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Mel-o-dy 116 (B), June 1964
B-side of Jimmy Brown
(Written by Dorsey Burnette and Joe Osborn)
Tamla Motown TMG 534 (B), October 1965
B-side of Jimmy Brown
(Released in the UK through EMI/Tamla Motown)
On the face of it, Everybody’s Angel is a stronger proposition than the A-side, Jimmy Brown; it’s jaunty, uptempo pop music marked out with strummed guitar and a rockabilly chorus. But what’s its intention?
The girl at the centre of the song – the eponymous “angel” – is described in bitter terms, sure, but also so generally that this could very plausibly be a song about (a) prostitution or (b) cats. Dorsey, ostensibly playing the jilted boyfriend, never brings a hint of rancour to his vocal, which sounds almost laudatory rather than critical of this fickle, ill-defined one-time object of his affections. Clocking in at just over one and a half minutes, this is a self-indulgent kiss-off combined with a warning for the woman’s new squeeze (though it’s not for his ears, Dorsey referring to “him” in the third person throughout) that amounts to an extended “Hey, it’s your funeral, pal!”
It’s not particularly attractive, but then Dorsey’s acting doesn’t lend itself to a study in the bitterness of recently-trampled hearts, and the positively gleeful tone he adopts – to go along with the bouncing, danceable band track – makes it sound as though Dorsey’s narrator is genuinely grateful to be shot of her. Which, I guess, is the way the narrator’s trying to persuade us he feels.
Only once does the mask slip; the façade cracks in a Beatlesque interlude at the fifty-second mark – I gave her love I thought that no-one else could give, he moans, and got nothing in return / It hurts to know that her love was never real / I can’t deny the truth, or help the way I feel!
But that apparently accidental burst of brutal honesty makes the rest of the record feel rather pat, either forced or indifferent (you wouldn’t think you could confuse those two things, but Dorsey somehow manages it here), and it doesn’t feel as though it’s intentional, that the narrator is hiding his true feelings and just inadvertently let his pain out for a moment. Rather, it feels like a tacked-on “downer” moment in an otherwise bubbly, happy-sounding song. Plus, if Dorsey’s narrator isn’t that well-drawn a character, if he’s just ranting about some woman who’s had the gall to move on (and who can blame her?), then the whole thing becomes a bit less savoury, and a lot less appealing.
A fun and lively tune, and worth a couple of listens, but there’s too much fundamentally wrong with it to really love it the way I thought I would when it first started up.
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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Dorsey Burnette “Jimmy Brown” |
Brenda Holloway “I’ll Always Love You” |
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Sounds like this may have been a Ricky Nelson reject –or perhaps an Ozzie Nelson veto.
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Indeed, and that’s not an insult, it actually does sound like that from what little I know of Ricky Nelson – but it just doesn’t quite hang together conceptually, and I don’t think it’s intentionally that way.
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I wouldn’t be surprised if Mike Nesmith had picked up on this record. The vocal is basically him!
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ol Wool hat was actually recording as Michaal Blessing for Colpix by that time–and to keep the conversation MOTOWN –what Motown act also appeared on the Monkees’ COLGEMS label??
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I might be going down the wrong path here, but all I can think of is HDH – The Happening was used as the title to the 1967 Anthony Quinn film for which Frank De Vol did the soundtrack which was released on Colgems. I thought De Vol’s version of The Happening was an instrumental version, but did they help out at all?
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well It is the Supremes on a Colgems music promo 45 with parts of music from The Happening but I can’t find a photocopy of this record online anywhere
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I have the album and that 7″ promo. I can also confirm that the instrumental version by Frank De Vol is NOT the band track used by the Supremes…..much to my disappointment when I got it. The instrumental is not on that promo 7″
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Paul Petersen?
(edit: or Gladys Knight, maybe?)
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This is by far my favourite C&W recording from Motown. It’s the only one I can even listen to without cringing. I even like it.
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And so do I. I love it.
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Early warning: I feel the same about “Spanish Lace and Memories”.
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For an early ’60s country song its not bad at all. Listen to some of the country stuff that came out around it and you’ll see how true it is.
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