of course, that song was re-tooled as “This Poor Heart of Mine” for Marvin & Tammi. Always a story behind just about every Motown song!
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Landini said:
I wonder how the Marvelettes would have sounded like if they had re-done “Party LIghts” for the Smash HIts of 62 album. The song seems tailor made for them.
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Robb Klein said:
“Party Lights” is perfectly suited to The Marvelettes. But it would likely have been put out on a throwaway album with sparse instrumental-B cut treament, as opposed to The Funk Brothers’ A-side single “full bore” treatment. In addition, even The Marvelettes vocals would probably have been less “perfect” than their A-side efforts, as A-sides were give as many takes as needed to be “perfect”, while album filler cuts may have often been given only one take (if there were no technical problems).
I’d bet that we would have been disappointed in it. “That’s How Heartaches Are Made” was an unusual situation for a non-Jobete remake.
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Landini said:
I really love the Marvelettes version of “Heartaches”. Also like their take on “When You’re Young and in love”.
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Robb Klein said:
“When You’re Young and in love”, like “That’s How Heartaches Are Made”, was given the “A” treatment. So, it’s no surprise that you like it a lot. I love it, too. “Heartaches”, on the other hand, was a throwaway. The Marvelettes did a great job on it.
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Landini said:
Hey buddy! Thanks for reading my comments. Just thought of another good Marvelettes cover of a non-Motown song – Their version of “Message to Michael” isn’t too shabby!
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MotownFan1962 said:
“You’re My Remedy” is the perfect remedy for when your in the dumps. Then again, what do I know? I’m no doctor! It’s still a pretty awesome song, though.
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Landini said:
Hi MotownFan1962, I think you’re right about this song. I’m actually going through some health issues right now & songs like this actually cheer me up! Thanks for all of your interesting comments. You sound like you know a lot about Motown & music in general. All the best, friend!
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MotownFan1962 said:
You, too. Get well soon!
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Landini said:
Thank you!
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bogart4017 said:
I think as time moved on and we got a little older we were feeling like the Marvelettes were a bobby-soxer group and we were into nylon women ok? The music in a way reflects that up until maybe “Don’t Mess With Bill” and “You’re The One” when they started being more consistent with the “Adult Marvelettes”. I don’t think they did a lot of tv appearances at this particular time but they were a “working group” so you could catch their shows.
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Steve Eaton said:
I agree with you. The instrumental line bouncing back & forth in every chorus feels like you’re doing the same on a sea of balloons.
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Steve Eaton said:
I agree with you. The instrumental line bouncing back & forth in every chorus feels like you’re doing the same on a sea of balloons.
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