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Motown M 1064 (A), August 1964
b/w I’ll Come Running
(Written by Smokey Robinson, Janie Bradford and Mickey Stevenson)
Little had been heard from teenage talent contest winner Carolyn Crawford since her début Forget About Me almost a year previously. Now nearly 15, Carolyn finally saw a belated second Motown release with this glossy midtempo number, penned by several of Hitsville’s songwriting royalty and produced by Smokey Robinson.
The record was a surprise R&B hit, cracking the top 40 on the Cash Box chart, and this unexpectedly put young Carolyn in the frame to take over the Motown role left vacant by her heroine Mary Wells. The job eventually went to Kim Weston (although Brenda Holloway was also in contention), the most visible aspect of the “prize” being the chance to cut some duets with Marvin Gaye.
(Intriguing to wonder how a Marvin/Carolyn duets LP might have turned out; the age gap might have been insurmountable, but beyond that it could have been very interesting, and not least because Carolyn shares more than a few vocal traits with one Thomasina Winifred Montgomery, who – as “Tammi Terrell” – would go on to occupy pretty much Carolyn’s exact role in the Motown stable once Crawford had had enough. But I digress.)
Away from the increasingly confusing game of musical chairs being played out at Hitsville in the wake of Mary Wells’ departure, this didn’t just find a spot on the release schedules because Motown were testing out potential female solo stars; it got released because it’s obviously very good. It’s a summation in some ways of mid-1964, of this first summer of Motown’s Golden Age, of everything that was going on at Hitsville beyond the increasingly frequent big hit singles: the band and the “little people” toiling in the shadows and producing high-quality, scarcely-remembered material like this.
There’s more than a hint of Dionne Warwick’s then-current hit version of Walk On By about My Smile…, likely an intentional musical wink even if the two songs ultimately don’t end up all that similar. Certainly there’s nothing here to rival the haunting chords and dramatic isolation of the chorus of Bacharach and David’s song, but then these three writers – again, three of Motown’s best writers – were trying to do something a bit different, and there are several hooks here to get stuck into the listener.
First off, the lyrics sound like pure Smokey, regardless of who actually wrote them. There’s a line about Pagliacci here, which Smokey would quote almost verbatim on a rather more famous song a few years later (“Just like Pagliacci did / I’ll keep my sadness hid”), imagery borrowed from the Fifties standard I’m Afraid The Masquerade Is Over, as covered by Marvin Gaye back in 1961. The notion of hiding one’s true feelings, smiling through the pain, is one that Smokey would keep going back to time and time again, because it’s very effective – it remains so here, and it’s not Carolyn’s fault that the line now brings a modern listener up short because they’re thinking about The Tears of a Clown.
Lyrical trainspotting aside, everyone else is on good form, too. Carolyn again turns in a great performance of surprising maturity – this lead vocal absolutely doesn’t sound as though she was only fourteen years old, in terms of technique or emotional approach. (Compare and contrast her confident, assured delivery of the Pagliacci line to e.g. the similarly-aged Stevie Wonder’s contemporary efforts – there’s a gulf there that sounds almost unbridgeable.)
There’s a fine band performance, too, with some really nice bright plucked guitar figures shimmering between lines, and a rich choral backing; even a slightly hesitant vibes solo ends up adding to the atmosphere. If it’s hard to escape the nagging feeling that the chorus isn’t quite the knockout blow lined up by the verses, this is still a good record and I’m not surprised it found commercial favour of a sort.
As we’ll see the next time we meet Carolyn Crawford, not getting the plum gig as Mary Wells’ readymade replacement was the beginning of the end of her stay at Motown (she’d have just one more single before leaving the company for good). Still, she left some fine sides (and, reportedly, a lot more recordings remain in the vaults), enough to suggest she could have been a major talent. Even if that’s a stretch, it’s certainly plausible she might have become another Brenda Holloway, Barbara McNair – or Tammi Terrell. In the absence of that alternate-universe career, this will have to do, and it’s not half bad.
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 Carolyn Crawford? Click for more.)
Tommy Good “Leaving Here” |
Carolyn Crawford “I’ll Come Running” |
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Dave L said:
I’m sure I never heard this till Motown thought enough of it to include it on the Hitsville U.S.A. set of 1992. And it is a fine record. Carolyn was a pretty girl too. 🙂
“Musical chairs” is right. Unlike we do now, in August 1964 inside Hitsville, and even with “Where Did Our Love Go” approaching No. 1, nobody could have been confident The Supremes would rack up hit after hit with an enduring popularity to rival The Beatles. So the loss of Wells still must have been a matter of significant fear. We now know there was nothing to worry about, but Berry and his generals certainly couldn’t have.
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Robb Klein said:
This smokey song is fantastic, and Carolyn did a great job on it. I’d give this an 8. The flip is a 10. Couldn’t have been better.
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144man said:
The Temptations recorded a version of this two years later which did not see the light of day until “Motown Sings Motown Treasures” in 1998. Carolyn’s version is by far the superior.
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treborij said:
I’ve been away for a while and am playing catch up with this site. I’ve missed it even though I’m mostly a lurker.
>>(Compare and contrast her confident, assured delivery of the Pagliacci line to e.g. the similarly-aged Stevie Wonder’s contemporary efforts – there’s a gulf there that sounds almost unbridgeable.)<<
Perhaps this is further evidence that girls DO grow up faster than boys.
I probably first heard this on Hitsville, too and was surprised when I heard the Pagliacci line. This was a nice record.
Would be great if there were more worthwhile Carolyn Crawford material in the vaults. If they can come up with a Tommy Good anthology, surely there could be one for Ms. Crawford as well?
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Robb Klein said:
I believe there are at least 16 cuts on Carolyn, altogether, counting the 6 that were on her 3 released 45 singles. But there might be more. I recently discovered her version of “Think of the Times”, that I had not found while perusing The Motown Vaults, and had not yet appeared on any CD or on any list I had seen. Based on the amount of previously unreleased cuts that continue to surface, I would guess that there are enough cuts on Carolyn Crawford for her to have her own anthology. The same is probably true for Linda Griner. Patrice Holloway had to have her’s (Ace/Kent) augmented by using her Capitol output.
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W.B. said:
Besides the link to “The Tears of a Clown,” the song’s title, or a variant thereof, also would wind up within the lyrics (of the second verse, I.I.N.M.) of The Undisputed Truth’s 1971 hit “Smiling Faces Sometimes” (penned by Norman Whitfield and Barrett Strong).
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bogart4017 said:
Pretty girl, pretty song and not a ripple in the pond. Can’t find anyone who remembers her or this record.
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Robb Klein said:
She had a minor hit with this song in Detroit. I heard it played on Detroit’s major Soul music radio station. It was not played in Chicago, that I recall. But, all three of her 45s came there, and I bought them all when they were out. I had friends working in record shops and record distributorships, who alerted me to all the new releases from The Motown stable of labels. I also visited Detroit 2 Saturdays a month, and their record shops and thrift stores. I found DJ copies of virtually ALL their releases in the thrift shops a few months after their stock issues were released.
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Spookey said:
I love the way this record sounds, it has that Mary Wells/Motown sound that Smokey worked so well on Kim Weston “Looking For The Right Guy.”
It’s been a favorite of mine for years and was glad when it appeared on Hitsville USA.
I just heard Brenda Holloway’s version of this song and I was hoping she could take it a little higher but Carolyn’s still remains truly the best.
Spookey
Orange, CA
http://www.chicano-magazine.com
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Spookey said:
After some years … I’m really liking Brenda Holloway alot more.
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nafalmat said:
What a magnificent record. I was immediately hooked on this from the first time I heard it on the Motown Memories Vol 2 UK album in December 1968 and I’ve loved it ever since. Song title is brilliance in itself. Lyrically very clever and a nice gentle melody. Love the instrumental break with gorgeous vibes. What a combination Smokey and Mickey Stevenson, virtual guarantee of a great song. I wish Smokey had worked with Mickey more often their combination on this, “Since you won my heart” and “If your mother only knew” are among my all time favorites. 9.5 out of 10 from me.
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Spookey said:
I’m starting to really Enjoy the Brenda Holloway version now that I’m taking Zumba lessons lol. Brenda’s version sounds like they were trying to produce a Dance record and I’m loving it more each time I hear it.
Spookey
Orange, CA USA
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Dave Swift said:
Classic Smokey and perfectly suited to Carolyn’s young vocal. Well known in UK soul circles (for me) since inclusion on Motown Memories album by Dave Godin.
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Dave Swift said:
Sorry mistake in previous post of mine. Was on Motown Memories vol 2 as earlier reviewer wrote. I’ll get my coat.
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Abbott Cooper said:
Like several of the others commenting above this submission, I did not learn of the existence of this record until long (as in years) after its release, but upon hearing both sides, my conclusion regarding their merits was set in stone. I loved the A as much as the B and considered the record to be a Motown double-sided treasure, even if it had been, for me, a buried treasure, for way too long. The chorus of “A Smile…” is super; the kind that remains in your head for hours, and thereafter makes repeated return trips. One of my favorites from Motown, and a strong “9” to me.
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