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Tamla T 54097 (B), June 1964
B-side of You’re My Remedy
(Written by Lamont Dozier, Brian Holland and Anthony Hester)
Stateside SS 334 (B), September 1964
B-side of You’re My Remedy
(Released in the UK under license through EMI / Stateside Records)
Listening to this shapeless, stumbling, ungainly B-side, I started to think about the subjective nature of music appreciation. (Stay with me, folks.)
It’s not just that this is a weak song – although it certainly is a weak song, don’t get me wrong – it’s more that everything about this feels somehow forced, or forced-together; nothing’s natural, everything seems to be taking a lot of effort. The backing vocals and the lyrics they’re singing, the musicianship and the charts they’re working from, it’s all artificial, all difficult, coming across as both unlovely and unloved.
Not only can you see all the joins, where the various elements that make up the song have been wedged together into spaces where they don’t really fit, but you can almost feel the frustration in the studio, as though the magic touch needed to make all of this work is mysteriously absent – and everyone on the record knows it. And I thought to myself, goodness me – is this what most people hear when they listen to the Supremes’ I Want A Guy?
This had been sat in the can for a year and a half when Motown finally dusted it off and passed it for release, and as far as I can see, the only reasoning that went into that decision was to provide contrast with the rollicking A-side, You’re My Remedy. That song was an upbeat, driving, R&B-laden number with Wanda Young on lead vocals; this song is a slow, soft, contemplative ballad with Gladys Horton taking the lead. Gladys is the best thing about this, even if this wouldn’t even make it into her top fifty, as at least she has a go at making this sound like a coherent record.
All those other things I mentioned about the way this was seemingly meant to sound – slow, soft, contemplative – they’re all barely achieved, and it feels like a real agonising effort each time we’re forced to reach for them. The juddering, lurching tempo (marked out unevenly by guiro-esque brushed drums, the brushes scraped against the skins in a varying pattern, and bolstered by bell-like blasts of vibes and piano which fall out of time with each other a few times) makes it hard to settle into the record; Gladys’ vocal is well-taken, but she’s forced into a number of unflattering moments when the tune leaves her high and dry in an attempt to bridge distinct sections, leading to long, stretched syllables in strange places.
The lyrics are a whole different kettle of uncooked fish. Not only are those syllables distorted and distended, as though the text was written completely separately from the music (which it may well have been – this is the first time we’ll meet Tony Hester, and the last for a good few years yet, as this was apparently his only stint as lyricist to Brian Holland and Lamont Dozier before Brian’s brother Eddie took over the job permanently), but the central idea is completely undeveloped and clearly hasn’t been thought through properly.
(Briefly, Gladys’ narrator gives the listener some advice on how to repair a broken relationship, mostly recommending we fall upon our former partner’s mercy and beg his forgiveness – she literally uses those words – for any minor transgressions we might have committed. Enlightened it ain’t.)
The whole thing just feels like a rough draft that was never properly finished, and was probably never meant to leave its writers’ wastepaper-baskets; it’s a bunch of ideas for a song that didn’t really pan out, a barely-adequate sort-of-hook coupled to a meandering verse/chorus structure and a half-completed lyric. It all ends up feeling ugly, particularly when up against some of the bright, beautiful creations that were now sailing out of Hitsville on a weekly basis.
It must have been obvious, before this ever even got near a studio, that it just wasn’t working, but the overwhelming feeling listening to this is that everyone involved had to carry on with it anyway even if they all knew it wasn’t going to be very good. Tempting to wonder, looking at the next record we’ll be reviewing here on Motown Junkies, whether the experience of having to cut such a palpably substandard number gave the Marvelettes the backbone to start turning their noses up at songs they didn’t like when they were offered in the future.
Artless and joyless, this is one of the weakest records the Marvelettes ever released, especially on a 45, and the song should never have left the drawing board.
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 Marvelettes “You’re My Remedy” |
The Supremes “Where Did Our Love Go” |
DISCOVERING MOTOWN |
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The Nixon Administration said:
(In terms of the subjectivity I mentioned in the first paragraph, and the comparison to “I Want A Guy”, I’m interested to know if others think the same way about this – to me, it all feels wrong, and I can’t imagine it not being obvious to everyone concerned when the time came to actually lay down the track, but if there are a lot of people stepping up to defend this, then perhaps not, and perhaps what I’m hearing here IS what “I Want A Guy” sounds like to most people. That’s what I meant with that stuff, anyway.)
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Dave L said:
The group’s biographer, Marc Taylor, wonders why, considering the beseeching nature of the lyrics, “Sympathy” wasn’t assigned to Wanda to lead sing. I think that’s a good question, given that it goes against Gladys’s no-nonsense, and no-second-guessing personality.
But Wanda couldn’t have spun gold out of this either, and it’s a Marvelettes ‘B’ I rarely visit myself. After the sturdy a-side, you have no patience for it.
This is a moment then to ponder the favor Motown might have done the group had “Remedy” been paired with the brilliant “Knock On My Door,” perhaps doing for the Marvelettes what Motown 1048 did for Mary Wells: a genuine two-sided hit, with an amusing helping of Smokey rhymes on one side, and a galloping locomotive of HDH-stomp on the other. 😦
Bringing “I Want A Guy” into the discussion, whatever I might have rated it before I discovered your blog, I know I would have rated it higher than this throw-away. Even allowing that the Supremes had a lot of learning to come yet, allowing for the trial and error awaiting them for a couple of years, Ross sings “Guy” with everything in her heart. In his first, 1985 book of Ross, J. Randy Taraborelli says Ross went around with a pocketbook full of copies of the 45, passing them out to friends and talking it up like it was the greatest record and, with little prompting, was happy to lip-sync along to “whether her singing partners were nearby or not.”
I love Gladys too, but could anybody think she had such passion for this weak thing…?
My sincere good wishes, Nixon -and even prayers- for the task that comes next.
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John Plant said:
I hadn’t paid much attention to ‘I Want a Guy’ before reading your essay – but no, peace be with you, the two songs are not comparable at all. ‘Guy’s’ potential weaknesses are ratcheted up into strengths by their sheer obsessiveness – that four-and-a-half note turn with which the song begins is repeated until it shines! – That kind of figure is called a ‘gruppetto’ in classical music, and it’s what Wagner used to make the Love-Death (Liebestod) in Tristan and Isolde – arguably his masterpiece – so if it’s good enough for Wagner…. — I still might hesitate to give it (I Want a Guy, I mean, not the Love-Death) a 10, but I’m delighted that you did! That resounding affirmation was precisely what I needed in order to make me go back and listen again – and again (one good guide to a songs ultimate value is how quickly you tire of it, if ever… I was tired of ‘A Little Bit of Sympathy’ before it ended, and I’m still getting a kick out of ‘I Want a Guy – the 10 is a prospector’s guide to hidden treasure. – Now, ‘Never Again’ is another matter…. … I think my feeling about that song precisely matches yours about ‘So Long Baby…’ (but didn’t I promise NEVER to bring that song up AGAIN?) Like everyone else, I’m awaiting your next post with baited breath! –
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John Plant said:
Here’s a link to the last section of the LIebestod: http://www.youtube.com/watch?v=781JyNwJ1qw
The gruppetti are at 27″ and 40″… The whole thing is at
and there the gruppetti are foreshadowed in the orchestra at 1.49, 1.57 and 2.07; and the vocal ones occur at 3’01 and 3’17.
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The Nixon Administration said:
I don’t really feel qualified to comment on the Wagner, save to thank you for posting such a beautiful piece, but this:
one good guide to a songs ultimate value is how quickly you tire of it, if ever
– is something I wholeheartedly agree with, and I wish I’d raised it when discussing the pros and cons of giving high marks to seemingly obvious choices on the “My Guy” thread.
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144man said:
Is this really as bad as Marvin Gaye’s “If My Heart Could Sing”, which also got a 2?
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The Nixon Administration said:
Almost exactly as bad, yes, albeit differently so.
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Robb Klein said:
I can’t imagine why you give awful Bobby Breen, Tony Martin and Howard Crockett recordings more than this nice Marvelettes’ tune. Different taste makes The World go round, I guess.
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bogart4017 said:
Considering your descriptions of the Motown 45s conjure vivid images, this one is doing nothing for me. In every other review i can hear the song in my head—except forl this one. I know i have the 45 and im sure at some point in gthe past 48 or 49 years i’ve flipped it over. Yet i can’t recall it. Which means i have a date with Wanda and the girls this weekend. Yep, gotta start pulling out those old 45s.
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144man said:
I haven’t played the song this century, yet can remember the track pretty well. It’s a typical Motown B-side.
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Kevin Moore said:
There seems to be some confusion as to which song is being discussed. In reference to A Little Bit of Sympathy, I agree that it’s not a classic but 2/10 seems excessively harsh, especially with the nice groove, nice vocal and especially that long bridge. I can’t think of it as any less than a 5/10 and that’s after one hearing, and going on the assumption that the “growing on you” period won’t be very productive since it doesn’t seem to have grown on any of the more veteran motown junkies here.
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Robb Klein said:
Exactly! I’d give it at least a “5”. “2” means a song has a tremendous amount of flaws and very little redeeming value. This tune is quite listenable.
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eubiecatgmailcom said:
I agree that this song breaks no new ground, but it’s pleasant, tuneful and well-performed. I’d agree with a 5 rating. It’s not quite as good as the likes of “I Want a Guy,” but it’s not cause to run from the room, flailing one’s limbs as if on fire.
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Ken said:
Yeah, the song’s junk.. But – oh the wonderful sound of Gladys Horton’s voice! That by itself, I think, lifts the record above a 2.
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